WEBVTT - Ep 84: Jehnny Beth 0:00:00.240 --> 0:00:02.440 When I saw the scene with the track, I was like, yeah, 0:00:02.560 --> 0:00:05.560 because Pollie is my favorite character in it, and she's 0:00:05.640 --> 0:00:09.360 a badass and she just walks out of that car 0:00:09.920 --> 0:00:12.640 with a cigarette and their mouth and she steps on shit. 0:00:14.000 --> 0:00:17.159 Yeah, we're talking peaky Blinders with this evening's guest on 0:00:17.200 --> 0:00:21.320 the podcast, Jenny Beth from Savages the Eagle eared. Amongst 0:00:21.400 --> 0:00:24.880 you will have noticed a snippet of brand new solo 0:00:25.000 --> 0:00:28.200 music from Jenny was debuted in the most recent series 0:00:28.200 --> 0:00:31.080 of the show. That track, I'm the Man, gets an 0:00:31.080 --> 0:00:34.760 official release as part of the soundtrack in mid November. 0:00:35.280 --> 0:00:37.879 But don't worry if Picky Blinders isn't your thing, though, 0:00:37.920 --> 0:00:41.160 we talk about plenty of other stuff. That's just one 0:00:41.200 --> 0:00:43.680 of the projects that Jenny has been busy with. Recently, 0:00:44.159 --> 0:00:47.159 she made the first episode of an all new music 0:00:47.280 --> 0:00:50.760 TV show called Echoes. It was interesting to hear about 0:00:50.800 --> 0:00:54.520 her reasons for doing that. She and her long term 0:00:54.560 --> 0:00:59.120 collaborator Johnny Hostile also work together on the soundtrack for 0:00:59.160 --> 0:01:03.720 the film X Why Chelsea, the documentary movie about transgender 0:01:03.760 --> 0:01:06.880 activist Chelsea Manning released back at the start of the summer. 0:01:07.360 --> 0:01:10.400 Other places, the chat goes the success of her friend's 0:01:10.520 --> 0:01:13.640 idols over the past couple of years. We get Jenny's 0:01:13.640 --> 0:01:16.880 thoughts on the latest Nick Cave and the Bad Seas 0:01:16.920 --> 0:01:21.000 album and the WAKEM Phoenix Joker movie that came out 0:01:21.080 --> 0:01:22.920 not that long ago. We have a chat about that, 0:01:23.600 --> 0:01:27.240 and I ask about where Savages are at right now too. 0:01:27.720 --> 0:01:30.800 I should probably mention Tonight's episode is the final one 0:01:30.840 --> 0:01:33.679 of the series. Stuart and I have been here every 0:01:33.760 --> 0:01:37.240 Thursday night at midnight for the past ten weeks. I 0:01:37.280 --> 0:01:39.480 wanted to say thank you again to all of our 0:01:39.520 --> 0:01:43.759 guests on this run. That was Karen O, Kate Temper, 0:01:44.000 --> 0:01:49.880 Serge Pizono, Julia, Jaqueline him, Stephen Mountmus, Holly Herndon, Adam Green, 0:01:50.080 --> 0:01:53.040 George the Poet, and of course Jenny Tonight. Thanks for 0:01:53.080 --> 0:01:55.160 all those people who helped us get those guests as well, 0:01:55.360 --> 0:01:58.680 and thanks to all the people who have said complimentary 0:01:58.680 --> 0:02:02.320 things about our podcast or recommended it to your friends 0:02:02.840 --> 0:02:05.480 and your tweets and things like that. We appreciate the 0:02:05.640 --> 0:02:08.160 support and I know this gets boring to say it 0:02:08.200 --> 0:02:10.480 every time, so we don't and we haven't recently, but 0:02:10.880 --> 0:02:13.640 if you do enjoy the podcast, please do leave a 0:02:13.680 --> 0:02:17.480 review or a rating wherever you're listening to this right now. 0:02:17.840 --> 0:02:21.400 We will be back at some point, hopefully in early 0:02:21.560 --> 0:02:24.120 twenty twenty. But enough of all that, I leave you 0:02:24.240 --> 0:02:29.480 on this high note, Jenny Beth on Midnight Chats. One 0:02:29.520 --> 0:02:32.120 final thing. If you do like what we do, please 0:02:32.200 --> 0:02:36.000 consider supporting this podcast by subscribing to Loud and Quiet magazine. 0:02:36.080 --> 0:02:39.400 We ship all over the world. The information is at 0:02:39.520 --> 0:02:42.639 Loud and Quiet dot com slash subscribe, where we will 0:02:42.680 --> 0:02:45.720 post you our next nine issues for as little as 0:02:45.760 --> 0:02:49.040 three pounds per month. It keeps our monthly independent magazine 0:02:49.080 --> 0:02:52.480 in print and it helps us make this podcast. How 0:02:52.480 --> 0:02:54.320 are you doing? First of all, how are things? 0:02:54.480 --> 0:02:56.280 Yeah, I'm good, Thank you very much, thanks for having 0:02:56.280 --> 0:02:56.800 me good. 0:02:56.919 --> 0:02:58.960 I want to talk about, or I want to start 0:02:59.040 --> 0:03:01.920 by as about some of the projects you've been recently 0:03:01.960 --> 0:03:05.960 involved with. Sure, you've been busy. First off, just a 0:03:05.960 --> 0:03:09.880 few weeks ago you made a TV show. Yeah, tell 0:03:09.919 --> 0:03:11.560 me about it called Echoes, Right. 0:03:11.520 --> 0:03:12.120 Yeah, Echoes. 0:03:12.200 --> 0:03:14.080 Tell me a little bit about how that came about. 0:03:14.120 --> 0:03:16.320 Has that been something you wanted to do for a while? 0:03:16.560 --> 0:03:19.040 Yeah, we really something I wanted to do at the 0:03:19.080 --> 0:03:21.200 back of my head, but it's not It was not 0:03:21.320 --> 0:03:24.320 something that I expected to do so soon. So I've 0:03:24.320 --> 0:03:26.560 been doing the radio show on Beats one for two 0:03:26.639 --> 0:03:32.320 years and talking to different artists, and my attraction to 0:03:32.400 --> 0:03:37.920 that was that I love to probably just as much 0:03:37.960 --> 0:03:41.640 as you to talk to artists and try to understand 0:03:41.640 --> 0:03:45.040 how they came how their passion for music came about, 0:03:45.080 --> 0:03:49.000 and how they you know, it turned out that dedicated 0:03:49.040 --> 0:03:52.040 all their life to music. And also, you know, I 0:03:52.080 --> 0:03:54.800 love to hear musicians and have them talk and have 0:03:54.920 --> 0:03:58.200 them express, you know, things about not just music, but 0:03:58.280 --> 0:04:03.000 about the world and about the yeah they're visions and 0:04:03.560 --> 0:04:07.440 the way they see things as they are, and culture 0:04:07.480 --> 0:04:09.920 in general. So I guess that the TV show is 0:04:09.920 --> 0:04:13.400 an extension to that. So I was asked to if 0:04:13.400 --> 0:04:16.599 I was would be interested to try do a first 0:04:16.640 --> 0:04:18.880 episode of a TV show and if I could come 0:04:18.960 --> 0:04:21.240 up with a concept, and so me and Johnny host 0:04:21.279 --> 0:04:24.600 I worked on that together and Johnny actually actually came 0:04:24.680 --> 0:04:27.200 up with the name Echoes with Jenny Bef. He came 0:04:27.279 --> 0:04:29.120 up with my radio show name as well. It's really 0:04:29.160 --> 0:04:31.480 good with names. I'm not very good with names. But 0:04:32.120 --> 0:04:35.599 so any idea is I mean, echoes is you know, 0:04:35.600 --> 0:04:37.520 it's a sound word, but it's also the idea of 0:04:38.040 --> 0:04:42.520 having different musicians respond to each other and have you know, 0:04:42.600 --> 0:04:46.520 their experiences echo with another musician's experience and try to 0:04:46.520 --> 0:04:49.400 have that group talk. So the TV show is a 0:04:49.480 --> 0:04:51.719 live performance in front of an audience, So it's a gig. 0:04:52.160 --> 0:04:55.120 It's like free bands coming in or free artists coming 0:04:55.160 --> 0:04:58.680 in and performing in front of an audience. And at 0:04:58.720 --> 0:05:02.159 the end, part of the audience and all the musicians 0:05:02.200 --> 0:05:05.600 we group together in a sort of doctor feel good 0:05:05.800 --> 0:05:09.640 sort of round circle with chairs. We all sit down 0:05:09.680 --> 0:05:13.800 and we have a group talk. And my desire for 0:05:13.839 --> 0:05:17.880 that is to you know, find the resonances between each 0:05:18.040 --> 0:05:21.960 musicians and to try I think there's a scene. 0:05:21.720 --> 0:05:22.200 At the moment. 0:05:22.200 --> 0:05:24.119 There's a lot of musicians that have a lot to say, 0:05:24.720 --> 0:05:27.680 and I think, especially on TV, it really annoys me 0:05:28.400 --> 0:05:30.560 that musicians are often asked to come and perform, but 0:05:30.600 --> 0:05:32.000 never ask to sit down and talk. 0:05:32.400 --> 0:05:33.360 I mean compared to. 0:05:33.960 --> 0:05:38.479 Actors or directors or I don't know, yeah, people in 0:05:38.560 --> 0:05:41.599 movies for sure. I just feel that it's a shame 0:05:41.640 --> 0:05:45.080 because there's a real voice that is missing out, especially 0:05:45.160 --> 0:05:48.240 on TV. So, yeah, that's the idea. So for the 0:05:48.279 --> 0:05:51.520 first episode we shot a few weeks ago, which is 0:05:51.560 --> 0:05:53.279 going to be broadcasted before the end of the year 0:05:54.040 --> 0:05:57.440 on URTE the channel it's a front called German channel, 0:05:57.920 --> 0:06:00.320 but it's also it's going to be available on the 0:06:00.360 --> 0:06:06.920 web on the Anzi web worldwide. So I invited Primal, 0:06:07.000 --> 0:06:11.920 scream Idols and a young band from home called Life, 0:06:12.160 --> 0:06:15.440 and it was amazing. It was great because it would 0:06:15.480 --> 0:06:19.440 just worked out really well. There were some, you know, 0:06:19.600 --> 0:06:24.880 incredible parts of the discussion, and the live performances were 0:06:25.000 --> 0:06:28.359 amazing and the set of echoes is quite unusual. The 0:06:28.400 --> 0:06:32.279 stage has this sort of white panel coming down to 0:06:32.279 --> 0:06:33.839 the audience like a white tongue. 0:06:33.880 --> 0:06:35.200 I don't know how to describe it. 0:06:35.600 --> 0:06:38.240 That the musicians can come up and down and to 0:06:38.320 --> 0:06:40.880 the crowd, and visually it's quite stunning in this sort 0:06:40.920 --> 0:06:45.800 of brutalist venue in Paris underneath the Palette Tokyo Museum. 0:06:46.680 --> 0:06:48.760 So yeah, so that was the idea. But yeah, never 0:06:48.800 --> 0:06:51.280 in my life I thought, oh my god, I'm going 0:06:51.279 --> 0:06:53.280 to do TV show. It's going to be happening. But 0:06:53.400 --> 0:06:56.400 it just happened, and I'm glad and I feel we're 0:06:56.440 --> 0:06:58.360 going to know really soon if we get a series 0:06:58.480 --> 0:07:01.120 or if we can do more. I've already received the 0:07:01.120 --> 0:07:04.400 emails like Underworld want to be on the TV show received, Yeah, 0:07:04.640 --> 0:07:06.400 like friends have been contacting Me'd be like, oh, we 0:07:06.400 --> 0:07:09.200 want to do the Gennibeb Show, and I'm really happy 0:07:09.200 --> 0:07:12.000 about that. I just want to bring my friends on TV. Really, 0:07:12.000 --> 0:07:13.960 that's all I want to do. I want to talk 0:07:13.960 --> 0:07:15.480 about what they're doing. 0:07:15.560 --> 0:07:18.040 And yeah, I think it's interesting you saying that you 0:07:18.160 --> 0:07:20.880 felt like there was a lack of opportunity for artists 0:07:20.920 --> 0:07:24.000 to come and speak in a long form way on TV. 0:07:24.280 --> 0:07:26.160 It always seems to be the way that you know, 0:07:26.200 --> 0:07:28.920 for example, if you're watching something like Jules Holland, it's like, oh, 0:07:28.960 --> 0:07:31.320 here's ten seconds with this artist to say something. 0:07:31.400 --> 0:07:32.920 There's the big artists. 0:07:32.680 --> 0:07:35.320 Of course exactly, and it's and then all the same 0:07:35.320 --> 0:07:37.360 with like the Graham Norton Show or something. It's like 0:07:37.480 --> 0:07:39.320 you perform and then you're on the sofa for all 0:07:39.320 --> 0:07:42.080 of thirty seconds to somebody say, oh, your new singles out. 0:07:42.160 --> 0:07:44.920 Yeah, I've done that, We've gorillas. We performed and me 0:07:44.960 --> 0:07:46.120 and Denman went to the sofa. 0:07:46.240 --> 0:07:48.600 It was fine. I did a good joke and then 0:07:48.760 --> 0:07:49.120 that was. 0:07:49.080 --> 0:07:50.400 It, exactly. 0:07:50.600 --> 0:07:54.440 But I wish I wish there was more of another 0:07:54.520 --> 0:07:55.400 way of seeing. 0:07:55.120 --> 0:07:57.560 This, Yeah, a chance to be more expansive and actually 0:07:57.600 --> 0:08:01.200 get into explore some of the theme and the intention 0:08:01.360 --> 0:08:03.320 and all those things that go along with making music. 0:08:03.320 --> 0:08:05.840 Obviously, you know, put the artists on the same level 0:08:05.880 --> 0:08:08.680 as well. Like when we did the first piece of eCos, 0:08:09.360 --> 0:08:11.680 the Bobby was sitting Ridols and life and you know, 0:08:12.120 --> 0:08:14.920 they're all on different times in their careers, you know. 0:08:15.120 --> 0:08:18.000 And but it's a group discussion, and I've witnessed so 0:08:18.080 --> 0:08:21.800 many discussions like that in backstage, you know, at festivals 0:08:21.920 --> 0:08:25.480 or musicians just meet up and share, and I think 0:08:25.520 --> 0:08:30.640 that's how we exchange knowledge. We can not repeat mistakes, 0:08:30.760 --> 0:08:33.960 we can expand our mind or just oh you do 0:08:34.080 --> 0:08:36.400 this this way or that's interesting, and you know, and 0:08:36.640 --> 0:08:40.280 just yeah, have the sense of community as well, which 0:08:40.360 --> 0:08:43.120 exists in hip hop, you know, and I wanted to 0:08:43.160 --> 0:08:45.080 be and it exists in my community, but I wanted 0:08:45.080 --> 0:08:46.080 a platform to show it. 0:08:46.120 --> 0:08:48.199 Did you enjoy the role of being host? And you're 0:08:48.240 --> 0:08:50.280 used to broadcasting speaking to artists, you like, you say, 0:08:50.280 --> 0:08:51.559 you've been doing the radio show for a number of 0:08:51.600 --> 0:08:53.120 years now, but this is a different thing. It's a 0:08:53.160 --> 0:08:56.520 new format, something brand new. So you've been thinking about Yeah, 0:08:56.520 --> 0:08:57.640 how did you feel about doing that? 0:08:58.480 --> 0:09:02.640 I mean I definitely didn't eat that day for sure. No, 0:09:02.720 --> 0:09:04.440 I was a bit nervous, but I think it's because 0:09:04.440 --> 0:09:06.120 it's the first time and you want to do it right, 0:09:06.559 --> 0:09:08.600 so you get you put a bit of pressure on yourself. 0:09:08.679 --> 0:09:10.200 But I enjoyed it. 0:09:10.280 --> 0:09:10.760 I just. 0:09:12.240 --> 0:09:14.960 I hope the artist enjoyed it. That was my main 0:09:15.000 --> 0:09:17.720 concern and that's what I've been telling The whole team 0:09:17.720 --> 0:09:20.360 has been working on the TV show, and like you know, 0:09:20.400 --> 0:09:23.080 it's all about them. They need to be happy with 0:09:23.120 --> 0:09:25.000 the sound, they need to be happy about the welcome, 0:09:25.080 --> 0:09:28.679 the way they treated about the food, about you know, 0:09:29.320 --> 0:09:31.560 it's simple as that. But if artists are happy to 0:09:31.600 --> 0:09:34.240 do something like that, because no artists I know like 0:09:34.360 --> 0:09:37.040 love to do promotion or love to do TV shows. 0:09:37.280 --> 0:09:39.280 But if it happens well, and if it's a good 0:09:39.720 --> 0:09:43.920 it's a good you know, it's a good reception, it's 0:09:43.960 --> 0:09:46.120 you know, it's a good team and it's a good 0:09:46.800 --> 0:09:48.000 then they will want to come back. 0:09:48.080 --> 0:09:49.839 So that's that was my main point. 0:09:50.080 --> 0:09:52.320 Could you make a TV show like that in the UK? 0:09:52.480 --> 0:09:54.440 It doesn't feel like maybe do. 0:09:54.480 --> 0:09:56.520 You I mean, does Lauren love and you don't know 0:09:56.559 --> 0:09:59.120 how lucky you are out to have BBC six. You 0:09:59.200 --> 0:10:02.560 don't know, like, because in France there isn't there isn't 0:10:02.600 --> 0:10:05.400 a platform for music I love to listen to. I mean, 0:10:05.520 --> 0:10:07.719 yesterday morning I put on BBC six and there was 0:10:07.800 --> 0:10:12.600 song to the Saren and I was like, WHOA really? 0:10:13.520 --> 0:10:15.760 I mean, I would put that on when I wake 0:10:15.840 --> 0:10:17.679 up in the morning. But in France there isn't and 0:10:17.960 --> 0:10:21.280 there isn't a platform radio OTV for the music I 0:10:21.360 --> 0:10:21.760 listen to. 0:10:21.920 --> 0:10:22.320 For sure. 0:10:22.559 --> 0:10:24.760 You mentioned that it's going to get broadcast later in 0:10:24.760 --> 0:10:27.880 the year. You're presumably excited to hopefully do more. Yeah, 0:10:27.920 --> 0:10:29.920 I mean, it's great that you've already got people getting 0:10:29.920 --> 0:10:31.640 in touch saying that they want to be involved. I 0:10:31.679 --> 0:10:33.360 mean I saw some of the photos from the recording. 0:10:33.360 --> 0:10:35.760 It did look like really futuristic, but it's like the 0:10:35.760 --> 0:10:39.599 set design. It looked really high spec and really stylish, 0:10:39.600 --> 0:10:41.679 and also like the kind of thing that you would 0:10:42.000 --> 0:10:43.640 if I was an artist. It would look quite inviting 0:10:43.679 --> 0:10:44.800 to be like, I think I want to do. 0:10:44.760 --> 0:10:45.199 That, I hope. 0:10:45.240 --> 0:10:47.480 So yeah, So the set was designed by Antoine Carlier, 0:10:47.520 --> 0:10:51.480 who's the designer in my label, Papmar Record, and he's 0:10:51.520 --> 0:10:53.720 designed a whole set, and he's doing the art direction 0:10:54.000 --> 0:10:56.440 of everything, and then Johnny Horsta is doing the music 0:10:56.559 --> 0:11:00.200 for the you know, the intro and all them. So 0:11:00.559 --> 0:11:02.920 it's a very close team, Like it's my friends as 0:11:03.000 --> 0:11:04.920 people I know really well have been working. 0:11:04.720 --> 0:11:05.440 With for a long time. 0:11:05.480 --> 0:11:07.280 I can't wait to see the first episode out before 0:11:07.280 --> 0:11:08.400 the end of the year, and I do hope there's 0:11:08.440 --> 0:11:09.920 going to be more because it sounds fantastic. 0:11:10.000 --> 0:11:10.840 Yeah, well me too. 0:11:11.000 --> 0:11:13.719 Let's see you mentioned one of the artists that you 0:11:13.800 --> 0:11:16.800 had there on the TV shows Idols. To see their 0:11:17.000 --> 0:11:18.400 rise has been really exciting. 0:11:18.559 --> 0:11:19.280 Yeah, it has. 0:11:19.520 --> 0:11:22.680 Their message so direct. You know Joe and the band, well, 0:11:22.760 --> 0:11:24.400 you've met them on a number of occasions. Have you 0:11:24.480 --> 0:11:27.120 kind of witnessed their ascent the last eighteen months and 0:11:27.240 --> 0:11:30.040 really been like, yeah, we need a band like that. Yeah. 0:11:30.040 --> 0:11:33.240 Absolutely, I feel very close to what I doos are doing. 0:11:33.880 --> 0:11:36.320 I was very happy to meet Joe and the Band. 0:11:37.240 --> 0:11:39.280 I went to see them at the Electric Ballroom when 0:11:39.280 --> 0:11:41.200 they did like for three or four nights in a row, 0:11:41.800 --> 0:11:45.840 and we went there every night. And you know, there's 0:11:45.880 --> 0:11:49.640 obviously some similarities with Savages, I think on the way 0:11:49.679 --> 0:11:51.840 they addressed the audience to where the message is really 0:11:52.000 --> 0:11:54.640 direct when brutalism came out, so I had Joe on 0:11:54.679 --> 0:11:57.480 the show, on the radio show, because I felt very 0:11:57.679 --> 0:11:59.679 interested lyrically of what he was doing. He's one of 0:11:59.720 --> 0:12:04.320 my firs lyricists. His directness is harness ty. But the 0:12:04.360 --> 0:12:08.160 nobleshit thing, I think is what really attracts me to them, 0:12:08.520 --> 0:12:11.040 and the violence in the sounds, and then I mean, 0:12:11.160 --> 0:12:13.560 obviously the fact that they're a band of men. They're 0:12:13.679 --> 0:12:16.000 sort of reinventing what it means to be a man 0:12:16.040 --> 0:12:18.200 in a band, you know, this sort of which I 0:12:18.200 --> 0:12:20.400 think it was very necessary because we've been having a 0:12:20.440 --> 0:12:22.880 lot of conversations about how women are in a band 0:12:23.040 --> 0:12:25.600 or what it means or what it is, and then 0:12:25.760 --> 0:12:27.600 suddenly they come about and they're like, oh, you know, 0:12:27.679 --> 0:12:30.600 you can be a band full of men, and it 0:12:30.600 --> 0:12:33.240 doesn't have to be you know, sex and dragon and 0:12:33.320 --> 0:12:35.000 rock and roll. It can be or it could be, 0:12:35.080 --> 0:12:38.840 but I mean it can be about being sensitive as well, 0:12:39.160 --> 0:12:44.240 or talking about subjects which are unexpected, you know, fatherhood, 0:12:45.360 --> 0:12:49.000 you know, And I love that. I think that's reinventing something, 0:12:49.040 --> 0:12:52.760 and I think they're bringing a new conversation to the scene, 0:12:52.800 --> 0:12:53.760 which I love. 0:12:53.880 --> 0:12:57.560 And moving the narrative on perhaps out of a you 0:12:57.600 --> 0:13:00.120 know a lot of different music styles can maybe get 0:13:00.160 --> 0:13:03.640 caught in a cycle of repeating similar themes or refrains 0:13:03.760 --> 0:13:06.040 or visuals. You know, is it important you think to 0:13:06.080 --> 0:13:08.160 hear a band coming out? I mean, Savage Is are 0:13:08.200 --> 0:13:10.880 a perfect example of that, moving the narrative forward, like 0:13:10.960 --> 0:13:13.040 we always need that to advance what it is we're 0:13:13.040 --> 0:13:13.440 listening to. 0:13:14.520 --> 0:13:17.360 I remember when Savages came out. I mean at the beginning, 0:13:17.400 --> 0:13:20.680 when we started, it felt quite alone. I mean I 0:13:20.679 --> 0:13:22.840 didn't feel like we had a scene and we had 0:13:23.760 --> 0:13:25.559 which I think there is now. I think it's kind 0:13:25.600 --> 0:13:30.200 of different now with bands like Fountains, DC, Medal, Capital Crows. 0:13:31.440 --> 0:13:36.600 There's you know, idols, there's this sort of even sonically, 0:13:36.640 --> 0:13:39.200 there's something going on with guitar music, which I think 0:13:39.320 --> 0:13:42.320 is interesting. But what I like is that there's also 0:13:42.320 --> 0:13:45.440 an eclecticism about it, like bands and you know, like 0:13:45.520 --> 0:13:48.120 Joe would say, like you listen to hip hop and 0:13:48.120 --> 0:13:49.640 then you want to write a song, or you listen 0:13:49.720 --> 0:13:51.480 to techno and you want to write a song, but 0:13:51.559 --> 0:13:54.400 the outcome is, you know, rock music. 0:13:54.400 --> 0:13:56.240 I suppose the last time you and I met up 0:13:56.440 --> 0:13:58.920 was I think almost three years ago, and it was 0:13:58.960 --> 0:14:01.640 coming towards the end of the touring that you've done 0:14:01.679 --> 0:14:03.920 for the second Savages record. Yeah, and you were talking 0:14:03.960 --> 0:14:07.720 about lots of projects that were in the pipeline to 0:14:07.720 --> 0:14:10.440 do with your own composition, your own music. Some of 0:14:10.440 --> 0:14:12.960 those have come to fruition in the last like twelve months. 0:14:13.200 --> 0:14:16.000 For example, the work that you've done on the Chelsea 0:14:16.080 --> 0:14:19.400 Manning movie soundtrack that you did earlier this year. What 0:14:19.480 --> 0:14:22.440 attracted you to the idea of working on that project. 0:14:22.520 --> 0:14:26.240 So Tim Hawkins, the director, contacted me and me and 0:14:26.320 --> 0:14:28.520 said that he wanted me to be involved in some 0:14:28.560 --> 0:14:31.600 ways or another into the soundtrack. I wanted to work 0:14:31.640 --> 0:14:34.160 with Johnny Harstadt on this because he's very, very, very 0:14:34.160 --> 0:14:38.280 good with instrumental music, and we have a long term 0:14:38.320 --> 0:14:40.480 relationship in terms of making music together. So I knew 0:14:40.480 --> 0:14:42.680 it was kind of going to be easy to do 0:14:42.760 --> 0:14:47.120 it together in the studio in Paris, and we had 0:14:47.200 --> 0:14:49.960 sort of a short deadline to do it. So we 0:14:50.080 --> 0:14:53.480 started working straight away and pretty soon we realized it 0:14:53.520 --> 0:14:56.120 was going to be easy because team had the same 0:14:56.160 --> 0:14:58.840 references as ours, where we were sort of talking in 0:14:58.840 --> 0:15:01.000 the same language or It was great and. 0:15:03.200 --> 0:15:04.600 The movie is. 0:15:06.520 --> 0:15:09.760 I mean, it's a political subject. Chelsea Manning is you 0:15:09.800 --> 0:15:14.160 know the trance wilstle Blower who created wikiliks really, I 0:15:14.160 --> 0:15:16.640 mean not created, but like was a big part of 0:15:17.760 --> 0:15:22.560 story exactly, And so it's a political subject or however, 0:15:22.720 --> 0:15:25.240 it's not why I did it. I mean, I admire 0:15:25.520 --> 0:15:30.080 her as a as a historical character, I admire her courage, 0:15:30.680 --> 0:15:33.440 but just a prospect of making music for a long, 0:15:34.440 --> 0:15:40.040 long movie, long length movie was exciting and a good movie. 0:15:40.080 --> 0:15:43.960 Because it's a really good movie. It's funny how it's 0:15:44.000 --> 0:15:47.360 turned out to be quite a movie about someone, about 0:15:47.360 --> 0:15:50.760 a human being instead of a political figure. And I 0:15:50.760 --> 0:15:52.400 don't know if you've seen a movie, but that's quite 0:15:53.200 --> 0:15:54.920 Some people don't like it for that reason, but I 0:15:54.960 --> 0:15:57.000 love it for that reason. It's not an activist movie, 0:15:57.120 --> 0:15:57.640 you know what I mean? 0:15:58.000 --> 0:16:02.280 No, exactly. It concentrates on Chelsea Manning, like the character and. 0:16:02.240 --> 0:16:06.120 Her feelings and her emotions and how she struggles with 0:16:06.160 --> 0:16:08.680 what she's done and tries to make sense of. 0:16:08.680 --> 0:16:11.280 Who she is the process of being involved with that. 0:16:10.960 --> 0:16:14.200 That the soundtrack, if we just isolate that, people can 0:16:14.240 --> 0:16:16.200 go away and listen to that. It's a very moving, 0:16:16.400 --> 0:16:23.360 very atmospheric, chilling, beautiful piece of composition that the movie's 0:16:23.400 --> 0:16:26.480 soundtracked by that you yourself and Johnny worked on. Did 0:16:26.520 --> 0:16:28.560 you work to the images that we're going to appear 0:16:28.600 --> 0:16:30.800 on screen? Were you given a brief? How did it? 0:16:31.160 --> 0:16:34.440 How did that set of songs come together? 0:16:34.560 --> 0:16:37.760 I agree with you with the notion that the music 0:16:37.880 --> 0:16:40.560 is there's a gentle ness to it, And I think 0:16:40.640 --> 0:16:45.120 that's what we were trying to bring because her, what 0:16:45.160 --> 0:16:48.680 she goes for is so harsh, so hard, it's almost 0:16:48.680 --> 0:16:52.040 like you want to approach it with delicacy. You don't 0:16:52.040 --> 0:16:55.280 want the music to take over what she's feeling. So 0:16:55.560 --> 0:16:57.480 there is a gentle ness to the music. I think 0:16:57.480 --> 0:17:00.800 for that reason, I'm trying to envelope her, to support 0:17:00.880 --> 0:17:06.119 her to Yeah, there's also really more harshness in the 0:17:06.200 --> 0:17:08.359 music when it comes to war and it comes to 0:17:08.560 --> 0:17:12.239 talking about those things. The references were quite wide. I mean, 0:17:12.400 --> 0:17:18.960 obviously there's the Atticus Russ and Trent Dresner, you know, 0:17:19.080 --> 0:17:23.879 soundtracks and the use of piano electronics reference, which I 0:17:23.880 --> 0:17:27.120 think we will agreed on straight away with Johnny, Tim 0:17:27.160 --> 0:17:27.359 and I. 0:17:28.560 --> 0:17:30.040 The social network Did they work? 0:17:30.200 --> 0:17:33.919 Yeah, the social network exactly, maybe a bit of mister Robert, 0:17:34.080 --> 0:17:37.240 you know the idea, you know, all the hacker sort 0:17:37.240 --> 0:17:39.959 of side of it, and yeah, and the rest was 0:17:40.040 --> 0:17:42.960 just trying to I think Johnny said something interesting when 0:17:43.000 --> 0:17:45.960 describing our process was we were like the band and 0:17:46.040 --> 0:17:49.280 Chelsea Manning was the singer, the lead singer, because she 0:17:49.400 --> 0:17:51.600 was leading the way. You had to support what she 0:17:51.680 --> 0:17:54.359 was going through, what she was saying. And sometimes we 0:17:54.480 --> 0:17:57.680 even tuned the music to her voice. 0:17:58.640 --> 0:18:01.880 Which sounds crazy, but are you finding like interviews on YouTube. 0:18:01.520 --> 0:18:03.679 And stuff, and you know that her voice in the movie. 0:18:03.760 --> 0:18:04.960 Oh okay, so you're working to the. 0:18:06.840 --> 0:18:08.640 Word you would be saying. We used it as if 0:18:08.680 --> 0:18:12.480 it was a lyric and tried to tune or instruments 0:18:12.480 --> 0:18:16.280 to her voice, okay, just to fit as much as 0:18:16.280 --> 0:18:16.760 we could too. 0:18:16.840 --> 0:18:17.000 Huh. 0:18:17.280 --> 0:18:19.120 Was that the first time you've worked in that sort 0:18:19.160 --> 0:18:22.240 of way in a film you mean? Or oh yeah, 0:18:22.320 --> 0:18:26.800 just just because yeah, you were taking this segments of interviews, 0:18:26.800 --> 0:18:30.480 I suppose, the documentarian style storytelling and then creating some 0:18:30.560 --> 0:18:34.280 original compositions. So was that like a new challenge, a 0:18:34.320 --> 0:18:36.080 new way of exploring your own creativity. 0:18:36.160 --> 0:18:38.160 It was new in the sense of making a long 0:18:38.240 --> 0:18:42.040 lend movie. The music from start to end. But it 0:18:42.080 --> 0:18:44.440 didn't feel new in a sense that we felt ready, 0:18:44.680 --> 0:18:47.040 like because we had worked a lot on image before. 0:18:47.119 --> 0:18:49.240 Me and Johnny, we did a lot of work for 0:18:50.160 --> 0:18:53.040 like years back. We did some work for Chanel, like 0:18:53.119 --> 0:18:56.760 doing music for their images and things like that, and 0:18:57.240 --> 0:19:00.040 with a film company were involved with in France, and 0:19:00.119 --> 0:19:02.920 we had a few experiences doing you know, short films 0:19:03.040 --> 0:19:07.480 or so it didn't feel new completely. And the idea 0:19:07.520 --> 0:19:10.600 of crafting music to a context as well as something 0:19:10.600 --> 0:19:13.240 we've done a lot with savages, like we would write 0:19:13.280 --> 0:19:16.199 our own music for the pre shows. We would, you know, 0:19:16.600 --> 0:19:19.280 or write music for an intro of a video or 0:19:19.359 --> 0:19:22.400 adapt music and always doing that and that's work we've 0:19:22.400 --> 0:19:25.119 always done with Johnny. So it didn't feel new in 0:19:25.160 --> 0:19:26.040 that sense, you know. 0:19:26.280 --> 0:19:28.560 Yeah, did you feel moved the first time you saw 0:19:28.600 --> 0:19:30.160 the movie and everything complete? 0:19:30.240 --> 0:19:30.480 Yeah? 0:19:31.040 --> 0:19:32.560 I mean I've always moved the first time I watched 0:19:32.560 --> 0:19:36.640