WEBVTT - Ep 51: Interpol

0:00:00.680 --> 0:00:02.920
<v Speaker 1>Loud and Quiet presents Midnight Chats.

0:00:22.720 --> 0:00:25.239
<v Speaker 2>Evening listeners, It's been a while since I've said this,

0:00:25.480 --> 0:00:29.440
<v Speaker 2>but welcome to a new episode of Midnight Chats. It

0:00:29.480 --> 0:00:32.080
<v Speaker 2>feels good to be back. We went away for a

0:00:32.120 --> 0:00:35.880
<v Speaker 2>little while, had a summer holiday, a few pinicoladas, a

0:00:35.920 --> 0:00:38.920
<v Speaker 2>little lie down, got carried away with the Football World

0:00:39.000 --> 0:00:42.360
<v Speaker 2>Cup and the heat wave. But now it's back to

0:00:42.400 --> 0:00:46.879
<v Speaker 2>business and probably a good time to do a little recap.

0:00:47.360 --> 0:00:49.360
<v Speaker 2>Maybe you've been with us since the start of this

0:00:49.440 --> 0:00:52.800
<v Speaker 2>podcast just over two years ago, or maybe you're listening

0:00:52.840 --> 0:00:55.720
<v Speaker 2>for the very first time. I'm Greg from Loud and

0:00:55.800 --> 0:00:59.840
<v Speaker 2>Quiet and I host these intern with Stuart Stubbs, and

0:01:00.280 --> 0:01:04.600
<v Speaker 2>Midnight Chats is our interview podcast series. The idea being

0:01:04.640 --> 0:01:10.520
<v Speaker 2>that these conversations have a relaxed late night feel to them,

0:01:10.560 --> 0:01:14.280
<v Speaker 2>maybe not as rushed or as formal as stuff you

0:01:14.360 --> 0:01:17.600
<v Speaker 2>might hear elsewhere. And they're done with musicians who make

0:01:17.720 --> 0:01:21.440
<v Speaker 2>our job worthwhile, which is to say that they're people

0:01:21.520 --> 0:01:24.600
<v Speaker 2>who we think are interesting, people who we think have

0:01:24.720 --> 0:01:27.680
<v Speaker 2>something to say. Anyway, we've used this little bit of

0:01:27.760 --> 0:01:30.760
<v Speaker 2>time off that we've had to make some tweaks, which

0:01:31.040 --> 0:01:33.679
<v Speaker 2>hopefully you'll like. The big one is we're going to

0:01:33.760 --> 0:01:37.280
<v Speaker 2>do more. Instead of every fortnight, there will be a

0:01:37.400 --> 0:01:41.560
<v Speaker 2>new Midnight Chats every week every Thursday, dropping at midnight.

0:01:42.000 --> 0:01:44.440
<v Speaker 2>We're also going to be doing these in series, so

0:01:44.880 --> 0:01:48.280
<v Speaker 2>we're starting now and this series will run up until

0:01:48.360 --> 0:01:51.920
<v Speaker 2>Christmas time. And as ever, if you like what you hear,

0:01:52.120 --> 0:01:55.160
<v Speaker 2>please do subscribe. That means that every time we make

0:01:55.160 --> 0:01:57.120
<v Speaker 2>a new one of these, you'll get a notification saying

0:01:57.120 --> 0:01:59.880
<v Speaker 2>there's a new episode, and you'll never miss a new

0:02:00.000 --> 0:02:02.800
<v Speaker 2>Midnight Chats. If you want to go a step further,

0:02:03.240 --> 0:02:06.320
<v Speaker 2>you can like and you can comment, and that all

0:02:06.320 --> 0:02:10.680
<v Speaker 2>helps in people discovering our podcast. Before I introduce tonight's guest,

0:02:10.800 --> 0:02:14.120
<v Speaker 2>just one shameless plug for ourselves. When we're not interviewing

0:02:14.120 --> 0:02:16.640
<v Speaker 2>people for this, we do a bunch of other stuff,

0:02:16.880 --> 0:02:19.919
<v Speaker 2>including Loud and Quiet magazine that comes out every month,

0:02:20.440 --> 0:02:23.679
<v Speaker 2>and while we were away we launched a new digital

0:02:23.720 --> 0:02:27.639
<v Speaker 2>subscription to that magazine. It's fifteen quid and you get

0:02:27.720 --> 0:02:30.880
<v Speaker 2>all the issues we make each year and it's a

0:02:30.919 --> 0:02:33.640
<v Speaker 2>really good way to support what we do, including this.

0:02:33.720 --> 0:02:35.960
<v Speaker 2>I guess. So if you want more information on that,

0:02:36.040 --> 0:02:41.600
<v Speaker 2>it's ww dot Loud and Quiet dot com slash subscribe right,

0:02:41.800 --> 0:02:44.360
<v Speaker 2>let's get on with this. I am pleased to kick

0:02:44.400 --> 0:02:46.400
<v Speaker 2>off this new series of midnight Chats with what I

0:02:46.400 --> 0:02:48.760
<v Speaker 2>think is a really good episode. At the end of

0:02:48.800 --> 0:02:52.680
<v Speaker 2>June I went to meet Daniel Kesler from Interpol. He

0:02:52.840 --> 0:02:55.480
<v Speaker 2>was in London for a huge show they were playing

0:02:55.560 --> 0:02:58.680
<v Speaker 2>with The Cure at Hyde Park. It was in the

0:02:58.720 --> 0:03:02.720
<v Speaker 2>middle of both England's unlikely run to the semi final

0:03:02.760 --> 0:03:07.200
<v Speaker 2>of the Football World Cup and also a British summer

0:03:07.240 --> 0:03:10.760
<v Speaker 2>heat wave. So despite the fact that it was thirty

0:03:11.120 --> 0:03:13.840
<v Speaker 2>three degrees, I think that day Daniel walked into our

0:03:13.919 --> 0:03:18.360
<v Speaker 2>chat wearing an impeccable black suit, great hair, looked brilliant.

0:03:18.600 --> 0:03:21.280
<v Speaker 2>Eye on the other hand, looked like a sweaty tomato.

0:03:21.919 --> 0:03:25.160
<v Speaker 2>But we had a really good conversation. There was a

0:03:25.160 --> 0:03:28.960
<v Speaker 2>lot to talk about, not least that interpol sixth album,

0:03:29.120 --> 0:03:31.600
<v Speaker 2>Marauder was on the horizon and that's out now if

0:03:31.600 --> 0:03:33.880
<v Speaker 2>you want to listen to that. This year marks twenty

0:03:33.960 --> 0:03:37.040
<v Speaker 2>years since the New York band played their first show,

0:03:37.320 --> 0:03:39.360
<v Speaker 2>and we talked a bit about those early days in

0:03:39.640 --> 0:03:41.760
<v Speaker 2>what You're about to Hear. Their first trip to the

0:03:41.840 --> 0:03:45.280
<v Speaker 2>UK recording a live session for the legendary John Peel

0:03:45.360 --> 0:03:48.160
<v Speaker 2>at made Vel Studios right through to their decision to

0:03:48.200 --> 0:03:52.000
<v Speaker 2>mark the fifteenth anniversary of Turn On the Bright Lights

0:03:52.080 --> 0:03:55.040
<v Speaker 2>last year by playing that album in full at a

0:03:55.080 --> 0:03:58.920
<v Speaker 2>bunch of shows. But it wasn't all reminiscent to me

0:03:59.000 --> 0:04:02.839
<v Speaker 2>at least. Order feels very urgent, like a band who

0:04:02.880 --> 0:04:07.800
<v Speaker 2>are basically determined not to drift into a permanent state

0:04:08.120 --> 0:04:10.839
<v Speaker 2>of nostalgia. And you can hear that in the way

0:04:10.880 --> 0:04:14.040
<v Speaker 2>that Daniel talks about it, and also how you can

0:04:14.080 --> 0:04:17.320
<v Speaker 2>tell that he's absolutely thrilled that whilst they were rehearsing

0:04:17.400 --> 0:04:21.680
<v Speaker 2>at the Yaya Years Space in New York for this record,

0:04:22.040 --> 0:04:26.600
<v Speaker 2>it got shut down by police for noise complaints, and

0:04:26.640 --> 0:04:29.200
<v Speaker 2>you can sort of hear that excitement that he had

0:04:29.240 --> 0:04:30.920
<v Speaker 2>as if he was starting the band for the very

0:04:30.960 --> 0:04:33.400
<v Speaker 2>first time in the story when he tells that. Anyway,

0:04:33.640 --> 0:04:36.120
<v Speaker 2>loads of other stuff in there. It's great to be back.

0:04:36.279 --> 0:04:38.720
<v Speaker 2>We're really looking forward to bringing you some brilliant episodes

0:04:38.760 --> 0:04:41.160
<v Speaker 2>throughout the autumn here on Midnight Chats. So i'll leave

0:04:41.200 --> 0:04:44.359
<v Speaker 2>you with this. This is Interpol episode fifty one of

0:04:44.440 --> 0:05:04.520
<v Speaker 2>Midnight Chats. It's great to be back. Daniel, Welcome to

0:05:04.839 --> 0:05:06.440
<v Speaker 2>our podcast Midnight Chats.

0:05:06.680 --> 0:05:07.360
<v Speaker 3>Thanks for having me.

0:05:07.480 --> 0:05:08.599
<v Speaker 2>How are things are you well today?

0:05:08.880 --> 0:05:10.280
<v Speaker 3>Good can't complain.

0:05:10.320 --> 0:05:15.239
<v Speaker 2>Obviously Interpol famously known as a New York based band.

0:05:15.400 --> 0:05:17.440
<v Speaker 2>But you were born in London, right, so you're back

0:05:17.880 --> 0:05:19.000
<v Speaker 2>in the place where you were born.

0:05:19.480 --> 0:05:22.640
<v Speaker 4>I was born here, yeah, soy true. Yeah, so maybe

0:05:23.120 --> 0:05:24.600
<v Speaker 4>a little family here and stuff like that. So it's

0:05:24.600 --> 0:05:25.200
<v Speaker 4>always nice.

0:05:25.040 --> 0:05:25.400
<v Speaker 3>To come back.

0:05:25.400 --> 0:05:27.279
<v Speaker 2>I've been gone a long time though, right, Yeah.

0:05:27.279 --> 0:05:29.000
<v Speaker 4>I moved when I was six, and it's why I

0:05:29.040 --> 0:05:31.159
<v Speaker 4>lost the America hands, why I lost my British accent

0:05:31.200 --> 0:05:32.240
<v Speaker 4>and gained an American one.

0:05:32.360 --> 0:05:35.800
<v Speaker 2>Do you still feel an affinity to London? What it mean?

0:05:35.920 --> 0:05:38.479
<v Speaker 2>Is it? Does it just feel like any other city

0:05:38.480 --> 0:05:40.920
<v Speaker 2>when you visit, or is it something a bit more

0:05:40.960 --> 0:05:41.520
<v Speaker 2>special than that?

0:05:41.600 --> 0:05:44.880
<v Speaker 4>Still, No, it's much more special. It's my earliest memories

0:05:44.920 --> 0:05:48.880
<v Speaker 4>in life. It's you know, it's earliest memories of family.

0:05:49.880 --> 0:05:53.760
<v Speaker 4>I remember, you know, many aspects about London. You know,

0:05:53.839 --> 0:05:55.760
<v Speaker 4>I was like a kid. I mean, six is still

0:05:56.200 --> 0:05:59.000
<v Speaker 4>old enough that you're really you know, you're forming some

0:05:59.040 --> 0:06:01.760
<v Speaker 4>of some cherish all kind of first memories. But no,

0:06:02.480 --> 0:06:03.880
<v Speaker 4>you know, it still feels like I don't know if

0:06:03.960 --> 0:06:05.760
<v Speaker 4>anywhere feels like home to me in per se, I

0:06:05.760 --> 0:06:06.440
<v Speaker 4>guess New York.

0:06:06.600 --> 0:06:09.000
<v Speaker 3>But England and London. So definitely feels very much like

0:06:09.040 --> 0:06:09.880
<v Speaker 3>a part of me for sure.

0:06:10.000 --> 0:06:12.039
<v Speaker 2>And when you come back to London, is it a

0:06:12.120 --> 0:06:14.680
<v Speaker 2>chance to catch up that was still very early so

0:06:14.800 --> 0:06:17.440
<v Speaker 2>possibly not with you know, friends from that era, but

0:06:17.440 --> 0:06:19.160
<v Speaker 2>but it's still family based in London things like that.

0:06:19.200 --> 0:06:21.000
<v Speaker 4>Yeah, I have brothers who lives here, so I mean

0:06:21.040 --> 0:06:23.520
<v Speaker 4>I saw them last night and it's a yeah. And

0:06:23.560 --> 0:06:25.599
<v Speaker 4>I have a you know, my godmother lives here and

0:06:26.160 --> 0:06:28.440
<v Speaker 4>my mother was from here or you know, from just

0:06:28.480 --> 0:06:33.839
<v Speaker 4>outside London and so forth. So yeah, for sure, it

0:06:33.839 --> 0:06:37.000
<v Speaker 4>feels somewhat of like a homecoming and you know somewhere

0:06:37.000 --> 0:06:39.400
<v Speaker 4>that's it's not just like an anonymous place.

0:06:39.400 --> 0:06:40.919
<v Speaker 3>It's somewhere of a connection for me.

0:06:41.080 --> 0:06:44.479
<v Speaker 2>And what type of things has London got that you

0:06:44.800 --> 0:06:47.839
<v Speaker 2>particularly appeal to you? You know, you live in a

0:06:47.839 --> 0:06:51.480
<v Speaker 2>big metropolis, busy city similar to London and so many respects.

0:06:51.560 --> 0:06:53.840
<v Speaker 2>But you know, we do, we have good pubs, we

0:06:53.880 --> 0:06:55.920
<v Speaker 2>have we have certain things that maybe other places there.

0:06:55.920 --> 0:07:00.279
<v Speaker 4>Watching the England Belgium match yes Sday and I pub

0:07:00.360 --> 0:07:00.919
<v Speaker 4>so yeah.

0:07:00.839 --> 0:07:02.679
<v Speaker 2>Eight year football soccer fan.

0:07:02.960 --> 0:07:04.400
<v Speaker 3>I am. I'm not I'm not religious.

0:07:04.400 --> 0:07:06.240
<v Speaker 4>I don't have to watch every you know, I don't

0:07:06.240 --> 0:07:07.480
<v Speaker 4>have to watch every single match.

0:07:07.480 --> 0:07:08.600
<v Speaker 3>I don't follow you.

0:07:08.560 --> 0:07:11.680
<v Speaker 4>Know, the the line and every single day and so forth.

0:07:11.720 --> 0:07:13.600
<v Speaker 3>But yeah, I am.

0:07:13.720 --> 0:07:16.120
<v Speaker 4>You know, I played football when I was in high

0:07:16.160 --> 0:07:20.000
<v Speaker 4>school and again my first sporting memories are of football

0:07:20.040 --> 0:07:22.480
<v Speaker 4>and playing my brothers and stuff like that. And if

0:07:22.480 --> 0:07:23.840
<v Speaker 4>I have to root for a team, I was routed

0:07:23.840 --> 0:07:25.400
<v Speaker 4>for England as far as in the World Cup and

0:07:25.440 --> 0:07:25.880
<v Speaker 4>so forth.

0:07:25.920 --> 0:07:30.200
<v Speaker 2>So yeah, terrible game, well notally terrible, al right, yeah,

0:07:30.240 --> 0:07:33.320
<v Speaker 2>oh well I think that. I mean they would say not,

0:07:33.440 --> 0:07:35.480
<v Speaker 2>but it was clear, wasn't it that it was obviously

0:07:35.520 --> 0:07:38.200
<v Speaker 2>being played. The game was not being thrown as such,

0:07:38.240 --> 0:07:40.920
<v Speaker 2>but was certainly tactically placed to move and forward.

0:07:41.040 --> 0:07:42.720
<v Speaker 4>I mean, if they had one, I think people would

0:07:42.720 --> 0:07:44.440
<v Speaker 4>have been more angry than if they had lost.

0:07:44.520 --> 0:07:46.440
<v Speaker 3>Now, ultimately, so yeah, they did, right.

0:07:46.600 --> 0:07:48.560
<v Speaker 2>What was the atmosphere like where you were? Was it?

0:07:48.600 --> 0:07:49.880
<v Speaker 2>Was it busy? Was it kind of fun?

0:07:50.360 --> 0:07:51.680
<v Speaker 3>It was pretty civilized.

0:07:51.680 --> 0:07:54.920
<v Speaker 4>I think everyone was sort of attentively watching the screens

0:07:54.960 --> 0:07:57.720
<v Speaker 4>but also realizing that it's the best interest for them

0:07:57.720 --> 0:08:01.040
<v Speaker 4>to not win, so kind of moaning when they.

0:08:00.920 --> 0:08:02.400
<v Speaker 3>Missed a pretty close shop.

0:08:02.440 --> 0:08:04.840
<v Speaker 4>But I think if you actually went to you know,

0:08:04.920 --> 0:08:06.800
<v Speaker 4>further of investigation, I'm sure they'd be like, well, naturally,

0:08:06.800 --> 0:08:08.880
<v Speaker 4>I don't really want them to score, but yeah, I

0:08:08.920 --> 0:08:10.200
<v Speaker 4>guess was a desired result in.

0:08:10.200 --> 0:08:10.840
<v Speaker 3>The end, losing one.

0:08:10.880 --> 0:08:12.640
<v Speaker 2>Now it gets to this point in the year where

0:08:13.360 --> 0:08:16.120
<v Speaker 2>festivals are happening, in big live music events and all

0:08:16.160 --> 0:08:19.160
<v Speaker 2>of the well sporting competition so like the World Cup.

0:08:19.520 --> 0:08:23.600
<v Speaker 2>And I've over the years so many times found myself

0:08:23.720 --> 0:08:26.720
<v Speaker 2>being at a festival and they're being like England would

0:08:26.720 --> 0:08:28.640
<v Speaker 2>be playing, and you're kind of like torn and you're like, well,

0:08:28.640 --> 0:08:29.920
<v Speaker 2>I want to watch that, but I want to watch

0:08:29.920 --> 0:08:32.640
<v Speaker 2>this band. From a band's perspective, Is there any Are

0:08:32.679 --> 0:08:35.200
<v Speaker 2>there any sports anything that you're into where if like

0:08:35.240 --> 0:08:37.200
<v Speaker 2>a clash comes up and you'll be like, I really

0:08:37.559 --> 0:08:40.120
<v Speaker 2>really wanted to watch that. Is that happened over the

0:08:40.160 --> 0:08:40.760
<v Speaker 2>years at any.

0:08:40.600 --> 0:08:43.440
<v Speaker 4>Point It hasn't. It's more more of a curiosity, you know.

0:08:44.960 --> 0:08:46.680
<v Speaker 4>I think it's more of a curiosity than anything. I

0:08:46.720 --> 0:08:50.240
<v Speaker 4>think when the polls are really big, my band mate

0:08:50.240 --> 0:08:53.559
<v Speaker 4>polls are really big. Boxing of Ficionado, and when Mayweather

0:08:53.800 --> 0:08:56.240
<v Speaker 4>was last summer and there was the big fight Mayweather

0:08:56.640 --> 0:08:58.920
<v Speaker 4>Connor McGregor.

0:08:58.520 --> 0:09:01.720
<v Speaker 3>And the guy from UF Yeah, yeah, I pol is.

0:09:01.720 --> 0:09:05.000
<v Speaker 4>Definitely and we were on tour and we're swinging around Europe,

0:09:05.040 --> 0:09:07.280
<v Speaker 4>and I think it had to be sort of He

0:09:07.360 --> 0:09:09.560
<v Speaker 4>definitely started planning that one on how to be at

0:09:09.600 --> 0:09:11.480
<v Speaker 4>a conflict. As far as where we were traveling, I

0:09:11.520 --> 0:09:16.520
<v Speaker 4>think maybe we're arriving in Denmark and Copenhagen or leaving Copenhagen.

0:09:16.920 --> 0:09:19.640
<v Speaker 4>Either way, basically everyone had to was sworn into silence

0:09:20.200 --> 0:09:22.920
<v Speaker 4>because with the time difference. I think the match was

0:09:22.960 --> 0:09:25.480
<v Speaker 4>in Las Vegas, so with the time difference, no one

0:09:25.480 --> 0:09:27.800
<v Speaker 4>could utter like any you know, any sort of semblance

0:09:27.840 --> 0:09:30.880
<v Speaker 4>of tipping the result before he had a chance to

0:09:30.880 --> 0:09:33.000
<v Speaker 4>actually watch it, because you know, they recorded and so forth.

0:09:33.000 --> 0:09:34.600
<v Speaker 4>And then I think the next morning he watched it

0:09:34.640 --> 0:09:38.040
<v Speaker 4>with one of our bandmates and the venue, and I

0:09:38.080 --> 0:09:40.439
<v Speaker 4>think he succeeded in not knowing the results till he

0:09:40.480 --> 0:09:41.160
<v Speaker 4>got to that moment.

0:09:41.280 --> 0:09:44.440
<v Speaker 2>That's hard these days, you can all we have to

0:09:44.480 --> 0:09:47.000
<v Speaker 2>do is turn on Twitter or Instagram.

0:09:47.280 --> 0:09:50.240
<v Speaker 3>Yeah, so it's harder to uh, it's really hard to

0:09:50.240 --> 0:09:50.599
<v Speaker 3>avoid it.

0:09:50.920 --> 0:09:53.880
<v Speaker 2>It is about a mile from where we are right now.

0:09:54.040 --> 0:09:56.320
<v Speaker 2>In a few days time, you are playing with The

0:09:56.400 --> 0:09:58.640
<v Speaker 2>Cure in London, not for the first time into pub

0:09:58.760 --> 0:10:04.000
<v Speaker 2>played with The Kill before. What are your first memories

0:10:04.080 --> 0:10:06.480
<v Speaker 2>of meeting The Cure and performing with them before.

0:10:06.840 --> 0:10:09.080
<v Speaker 4>I mean, it was a really really, really fun tour,

0:10:09.160 --> 0:10:11.600
<v Speaker 4>and I mean that in full sincerity. There there was

0:10:11.640 --> 0:10:14.000
<v Speaker 4>incredibly hospital It was also a fun tour because it

0:10:14.000 --> 0:10:16.880
<v Speaker 4>felt like a festival tour because there were these other

0:10:16.920 --> 0:10:19.080
<v Speaker 4>bands on that. There was Maguay, who I was, you know,

0:10:19.280 --> 0:10:21.200
<v Speaker 4>old friends with fights who work at a record label.

0:10:21.320 --> 0:10:24.040
<v Speaker 3>Magua was the they put out their first record on

0:10:24.080 --> 0:10:24.520
<v Speaker 3>that label.

0:10:24.559 --> 0:10:26.480
<v Speaker 4>So you know, I was there when I got to

0:10:26.480 --> 0:10:28.400
<v Speaker 4>meet them when they first came to America for the

0:10:28.400 --> 0:10:31.880
<v Speaker 4>first time. And so they played, and The Rapture played,

0:10:32.080 --> 0:10:34.040
<v Speaker 4>and you know, many other bands played, and so there

0:10:34.080 --> 0:10:35.679
<v Speaker 4>was like a nice camaraderie and then they would all

0:10:35.760 --> 0:10:38.360
<v Speaker 4>sort of come come down to a nice little improvised

0:10:38.360 --> 0:10:41.520
<v Speaker 4>like football match at she like after the festivals finished.

0:10:41.520 --> 0:10:44.320
<v Speaker 4>But just with The Cure, there was just so hospital

0:10:44.480 --> 0:10:46.360
<v Speaker 4>kind and they really just hung out. It wasn't like

0:10:46.480 --> 0:10:49.040
<v Speaker 4>you know, there were two ships, theres and everyone else's.

0:10:49.080 --> 0:10:51.080
<v Speaker 4>It was all, you know, sort of like a nice

0:10:51.120 --> 0:10:53.920
<v Speaker 4>caravan and we you know, everyone was quite social after

0:10:53.960 --> 0:10:56.760
<v Speaker 4>the gigs and hang out and just sort of it

0:10:57.160 --> 0:10:57.839
<v Speaker 4>was a really fun tour.

0:10:57.920 --> 0:10:59.400
<v Speaker 3>I'd to say it was one of the more memorable ones.

0:10:59.640 --> 0:11:03.360
<v Speaker 2>This is the Curiosa exactly. It is about two thousand

0:11:03.360 --> 0:11:04.800
<v Speaker 2>and fourish, that's right, So.

0:11:04.800 --> 0:11:07.640
<v Speaker 4>You just you would have been just before it was

0:11:07.760 --> 0:11:10.280
<v Speaker 4>right before he released Tantics. We just finished it.

0:11:10.360 --> 0:11:12.880
<v Speaker 2>And Robert Smith, because he's just in the last couple

0:11:12.880 --> 0:11:16.160
<v Speaker 2>of weeks been curating the Meltdown Festival London put on

0:11:16.200 --> 0:11:18.640
<v Speaker 2>an amazing ten days of music. I think mag Whit

0:11:18.679 --> 0:11:19.319
<v Speaker 2>actually played one.

0:11:19.280 --> 0:11:19.840
<v Speaker 3>Of those nights.

0:11:20.520 --> 0:11:24.559
<v Speaker 2>But he's these days from the outside people perceiven. Perhaps

0:11:24.559 --> 0:11:27.000
<v Speaker 2>it's a little bit elusive because he doesn't necessarily put

0:11:27.040 --> 0:11:30.160
<v Speaker 2>himself out there in public attention, doesn't do you know,

0:11:30.200 --> 0:11:32.240
<v Speaker 2>a lot of interviews and things like that. He doesn't

0:11:32.280 --> 0:11:35.520
<v Speaker 2>make kind of public appearances for appearances sake. He kind

0:11:35.559 --> 0:11:37.040
<v Speaker 2>of gets on with the work and plays in his

0:11:37.120 --> 0:11:40.240
<v Speaker 2>band and performs live and makes new records. Boiler accounts.

0:11:40.240 --> 0:11:42.719
<v Speaker 2>He's actually pretty fun guy to hang out with, right.

0:11:42.800 --> 0:11:44.600
<v Speaker 4>Oh, he's really social, really and I mean I haven't

0:11:44.600 --> 0:11:46.960
<v Speaker 4>seen him since you know, we did that tour. It's

0:11:46.960 --> 0:11:48.800
<v Speaker 4>been a long time. But mind you, he was really no,

0:11:48.920 --> 0:11:52.280
<v Speaker 4>he was really social, really kind really you know, all

0:11:52.320 --> 0:11:55.520
<v Speaker 4>that hangout and and not like I said, like you know,

0:11:55.640 --> 0:11:58.320
<v Speaker 4>not not removed from all the other bands were playing

0:11:58.320 --> 0:12:00.360
<v Speaker 4>the bill. Wasn't that facade. It was actually really nice

0:12:00.360 --> 0:12:03.400
<v Speaker 4>camaraderie and a super cool guy. All the bandmates, all

0:12:03.400 --> 0:12:06.199
<v Speaker 4>those bandmates are really great, his management great. Everyone was

0:12:06.240 --> 0:12:08.600
<v Speaker 4>like really cool to us, and it was you never

0:12:08.640 --> 0:12:10.240
<v Speaker 4>know what to expect when you go on, you know,

0:12:10.400 --> 0:12:12.600
<v Speaker 4>touring with bands who've been doing this for a minute

0:12:12.640 --> 0:12:13.880
<v Speaker 4>and they have a great legacy.

0:12:13.880 --> 0:12:14.839
<v Speaker 3>I don't know if it's going to be.

0:12:14.760 --> 0:12:17.400
<v Speaker 4>Inclusive or exclusive, and you can't really say what's right

0:12:17.440 --> 0:12:19.280
<v Speaker 4>and wrong in this. It's really you know, it's it's

0:12:19.520 --> 0:12:21.760
<v Speaker 4>everyone has their own journey and and you know has

0:12:21.800 --> 0:12:23.880
<v Speaker 4>to do what is right for them to keep the

0:12:23.920 --> 0:12:26.240
<v Speaker 4>pace going. But he was really Yeah, he was very present,

0:12:26.400 --> 0:12:27.360
<v Speaker 4>and so were his bandmates.

0:12:27.400 --> 0:12:29.280
<v Speaker 2>Apparently he's a bit of a Steve Albinia and he's

0:12:29.320 --> 0:12:31.840
<v Speaker 2>very good at the cards, and he like often we'll

0:12:32.040 --> 0:12:34.080
<v Speaker 2>clear up with his support bands when they don't realize

0:12:34.080 --> 0:12:34.400
<v Speaker 2>that he's so.

0:12:34.600 --> 0:12:35.640
<v Speaker 3>Good play cards. I didn't.

0:12:35.679 --> 0:12:37.520
<v Speaker 4>I don't think I played, but I do remember him

0:12:37.520 --> 0:12:39.320
<v Speaker 4>being on the back of our bus playing cards with

0:12:40.320 --> 0:12:41.720
<v Speaker 4>my bandmates and maybe his mothers.

0:12:41.960 --> 0:12:43.679
<v Speaker 2>It gives us one hand, he's like, yeah, guys, come

0:12:43.679 --> 0:12:45.760
<v Speaker 2>on too with us. Yeah, give me, it'll be a yeah,

0:12:45.800 --> 0:12:47.480
<v Speaker 2>it'll be a tidy fe And then the other hand

0:12:47.520 --> 0:12:48.959
<v Speaker 2>he's like, I'm taking my money off and taking you

0:12:49.120 --> 0:12:50.120
<v Speaker 2>lunch money off you today.

0:12:50.320 --> 0:12:52.079
<v Speaker 3>Maybe someone told him that list, you know, back in

0:12:52.120 --> 0:12:52.600
<v Speaker 3>the day.

0:12:52.640 --> 0:12:55.760
<v Speaker 2>Probably Yeah, you're playing on the show with a Cure.

0:12:55.840 --> 0:12:57.480
<v Speaker 2>But also in a couple of months time, at the

0:12:57.559 --> 0:12:59.800
<v Speaker 2>end of August, you were releasing Marauder, which is into

0:13:00.120 --> 0:13:03.720
<v Speaker 2>sixth album. Just kind of untangle the process from where

0:13:03.960 --> 0:13:07.200
<v Speaker 2>this album started for people listening. So last year we

0:13:07.240 --> 0:13:10.480
<v Speaker 2>saw Interpol on tour. You were celebrating or marking the

0:13:10.559 --> 0:13:14.439
<v Speaker 2>fifteenth anniversary of Bright Lights. So where did the kind

0:13:14.440 --> 0:13:16.520
<v Speaker 2>of work on this album begin. Does it go back

0:13:16.559 --> 0:13:18.600
<v Speaker 2>a few years ago? Now? Just talk a little bit

0:13:18.600 --> 0:13:19.439
<v Speaker 2>about how it came together.

0:13:19.640 --> 0:13:21.679
<v Speaker 4>Well, the songs tend to begin with me, so like

0:13:21.800 --> 0:13:24.560
<v Speaker 4>I think I started writing like the foundation of the

0:13:24.559 --> 0:13:27.600
<v Speaker 4>songs that would eventually end up on Morato. Probably here

0:13:27.600 --> 0:13:29.480
<v Speaker 4>and there, maybe while touring on the back of our

0:13:29.520 --> 0:13:32.120
<v Speaker 4>last record, up in tour, but at that moment we

0:13:32.160 --> 0:13:34.079
<v Speaker 4>don't really know if you're writing or not writing. You're

0:13:34.080 --> 0:13:36.960
<v Speaker 4>more just having a guitar present, playing in between tours,

0:13:36.960 --> 0:13:38.480
<v Speaker 4>maybe playing a little bit on tour, but we don't know,

0:13:38.840 --> 0:13:42.000
<v Speaker 4>it's not a real concentrated effort. But then sometimes the

0:13:42.040 --> 0:13:44.599
<v Speaker 4>ideas come about and you record them, you play some

0:13:44.679 --> 0:13:46.719
<v Speaker 4>of them when you are in between tours, you kind

0:13:46.840 --> 0:13:48.800
<v Speaker 4>sort of realize them a bit more, you know, put

0:13:48.800 --> 0:13:52.040
<v Speaker 4>them into some sort of arrangement and so forth. But

0:13:52.080 --> 0:13:54.679
<v Speaker 4>I think really when we concluded touring on Elpin tours

0:13:54.679 --> 0:13:56.719
<v Speaker 4>for probably towards the end in twenty fifteen, is when

0:13:56.720 --> 0:14:01.040
<v Speaker 4>I started really trying to put some efforts into you know, songwriting,

0:14:01.080 --> 0:14:04.000
<v Speaker 4>and then so and then I think we got together.

0:14:04.160 --> 0:14:05.600
<v Speaker 3>So I wrote quite a bit over.

0:14:05.559 --> 0:14:09.239
<v Speaker 4>Twenty fifteen, at the end of twenty fifteen, and predominantly

0:14:09.320 --> 0:14:12.880
<v Speaker 4>in twenty sixteen. Paul and I first got together probably

0:14:12.880 --> 0:14:17.520
<v Speaker 4>towards the end of twenty sixteen, and just to see

0:14:17.559 --> 0:14:19.920
<v Speaker 4>if there's anything there for ready yet and so forth.

0:14:19.960 --> 0:14:22.600
<v Speaker 4>But much like Elpintour, you know, things kind of the

0:14:22.640 --> 0:14:26.440
<v Speaker 4>first few days of the process of writing to seeing

0:14:26.480 --> 0:14:28.880
<v Speaker 4>you if we're ready to write a new record were quite fruitful,

0:14:29.000 --> 0:14:32.200
<v Speaker 4>and you know, I remember exactly what songs. I guess

0:14:32.200 --> 0:14:34.160
<v Speaker 4>actually we probably made some good foray into what would

0:14:34.160 --> 0:14:35.640
<v Speaker 4>become the first song on the record.

0:14:35.680 --> 0:14:36.680
<v Speaker 3>If you really loved nothing.

0:14:37.040 --> 0:14:40.000
<v Speaker 4>And I don't remember exactly where else we went, but

0:14:40.280 --> 0:14:42.160
<v Speaker 4>it was pretty clear that, you know, the chemistry was

0:14:42.160 --> 0:14:44.320
<v Speaker 4>there and we were kind of ready to begin again,

0:14:44.440 --> 0:14:46.920
<v Speaker 4>to begin anew and then Sam came by, you know,

0:14:47.320 --> 0:14:49.560
<v Speaker 4>shortly after that. And then since we're not always in

0:14:49.560 --> 0:14:51.400
<v Speaker 4>New York at the same time and Sam doesn't live there.

0:14:51.280 --> 0:14:53.560
<v Speaker 3>Anymore, we sort of coordinate a schedule.

0:14:53.600 --> 0:14:55.760
<v Speaker 4>So we do like ten days on or week on,

0:14:56.880 --> 0:14:59.320
<v Speaker 4>usually about a week on I would say, once a month.

0:14:59.640 --> 0:15:01.640
<v Speaker 4>And then you know, and the word felp in tour

0:15:01.720 --> 0:15:04.640
<v Speaker 4>and I think it's lots of a man because you

0:15:04.680 --> 0:15:06.280
<v Speaker 4>don't know if the results will be there, if you're

0:15:06.360 --> 0:15:08.920
<v Speaker 4>gonna have chemistry, if you're gonna have ideas of think.

0:15:09.000 --> 0:15:10.600
<v Speaker 4>Knowing that there's a bit of a timeline kind of

0:15:10.640 --> 0:15:12.480
<v Speaker 4>kept our focus going. And then it gives you a

0:15:12.480 --> 0:15:15.160
<v Speaker 4>little bit of space to reflect on the material you're

0:15:15.200 --> 0:15:17.720
<v Speaker 4>working on from afar. So every time we come back together,

0:15:17.800 --> 0:15:21.360
<v Speaker 4>we'd you know, advance it further and so forth. So yeah,

0:15:21.680 --> 0:15:23.720
<v Speaker 4>it was it was cool to do this the second time. Now,

0:15:23.760 --> 0:15:25.600
<v Speaker 4>like as we you know, up in tours, a bit

0:15:25.600 --> 0:15:28.120
<v Speaker 4>of a different process for us, and having that under

0:15:28.160 --> 0:15:29.800
<v Speaker 4>our belt I think made it sort of you know,

0:15:29.800 --> 0:15:32.520
<v Speaker 4>I feel kind of confident with exploring what have become

0:15:32.560 --> 0:15:33.760
<v Speaker 4>the songs for Marauder.

0:15:34.040 --> 0:15:37.280
<v Speaker 2>When you marked fifteenth anniversary of Turned On the Bright

0:15:37.400 --> 0:15:40.480
<v Speaker 2>Lights last year by doing those shows, what effect did

0:15:40.480 --> 0:15:43.280
<v Speaker 2>that have on the process of making or actually, first

0:15:43.280 --> 0:15:45.360
<v Speaker 2>of all, why did you feel compelled to do that?

0:15:45.560 --> 0:15:47.280
<v Speaker 2>Why on the fifteenth a diniversary? Why was that the

0:15:47.360 --> 0:15:48.560
<v Speaker 2>right time? And why did it feel?

0:15:48.680 --> 0:15:50.720
<v Speaker 3>No, it wasn't something really it was.

0:15:51.080 --> 0:15:52.800
<v Speaker 4>We didn't have the idea of doing it until probably

0:15:52.840 --> 0:15:56.040
<v Speaker 4>something like January of two thousand and seventeen. It wasn't

0:15:56.120 --> 0:15:59.040
<v Speaker 4>it was like we were already you know, instinctive. Yeah,

0:15:59.040 --> 0:16:02.840
<v Speaker 4>we'd always initiated the process of what would become, you know,

0:16:02.880 --> 0:16:06.360
<v Speaker 4>the songwriting for Marada, and but we never contemplated doing

0:16:06.400 --> 0:16:09.520
<v Speaker 4>something like this before. We've never done tours in between records,

0:16:09.520 --> 0:16:11.040
<v Speaker 4>even though you know, in the same age a lot

0:16:11.040 --> 0:16:12.760
<v Speaker 4>of our bandmate, a lot of our friends who are

0:16:12.760 --> 0:16:15.280
<v Speaker 4>in bands do that quite often without you know, wethinking it.

0:16:15.320 --> 0:16:17.360
<v Speaker 4>But we usually just tour quite a bit on the

0:16:17.400 --> 0:16:19.800
<v Speaker 4>back of a record, disappeared for a few years, come

0:16:19.840 --> 0:16:22.080
<v Speaker 4>back for a new record and begin, you know, once more.

0:16:22.160 --> 0:16:24.800
<v Speaker 4>And when the idea was sort of raised. It didn't

0:16:24.840 --> 0:16:27.320
<v Speaker 4>take you know, it wasn't sort of like no. Everyone

0:16:27.400 --> 0:16:29.280
<v Speaker 4>was sort of like, yeah, that sounds like fun, and

0:16:29.400 --> 0:16:31.560
<v Speaker 4>everyone is. It was a real quick decision and no

0:16:31.560 --> 0:16:34.560
<v Speaker 4>one overthought it. And and I think somewhere along the way,

0:16:34.680 --> 0:16:36.120
<v Speaker 4>you know, we were already pretty by the time we

0:16:36.120 --> 0:16:38.960
<v Speaker 4>actually ventured out wet. By the time we started rehearsing

0:16:38.960 --> 0:16:41.600
<v Speaker 4>for Bright Lights the Bright Lights tour, probably in July

0:16:41.800 --> 0:16:44.240
<v Speaker 4>towards end July or something like that, we were pretty

0:16:44.240 --> 0:16:47.080
<v Speaker 4>far along with the songwriting with Marato. So it felt

0:16:47.080 --> 0:16:50.320
<v Speaker 4>like kind of like a healthy thing to to, you know,

0:16:50.440 --> 0:16:52.600
<v Speaker 4>to basically for once, try to do something a bit

0:16:52.640 --> 0:16:55.400
<v Speaker 4>different where you okay. So now we're you know, I

0:16:55.440 --> 0:16:58.200
<v Speaker 4>would say ninety percent there as far as actual at

0:16:58.240 --> 0:17:01.040
<v Speaker 4>least the music. Maybe Paul still working on vocals and lyrics,

0:17:01.360 --> 0:17:04.080
<v Speaker 4>but ninety percent there. Go out tour, leave these songs

0:17:04.119 --> 0:17:06.000
<v Speaker 4>alone for several months, really, because we toured all of

0:17:06.000 --> 0:17:09.000
<v Speaker 4>August into September in Europe, and then we went to

0:17:09.480 --> 0:17:11.680
<v Speaker 4>la and New York towards the end of September or

0:17:11.720 --> 0:17:15.480
<v Speaker 4>beginning of October, and then played in Mexico two nights

0:17:15.480 --> 0:17:18.080
<v Speaker 4>to the third week of October, so we didn't really

0:17:18.080 --> 0:17:20.359
<v Speaker 4>start writing it or get back together and start playing

0:17:20.359 --> 0:17:22.080
<v Speaker 4>the songs until the end November. I think we just

0:17:22.080 --> 0:17:24.959
<v Speaker 4>did one week of a session, but the songs came

0:17:25.040 --> 0:17:27.560
<v Speaker 4>running back to us and we felt like a good

0:17:27.600 --> 0:17:28.560
<v Speaker 4>place of what we captured.

0:17:28.560 --> 0:17:29.359
<v Speaker 3>We liked the.

0:17:29.240 --> 0:17:31.600
<v Speaker 4>Direction we're going in, and and a week later went

0:17:31.640 --> 0:17:34.520
<v Speaker 4>in started we did our first recording session for Maroder.

0:17:34.359 --> 0:17:36.120
<v Speaker 3>Like So it was really it was good.

0:17:36.160 --> 0:17:38.200
<v Speaker 4>It was good, and I think it kind of I

0:17:38.240 --> 0:17:40.800
<v Speaker 4>think maybe like neglecting them for a few months, but

0:17:40.960 --> 0:17:43.360
<v Speaker 4>knowing that they're still there and forgetting about them, switching

0:17:43.400 --> 0:17:46.399
<v Speaker 4>gears was I think we had suspicions it'd be like

0:17:46.440 --> 0:17:48.240
<v Speaker 4>a healthy thing to do, but it really was.

0:17:48.320 --> 0:17:48.720
<v Speaker 3>It was cool.

0:17:48.760 --> 0:17:50.000
<v Speaker 4>I mean, we didn't need to do it, but it

0:17:50.040 --> 0:17:52.639
<v Speaker 4>was definitely didn't hurt us by by you know, having

0:17:52.640 --> 0:17:53.280
<v Speaker 4>that come about.

0:17:53.440 --> 0:17:55.520
<v Speaker 2>And it's interesting to hear and you say that it

0:17:55.600 --> 0:17:57.480
<v Speaker 2>was a very instinctive thing to do, because I know

0:17:57.520 --> 0:18:01.120
<v Speaker 2>that some bands kind of aminah about whether doing something

0:18:01.200 --> 0:18:02.600
<v Speaker 2>like that is the right thing to do, because it

0:18:02.640 --> 0:18:05.199
<v Speaker 2>feels like looking back at a time when a lot

0:18:05.240 --> 0:18:07.399
<v Speaker 2>of artists want to just always just be looking forward.

0:18:07.640 --> 0:18:09.679
<v Speaker 2>But it sounds like you guys were like, well, that

0:18:09.680 --> 0:18:10.520
<v Speaker 2>would be a fun thing to do.

0:18:10.880 --> 0:18:12.159
<v Speaker 3>I mean, we were looking forward, you know.

0:18:12.160 --> 0:18:15.239
<v Speaker 4>We obviously you feel more passionate, not more passionate than

0:18:15.280 --> 0:18:17.400
<v Speaker 4>one record or the other, but you feel more passionate

0:18:17.440 --> 0:18:19.880
<v Speaker 4>just in life about what's happening, and you're you know,

0:18:20.760 --> 0:18:23.800
<v Speaker 4>at that moment, you know, and certainly from an artistic perspective,

0:18:23.920 --> 0:18:26.360
<v Speaker 4>like the work you're doing now, that you should kind

0:18:26.359 --> 0:18:28.520
<v Speaker 4>of feel like, oh man, I'm more invigorated by this

0:18:28.560 --> 0:18:31.720
<v Speaker 4>than anything done previously. That's whether someone else feels the

0:18:31.720 --> 0:18:33.080
<v Speaker 4>same way or not, that's debatable.

0:18:33.080 --> 0:18:36.240
<v Speaker 3>But from an artist, you know position, I can get.

0:18:36.320 --> 0:18:38.119
<v Speaker 4>You know, what's the point of doing something trying to

0:18:39.400 --> 0:18:41.679
<v Speaker 4>if you don't feel fully invested in it, you might

0:18:41.680 --> 0:18:43.479
<v Speaker 4>as well just do something else. And I think, you know,

0:18:43.600 --> 0:18:46.320
<v Speaker 4>we never force being a band. We're a band together

0:18:46.400 --> 0:18:48.640
<v Speaker 4>still to this day. It's because we still have great

0:18:48.680 --> 0:18:51.040
<v Speaker 4>chemistry when we write music and when we play together

0:18:51.080 --> 0:18:53.200
<v Speaker 4>and so forth. You know, I think we have We're

0:18:53.760 --> 0:18:55.879
<v Speaker 4>quite different from one another in many ways, but I

0:18:55.920 --> 0:18:57.720
<v Speaker 4>think we're going together writing music. I think we have

0:18:57.800 --> 0:19:01.160
<v Speaker 4>a probably you know something we do. Think we're still

0:19:01.200 --> 0:19:05.399
<v Speaker 4>advancing and getting better and better, and so and the

0:19:05.480 --> 0:19:06.600
<v Speaker 4>fact that you know, I love that.

0:19:06.680 --> 0:19:08.040
<v Speaker 3>I mean, I never want to be a band.

0:19:07.840 --> 0:19:10.919
<v Speaker 4>That sort of divorced themselves from the first record or

0:19:10.960 --> 0:19:11.600
<v Speaker 4>certain songs.

0:19:11.600 --> 0:19:12.760
<v Speaker 3>I always want to be you know.

0:19:13.400 --> 0:19:15.800
<v Speaker 4>I'm happy to play anything that people want to hear,

0:19:15.920 --> 0:19:19.119
<v Speaker 4>and I just also don't when we're making Bright Lights

0:19:19.119 --> 0:19:21.760
<v Speaker 4>and other records, especially Bright Lights, I can say since

0:19:21.800 --> 0:19:24.680
<v Speaker 4>just a first record, I was really very mindful, like, well,

0:19:24.720 --> 0:19:26.800
<v Speaker 4>this is kind of forever, you know, whether people actually

0:19:26.840 --> 0:19:29.439
<v Speaker 4>care about this record or not. Eventually I had no idea,

0:19:29.840 --> 0:19:31.399
<v Speaker 4>but it's more of like I want to be okay

0:19:31.440 --> 0:19:34.080
<v Speaker 4>with this record forever, meaning that you know, years later,

0:19:34.160 --> 0:19:35.840
<v Speaker 4>if I'm playing it, I should be okay if that

0:19:35.960 --> 0:19:38.200
<v Speaker 4>versus well, I don't know what else trying to do there.

0:19:38.240 --> 0:19:39.680
<v Speaker 4>I never want to be a band that was trying

0:19:39.680 --> 0:19:41.920
<v Speaker 4>to do things besides what we were we wanted to do.

0:19:42.160 --> 0:19:43.920
<v Speaker 4>I didn't want to try to please other people. I

0:19:43.960 --> 0:19:46.960
<v Speaker 4>think artistically we try to please ourselves and hopefully if

0:19:47.000 --> 0:19:48.879
<v Speaker 4>we're into what we're doing, then other people will be

0:19:48.880 --> 0:19:50.560
<v Speaker 4>into it too, which is kind of what you know,

0:19:50.600 --> 0:19:52.399
<v Speaker 4>sort of the catalyst of the songs that would be

0:19:52.400 --> 0:19:54.480
<v Speaker 4>on Bright Lights. So that's kind of sort of our

0:19:54.520 --> 0:19:55.160
<v Speaker 4>formula to date.

0:19:55.200 --> 0:19:57.680
<v Speaker 2>I think by the time people hear this, Marauder will

0:19:57.720 --> 0:20:00.800
<v Speaker 2>be out. I think it sounds like insp most urgent

0:20:00.840 --> 0:20:03.320
<v Speaker 2>record today. It feels like there's an energy about it

0:20:03.320 --> 0:20:06.360
<v Speaker 2>that feels like like a determination. I can't quite put

0:20:06.400 --> 0:20:10.440
<v Speaker 2>my finger on it, but it feels really invigorated. Did

0:20:10.480 --> 0:20:11.639
<v Speaker 2>it feel like that making it?

0:20:11.760 --> 0:20:14.120
<v Speaker 3>Yeah, I think there was. There's a couple of things

0:20:14.200 --> 0:20:15.919
<v Speaker 3>to it. I agree. I think it was.

0:20:16.640 --> 0:20:18.440
<v Speaker 4>I don't think it was intentional as much, just that's

0:20:18.480 --> 0:20:20.200
<v Speaker 4>just what came out. I think the songs were coming

0:20:20.200 --> 0:20:21.040
<v Speaker 4>out on me a little bit like that.

0:20:21.119 --> 0:20:21.680
<v Speaker 3>And then when we.

0:20:21.560 --> 0:20:24.480
<v Speaker 4>Were, you know, writing them in the in the rehearsal space,

0:20:24.560 --> 0:20:26.920
<v Speaker 4>you know, I think writing sometimes in New York, you're

0:20:27.359 --> 0:20:29.679
<v Speaker 4>there's no ideal rehearsal space. It's all the sort of

0:20:29.840 --> 0:20:32.240
<v Speaker 4>you know where we Sell Upon was based, you know,

0:20:32.320 --> 0:20:35.440
<v Speaker 4>basically the same place where we wrote our Our Love

0:20:35.480 --> 0:20:37.639
<v Speaker 4>to myr Our, you know our third record, which is

0:20:37.840 --> 0:20:39.320
<v Speaker 4>you know, one of the few buildings where like so

0:20:39.520 --> 0:20:41.680
<v Speaker 4>bands rehearsing there and you can hear all the bands

0:20:41.720 --> 0:20:43.239
<v Speaker 4>coming through the wall, so you really have to It's

0:20:43.320 --> 0:20:45.679
<v Speaker 4>something that you you it's a lesson you learn early on.

0:20:45.720 --> 0:20:47.880
<v Speaker 4>If you're intending to play music in your and even

0:20:47.920 --> 0:20:51.760
<v Speaker 4>more so nowadays because there's even few rehearsal spaces or complexes.

0:20:52.080 --> 0:20:54.600
<v Speaker 4>It's just got to really just drown out what's coming

0:20:54.600 --> 0:20:56.080
<v Speaker 4>through the walls and just do what you're doing, and

0:20:56.160 --> 0:20:57.960
<v Speaker 4>just you know, even I mean whether it's other bands

0:20:58.080 --> 0:21:01.680
<v Speaker 4>or like taxis or cars, it's just you're just concentrating

0:21:01.720 --> 0:21:03.480
<v Speaker 4>on what's happened in that room. Well that your bandmates,

0:21:04.000 --> 0:21:06.560
<v Speaker 4>you know, performing what you're performing, and the energy and

0:21:06.560 --> 0:21:09.000
<v Speaker 4>so forth. So I think in general, I think there

0:21:09.040 --> 0:21:11.800
<v Speaker 4>was also kind of just the songs. There was a

0:21:11.800 --> 0:21:13.600
<v Speaker 4>bit of like a rawness to the way we were

0:21:13.600 --> 0:21:16.400
<v Speaker 4>playing them together. And uh and probably an urgency too.

0:21:16.640 --> 0:21:20.359
<v Speaker 4>And and then I think working with Dave Fridman, we

0:21:20.359 --> 0:21:22.040
<v Speaker 4>didn't really know what it would be like. You know,

0:21:22.080 --> 0:21:25.000
<v Speaker 4>obviously we're great admirers of all the you know, the

0:21:25.000 --> 0:21:28.399
<v Speaker 4>many great wonderful records that he's he's worked on, but

0:21:28.400 --> 0:21:31.080
<v Speaker 4>they're all quite varied. You know, they're from MGMT to

0:21:31.160 --> 0:21:35.800
<v Speaker 4>The Spoon to Flaming Lips and Mercury Rev mixing some

0:21:35.840 --> 0:21:37.600
<v Speaker 4>of you know the mixings a he's unfi like Tim

0:21:37.600 --> 0:21:40.080
<v Speaker 4>and Paula who I mean, it's not really one cohesive thing.

0:21:40.119 --> 0:21:40.800
<v Speaker 3>It's all the place.

0:21:40.920 --> 0:21:43.399
<v Speaker 4>So I knew we were making a really live records

0:21:43.440 --> 0:21:44.920
<v Speaker 4>what it felt like to me, and I really wanted

0:21:44.960 --> 0:21:47.800
<v Speaker 4>to keep that and so, but we wanted to be

0:21:47.840 --> 0:21:49.800
<v Speaker 4>open too, and wanted to leave plenty of room for Dave,

0:21:50.359 --> 0:21:51.720
<v Speaker 4>you know, the idea of going to work for a

0:21:51.720 --> 0:21:52.560
<v Speaker 4>producer for the first time.

0:21:52.560 --> 0:21:54.720
<v Speaker 3>I want to leave room for him to say something.

0:21:54.760 --> 0:21:57.280
<v Speaker 4>And you know, I think until probably not that long ago,

0:21:57.320 --> 0:21:59.440
<v Speaker 4>we probably would have been like a step back when

0:21:59.480 --> 0:22:01.080
<v Speaker 4>someone else, you know, we're very sort of a punk

0:22:01.160 --> 0:22:02.760
<v Speaker 4>rockers kind of like, oh we got this, you know,

0:22:02.840 --> 0:22:05.080
<v Speaker 4>but we wanted to be open, you know, to if

0:22:05.080 --> 0:22:05.680
<v Speaker 4>he has an idea.

0:22:05.680 --> 0:22:06.720
<v Speaker 3>We wanted to like listen to it.

0:22:06.800 --> 0:22:10.520
<v Speaker 4>So but I think from him listening to the rehearsal

0:22:10.520 --> 0:22:13.399
<v Speaker 4>recordings that we've done, you know, we're banned that very

0:22:13.440 --> 0:22:15.720
<v Speaker 4>much like even pre bright Lights, we go in the

0:22:15.760 --> 0:22:18.120
<v Speaker 4>studio when the songs really have an identity, when they're

0:22:18.200 --> 0:22:19.440
<v Speaker 4>kind of you know, we can play them from start

0:22:19.480 --> 0:22:23.120
<v Speaker 4>to finish, and you know, and and this was no difference.

0:22:23.160 --> 0:22:25.040
<v Speaker 4>So what we were sending and were really finished songs.

0:22:25.080 --> 0:22:27.600
<v Speaker 4>There weren't many songs of holes them. Maybe they'll be

0:22:27.640 --> 0:22:30.440
<v Speaker 4>portions where Paul hadn't finished, like the lyrics or maybe

0:22:30.440 --> 0:22:32.680
<v Speaker 4>a vocal here and there, but the actual identity of

0:22:33.119 --> 0:22:35.479
<v Speaker 4>the songs as as what ended up on the record

0:22:36.359 --> 0:22:38.560
<v Speaker 4>was already happening in the rehearsal space, and so I think,

0:22:38.600 --> 0:22:40.959
<v Speaker 4>you know, when he listened to them, he you know he.

0:22:41.720 --> 0:22:44.240
<v Speaker 4>I think that's when he basically probably the reason why

0:22:44.320 --> 0:22:46.639
<v Speaker 4>he wrote us an emails like thinking of recording this,

0:22:46.760 --> 0:22:49.560
<v Speaker 4>you know, all in two inch tape, and which we've

0:22:49.560 --> 0:22:51.800
<v Speaker 4>always recorded to two inch tape, but we usually have

0:22:51.880 --> 0:22:54.719
<v Speaker 4>to a certain point just for ease and expediency, just

0:22:55.080 --> 0:22:57.560
<v Speaker 4>dumping into pro tools, just to the guitar with doves,

0:22:57.640 --> 0:22:59.439
<v Speaker 4>just not for the just to make it faster and

0:22:59.480 --> 0:23:02.320
<v Speaker 4>not have to overthink things. But I think because he

0:23:02.320 --> 0:23:05.399
<v Speaker 4>heard that the songs are so quite realized and he

0:23:05.440 --> 0:23:07.680
<v Speaker 4>didn't have any issues with the arrangements, and I think

0:23:07.680 --> 0:23:10.120
<v Speaker 4>he liked it. I think he wanted to be more

0:23:10.119 --> 0:23:12.760
<v Speaker 4>exploit that attribute of the actual songs, the inherent songs,

0:23:12.800 --> 0:23:15.280
<v Speaker 4>and I think that's one of the major contributions that

0:23:15.320 --> 0:23:17.320
<v Speaker 4>he had to the record, and it was cool that

0:23:17.359 --> 0:23:20.800
<v Speaker 4>he did that versus you know, I don't know.

0:23:20.840 --> 0:23:21.840
<v Speaker 3>He's like a specialist.

0:23:21.880 --> 0:23:24.120
<v Speaker 4>It's interesting he doesn't have one, like we were saying,

0:23:24.160 --> 0:23:27.119
<v Speaker 4>doesn't have one particular approach, just applies to all the

0:23:27.160 --> 0:23:29.800
<v Speaker 4>records he works on. I think he listens, he thinks,

0:23:30.119 --> 0:23:31.400
<v Speaker 4>and then he gets an idea and then he wants

0:23:31.400 --> 0:23:33.119
<v Speaker 4>to see it through. So I think he wanted to

0:23:33.119 --> 0:23:37.040
<v Speaker 4>capture that identity, that rawness, that liveness, that urgency, and

0:23:37.600 --> 0:23:39.879
<v Speaker 4>which really was pleasing to me because I would have

0:23:40.160 --> 0:23:41.960
<v Speaker 4>I wanted to keep that too. I didn't want it

0:23:42.000 --> 0:23:44.479
<v Speaker 4>to become too smooth. I wanted to sound like a

0:23:44.520 --> 0:23:47.440
<v Speaker 4>dirty guitar jumping off your stereo, and I wanted sam

0:23:47.480 --> 0:23:49.280
<v Speaker 4>strums to snap at you and I want to be

0:23:49.680 --> 0:23:50.879
<v Speaker 4>I want it to sound like a band playing in

0:23:50.920 --> 0:23:51.200
<v Speaker 4>the room.

0:23:51.320 --> 0:23:52.440
<v Speaker 3>And I think that's what it sounds like.

0:23:52.480 --> 0:23:54.520
<v Speaker 4>And I think I don't think it sounds like anything

0:23:54.520 --> 0:23:55.840
<v Speaker 4>like turn on the bright Lights, but turn on the

0:23:55.840 --> 0:23:58.680
<v Speaker 4>Bright Lights does sound like. It sounds like us as

0:23:58.680 --> 0:24:00.679
<v Speaker 4>we were playing at that moment, And that was the

0:24:00.720 --> 0:24:03.440
<v Speaker 4>idea of making that record. Was really just wanted to

0:24:03.480 --> 0:24:05.919
<v Speaker 4>make it sound like us and as we were like

0:24:06.200 --> 0:24:08.919
<v Speaker 4>as a rehearsal room, and that's what really that was

0:24:08.920 --> 0:24:10.800
<v Speaker 4>one of the things that we just somewhat overcomplicated, and

0:24:10.840 --> 0:24:12.359
<v Speaker 4>I would say to the greed that wasn't we have

0:24:12.440 --> 0:24:14.800
<v Speaker 4>any goals? So much for Marato as much as I

0:24:14.800 --> 0:24:16.560
<v Speaker 4>would say, well now that sounds like us where we

0:24:16.600 --> 0:24:18.679
<v Speaker 4>played those songs, you know, live, we play together.

0:24:18.760 --> 0:24:20.760
<v Speaker 2>And one day you're rehearsing and the cops turn up

0:24:20.800 --> 0:24:21.240
<v Speaker 2>at the door.

0:24:21.680 --> 0:24:23.720
<v Speaker 3>Well, this is before we went into this other. Yeah,

0:24:23.760 --> 0:24:24.080
<v Speaker 3>we were.

0:24:24.320 --> 0:24:26.680
<v Speaker 4>That was the first half, like, you know, two halves

0:24:26.720 --> 0:24:28.800
<v Speaker 4>of the first half of the songwriting on this record.

0:24:28.800 --> 0:24:34.679
<v Speaker 4>We were sharing the wonderful y Aays rehearsal space on

0:24:34.920 --> 0:24:37.680
<v Speaker 4>the Bowery. It was like the greatest rehearsal space I've

0:24:37.720 --> 0:24:39.159
<v Speaker 4>ever been in, and it was also kind of the

0:24:39.200 --> 0:24:41.320
<v Speaker 4>most classic stored of rehearsal space in the sense that

0:24:41.400 --> 0:24:44.000
<v Speaker 4>it was like subterranean and you have to lift up

0:24:44.000 --> 0:24:46.000
<v Speaker 4>a grade from the sidewalk from the Bowery in New

0:24:46.080 --> 0:24:48.960
<v Speaker 4>York City, you know, and so just like literally, I mean,

0:24:49.000 --> 0:24:50.560
<v Speaker 4>it was the most romantic thing, if you want, in

0:24:50.640 --> 0:24:53.119
<v Speaker 4>terms of rock and rolls, literally a half block from

0:24:53.160 --> 0:24:56.680
<v Speaker 4>CBGB's and like right by Phoebe's, which is like now

0:24:56.720 --> 0:24:58.720
<v Speaker 4>it's kind of like a night like a sporting kind

0:24:58.760 --> 0:25:01.280
<v Speaker 4>of diner, but back in the Eveny's and Ramon's days.

0:25:01.280 --> 0:25:02.679
<v Speaker 4>It was sort of like one of places that all

0:25:02.680 --> 0:25:05.359
<v Speaker 4>those guys hung out at anyway, But yeah, and it

0:25:05.400 --> 0:25:07.520
<v Speaker 4>was great in the ya yas they hadn't been using

0:25:07.560 --> 0:25:10.520
<v Speaker 4>in a while, mostly in la and they were really

0:25:10.600 --> 0:25:12.680
<v Speaker 4>kind about letting us use it and sharing with them.

0:25:12.680 --> 0:25:14.480
<v Speaker 4>And it was so it was decked out all their

0:25:15.000 --> 0:25:16.960
<v Speaker 4>you know, the toy paraphernalia and so forth, and it

0:25:17.080 --> 0:25:19.760
<v Speaker 4>was so cozy and so nice, and it worked great

0:25:19.800 --> 0:25:21.480
<v Speaker 4>for the longest time. I mean, you couldn't you know,

0:25:21.480 --> 0:25:24.280
<v Speaker 4>you're down there just you just felt so comfortable, sounded great.

0:25:24.840 --> 0:25:26.399
<v Speaker 4>And then you know, after I don't, I don't know,

0:25:26.400 --> 0:25:28.400
<v Speaker 4>maybe a couple of months, you got like the first

0:25:28.480 --> 0:25:30.520
<v Speaker 4>complaint from the cops and they have totally kind of

0:25:30.520 --> 0:25:31.199
<v Speaker 4>figure out where it is.

0:25:31.200 --> 0:25:32.840
<v Speaker 3>You have to go really down stairs.

0:25:32.880 --> 0:25:36.560
<v Speaker 4>And then and then after a while the landlord, who

0:25:36.600 --> 0:25:38.879
<v Speaker 4>was really cool too, she got another complaint from it

0:25:39.080 --> 0:25:39.560
<v Speaker 4>was a neighbor.

0:25:40.240 --> 0:25:42.119
<v Speaker 3>And then we try to meet the neighbor.

0:25:42.200 --> 0:25:44.119
<v Speaker 4>We try to reason with him, we try to be like,

0:25:44.760 --> 0:25:46.320
<v Speaker 4>you know, a peace to him, and he seemed like

0:25:46.359 --> 0:25:49.040
<v Speaker 4>we were getting somewhere. But then soon enough the cop

0:25:49.160 --> 0:25:51.920
<v Speaker 4>arrived at the second time. And then it was basically

0:25:52.040 --> 0:25:54.080
<v Speaker 4>very much, you know, make clear that we need to

0:25:54.080 --> 0:25:56.960
<v Speaker 4>get out of there otherwise face consequences. So it felt

0:25:57.000 --> 0:25:59.160
<v Speaker 4>bad for the Yes, but I think they knew that,

0:25:59.240 --> 0:26:01.480
<v Speaker 4>you know, that that name had already complained and you

0:26:01.520 --> 0:26:04.760
<v Speaker 4>know that their days there were like numbered and so forth.

0:26:04.840 --> 0:26:06.879
<v Speaker 4>So sadly we had to like sort of in a

0:26:06.960 --> 0:26:08.960
<v Speaker 4>scrambl DeCamp and then we had to you know, go

0:26:09.080 --> 0:26:13.760
<v Speaker 4>back to the same building that we recorded we wrote

0:26:14.080 --> 0:26:16.560
<v Speaker 4>Our Love to Admire and you know, ten years ago.

0:26:16.680 --> 0:26:18.520
<v Speaker 3>So it all worked out just fine, but still it

0:26:18.560 --> 0:26:19.880
<v Speaker 3>was a little bit. It was just it was too

0:26:19.880 --> 0:26:20.560
<v Speaker 3>good to be true.

0:26:20.600 --> 0:26:23.960
<v Speaker 4>And some certain elements in yorka the s and age

0:26:23.960 --> 0:26:26.400
<v Speaker 4>are too good to be true, or you know, are

0:26:26.440 --> 0:26:28.000
<v Speaker 4>no longer too good to be true, I should say.

0:26:28.160 --> 0:26:30.040
<v Speaker 2>I think London similar. One of the things that I

0:26:30.119 --> 0:26:33.440
<v Speaker 2>was thinking about earlier was looking back on Interpol and

0:26:33.480 --> 0:26:36.280
<v Speaker 2>the things you've done in the years previous. Back in

0:26:36.280 --> 0:26:39.320
<v Speaker 2>the very early days, you recorded a session for John

0:26:39.359 --> 0:26:41.959
<v Speaker 2>Peel at the Made of Vale studios in London, I

0:26:41.960 --> 0:26:44.040
<v Speaker 2>think like early two thousand and.

0:26:43.960 --> 0:26:46.000
<v Speaker 3>One around that was April two thousand and one.

0:26:46.119 --> 0:26:49.000
<v Speaker 2>Yeah, so Made of Veil is a studio so for

0:26:49.080 --> 0:26:51.280
<v Speaker 2>people listening. You most people will know Made of Vale

0:26:51.320 --> 0:26:53.760
<v Speaker 2>Studios hosted so many bands over the years. It's a

0:26:53.760 --> 0:26:55.280
<v Speaker 2>bit of a rite of passage if you get to

0:26:55.280 --> 0:26:57.200
<v Speaker 2>go in there and record a session for the BBC.

0:26:57.720 --> 0:27:00.520
<v Speaker 2>But that the BBC of moving out made a bell

0:27:00.600 --> 0:27:03.200
<v Speaker 2>soon in the waving, Yeah, moving to a new facility

0:27:03.240 --> 0:27:06.600
<v Speaker 2>in Stratford and made the veil won't be won't be

0:27:06.680 --> 0:27:09.280
<v Speaker 2>what it was. And so like it's kind of sad

0:27:09.320 --> 0:27:12.919
<v Speaker 2>to see buildings, you know, particularly buildings that have housed

0:27:12.960 --> 0:27:15.479
<v Speaker 2>such kind of historic moments change.

0:27:16.040 --> 0:27:16.199
<v Speaker 3>You know.

0:27:16.280 --> 0:27:20.000
<v Speaker 4>Obviously we we we got we put out our first

0:27:20.400 --> 0:27:23.879
<v Speaker 4>EPNG Chemical Underground, and and it was a big moment

0:27:23.880 --> 0:27:26.840
<v Speaker 4>for us. And you know, they were all the people

0:27:26.840 --> 0:27:28.880
<v Speaker 4>who were Chemical Underground the dog out as a band.

0:27:29.400 --> 0:27:31.480
<v Speaker 4>They were alls, they were supportive of the band since

0:27:31.520 --> 0:27:33.320
<v Speaker 4>the very you know, since the beginning, and they were

0:27:33.320 --> 0:27:34.919
<v Speaker 4>like super cool. And then they had this idea of

0:27:34.920 --> 0:27:37.320
<v Speaker 4>the series and they offered to put out a couple

0:27:37.320 --> 0:27:39.040
<v Speaker 4>of our tracks from our first two demos and it

0:27:39.080 --> 0:27:41.040
<v Speaker 4>was a big thing. And then through that, you know,

0:27:41.280 --> 0:27:43.159
<v Speaker 4>we were a banned for a met you something like

0:27:43.240 --> 0:27:46.320
<v Speaker 4>three started played our first we record that demo actually

0:27:46.359 --> 0:27:49.479
<v Speaker 4>March like our February maybe like sorry, we played our

0:27:49.480 --> 0:27:52.920
<v Speaker 4>first show March ninety eight, and then we recorded that

0:27:53.040 --> 0:27:54.680
<v Speaker 4>demo like June ninety eight.

0:27:55.800 --> 0:27:57.800
<v Speaker 3>But consequently and all that time, we saw, you know,

0:27:57.840 --> 0:27:58.480
<v Speaker 3>you just kind.

0:27:58.320 --> 0:28:00.840
<v Speaker 4>Of weren't really getting anywhere moving and you really want

0:28:00.840 --> 0:28:02.320
<v Speaker 4>a tour, you want to try to give yourself a

0:28:02.320 --> 0:28:05.000
<v Speaker 4>reason to continue as a band, and uh, and then

0:28:05.760 --> 0:28:07.639
<v Speaker 4>they decided to put that out, and then through that,

0:28:07.680 --> 0:28:09.320
<v Speaker 4>you really we really wanted to come to the UK

0:28:09.400 --> 0:28:11.679
<v Speaker 4>and do like a little tour. Whether it was practical

0:28:11.800 --> 0:28:13.760
<v Speaker 4>or not, or whether it was gonna be economical, we're

0:28:13.760 --> 0:28:16.119
<v Speaker 4>gonna lose a ton of money. But one of the

0:28:16.200 --> 0:28:18.280
<v Speaker 4>reason ways that we actually made it work was that

0:28:18.320 --> 0:28:20.639
<v Speaker 4>they helped us, you know, chemical on ground helped us

0:28:20.640 --> 0:28:24.400
<v Speaker 4>get a Peel session, which you know obviously was John

0:28:24.440 --> 0:28:27.159
<v Speaker 4>Peel was a legend, and and uh then it just

0:28:27.160 --> 0:28:28.960
<v Speaker 4>all the Peel sessions were like, you know, like, oh

0:28:28.960 --> 0:28:30.560
<v Speaker 4>my god, that you know, so and so did the

0:28:30.680 --> 0:28:33.080
<v Speaker 4>Peel session. Blah blah, I can't believe this. And on

0:28:33.119 --> 0:28:35.000
<v Speaker 4>top of it was you know, we had like we

0:28:35.080 --> 0:28:36.480
<v Speaker 4>just really wanted to go to the UK and just

0:28:36.480 --> 0:28:38.400
<v Speaker 4>do some dates, and they give you like a little

0:28:38.440 --> 0:28:40.560
<v Speaker 4>bit of money to to do that to record that,

0:28:40.600 --> 0:28:42.480
<v Speaker 4>which was like great, maybe you can put that towards

0:28:42.520 --> 0:28:45.120
<v Speaker 4>like renting a van and and flying over here like

0:28:45.240 --> 0:28:47.120
<v Speaker 4>you know, and we had no money, you know, and

0:28:47.160 --> 0:28:49.240
<v Speaker 4>so and uh so we did and the tour for

0:28:49.280 --> 0:28:51.400
<v Speaker 4>the most part, I wouldn't say the disaster, but it wouldn't.

0:28:51.440 --> 0:28:52.360
<v Speaker 3>It didn't really work.

0:28:52.400 --> 0:28:57.520
<v Speaker 4>I didn't do anything, you know, played a funny well

0:28:57.560 --> 0:28:57.960
<v Speaker 4>and it.

0:28:57.920 --> 0:28:58.960
<v Speaker 3>Was just didn't really work out.

0:28:59.000 --> 0:29:01.320
<v Speaker 4>And then, uh, the culmination was that we were going

0:29:01.360 --> 0:29:04.760
<v Speaker 4>to do this peel session towards the end, and you know,

0:29:04.800 --> 0:29:06.719
<v Speaker 4>it was it was great, It was really great. And

0:29:07.320 --> 0:29:09.640
<v Speaker 4>I remember I saw the engineer Simon, who was like amazing,

0:29:09.720 --> 0:29:12.080
<v Speaker 4>and uh, it's a really wonderful experience. But because of

0:29:12.120 --> 0:29:15.280
<v Speaker 4>some of those recordings that eventually it led us to

0:29:15.320 --> 0:29:17.720
<v Speaker 4>being you know, signed to the label that we're still

0:29:17.800 --> 0:29:20.480
<v Speaker 4>a part of mad at Or and that's and so

0:29:20.560 --> 0:29:22.000
<v Speaker 4>we have you know, I think we were a great

0:29:22.040 --> 0:29:24.760
<v Speaker 4>debt to to that session and we have great you know.

0:29:24.840 --> 0:29:28.080
<v Speaker 4>It's also those romantic early days of actually doing something,

0:29:28.120 --> 0:29:31.080
<v Speaker 4>you know, actually having doing something, you know, kind of

0:29:31.120 --> 0:29:33.560
<v Speaker 4>people actually being interested in what you're doing. We didn't

0:29:33.600 --> 0:29:35.440
<v Speaker 4>have that many things to go on back then so

0:29:35.480 --> 0:29:37.720
<v Speaker 4>someone being offering us a Peel session was a huge

0:29:37.720 --> 0:29:41.680
<v Speaker 4>thing and consequently had a you know, great repercussion onto

0:29:41.720 --> 0:29:44.360
<v Speaker 4>why we're still able to play music now, I think was.

0:29:44.360 --> 0:29:47.640
<v Speaker 2>That a buzzbein stood in that in those legendary made

0:29:47.680 --> 0:29:50.400
<v Speaker 2>of al studios, you got all your kit set up,

0:29:50.440 --> 0:29:51.960
<v Speaker 2>you've got your headphones on, and then the voice of

0:29:52.040 --> 0:29:54.360
<v Speaker 2>John Peel comes down the line and it's like evening interpol.

0:29:54.680 --> 0:29:56.840
<v Speaker 4>Well, I think when you recorded, you record it separately,

0:29:56.840 --> 0:29:58.880
<v Speaker 4>and that I think at the end he broadcasted like that.

0:29:58.960 --> 0:30:01.360
<v Speaker 4>And so yeah, hearing him do that was definitely a trip.

0:30:01.400 --> 0:30:02.720
<v Speaker 4>And we you know, it wasn't like we had no

0:30:02.800 --> 0:30:05.120
<v Speaker 4>press back down we had. It was maybe at the

0:30:05.240 --> 0:30:09.000
<v Speaker 4>very beginning of people paying attention to you know, the

0:30:09.880 --> 0:30:11.240
<v Speaker 4>you know music coming out in New York.

0:30:11.280 --> 0:30:11.760
<v Speaker 3>So yeah, the.

0:30:11.720 --> 0:30:13.680
<v Speaker 4>Strokes are already started receiving quite a bit of attention

0:30:13.800 --> 0:30:16.760
<v Speaker 4>and so forth. But so like we had, you know,

0:30:16.800 --> 0:30:19.040
<v Speaker 4>those all things were definitely just there are big moments

0:30:19.080 --> 0:30:21.440
<v Speaker 4>for us, and not even because it led to other ones,

0:30:21.520 --> 0:30:23.480
<v Speaker 4>but just says it was a thrill. I think for

0:30:23.560 --> 0:30:25.080
<v Speaker 4>us to record, there was a thrill to have it

0:30:25.080 --> 0:30:28.360
<v Speaker 4>actually go out, and you know, definitely encouraged us to

0:30:28.520 --> 0:30:29.040
<v Speaker 4>keep going.

0:30:29.320 --> 0:30:31.040
<v Speaker 2>What's it been like being in a band that has

0:30:31.080 --> 0:30:35.320
<v Speaker 2>straddled the pre Internet era and the post Internet era, because,

0:30:35.360 --> 0:30:38.480
<v Speaker 2>like you say, early days of the band, late nineties,

0:30:38.760 --> 0:30:41.760
<v Speaker 2>early two thousands, you come to the UK, you do

0:30:41.880 --> 0:30:44.320
<v Speaker 2>something like a John Peel session, which is a big

0:30:44.360 --> 0:30:46.720
<v Speaker 2>tick box, as you already said, like you a real

0:30:46.760 --> 0:30:49.840
<v Speaker 2>buzz to do that, and there are certain handful of

0:30:49.920 --> 0:30:51.680
<v Speaker 2>channels that you would go down to try and get

0:30:51.720 --> 0:30:56.880
<v Speaker 2>your music heard. Twenty years on, eighteen years on, it's

0:30:56.920 --> 0:30:59.240
<v Speaker 2>obviously a completely different world in terms of the way

0:30:59.240 --> 0:31:02.600
<v Speaker 2>that people consume music. So did you have you always

0:31:02.600 --> 0:31:04.960
<v Speaker 2>just gone with the flow with the way that things

0:31:04.960 --> 0:31:07.800
<v Speaker 2>have changed, or do you have fond memories when things

0:31:07.800 --> 0:31:11.160
<v Speaker 2>were a little bit maybe more straightforward or simpler, or

0:31:11.200 --> 0:31:12.440
<v Speaker 2>maybe they weren't at til I didn't.

0:31:12.440 --> 0:31:13.040
<v Speaker 3>I I don't know.

0:31:13.080 --> 0:31:14.520
<v Speaker 4>I used to I used to work at record labels

0:31:14.520 --> 0:31:16.640
<v Speaker 4>and stuff like that, you know, And so to me,

0:31:16.880 --> 0:31:19.360
<v Speaker 4>I think I've just kind of all rolled with things,

0:31:19.400 --> 0:31:22.320
<v Speaker 4>and I think with bright lights, I never had any

0:31:22.320 --> 0:31:26.240
<v Speaker 4>other expectations besides hopefully making a record and putting it

0:31:26.240 --> 0:31:30.320
<v Speaker 4>out on a record label that I loved. And you know,

0:31:30.360 --> 0:31:32.480
<v Speaker 4>so as soon as we signed a mat or made

0:31:32.480 --> 0:31:34.640
<v Speaker 4>a record. I had no expectations beyond that the fact

0:31:34.680 --> 0:31:37.080
<v Speaker 4>that people, for instance, that you were interested in sort

0:31:37.080 --> 0:31:39.000
<v Speaker 4>of had a slow growth, but it you know, kind

0:31:39.040 --> 0:31:40.960
<v Speaker 4>of word of mouth sort of spreading, and it felt

0:31:41.000 --> 0:31:42.800
<v Speaker 4>very much like I think Bright Lights is way more

0:31:42.840 --> 0:31:45.840
<v Speaker 4>in common with the decades prior to the music industry,

0:31:45.960 --> 0:31:48.240
<v Speaker 4>like word of mouth and build and so forth, and

0:31:48.520 --> 0:31:50.720
<v Speaker 4>in America college radio, so had like a lot of

0:31:50.880 --> 0:31:53.840
<v Speaker 4>impact on actually you know, spreading things. And every time

0:31:53.840 --> 0:31:55.280
<v Speaker 4>we went on tour it got a little bigger, little

0:31:55.280 --> 0:31:58.320
<v Speaker 4>bigger versus you know obviously now where things can go

0:31:58.400 --> 0:32:00.800
<v Speaker 4>from zero to one hundred and twenty like in no time.

0:32:01.120 --> 0:32:03.080
<v Speaker 4>And then but by the time we put out Antics,

0:32:03.120 --> 0:32:06.680
<v Speaker 4>it was you know, he finished it, it leaked by

0:32:06.960 --> 0:32:08.880
<v Speaker 4>like two weeks after he finished it, and like three

0:32:08.960 --> 0:32:11.000
<v Speaker 4>months before it came out or something like that. Like

0:32:11.040 --> 0:32:14.360
<v Speaker 4>we're on tour with the Curatu and the you know,

0:32:14.400 --> 0:32:16.640
<v Speaker 4>and people were reviewing it like in the dailies or

0:32:16.880 --> 0:32:19.680
<v Speaker 4>in the weeklies when we're going by, and I was like, yeah,

0:32:19.880 --> 0:32:21.680
<v Speaker 4>you know, the reviewing basically a bootleg. And I think

0:32:21.680 --> 0:32:24.200
<v Speaker 4>that was the beginning of like records leaking like that

0:32:24.320 --> 0:32:26.120
<v Speaker 4>kind of I mean, not our record, but it was

0:32:26.160 --> 0:32:28.360
<v Speaker 4>around the same time that things were happening, So I

0:32:28.360 --> 0:32:30.360
<v Speaker 4>think even then I was sort of like easy compies,

0:32:30.360 --> 0:32:33.280
<v Speaker 4>you go, you know, I mean, I'm fortunate that we're touring,

0:32:33.320 --> 0:32:35.680
<v Speaker 4>we're playing, we're doing this, but like I can't control

0:32:35.720 --> 0:32:39.400
<v Speaker 4>those elements. And no, obviously I think multiple cycles since then,

0:32:39.480 --> 0:32:42.960
<v Speaker 4>you know, with seemingly you know, music industry going forever

0:32:43.240 --> 0:32:45.520
<v Speaker 4>into an abyss with no you know, bottom as far

0:32:45.560 --> 0:32:48.480
<v Speaker 4>as like creating a model when people actually gonna buy

0:32:48.560 --> 0:32:50.680
<v Speaker 4>records or find you know, some sort of commerce for

0:32:50.720 --> 0:32:55.160
<v Speaker 4>it to downloads and working here and there, like on

0:32:55.200 --> 0:32:57.840
<v Speaker 4>iTunes and stuff like that, to now streaming, which is

0:32:57.880 --> 0:32:59.800
<v Speaker 4>now sort of like really taking its course and become

0:32:59.840 --> 0:33:02.720
<v Speaker 4>a you know, a legitimate thing, a legitimate entiteam people

0:33:02.720 --> 0:33:04.880
<v Speaker 4>are responding to. So it's kind of like, I don't

0:33:04.880 --> 0:33:08.160
<v Speaker 4>know's it's interesting. It's I don't know if it's completely

0:33:08.440 --> 0:33:10.480
<v Speaker 4>settled upon where it's going to go who and who knows,

0:33:10.480 --> 0:33:12.720
<v Speaker 4>But I think it's you know, the release is not

0:33:12.760 --> 0:33:14.640
<v Speaker 4>in a boring time, you know, it's an exciting time.

0:33:14.680 --> 0:33:18.760
<v Speaker 4>And I think it's also like ealitarian time in the

0:33:18.800 --> 0:33:22.600
<v Speaker 4>sense that if you if you have like maybe you

0:33:22.600 --> 0:33:24.920
<v Speaker 4>know taste, it's a bit searching, a bit more out there,

0:33:25.360 --> 0:33:27.640
<v Speaker 4>and you live in a remote location. You're not punished

0:33:27.640 --> 0:33:28.920
<v Speaker 4>for that, you know, You're not just like well you

0:33:29.000 --> 0:33:31.400
<v Speaker 4>got to get down to the local supermarket and buy

0:33:31.480 --> 0:33:32.760
<v Speaker 4>what they have. Now you can be like, well I

0:33:32.840 --> 0:33:35.160
<v Speaker 4>like this and now and you know, I can through

0:33:35.160 --> 0:33:36.920
<v Speaker 4>this source, I can get that record, I can listen

0:33:36.920 --> 0:33:38.520
<v Speaker 4>to it and so forth. And I think that I

0:33:38.520 --> 0:33:40.200
<v Speaker 4>think that was the thing that struck me even back

0:33:40.240 --> 0:33:42.680
<v Speaker 4>in when you know, like around the antics sign was

0:33:42.680 --> 0:33:45.000
<v Speaker 4>like cool man, So if like a kid lives like

0:33:46.160 --> 0:33:49.479
<v Speaker 4>I don't know someone really remote, you know, someone somewhere

0:33:49.480 --> 0:33:51.520
<v Speaker 4>like in Indonesia, someone like where there aren't like someonere

0:33:51.520 --> 0:33:56.400
<v Speaker 4>remote and you know, very rule they they have that access,

0:33:56.440 --> 0:33:58.400
<v Speaker 4>that they have that taste, and that's I think that's

0:33:58.480 --> 0:34:00.560
<v Speaker 4>very fair to me. And that's just you know versus

0:34:00.880 --> 0:34:02.960
<v Speaker 4>back in the day maybe you're you're you know, your

0:34:03.000 --> 0:34:05.280
<v Speaker 4>only subject to your environment, and that's not quite fair.

0:34:05.360 --> 0:34:07.360
<v Speaker 4>So I saw it was like I think I was

0:34:07.360 --> 0:34:09.840
<v Speaker 4>even optimistic backed around the antics when of the record leagues,

0:34:09.880 --> 0:34:12.040
<v Speaker 4>I was like, okay, well, you know the plus side

0:34:12.120 --> 0:34:14.080
<v Speaker 4>is that music is probably at an all time you know,

0:34:15.160 --> 0:34:17.120
<v Speaker 4>popularity level, and I think that's great.

0:34:17.360 --> 0:34:20.720
<v Speaker 2>I've read before that Paul was saying that he still

0:34:20.719 --> 0:34:23.360
<v Speaker 2>takes the most enjoyment out of making a record and

0:34:23.400 --> 0:34:25.239
<v Speaker 2>if he could, he'd make three albums a year and

0:34:25.280 --> 0:34:28.040
<v Speaker 2>like not tour as much. So do you think the

0:34:28.200 --> 0:34:32.080
<v Speaker 2>music industry will eventually The way we've seen things emerge

0:34:32.200 --> 0:34:36.720
<v Speaker 2>have been that as it's less financially viable selling records,

0:34:36.719 --> 0:34:38.239
<v Speaker 2>you know, people don't make as much money, you know,

0:34:38.600 --> 0:34:40.759
<v Speaker 2>in the current climate with streaming and things like that,

0:34:41.080 --> 0:34:44.080
<v Speaker 2>and like touring has become such a big deal because

0:34:44.080 --> 0:34:47.120
<v Speaker 2>it's such a big revenue for all bands. Do you think, though,

0:34:47.160 --> 0:34:49.200
<v Speaker 2>it will grow to the point where that goes as

0:34:49.239 --> 0:34:52.840
<v Speaker 2>a complete circle, and like streaming will be so omnipresent

0:34:52.920 --> 0:34:55.759
<v Speaker 2>that maybe artists there will be artists that can just

0:34:55.800 --> 0:34:58.440
<v Speaker 2>make music again, recorded music and live off that.

0:34:58.920 --> 0:35:02.680
<v Speaker 3>I don't know. I think anyone who's like yes is

0:35:02.880 --> 0:35:05.680
<v Speaker 3>it's like how can you? How can you? How can

0:35:05.680 --> 0:35:06.239
<v Speaker 3>you really tell?

0:35:06.520 --> 0:35:08.399
<v Speaker 4>You also have to think that, you know, I mean,

0:35:09.440 --> 0:35:11.759
<v Speaker 4>just like it took us, you know, four years that

0:35:11.800 --> 0:35:14.400
<v Speaker 4>you can get signed. There's so much music out there

0:35:14.480 --> 0:35:16.239
<v Speaker 4>right now, you know, because you don't have to wait,

0:35:16.239 --> 0:35:17.399
<v Speaker 4>you know, you put anything up there.

0:35:17.480 --> 0:35:19.400
<v Speaker 3>So I don't know. It's like a lot of I

0:35:19.400 --> 0:35:20.040
<v Speaker 3>don't look.

0:35:19.840 --> 0:35:21.920
<v Speaker 4>At music and other people doing stuff as competition. But

0:35:21.960 --> 0:35:24.400
<v Speaker 4>you could say that there's a lot of people to

0:35:24.920 --> 0:35:27.400
<v Speaker 4>digest and to choose from. So I don't know, I

0:35:27.440 --> 0:35:28.840
<v Speaker 4>don't look at it, you know. To me, it's like

0:35:28.840 --> 0:35:31.040
<v Speaker 4>I don't really overthink that stuff. Like I like, I

0:35:31.120 --> 0:35:33.359
<v Speaker 4>like playing shows, I like touring, and I think Paul

0:35:33.520 --> 0:35:35.080
<v Speaker 4>is too. It's just like, after all, yet there's a

0:35:35.120 --> 0:35:37.160
<v Speaker 4>bit of a grind to just you know, sleeping on

0:35:37.239 --> 0:35:39.719
<v Speaker 4>like someone on the run in a different hotel at

0:35:39.800 --> 0:35:41.880
<v Speaker 4>night after night, or sleeping on buses or you know,

0:35:41.960 --> 0:35:44.279
<v Speaker 4>border crossings and things like this. It takes its toll

0:35:44.320 --> 0:35:46.279
<v Speaker 4>a little bit, and if you want to advance other

0:35:46.320 --> 0:35:49.600
<v Speaker 4>elements of your life. But uh, yeah, I don't know.

0:35:49.640 --> 0:35:51.840
<v Speaker 4>I don't know if it's really Also it's kind of

0:35:51.880 --> 0:35:53.239
<v Speaker 4>I feel like it's kind of good to do things

0:35:53.280 --> 0:35:54.880
<v Speaker 4>and then just kind of sit here for a little bit.

0:35:54.920 --> 0:35:57.160
<v Speaker 4>Maye people kind of miss you and pay attention to

0:35:57.160 --> 0:35:59.200
<v Speaker 4>what you're doing. That's that's the way I guess I

0:35:59.239 --> 0:36:00.160
<v Speaker 4>am A little bit of stuff.

0:36:00.200 --> 0:36:02.520
<v Speaker 2>We mentioned New York earlier. You still live in New York.

0:36:02.880 --> 0:36:05.760
<v Speaker 2>As the city's developed and changed, and obviously, like everybody

0:36:05.760 --> 0:36:07.839
<v Speaker 2>gets a bit older, do you still love it as

0:36:07.920 --> 0:36:10.319
<v Speaker 2>much as you did when you first moved there, when

0:36:10.280 --> 0:36:12.759
<v Speaker 2>you were first making music there? How things change, is

0:36:12.800 --> 0:36:15.839
<v Speaker 2>it's still a place that feels vibrant and exciting and

0:36:16.000 --> 0:36:18.080
<v Speaker 2>fit for where you are in your life now.

0:36:18.480 --> 0:36:20.200
<v Speaker 3>I think New York's a great place to come and go.

0:36:20.400 --> 0:36:20.680
<v Speaker 3>It's all.

0:36:20.880 --> 0:36:22.880
<v Speaker 4>It's really feels good to leave that place, and it

0:36:22.880 --> 0:36:24.960
<v Speaker 4>feels really great to return to.

0:36:24.920 --> 0:36:26.080
<v Speaker 3>It, like like no other place.

0:36:26.120 --> 0:36:28.440
<v Speaker 4>And I think that holds true for like a lot

0:36:28.480 --> 0:36:30.400
<v Speaker 4>of people live there for a while. But I think unfortunately,

0:36:30.480 --> 0:36:33.239
<v Speaker 4>I do travel quite frequently, and I know not to

0:36:33.800 --> 0:36:36.919
<v Speaker 4>oversee my welcome there. It's all my my home. It's

0:36:36.960 --> 0:36:38.600
<v Speaker 4>I've seen, you know, I've lived there for so many years.

0:36:38.600 --> 0:36:40.920
<v Speaker 4>I've seen so many changes. I can't pretend that it's

0:36:41.360 --> 0:36:44.120
<v Speaker 4>you know, as it's definitely an affluent place, you know,

0:36:44.239 --> 0:36:47.160
<v Speaker 4>like not even just Manhattan. I think Brooklyn's prettyffluent in parts,

0:36:47.680 --> 0:36:49.960
<v Speaker 4>or more parts of affluent now than they were let's say,

0:36:49.960 --> 0:36:51.719
<v Speaker 4>ten years ago, which is, you know, some parts are

0:36:51.760 --> 0:36:54.640
<v Speaker 4>really gentrified that no one ever thought would be possible.

0:36:55.200 --> 0:36:57.120
<v Speaker 4>And that's just that's just that's just a fact of it.

0:36:57.160 --> 0:36:58.799
<v Speaker 4>And but I think that, you know, like you're saying,

0:36:58.840 --> 0:37:00.839
<v Speaker 4>London's on the same burl, and it's the same. Many

0:37:00.840 --> 0:37:02.719
<v Speaker 4>other cities have done same. It's something that's happening all

0:37:02.719 --> 0:37:05.080
<v Speaker 4>over the world. I still like New York. There's an

0:37:05.120 --> 0:37:07.520
<v Speaker 4>ease about it. Not an ease, but there's an ease

0:37:07.520 --> 0:37:09.160
<v Speaker 4>if you want to. You can have those great days

0:37:09.160 --> 0:37:11.480
<v Speaker 4>where you can just do so many wonderful, like cultural

0:37:11.480 --> 0:37:14.320
<v Speaker 4>things in one day. And it's a small and it's fascinting.

0:37:14.320 --> 0:37:16.359
<v Speaker 4>It's a small little like Manhattan, a small little island

0:37:16.360 --> 0:37:18.200
<v Speaker 4>where you can go to these some of the world's

0:37:18.200 --> 0:37:20.480
<v Speaker 4>most incredible museums, you can go this restaurant, you can

0:37:20.520 --> 0:37:22.240
<v Speaker 4>go to that, you can take a nice bike.

0:37:22.080 --> 0:37:23.960
<v Speaker 3>Ride up here. You just you can have like really

0:37:24.040 --> 0:37:25.080
<v Speaker 3>the best of days.

0:37:24.840 --> 0:37:26.480
<v Speaker 4>And you can make it all happen. And there's something

0:37:26.480 --> 0:37:28.600
<v Speaker 4>about that. I still have that romantic notion for this.

0:37:29.280 --> 0:37:30.960
<v Speaker 4>But if I'm there for too long, then yeah, it

0:37:31.000 --> 0:37:32.719
<v Speaker 4>starts weighing on me. And there's elements of it I

0:37:33.080 --> 0:37:34.640
<v Speaker 4>do drive me crazy. Like you know, I spend a

0:37:34.680 --> 0:37:37.480
<v Speaker 4>lot of time in Europe and uh, you know, Mexico

0:37:37.520 --> 0:37:39.200
<v Speaker 4>and stuff like that. And it's just like in New York,

0:37:39.239 --> 0:37:40.920
<v Speaker 4>you go out to dinner for someone and you you

0:37:40.920 --> 0:37:42.760
<v Speaker 4>don't want to go to like a completely shitty restaurant,

0:37:42.760 --> 0:37:45.080
<v Speaker 4>but you want to go. You know, it's like an

0:37:45.080 --> 0:37:47.239
<v Speaker 4>okay restaurant. It's just like you have two glasses and

0:37:47.280 --> 0:37:50.080
<v Speaker 4>wine each, and and you know, your two dishes each,

0:37:50.120 --> 0:37:52.840
<v Speaker 4>and also you're you're paying like just you know, hundreds

0:37:52.880 --> 0:37:54.640
<v Speaker 4>of dollars, and it's like, what is this And I,

0:37:55.120 --> 0:37:56.520
<v Speaker 4>you know, all those other parts of the world that

0:37:56.680 --> 0:37:58.839
<v Speaker 4>just are not anywhere near that, you know, I mean

0:37:59.560 --> 0:38:01.320
<v Speaker 4>so yeah, So I did those elements.

0:38:01.320 --> 0:38:05.040
<v Speaker 3>Definitely. They tried me at times, you know, but.

0:38:04.560 --> 0:38:07.239
<v Speaker 4>Overall, like I said, like in doses, I think when

0:38:07.280 --> 0:38:10.239
<v Speaker 4>I'm there, I, you know, have so many great friends there,

0:38:10.239 --> 0:38:12.719
<v Speaker 4>have so much history there. I do still try to

0:38:12.719 --> 0:38:14.840
<v Speaker 4>look on the positive what it has to offer, especially

0:38:14.880 --> 0:38:17.040
<v Speaker 4>on the cultural elements. It's it's all right there if

0:38:17.080 --> 0:38:19.920
<v Speaker 4>you want it. But I do really enjoy going and

0:38:19.960 --> 0:38:22.720
<v Speaker 4>really attach myself and going kind of to a polar

0:38:22.760 --> 0:38:26.200
<v Speaker 4>opposite location offering something completely different. And I don't need

0:38:26.239 --> 0:38:28.160
<v Speaker 4>I don't feel like I have when I'm not in

0:38:28.160 --> 0:38:30.239
<v Speaker 4>New York. I don't think I'm missing out on things.

0:38:30.280 --> 0:38:33.479
<v Speaker 4>I don't I'm pretty good at being present and where

0:38:33.480 --> 0:38:37.319
<v Speaker 4>I'm at at that moment and just trying to like, yeah,

0:38:37.600 --> 0:38:40.640
<v Speaker 4>just explore what that city, what that location has to offer,

0:38:40.680 --> 0:38:42.520
<v Speaker 4>and and really making the most of that.

0:38:42.640 --> 0:38:45.239
<v Speaker 2>You know, you mentioned the lack of things like rehearsal

0:38:45.239 --> 0:38:48.600
<v Speaker 2>space these days as properties got more expensive, things that

0:38:48.680 --> 0:38:52.680
<v Speaker 2>had to move out of the city, and opportunities perhaps

0:38:52.719 --> 0:38:54.879
<v Speaker 2>aren't what they were. Are you Is there any part

0:38:54.880 --> 0:38:57.719
<v Speaker 2>of you that think it's kind of glad that you

0:38:57.760 --> 0:38:59.960
<v Speaker 2>started out when you did, when there were more opportunities.

0:39:00.040 --> 0:39:01.480
<v Speaker 2>It's like, do you think there are if you were

0:39:01.480 --> 0:39:04.040
<v Speaker 2>starting a band now in New York City in twenty eighteen,

0:39:04.120 --> 0:39:06.200
<v Speaker 2>is it is it a tougher thing to get going? So?

0:39:06.200 --> 0:39:07.719
<v Speaker 4>I don't know, you know, because I think when we

0:39:07.760 --> 0:39:10.640
<v Speaker 4>started out too, there were only two real clubs that

0:39:10.880 --> 0:39:13.799
<v Speaker 4>mattered in the sense of you know, labels and having

0:39:13.880 --> 0:39:17.239
<v Speaker 4>sort of some sort of repercussions on your advancement as

0:39:17.400 --> 0:39:19.279
<v Speaker 4>a band. That was like the Mercury Lounge, which is

0:39:19.600 --> 0:39:22.239
<v Speaker 4>still there, and Brownies, which is no longer there, And

0:39:22.320 --> 0:39:24.240
<v Speaker 4>so you just kind of ping pong back and forth,

0:39:24.280 --> 0:39:26.399
<v Speaker 4>and you know, they would count people at the door

0:39:26.440 --> 0:39:28.840
<v Speaker 4>and see who's coming for you, they'd ask them. So

0:39:28.880 --> 0:39:30.440
<v Speaker 4>it was kind of like you really but you know,

0:39:30.480 --> 0:39:32.799
<v Speaker 4>since then, there's many, many, many many more clubs that've

0:39:32.840 --> 0:39:35.399
<v Speaker 4>opened up. I mean not just you know, I mean

0:39:35.400 --> 0:39:38.320
<v Speaker 4>Brooklyn really became a really sort of a pinnacle spot

0:39:38.360 --> 0:39:41.160
<v Speaker 4>to play. And just in Manhattan, as many spots in Brooklyn,

0:39:41.160 --> 0:39:43.239
<v Speaker 4>as many spots and people were kind of open, there's

0:39:43.280 --> 0:39:46.520
<v Speaker 4>new spots silk sprouting up that are just as vital.

0:39:46.600 --> 0:39:48.359
<v Speaker 4>Sometimes new spots don't really have to earn their way.

0:39:48.400 --> 0:39:50.560
<v Speaker 4>People get really excited about them right off the bat,

0:39:50.560 --> 0:39:53.000
<v Speaker 4>and they're more vital than some somewhere that's been there

0:39:53.000 --> 0:39:55.080
<v Speaker 4>for a long time, which wasn't really the case when

0:39:55.080 --> 0:39:57.480
<v Speaker 4>we started out. I'm happy that we, you know, things

0:39:57.520 --> 0:40:00.400
<v Speaker 4>happened that they did for us, because it didn't come easy.

0:40:00.480 --> 0:40:03.319
<v Speaker 4>We could have easily broken up many times. We made

0:40:03.360 --> 0:40:07.400
<v Speaker 4>three demos before this, you know, we got signed. The

0:40:07.440 --> 0:40:10.440
<v Speaker 4>same label that signed us eventually rejected our first two demos,

0:40:10.480 --> 0:40:12.880
<v Speaker 4>even though a lot of songs are on both demos,

0:40:12.880 --> 0:40:16.239
<v Speaker 4>so including PDA just on our first demo. Granted it

0:40:16.239 --> 0:40:18.799
<v Speaker 4>wasn't as execute as well as maybe you know, like

0:40:19.160 --> 0:40:20.960
<v Speaker 4>was would end up on the record for sure it wasn't,

0:40:21.800 --> 0:40:24.520
<v Speaker 4>but so the it wasn't We weren't so far of course,

0:40:24.560 --> 0:40:27.200
<v Speaker 4>of what would be the direction for the songs that

0:40:27.239 --> 0:40:30.440
<v Speaker 4>would end up on Bright Lights. But at the same time,

0:40:30.480 --> 0:40:33.200
<v Speaker 4>it's sort of like, you know, in kind of you know,

0:40:33.440 --> 0:40:36.120
<v Speaker 4>maybe to draw on really like an American you know,

0:40:36.160 --> 0:40:39.160
<v Speaker 4>sports saying, like the minor leagues you don't get in baseball,

0:40:39.160 --> 0:40:40.799
<v Speaker 4>you don't get cooled up to the major leagues until

0:40:40.800 --> 0:40:42.320
<v Speaker 4>you're ready. And so in that sense, I don't know

0:40:42.360 --> 0:40:44.279
<v Speaker 4>if we were ready or not ready. The timing wasn't

0:40:44.320 --> 0:40:46.520
<v Speaker 4>ready for us, and so, but I you know, it

0:40:46.560 --> 0:40:48.360
<v Speaker 4>was very difficult, and it was hard to keep the

0:40:48.360 --> 0:40:51.880
<v Speaker 4>band together, and I was you know, it's really fortunate

0:40:51.920 --> 0:40:54.360
<v Speaker 4>that we just did and we crossed some sort of

0:40:54.360 --> 0:40:58.080
<v Speaker 4>threshold probably maybe a year like in a year before

0:40:58.120 --> 0:41:00.640
<v Speaker 4>we made the Bright Lights we got sign where we

0:41:00.680 --> 0:41:03.040
<v Speaker 4>just kind of think we were hitting a streak of

0:41:03.040 --> 0:41:05.960
<v Speaker 4>writing like nyc Obstacle One and some other songs that

0:41:06.000 --> 0:41:07.520
<v Speaker 4>I think we you know, for me, I remember leaving

0:41:07.520 --> 0:41:10.279
<v Speaker 4>a rehearsal early on, you know, with no sort of

0:41:10.760 --> 0:41:13.000
<v Speaker 4>prospects that anyone was going to sign us, we'd never

0:41:13.040 --> 0:41:16.600
<v Speaker 4>make record, you know, but having a particularly good rehearsal,

0:41:16.760 --> 0:41:19.359
<v Speaker 4>feeling maybe really really excited about something we just were

0:41:19.400 --> 0:41:22.720
<v Speaker 4>working on, and I, you know, I had this this

0:41:22.719 --> 0:41:25.480
<v Speaker 4>this calm and I, you know, reflection to myself that

0:41:25.520 --> 0:41:26.799
<v Speaker 4>I was like, if no one ever hears any of this,

0:41:27.280 --> 0:41:29.440
<v Speaker 4>at least I'm getting something out of it. It doesn't

0:41:29.480 --> 0:41:32.040
<v Speaker 4>have to be the culmination, doesn't have to be recording

0:41:32.040 --> 0:41:34.120
<v Speaker 4>an album and so forth. And I meant to like,

0:41:34.200 --> 0:41:35.920
<v Speaker 4>I just was getting something out of it, and you know,

0:41:35.920 --> 0:41:37.440
<v Speaker 4>I was trying to find the piece next. I had

0:41:37.440 --> 0:41:40.600
<v Speaker 4>no reason to think that there was anyone interested by,

0:41:40.840 --> 0:41:43.279
<v Speaker 4>you know, and the stuff we're doing. Hence why when

0:41:43.320 --> 0:41:44.759
<v Speaker 4>we did put out on the Bright Lights that there

0:41:44.800 --> 0:41:46.840
<v Speaker 4>was a reaction was like nothing. I could anticipate it

0:41:46.880 --> 0:41:49.040
<v Speaker 4>because every record label in the world rejected, So why

0:41:49.040 --> 0:41:50.440
<v Speaker 4>would I think there'd be an audience for us? You

0:41:50.480 --> 0:41:52.600
<v Speaker 4>know that said, I think it sort of kind of

0:41:52.920 --> 0:41:54.759
<v Speaker 4>created something for us. And when we had to write

0:41:54.800 --> 0:41:57.359
<v Speaker 4>like antics or we sort of were able to sort

0:41:57.400 --> 0:41:59.120
<v Speaker 4>of just kind of put windows up and not think

0:41:59.160 --> 0:42:02.440
<v Speaker 4>about xtations what people wanted, and just do whatever we

0:42:02.480 --> 0:42:04.080
<v Speaker 4>want to do, because that was part of that's what

0:42:04.200 --> 0:42:05.759
<v Speaker 4>we you know, we'd had that time to sort of

0:42:06.640 --> 0:42:09.360
<v Speaker 4>formulate as a band, as a writing entity and so forth.

0:42:09.440 --> 0:42:12.000
<v Speaker 4>So we didn't overthink what it's going to keep doing

0:42:12.000 --> 0:42:13.759
<v Speaker 4>what we all done, you know, we just blocked out

0:42:13.800 --> 0:42:16.640
<v Speaker 4>the noise. And we also didn't overthink. We didn't take

0:42:16.640 --> 0:42:19.160
<v Speaker 4>too much time right you were writing. We're very conscientious

0:42:19.200 --> 0:42:22.160
<v Speaker 4>of writing in between tours of Bright Lights, so we

0:42:22.239 --> 0:42:24.080
<v Speaker 4>kind of got get ahead start before we had too

0:42:24.120 --> 0:42:26.080
<v Speaker 4>much time on our hands. And so when we did

0:42:26.080 --> 0:42:28.400
<v Speaker 4>finally stop touring for Bright Lights, you already had like

0:42:28.400 --> 0:42:31.040
<v Speaker 4>a good sock of songs that would end up on Antics.

0:42:31.040 --> 0:42:33.480
<v Speaker 4>And I think that was part of definitely like very conscientious,

0:42:33.560 --> 0:42:36.239
<v Speaker 4>let's not get ourselves into the situation maybe with blank

0:42:36.280 --> 0:42:38.800
<v Speaker 4>slate after touring for a long time and feeling a

0:42:38.800 --> 0:42:40.920
<v Speaker 4>little bit, you know, like it was a bit of

0:42:40.960 --> 0:42:44.439
<v Speaker 4>a weight around our you know, our neck. And but yeah,

0:42:44.440 --> 0:42:45.520
<v Speaker 4>it's a very different time period.

0:42:45.560 --> 0:42:45.920
<v Speaker 3>I don't know.

0:42:45.960 --> 0:42:48.680
<v Speaker 4>I think it's probably the plus site is for new

0:42:48.719 --> 0:42:50.879
<v Speaker 4>bands that you have the Internet to get your music

0:42:50.920 --> 0:42:53.239
<v Speaker 4>out there. And I do still believe that good music

0:42:53.280 --> 0:42:55.160
<v Speaker 4>will be heard. I felt that way even back then,

0:42:55.239 --> 0:42:58.320
<v Speaker 4>even though you know, I just I did, But I

0:42:58.400 --> 0:43:00.640
<v Speaker 4>think that way now. But the difficult thing is, like

0:43:00.719 --> 0:43:02.600
<v Speaker 4>it's I don't know which is the best way to

0:43:02.640 --> 0:43:05.320
<v Speaker 4>get it out there, and it's you know that everyone

0:43:05.360 --> 0:43:06.960
<v Speaker 4>has the opportunity to put it up there, and like

0:43:07.120 --> 0:43:10.560
<v Speaker 4>you know, in the various ways that are obvious to us,

0:43:11.320 --> 0:43:13.040
<v Speaker 4>whether you get hurt because you're good or not good,

0:43:13.080 --> 0:43:15.279
<v Speaker 4>I don't know, but I do believe it will be heard.

0:43:15.360 --> 0:43:16.600
<v Speaker 4>I do believe that's what you have to do, and

0:43:16.600 --> 0:43:17.960
<v Speaker 4>you just have to do it for yourself and that

0:43:18.640 --> 0:43:20.880
<v Speaker 4>you know, I overthink, like I'm doing this for this.

0:43:20.920 --> 0:43:22.040
<v Speaker 3>I hope this happens because of this.

0:43:22.160 --> 0:43:25.359
<v Speaker 4>She's you know, if you find collaborators, if you need them,

0:43:25.360 --> 0:43:26.960
<v Speaker 4>if you're not doing everything yourself, and just do it

0:43:26.960 --> 0:43:28.919
<v Speaker 4>for you and keep it simple, and then I think

0:43:29.040 --> 0:43:31.440
<v Speaker 4>good things can come about if you know things are

0:43:31.440 --> 0:43:32.160
<v Speaker 4>feeling right to you.

0:43:32.520 --> 0:43:35.319
<v Speaker 2>I talked a bit about those very early days working

0:43:35.320 --> 0:43:38.879
<v Speaker 2>with Chemical Underground, doing the first John Peel session, right

0:43:38.960 --> 0:43:42.719
<v Speaker 2>up to you know, he's celebrating the fifteenth anniversary of

0:43:42.719 --> 0:43:44.279
<v Speaker 2>Turn On the Bright Lights and then making a sick

0:43:44.320 --> 0:43:48.080
<v Speaker 2>that album Marauder. We head into almost a third decade

0:43:48.400 --> 0:43:50.920
<v Speaker 2>of Interval in the next couple of years. Do you

0:43:50.960 --> 0:43:54.080
<v Speaker 2>still love it? Do you you know? Do you function better?

0:43:54.120 --> 0:43:55.920
<v Speaker 2>As a band these days, now that you've known each

0:43:55.960 --> 0:43:58.720
<v Speaker 2>other for twenty odd years, Like, how you feeling generally

0:43:58.760 --> 0:43:59.120
<v Speaker 2>about it?

0:43:59.320 --> 0:44:01.799
<v Speaker 4>I mean, I think, you know, yeah, I do. I mean,

0:44:01.840 --> 0:44:04.360
<v Speaker 4>I really love my bandmates. I feel really fortunate to

0:44:04.440 --> 0:44:06.960
<v Speaker 4>have this. It's incredible that I've gone to you know,

0:44:07.040 --> 0:44:09.200
<v Speaker 4>I love traveling. I love the fact that I have

0:44:09.239 --> 0:44:11.319
<v Speaker 4>friends all the world. I love the fact that I've

0:44:11.400 --> 0:44:13.160
<v Speaker 4>learned so many things. I feel this is something that

0:44:13.280 --> 0:44:14.799
<v Speaker 4>I think I always wanted to be a sailor, and

0:44:14.880 --> 0:44:17.000
<v Speaker 4>I got to become a sailor. And then and then

0:44:17.040 --> 0:44:19.160
<v Speaker 4>the fact that you know, we were not still banned

0:44:19.200 --> 0:44:19.880
<v Speaker 4>because well.

0:44:19.719 --> 0:44:22.200
<v Speaker 3>Okay, well this is our livelihood, this is what we do,

0:44:22.400 --> 0:44:23.640
<v Speaker 3>or an insecurity thing.

0:44:23.680 --> 0:44:25.200
<v Speaker 4>I don't I really don't think that it's you know,

0:44:25.239 --> 0:44:27.719
<v Speaker 4>I think it's all sort of you know, those early

0:44:27.800 --> 0:44:29.920
<v Speaker 4>days of songwriting between Paul and I, especially right at

0:44:29.960 --> 0:44:32.600
<v Speaker 4>the beginning, where it's like the last two records being

0:44:32.680 --> 0:44:34.840
<v Speaker 4>very fruitful right off the bat, and you know, you know,

0:44:34.960 --> 0:44:37.680
<v Speaker 4>a couple of songs from their identity right away. I

0:44:37.680 --> 0:44:39.320
<v Speaker 4>think that's more of a testament like oh yeah, we

0:44:39.400 --> 0:44:41.720
<v Speaker 4>still have much more to say. We're still going forward,

0:44:42.120 --> 0:44:43.680
<v Speaker 4>and I think we all feel that way, you know,

0:44:43.760 --> 0:44:46.880
<v Speaker 4>And I think the three of us after Marauder, we

0:44:46.920 --> 0:44:49.200
<v Speaker 4>really felt it was probably the most on the same

0:44:49.239 --> 0:44:51.160
<v Speaker 4>page you've ever been, you know, as far as leaving

0:44:51.160 --> 0:44:52.200
<v Speaker 4>a record being.

0:44:52.000 --> 0:44:54.080
<v Speaker 3>Like, we feel good about what we did. We feel

0:44:54.120 --> 0:44:54.880
<v Speaker 3>really happy about this.

0:44:54.920 --> 0:44:56.400
<v Speaker 4>I mean, there's so much there's a degree of like

0:44:56.440 --> 0:44:59.719
<v Speaker 4>you can't control how people can react to receive it

0:44:59.760 --> 0:45:01.840
<v Speaker 4>with a to say. And that's beautiful thing about music.

0:45:01.880 --> 0:45:04.840
<v Speaker 4>There's it's not subjective. I mean, it's not objective. People

0:45:04.880 --> 0:45:06.680
<v Speaker 4>think it is, but it's not. It's you know, maybe

0:45:06.680 --> 0:45:09.799
<v Speaker 4>you love antics because you maybe that's when you met

0:45:09.840 --> 0:45:12.080
<v Speaker 4>your future wife, like around that time listening that record,

0:45:12.200 --> 0:45:14.400
<v Speaker 4>or maybe our love to my or bright Lights or

0:45:14.440 --> 0:45:17.440
<v Speaker 4>what have you. But you know, at least from our perspective,

0:45:17.440 --> 0:45:21.200
<v Speaker 4>I think we feel Marauda, you know, holds its own

0:45:21.239 --> 0:45:23.719
<v Speaker 4>compared to anything we've done to date, and is you know,

0:45:23.840 --> 0:45:26.719
<v Speaker 4>us moving forward. And so I think that galvinizes us

0:45:26.719 --> 0:45:28.759
<v Speaker 4>to keep doing it. And you know, it's, uh, that's

0:45:28.800 --> 0:45:30.279
<v Speaker 4>why we did it. That's onely reason why we did

0:45:30.360 --> 0:45:32.000
<v Speaker 4>because we feel like we so more to say, and

0:45:32.719 --> 0:45:35.000
<v Speaker 4>I you know, I really love I think you know,

0:45:35.000 --> 0:45:37.000
<v Speaker 4>when we play the songs just even practice, I think

0:45:37.040 --> 0:45:39.959
<v Speaker 4>we feel has an energy and we can't really wait

0:45:40.000 --> 0:45:42.239
<v Speaker 4>to play them live. And I think these are the

0:45:42.239 --> 0:45:44.080
<v Speaker 4>reasons why we're still banded to say and you know

0:45:44.360 --> 0:45:56.200
<v Speaker 4>and onwards.

0:46:14.280 --> 0:46:17.520
<v Speaker 5>Midnight Chats is a Loud and Quiet podcast production by

0:46:17.560 --> 0:46:21.960
<v Speaker 5>Emma Snook Music courtesy of gold Panda. Search Midnight Chats

0:46:21.960 --> 0:46:24.560
<v Speaker 5>on iTunes for more episodes and to subscribe.

0:46:25.000 --> 0:46:35.400
<v Speaker 1>For more information, visit Loud and Quiet dot com.