WEBVTT - Ep 111: Chvrches' Lauren Mayberry

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<v Speaker 1>Like I remember a couple shagging up the back during

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<v Speaker 1>the good Morning showing of Horton. Here's a who I

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<v Speaker 1>say why this is not what touchers, suspand won.

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<v Speaker 2>Welcome to Midnight Chats, a podcast of laid back conversations

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<v Speaker 2>with leading names in music. In keeping with these informal interviews,

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<v Speaker 2>each new one is published weekly at midnight. This week's

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<v Speaker 2>episode is hosted by me Greg Cochrane from Loud and

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<v Speaker 2>Quiet magazine. Tonight. My guest on the podcast is Lauren Maybury, singer,

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<v Speaker 2>multi instrumentalist and songwriter with the band Churches. It's been

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<v Speaker 2>a decade since Lauren came together with Martin Doherty and

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<v Speaker 2>Ian Cook to form the synth pop trio. Previously, they'd

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<v Speaker 2>each been part of various old rock projects around the

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<v Speaker 2>Glasgow area. They released their debut album, The Bones of

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<v Speaker 2>What You Believe in twenty thirteen. Since then, they've gone

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<v Speaker 2>on to become one of Britain's biggest and most uncategorizable,

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<v Speaker 2>if that's even a word bands, having collaborated and toured

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<v Speaker 2>with a wide variety of artists ranging from Paramore to

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<v Speaker 2>the National Marshmallow to Deaftones. You've no doubt heard the

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<v Speaker 2>song lay released recently here now in June twenty twenty one.

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<v Speaker 2>It's with Robert Smith from The Cure. It's called How

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<v Speaker 2>Not to Drown. If you haven't come across it, I've

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<v Speaker 2>dropped a link to the video into the show notes.

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<v Speaker 2>The tale of getting Robert involved is really good, and

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<v Speaker 2>so too are some of the stories about getting to

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<v Speaker 2>know him. Lauren talks about all of that in the

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<v Speaker 2>chat you're about to hear. The conversation is pretty fresh,

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<v Speaker 2>recorded just a few days ago thanks to Lauren, who

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<v Speaker 2>was speaking to me from her place in Los Angeles.

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<v Speaker 2>We were joined at the start by her cat, the

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<v Speaker 2>excellently named Cactus, and Lauren was really generous with their time,

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<v Speaker 2>a really open person to speak to, so thank you

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<v Speaker 2>to her. We covered loads of ground in this, including

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<v Speaker 2>the pressures and the perils of the internet, particularly if

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<v Speaker 2>you're a woman fronting a band, and all the toxic

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<v Speaker 2>stuff that she has been subjected to her days working

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<v Speaker 2>in the local cinema back in Scotland, and how that

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<v Speaker 2>gave birth to a love of horror movies that have

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<v Speaker 2>gone on to inform this current period of the band,

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<v Speaker 2>and really interesting to hear her thoughts on the art

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<v Speaker 2>versus artist debate and where she stands on if and

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<v Speaker 2>how those two things can be separated. For the record,

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<v Speaker 2>I'm withe or on that, And of course we talk

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<v Speaker 2>a bit about Church's forthcoming new album, Screen Violence, which

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<v Speaker 2>is set to be released on the twenty seventh of August.

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<v Speaker 2>Just finally, excuse the very occasional interference on the mics.

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<v Speaker 2>It's just the way these things go, sometimes doing things

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<v Speaker 2>on opposite sides of the world. So here we go.

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<v Speaker 2>This is Lauren Maybury from Churches on episode one hundred

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<v Speaker 2>and eleven of Midnight Chats. This episode of Midnight Chats

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<v Speaker 2>is supported by Because Music, the record label that's home

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<v Speaker 2>to Christine and the Queens, Jango Django, Metronomy, Charlotte Gainsbourg

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<v Speaker 2>and many other brilliant artists. Justice are another one of those,

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<v Speaker 2>and Because have just released the debut solo album from

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<v Speaker 2>gaspar Uga, who is one half of the French electronic duo.

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<v Speaker 2>The album is called Escapades and it's out now, something

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<v Speaker 2>totally different from what you might expect, so do go

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<v Speaker 2>and check it out. You'll find it in any decent

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<v Speaker 2>record shop or online retailer, and it's also available to

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<v Speaker 2>download and stream now that's Escapades by gaspar Auge and

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<v Speaker 2>thanks again to Because Music.

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<v Speaker 1>As soon as I sit down in the office to

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<v Speaker 1>do any kind of promotional activity you want, who is this?

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<v Speaker 1>That was Cactus. She has a sister called Poppy who's

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<v Speaker 1>in the other room, doesn't care for the promo, isn't bothered.

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<v Speaker 1>But it's just as soon as you shut the door

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<v Speaker 1>and they think you're doing something amazing and they have

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<v Speaker 1>to confind it.

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<v Speaker 2>Is she called Cactus because she has like a sort

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<v Speaker 2>of prickily personality.

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<v Speaker 1>Come from well, they came with the names. We got

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<v Speaker 1>them from a rescue place and they'd already named them.

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<v Speaker 1>But they were teeny weeni when we got them. But

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<v Speaker 1>I think she's called catchus because at the time she

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<v Speaker 1>had really spiky. For now she's just insanely fluffee. So yeah,

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<v Speaker 1>and I was like, that takes the pressure of me

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<v Speaker 1>for naming the cat. I don't feel so bad of

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<v Speaker 1>it anyway.

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<v Speaker 2>Would you have relished the challenge to name your cats

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<v Speaker 2>or would that have been like quite difficult one because

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<v Speaker 2>some people sort of have something like they want to

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<v Speaker 2>name their cat after their favorite sports player or their

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<v Speaker 2>favorite like musician or something. Don't they but.

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<v Speaker 1>Yes, I mean I've met I met a white cat

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<v Speaker 1>called Steve ol buy No once. I was like, pretty

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<v Speaker 1>spicy but fair enough. But yes, I've been naming fantasy

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<v Speaker 1>cats for like ten years because we were on tour

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<v Speaker 1>so much, I couldn't really get a pit. But in

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<v Speaker 1>a way it took the responsibility away. They were like,

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<v Speaker 1>do you want the cat or not?

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<v Speaker 2>Yes?

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<v Speaker 1>Yes, so pre named cats all good.

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<v Speaker 2>Cats are one of those pets that because yeah, when

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<v Speaker 2>you do go onto it and it's months on end

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<v Speaker 2>that you're away for, at least, the cat is slightly

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<v Speaker 2>This is just like their personality is more to be independent,

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<v Speaker 2>and they're kind of you might get home, you might

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<v Speaker 2>get home after three months away and you open the door,

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<v Speaker 2>they take one look at you and just sort of shrug.

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<v Speaker 1>Yes, I feel less guilty if I feel like if

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<v Speaker 1>with a dog you'd be breaking its heart while leaving.

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<v Speaker 1>I like to think the cats would notice in so

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<v Speaker 1>far as they receive less treats because I am the

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<v Speaker 1>active treat giver. But other than that, I think they'd

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<v Speaker 1>be fine, which is nicer, nicer for them, I think.

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<v Speaker 2>But we've died into talking about the new album Screen

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<v Speaker 2>Violence twenty twenty one is ten years since the start

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<v Speaker 2>of churches, which is amazing, a whole decade. What are

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<v Speaker 2>your feelings on that, reflections on that. Does a milestone

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<v Speaker 2>like that mean anything to you or do you? Are

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<v Speaker 2>you not the kind of person that dwells on that

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<v Speaker 2>type of thing.

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<v Speaker 1>I feel like I dwell on the passage of time

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<v Speaker 1>a lot, especially in the last couple of years. I

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<v Speaker 1>feel like maybe it's like turning thirty, and maybe just

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<v Speaker 1>everything that happened in the last eighteen months for everybody

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<v Speaker 1>makes you reflect lot more. I kind of not even

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<v Speaker 1>thought that it was ten years until we started doing

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<v Speaker 1>promo and then people were like, did you know, there's

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<v Speaker 1>been ten years of your life? And honestly, it feels

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<v Speaker 1>like I don't really remember a time where I wasn't

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<v Speaker 1>in churches, and so for like, emotionally, it feels like

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<v Speaker 1>that's just been there for a long time. But also

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<v Speaker 1>what happened to the twenties and twenties just disappeared in

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<v Speaker 1>a good way doing something really amazing that so few

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<v Speaker 1>people get to do. So I'm very lucky, but I

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<v Speaker 1>think I'll sink in for us when it's like ten

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<v Speaker 1>years since the first album. It'll be weird because we

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<v Speaker 1>haven't seen Ian in such a long time, because Martin

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<v Speaker 1>and myself were in Los Angeles and Ian's in Glasgow,

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<v Speaker 1>so fingers crossed in theory we might see him before

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<v Speaker 1>the end of the summer, right.

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<v Speaker 2>That'd be great, wasn't it?

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<v Speaker 1>And then I think hopefully we'll be in the same

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<v Speaker 1>place around the tenth anniversary thing, which I think will

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<v Speaker 1>be good.

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<v Speaker 2>Would you get together, go to the pub and just

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<v Speaker 2>sort of like talk the talk about like early months

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<v Speaker 2>or something like that. Would you vuation a bit like that,

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<v Speaker 2>allow yourselves to be nostalgic for a night.

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<v Speaker 1>I think so, because when you're in the thick of

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<v Speaker 1>it and you're just like doing it, doing it, doing it,

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<v Speaker 1>especially like pre twenty twenty, like, there isn't a ton

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<v Speaker 1>of time to reflect on stuff. And at least I've

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<v Speaker 1>been bad at doing that. Not that you're not grateful

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<v Speaker 1>for it, but you don't. I never really sat in

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<v Speaker 1>thought about how mad a lot of the stuff that

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<v Speaker 1>happened around our band was, just because you were just like,

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<v Speaker 1>oh man, better take these opportunities before they go away,

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<v Speaker 1>And we were just like running, running, running, running, and

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<v Speaker 1>we knew it didn't happen a lot for people in

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<v Speaker 1>Glasgow and where we come from, but we didn't know

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<v Speaker 1>if that was uncommon in general. And now that I

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<v Speaker 1>know more people in bands and how things happened for them,

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<v Speaker 1>I'm like, yeah, that's that doesn't happen every day. That

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<v Speaker 1>is quite a mental story the way it rolled out

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<v Speaker 1>for us. So I'm very grateful for it, I said,

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<v Speaker 1>I'm very wistful. I had a whole year inside to

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<v Speaker 1>think about this.

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<v Speaker 2>We did like loads of those sort of odd jobs

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<v Speaker 2>that you just never get round to doing, like whether

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<v Speaker 2>that's like going through the boxes at the bottom of

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<v Speaker 2>your wardrobe and you find like family photos or you

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<v Speaker 2>or a friend messages you that you haven't been in

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<v Speaker 2>touch with for ages. It was there was something about

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<v Speaker 2>particularly the first sort of lockdown of the of the

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<v Speaker 2>pandemic that I guess maybe it was just the pure

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<v Speaker 2>time on your hands, but also it just it was

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<v Speaker 2>a sort of reflective period, wasn't it. It Just it

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<v Speaker 2>did allow a bit of time and space to maybe

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<v Speaker 2>things to just come into your mind.

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<v Speaker 1>Yeah, and I hope that we hold on to that stuff.

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<v Speaker 1>I think that I got a lot out of that.

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<v Speaker 1>In a weird way, which seems kind of fucked to see,

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<v Speaker 1>but yeah, I don't think I would. We wouldn't have

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<v Speaker 1>stopped the regular trajectory of our work lives had that

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<v Speaker 1>not happened. And I think everybody did some soul searching

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<v Speaker 1>and good ways and bad and I hope that you

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<v Speaker 1>take that into the next chapter with you. But I

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<v Speaker 1>think I'm annoying the guys already because everything that's happening.

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<v Speaker 1>I'm like, oh my god, you guys just hold onto

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<v Speaker 1>the look at this moment, and they're like, oh my god,

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<v Speaker 1>my god. It's like it's a it's a thumbnail of

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<v Speaker 1>single art for the internet. Like why, I'm like, oh,

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<v Speaker 1>can you believe the third piece of artwork for the

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<v Speaker 1>fourth album?

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<v Speaker 2>Oh?

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<v Speaker 1>And I think that's going to get old pretty quickly,

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<v Speaker 1>but you know, I would rather be I don't know.

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<v Speaker 1>It made me very conscious that all of this is

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<v Speaker 1>going to go away, like in all senses of it,

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<v Speaker 1>like everything from churches to the literal existential stuff. I'm like,

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<v Speaker 1>none of this is around forever. And I feel like

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<v Speaker 1>I've definitely taken it, not taken advantage, just been bluzzy

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<v Speaker 1>about certain things at certain times. And I don't want

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<v Speaker 1>to do that anymore, so they just have to put

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<v Speaker 1>out with me being like, oh, you guys are first

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<v Speaker 1>five am flight.

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<v Speaker 2>What what are your recollections from those first few months

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<v Speaker 2>of being together in churches? Because it was was it

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<v Speaker 2>around the summertime or that you got together eleven?

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<v Speaker 1>Yeah, So I met ian In at the end of

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<v Speaker 1>September twenty eleven because he was recording an EP for

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<v Speaker 1>my old band. I would have been like October time

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<v Speaker 1>that I did the like rough recording for what ended

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<v Speaker 1>up being Churches. And it was that Ian and Martin

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<v Speaker 1>had been working on these songs together. I think they

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<v Speaker 1>wanted to try and write songs for other people, maybe

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<v Speaker 1>try and get publishing. And then when I'd played with

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<v Speaker 1>Ian he was like, oh, maybe it'd be good for

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<v Speaker 1>her to sing some backing vocals or it would make

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<v Speaker 1>it easier to present to people, so it's not just

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<v Speaker 1>male singing. But yeah, I mean I didn't know what

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<v Speaker 1>I was doing at the time. I don't think any

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<v Speaker 1>of us really knew. Like Martin loves to maintain that

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<v Speaker 1>he knew, like he's the seer. He was like, yes,

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<v Speaker 1>this is going to be massive, and he was definitely

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<v Speaker 1>more plugged into like hype Machine and like what was

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<v Speaker 1>current at that time in a way that Ian and

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<v Speaker 1>I just weren't. Yeah, I don't think you can ever

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<v Speaker 1>really plan any of that stuff. And there's so many

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<v Speaker 1>things about about the band that are just a happy accident.

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<v Speaker 1>Like there's so many bands and I don't mean this

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<v Speaker 1>in a disrespectful way, but there's so many bands that

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<v Speaker 1>came out at the same time as US or a

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<v Speaker 1>few years after that do roughly the same thing, and

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<v Speaker 1>they don't. They haven't had the same life span as US,

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<v Speaker 1>And I don't know what that is for. I don't know.

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<v Speaker 1>I don't know why. I think we're lucky to have

0:11:07.559 --> 0:11:10.480
<v Speaker 1>an incredibly rabid fan base that was there from the beginning.

0:11:10.880 --> 0:11:14.079
<v Speaker 1>And I feel like whenever people talk about the resurgence

0:11:14.160 --> 0:11:17.240
<v Speaker 1>of synthpop and then they list the bands that they're

0:11:17.280 --> 0:11:19.120
<v Speaker 1>talking about, I'm like, ah, I don't even think about

0:11:19.160 --> 0:11:21.959
<v Speaker 1>those people as being peers of ours in terms of

0:11:22.160 --> 0:11:24.120
<v Speaker 1>what we're trying to do or what kind of writing

0:11:24.160 --> 0:11:25.920
<v Speaker 1>you're doing. I think we were always a lot more

0:11:26.000 --> 0:11:31.079
<v Speaker 1>focused on emotional content and lyrical content and having I

0:11:31.160 --> 0:11:33.160
<v Speaker 1>feel like that a band has an identity, for better

0:11:33.280 --> 0:11:35.240
<v Speaker 1>or worse. Some people love us, some people hate us,

0:11:35.320 --> 0:11:38.560
<v Speaker 1>but most of the time it doesn't seem like there's

0:11:38.559 --> 0:11:40.719
<v Speaker 1>an in between, which I kind of think is a

0:11:40.840 --> 0:11:45.000
<v Speaker 1>positive sign. I would rather be saying something lyrically and

0:11:45.120 --> 0:11:46.680
<v Speaker 1>literally than just be benign.

0:11:46.880 --> 0:11:48.760
<v Speaker 2>You know. That's sort feeds into something I was going

0:11:48.840 --> 0:11:50.000
<v Speaker 2>to ask you about later on, but we might as

0:11:50.040 --> 0:11:51.760
<v Speaker 2>well get onto it now. With just that idea of

0:11:51.960 --> 0:11:56.160
<v Speaker 2>like churches being just my opinion, but sort of genre fluid,

0:11:56.320 --> 0:12:00.040
<v Speaker 2>sort of audience fluid. Just you do your thing, and

0:12:00.559 --> 0:12:03.920
<v Speaker 2>like it just seems like different communities of people really

0:12:04.000 --> 0:12:06.559
<v Speaker 2>get into what you're doing. Like, you know, the obvious

0:12:06.600 --> 0:12:09.240
<v Speaker 2>examples being, you know, to illustrate that point being that

0:12:09.280 --> 0:12:12.000
<v Speaker 2>you've been on tour with a whole bunch of diverse

0:12:12.400 --> 0:12:14.679
<v Speaker 2>artists from Deaf Tones through to like you know, you're

0:12:14.679 --> 0:12:16.280
<v Speaker 2>going out with Donna miss Or later in the year,

0:12:16.440 --> 0:12:19.480
<v Speaker 2>Like this is a really diverse sort of group of

0:12:19.880 --> 0:12:22.640
<v Speaker 2>people that you've worked with and been associated with and

0:12:22.760 --> 0:12:25.480
<v Speaker 2>collaborated with and stuff. We're all familiar with the kind

0:12:25.520 --> 0:12:27.199
<v Speaker 2>of old school way of thinking around the kind of

0:12:27.280 --> 0:12:30.920
<v Speaker 2>like the boxes that fit neatly over genres and festivals

0:12:30.960 --> 0:12:34.120
<v Speaker 2>and the way that we consume music. The very titles

0:12:34.160 --> 0:12:36.319
<v Speaker 2>that we flick through when we go into a record store,

0:12:36.559 --> 0:12:38.439
<v Speaker 2>and like, it feels like churches could kind of fit

0:12:38.520 --> 0:12:40.880
<v Speaker 2>into a lot of different ones. And so is that

0:12:41.000 --> 0:12:44.360
<v Speaker 2>something you intentionally wanted or you've just been happy that

0:12:44.440 --> 0:12:45.439
<v Speaker 2>it's emerged in that way.

0:12:45.559 --> 0:12:47.160
<v Speaker 1>I think it was just something that was always in

0:12:47.280 --> 0:12:50.520
<v Speaker 1>the dna of it because we all come from rock

0:12:50.600 --> 0:12:54.600
<v Speaker 1>and alternative band backgrounds, So when we were doing started

0:12:54.640 --> 0:12:56.680
<v Speaker 1>to do a quote unquote pop band, there was always

0:12:56.720 --> 0:13:01.240
<v Speaker 1>going to be like a strange juxtaposition. And I think

0:13:02.120 --> 0:13:04.960
<v Speaker 1>for me, you can always tell when someone's quote unquote

0:13:05.040 --> 0:13:07.439
<v Speaker 1>going pop because they think it's a smart thing to do,

0:13:07.800 --> 0:13:09.679
<v Speaker 1>or whether they really love it. And I feel like

0:13:10.040 --> 0:13:12.559
<v Speaker 1>the thing that always frustrated each of us individually in

0:13:12.720 --> 0:13:15.959
<v Speaker 1>other bands was that pop was bad and melody was

0:13:16.000 --> 0:13:18.520
<v Speaker 1>not allowed and you had to always bury those things

0:13:18.520 --> 0:13:21.120
<v Speaker 1>because all of us do love pop music like you

0:13:21.160 --> 0:13:23.800
<v Speaker 1>can love all things at once, like you think it's okay.

0:13:24.280 --> 0:13:28.240
<v Speaker 1>And so when we went into the alternative pop space

0:13:28.440 --> 0:13:32.040
<v Speaker 1>and never really fully felt like we've fitted there, and

0:13:32.120 --> 0:13:34.600
<v Speaker 1>I know that that's been frustrating to people around us

0:13:34.800 --> 0:13:37.760
<v Speaker 1>that work with us sometimes because it's like, ah, they're

0:13:37.840 --> 0:13:40.600
<v Speaker 1>not fully accepted by this community but not fully accepted

0:13:40.600 --> 0:13:43.360
<v Speaker 1>by that community. And for booking and playlisting and genre

0:13:43.520 --> 0:13:45.880
<v Speaker 1>genre all that stuff, it does feel like we fall

0:13:46.000 --> 0:13:49.160
<v Speaker 1>between two stools sometimes, but I think in the long

0:13:49.200 --> 0:13:51.040
<v Speaker 1>run that's been a real strength for the band. Because

0:13:51.480 --> 0:13:54.040
<v Speaker 1>the day the first album came out, we played a

0:13:54.480 --> 0:13:56.599
<v Speaker 1>session on Radio two and at night we played a

0:13:56.640 --> 0:13:58.920
<v Speaker 1>boiler room session, and I said, those are two most

0:13:58.960 --> 0:14:02.040
<v Speaker 1>bizarre things, but I think that's always yeah, And then

0:14:02.080 --> 0:14:04.400
<v Speaker 1>once we realized that that was a thing we could do,

0:14:04.840 --> 0:14:07.280
<v Speaker 1>and you can tell from shows or online that the

0:14:07.360 --> 0:14:10.360
<v Speaker 1>demographic is pretty broad in terms of age and interests

0:14:10.400 --> 0:14:13.360
<v Speaker 1>in all those things. So I think once we realized

0:14:13.400 --> 0:14:15.560
<v Speaker 1>we were allowed to do that, we definitely lent into

0:14:15.640 --> 0:14:19.040
<v Speaker 1>that more, and especially the last few years. Like I

0:14:19.240 --> 0:14:21.240
<v Speaker 1>personally think it's really great that we can do a

0:14:21.280 --> 0:14:23.640
<v Speaker 1>collaboration with a big EDM guy, and then we can

0:14:23.680 --> 0:14:25.880
<v Speaker 1>work with Robert Smith, and we can make a record

0:14:25.920 --> 0:14:27.880
<v Speaker 1>with Greg Kristen, and then we can make a record

0:14:28.160 --> 0:14:30.800
<v Speaker 1>basically over zoom. I kind of feel like that's a

0:14:30.880 --> 0:14:34.760
<v Speaker 1>real strength to the band. And I don't really read

0:14:34.800 --> 0:14:36.960
<v Speaker 1>reviews very much, but I read a review of like

0:14:37.040 --> 0:14:39.280
<v Speaker 1>one of our shows that we did at Ali Palley,

0:14:39.840 --> 0:14:42.440
<v Speaker 1>and the premise was like, for a band that's never

0:14:42.560 --> 0:14:45.400
<v Speaker 1>had a hit, there's a lot of people of this show.

0:14:45.560 --> 0:14:48.040
<v Speaker 1>And then I was like, yeah, I think that's really

0:14:48.240 --> 0:14:50.480
<v Speaker 1>cool though, because for us, it's always these little, like

0:14:51.040 --> 0:14:54.920
<v Speaker 1>five percenter things rather than like one big smash. It's

0:14:54.960 --> 0:14:58.000
<v Speaker 1>always like somebody heard you on some TV show or

0:14:58.880 --> 0:15:01.440
<v Speaker 1>a video game, or a friend found it on SoundCloud

0:15:01.480 --> 0:15:03.240
<v Speaker 1>when they were at university and then they told them

0:15:03.280 --> 0:15:06.520
<v Speaker 1>about it, And yeah, I feel like that's something that

0:15:06.680 --> 0:15:08.960
<v Speaker 1>we're really grateful for and want to invest in in

0:15:09.080 --> 0:15:12.040
<v Speaker 1>terms of like what does a long term project look like?

0:15:12.160 --> 0:15:14.240
<v Speaker 1>What how do you keep people interested? How do you

0:15:14.400 --> 0:15:17.960
<v Speaker 1>keep your touring good? How do you stay around? And

0:15:18.080 --> 0:15:21.000
<v Speaker 1>you're not going to be hot property forever? You know?

0:15:21.280 --> 0:15:24.040
<v Speaker 1>And I think that's something that we figured out after

0:15:24.120 --> 0:15:26.200
<v Speaker 1>the second album, was that you're not always going to

0:15:26.240 --> 0:15:29.760
<v Speaker 1>be everybody's favorite Darling kind of thing. But how can

0:15:29.840 --> 0:15:31.960
<v Speaker 1>you invest in the people that have invested in you

0:15:32.400 --> 0:15:35.360
<v Speaker 1>and keep evolving rather than you know, you don't have

0:15:35.440 --> 0:15:39.920
<v Speaker 1>to evolve into super mainstream pop to keep moving forward.

0:15:40.320 --> 0:15:44.920
<v Speaker 2>How hard is it to not constantly spend time second

0:15:45.080 --> 0:15:47.440
<v Speaker 2>guessing yourself, like listening to you there talking about it,

0:15:47.560 --> 0:15:51.200
<v Speaker 2>like presumably the idea is that when you sit down

0:15:51.240 --> 0:15:52.720
<v Speaker 2>to write some new music, you kind of want to

0:15:52.840 --> 0:15:55.800
<v Speaker 2>just detach and you want to retreat to that sort

0:15:55.840 --> 0:15:59.600
<v Speaker 2>of original essence of what creating music is to you

0:15:59.800 --> 0:16:02.280
<v Speaker 2>and and amongst the three of you in the band.

0:16:02.960 --> 0:16:05.520
<v Speaker 2>But you've come a long way, like you said, you've

0:16:05.520 --> 0:16:08.080
<v Speaker 2>gone on this trajectory that's actually probably been really great

0:16:08.120 --> 0:16:11.200
<v Speaker 2>for like longevity in terms of like building building and

0:16:11.600 --> 0:16:13.680
<v Speaker 2>you've got like really kind of loyal people that have

0:16:13.760 --> 0:16:16.240
<v Speaker 2>come with you the whole way. Does it still play

0:16:16.280 --> 0:16:17.760
<v Speaker 2>on your mind? Of all those things you just mentioned,

0:16:17.760 --> 0:16:20.680
<v Speaker 2>there's loads of like competing factors. How do you filter

0:16:20.800 --> 0:16:23.440
<v Speaker 2>out the noise or is it even possible to filter

0:16:23.520 --> 0:16:25.760
<v Speaker 2>out the noise when sort of creating something new.

0:16:26.360 --> 0:16:29.320
<v Speaker 1>I think I've done better and worse jobs of that

0:16:29.480 --> 0:16:32.840
<v Speaker 1>at different times, Like yeah, when I've heard heard people

0:16:33.600 --> 0:16:35.880
<v Speaker 1>comment on the lyrics over the course of time. I

0:16:35.960 --> 0:16:38.320
<v Speaker 1>think the ones that have connected with people much better

0:16:38.440 --> 0:16:41.000
<v Speaker 1>are the ones where we are being more vulnerable and

0:16:41.080 --> 0:16:43.240
<v Speaker 1>we are being more open and honest. And I think

0:16:43.360 --> 0:16:45.200
<v Speaker 1>there was a time period where I found that quite

0:16:46.040 --> 0:16:49.000
<v Speaker 1>unpleasant to have to do because it felt like everything,

0:16:49.200 --> 0:16:52.080
<v Speaker 1>everything that comes out of my mouth is being analyzed,

0:16:52.200 --> 0:16:55.040
<v Speaker 1>and why would I give people more rope to hang

0:16:55.120 --> 0:16:56.920
<v Speaker 1>me with. I don't want people to know any more

0:16:57.000 --> 0:16:59.040
<v Speaker 1>than they already know, because it's not good for my

0:16:59.160 --> 0:17:02.440
<v Speaker 1>well being. But I think that the songs suffered because

0:17:02.440 --> 0:17:04.160
<v Speaker 1>of that, because they don't need to be even stream

0:17:04.160 --> 0:17:07.720
<v Speaker 1>of consciousness about yourself, but you need to be putting

0:17:07.960 --> 0:17:10.920
<v Speaker 1>enough of your own emotion and honestly into a song,

0:17:11.119 --> 0:17:13.880
<v Speaker 1>no matter who the narrator is, I think, and yeah,

0:17:13.960 --> 0:17:15.560
<v Speaker 1>I look back on those songs, I'm like, those songs

0:17:15.600 --> 0:17:19.120
<v Speaker 1>are good, but they don't have the same emotional weight

0:17:19.320 --> 0:17:21.560
<v Speaker 1>to them because they or maybe that's just how I

0:17:21.600 --> 0:17:25.880
<v Speaker 1>feel about them. I feel like they feels more disconnected

0:17:25.920 --> 0:17:28.359
<v Speaker 1>because that's what they were designed for. But that's not

0:17:28.480 --> 0:17:31.600
<v Speaker 1>what people necessarily want our band to be. So, if anything,

0:17:31.720 --> 0:17:35.240
<v Speaker 1>last year felt the most akin to the first album

0:17:35.320 --> 0:17:37.920
<v Speaker 1>in terms of being in a vacuum. Like when we

0:17:38.000 --> 0:17:39.920
<v Speaker 1>made the first album, we'd written most of it before

0:17:40.040 --> 0:17:45.720
<v Speaker 1>anybody heard the band, really, so you were writing without expectations.

0:17:45.760 --> 0:17:48.920
<v Speaker 1>And I think that of all the horrible things that

0:17:49.160 --> 0:17:53.119
<v Speaker 1>happened last year, the band kind of ceased to exist

0:17:53.280 --> 0:17:58.480
<v Speaker 1>in the truest sense of it, Like, if nobody sees you,

0:17:58.600 --> 0:18:01.280
<v Speaker 1>nobody hears you, you don't go anywhere, you don't do anything.

0:18:01.600 --> 0:18:03.800
<v Speaker 1>Does a band exist If a band tree falls in

0:18:03.840 --> 0:18:07.879
<v Speaker 1>the woods, So you know, like then like the band became.

0:18:08.119 --> 0:18:12.080
<v Speaker 1>Instead of this chaotic, wonderful, chaotic godzilla that just tramps

0:18:12.080 --> 0:18:15.200
<v Speaker 1>through our lives, it was like a source of consistency

0:18:15.359 --> 0:18:17.760
<v Speaker 1>and comfort almost. We would meet up and we would write,

0:18:18.280 --> 0:18:21.520
<v Speaker 1>and we were just kind of writing for each other.

0:18:21.640 --> 0:18:23.520
<v Speaker 1>As cheesy as that sounds, We're like, let's just try

0:18:23.560 --> 0:18:25.960
<v Speaker 1>and make something good. It doesn't seem like this is

0:18:26.080 --> 0:18:28.640
<v Speaker 1>gonna We'll try, but we don't know what's gonna happen.

0:18:28.760 --> 0:18:32.159
<v Speaker 1>And if anything, I think not having anybody watching or

0:18:32.240 --> 0:18:35.639
<v Speaker 1>listening and having a mental health break from what is

0:18:35.680 --> 0:18:40.360
<v Speaker 1>a wonderful but pretty fucking insane job was I think

0:18:40.480 --> 0:18:43.120
<v Speaker 1>helped us a lot in terms of finding a better

0:18:43.200 --> 0:18:46.320
<v Speaker 1>balance with that. And I think, yeah, the fear of

0:18:46.440 --> 0:18:50.520
<v Speaker 1>writing personally kind of disappeared for me on this album,

0:18:50.680 --> 0:18:52.680
<v Speaker 1>So I think that was good. If you, again, you've

0:18:52.680 --> 0:18:54.360
<v Speaker 1>only had a certain amount of times, you might as well,

0:18:54.720 --> 0:18:56.080
<v Speaker 1>what's the point If you only get to put a

0:18:56.200 --> 0:18:58.320
<v Speaker 1>certain number of records, you might as well put something

0:18:58.359 --> 0:19:00.200
<v Speaker 1>on it that you can look back on and be like, yeah, yeah,

0:19:00.440 --> 0:19:01.280
<v Speaker 1>I hang my han on it.

0:19:01.560 --> 0:19:04.080
<v Speaker 2>I mean you mentioned they're the importance of switching off,

0:19:04.200 --> 0:19:06.879
<v Speaker 2>taking a break from it. Having done that in between

0:19:07.040 --> 0:19:08.920
<v Speaker 2>the release of the last record and then the start

0:19:08.960 --> 0:19:11.760
<v Speaker 2>of the pandemic, what did that entail for you? Was

0:19:11.800 --> 0:19:14.439
<v Speaker 2>that a case of just was that like turn your

0:19:14.480 --> 0:19:17.920
<v Speaker 2>phone off? In a practical sense, How did you manage

0:19:17.960 --> 0:19:20.200
<v Speaker 2>to create a bit of distance, to give yourself some headspace,

0:19:20.320 --> 0:19:23.320
<v Speaker 2>to be able to start over, to start again, to

0:19:23.400 --> 0:19:24.480
<v Speaker 2>want to start over again.

0:19:24.720 --> 0:19:26.840
<v Speaker 1>I don't know that we did really, Like I guess

0:19:26.880 --> 0:19:28.440
<v Speaker 1>the album came out in twenty eighteen, and then we

0:19:28.560 --> 0:19:32.800
<v Speaker 1>toured like mad bastards, and then we put out this

0:19:33.080 --> 0:19:36.800
<v Speaker 1>EDM collaboration thing in the springtime twenty nineteen, so that

0:19:36.880 --> 0:19:38.280
<v Speaker 1>we toured off that for a bit, and then we

0:19:38.359 --> 0:19:39.879
<v Speaker 1>put a song for a video game, and then we

0:19:39.960 --> 0:19:42.080
<v Speaker 1>toured off that for a bit. So we only finished

0:19:42.119 --> 0:19:45.119
<v Speaker 1>in December, end of December twenty and nineteen. Then we

0:19:45.240 --> 0:19:47.920
<v Speaker 1>had the Christmas period, a little bit of time at home,

0:19:48.440 --> 0:19:50.520
<v Speaker 1>and then we came back to start writing in February

0:19:50.640 --> 0:19:53.080
<v Speaker 1>twenty twenty. And then ever they even fell apart obviously,

0:19:53.359 --> 0:19:55.880
<v Speaker 1>So I think a lot of the reflecting was done

0:19:56.480 --> 0:20:00.440
<v Speaker 1>when everybody was fully, fully locked inside their houses and

0:20:01.480 --> 0:20:02.680
<v Speaker 1>pretty fucking terrified.

0:20:03.280 --> 0:20:06.480
<v Speaker 2>Yeah, I mean those early days were so strange, but

0:20:06.760 --> 0:20:10.000
<v Speaker 2>like just just following the kind of directives of being like,

0:20:10.080 --> 0:20:13.159
<v Speaker 2>how how is today different from yesterday? Wasn't it was?

0:20:13.280 --> 0:20:17.000
<v Speaker 2>It was quite confusing and just yeah, it was terrifying.

0:20:17.080 --> 0:20:19.640
<v Speaker 2>It was kind of this thing ripping through the through

0:20:19.680 --> 0:20:20.040
<v Speaker 2>the world.

0:20:20.240 --> 0:20:22.600
<v Speaker 1>And I think if anything, for me, that having spent

0:20:22.680 --> 0:20:25.880
<v Speaker 1>that time, it was important to reflect on that because

0:20:25.920 --> 0:20:28.320
<v Speaker 1>a lot of mad stuff happened for us in good ways.

0:20:28.359 --> 0:20:31.680
<v Speaker 1>I'm bad, and I think sitting reflecting on those things,

0:20:32.680 --> 0:20:34.159
<v Speaker 1>it was almost like an epiphany where I was like,

0:20:34.200 --> 0:20:38.080
<v Speaker 1>why am I wasting my fucking time on certain things?

0:20:38.560 --> 0:20:40.960
<v Speaker 1>Like certain things within the job. I was like, like,

0:20:41.080 --> 0:20:43.880
<v Speaker 1>I just don't have any fucks to give on those

0:20:43.960 --> 0:20:46.320
<v Speaker 1>fronts anymore. And I think that the we've made better

0:20:46.440 --> 0:20:49.560
<v Speaker 1>music because of it, And yeah, I think that people

0:20:49.600 --> 0:20:51.800
<v Speaker 1>are responding better to the music we put out so

0:20:51.920 --> 0:20:57.080
<v Speaker 1>far because that we just took off these parameters that

0:20:57.160 --> 0:20:59.440
<v Speaker 1>we put on, if that makes sense, because everybody will

0:20:59.440 --> 0:21:03.560
<v Speaker 1>tell you all, well, we just we don't mind We're fine,

0:21:03.600 --> 0:21:05.919
<v Speaker 1>We'll just make whatever we want. No artist is ever worried,

0:21:06.000 --> 0:21:08.400
<v Speaker 1>but especially for people like customer where we come from.

0:21:08.440 --> 0:21:10.960
<v Speaker 1>I'm like, I spent a lot of time, especially around

0:21:10.960 --> 0:21:13.320
<v Speaker 1>the third album, I mean really fucking a worried that

0:21:13.359 --> 0:21:15.000
<v Speaker 1>it was all going to go away and it was

0:21:15.080 --> 0:21:16.640
<v Speaker 1>going to be because I didn't do it a good

0:21:16.720 --> 0:21:20.359
<v Speaker 1>enough job, or like you're kind of told this or

0:21:20.440 --> 0:21:23.360
<v Speaker 1>sold this idea that it's a whole colive disappear. There's

0:21:23.400 --> 0:21:27.160
<v Speaker 1>not enough time quickly, quickly, like you have to do better, bigger, faster,

0:21:27.560 --> 0:21:31.760
<v Speaker 1>like and I don't know that that's true necessarily in

0:21:31.880 --> 0:21:36.560
<v Speaker 1>terms of making stuff that's actually good in a real sense.

0:21:36.880 --> 0:21:39.119
<v Speaker 2>Did that just feel like a momentum of people saying, like,

0:21:39.280 --> 0:21:41.080
<v Speaker 2>work harder, work harder, work hard? Is that what it

0:21:41.119 --> 0:21:43.520
<v Speaker 2>feels like? Just sweet? More play more shows, do more

0:21:43.520 --> 0:21:45.560
<v Speaker 2>TV appearances more like? Is that what?

0:21:46.320 --> 0:21:46.359
<v Speaker 1>Like?

0:21:46.480 --> 0:21:48.560
<v Speaker 2>I guess I'm just trying to get to like that

0:21:49.040 --> 0:21:51.040
<v Speaker 2>pressure that it sounds like was on there, the idea

0:21:51.080 --> 0:21:52.960
<v Speaker 2>that things might go away, and like that somehow the

0:21:53.040 --> 0:21:55.680
<v Speaker 2>solution was that you just you've got to keep sprinting.

0:21:55.920 --> 0:21:58.520
<v Speaker 2>What kind of things were they? And how did you?

0:21:59.480 --> 0:22:02.240
<v Speaker 2>How did you and to say that enough is enough.

0:22:02.880 --> 0:22:04.680
<v Speaker 2>Did you just do that almost like one day where

0:22:04.680 --> 0:22:07.640
<v Speaker 2>you're like, I can't do this, I need to stop

0:22:07.720 --> 0:22:07.960
<v Speaker 2>doing that.

0:22:08.240 --> 0:22:10.040
<v Speaker 1>Well, I think we've been really lucky in terms of

0:22:10.800 --> 0:22:13.440
<v Speaker 1>the people that we work with. Have never really been

0:22:13.680 --> 0:22:15.560
<v Speaker 1>like that with us, Like we were really lucky with

0:22:15.600 --> 0:22:18.480
<v Speaker 1>who we signed with and all those things. But it

0:22:18.600 --> 0:22:21.680
<v Speaker 1>is just a fearful pressure from within yourself sometimes like

0:22:22.240 --> 0:22:24.240
<v Speaker 1>no barons are the same, you should not be comparing

0:22:24.280 --> 0:22:27.399
<v Speaker 1>yourself to other people. But then it is like, oh,

0:22:27.560 --> 0:22:30.359
<v Speaker 1>so and so is much more engaging with their fan

0:22:30.440 --> 0:22:32.480
<v Speaker 1>base on the internet, and then their tickets sell better

0:22:32.600 --> 0:22:34.840
<v Speaker 1>because of that. And then this person did the collaboration

0:22:34.960 --> 0:22:37.000
<v Speaker 1>with this person, which meant they got this tour support,

0:22:37.040 --> 0:22:39.520
<v Speaker 1>which made it's just like you're just trying to keep

0:22:39.560 --> 0:22:42.879
<v Speaker 1>your career for as long as you're allowed. And you know,

0:22:43.000 --> 0:22:44.800
<v Speaker 1>on the third record, I feel like there was a

0:22:44.960 --> 0:22:46.840
<v Speaker 1>sense within all of us that we were like, Okay,

0:22:46.880 --> 0:22:49.920
<v Speaker 1>well we can't make the same album again, so we

0:22:50.000 --> 0:22:51.600
<v Speaker 1>have to do something different. But I don't really know

0:22:51.640 --> 0:22:53.800
<v Speaker 1>what that is. So I think we went in feeling

0:22:53.840 --> 0:22:56.159
<v Speaker 1>a bit directionless, and we found what I think is

0:22:56.200 --> 0:22:59.720
<v Speaker 1>a good direction when we worked with Greg Kirstin, who's

0:23:00.000 --> 0:23:02.879
<v Speaker 1>who we ended up working with on that. But I

0:23:03.000 --> 0:23:04.439
<v Speaker 1>know that a lot of the FAMI base didn't really

0:23:04.520 --> 0:23:07.720
<v Speaker 1>like that record that much, and I think I look

0:23:07.760 --> 0:23:09.600
<v Speaker 1>back on that and I wonder if that was because

0:23:09.840 --> 0:23:12.720
<v Speaker 1>the lyrics weren't as personal or as a motive. I'm

0:23:12.760 --> 0:23:14.880
<v Speaker 1>not sure, But for me, I'm like, I don't regret

0:23:14.960 --> 0:23:17.040
<v Speaker 1>any of those things because I learned so much from

0:23:17.119 --> 0:23:21.800
<v Speaker 1>working with somebody as crazy talented as that. And if

0:23:21.800 --> 0:23:23.480
<v Speaker 1>you made this, if we made the ones of What

0:23:23.560 --> 0:23:26.080
<v Speaker 1>You Leave part three, people wouldn't have liked that, Like

0:23:26.160 --> 0:23:28.760
<v Speaker 1>it wouldn't. You have to grow and evolve as a

0:23:28.840 --> 0:23:31.200
<v Speaker 1>person as a writer, you have to try stuff like

0:23:31.280 --> 0:23:33.440
<v Speaker 1>I don't want to be afraid to try things. So

0:23:33.840 --> 0:23:36.280
<v Speaker 1>I feel like the only thing I would change about

0:23:36.280 --> 0:23:38.560
<v Speaker 1>it is that over the course of that album cycle,

0:23:38.680 --> 0:23:41.240
<v Speaker 1>I think I learned better about listening to my gut

0:23:41.280 --> 0:23:44.240
<v Speaker 1>about certain things because I think, for better or words,

0:23:44.280 --> 0:23:47.639
<v Speaker 1>I think I have a good, pretty good sense of

0:23:48.119 --> 0:23:50.800
<v Speaker 1>what I think it essentially big headed, I have good

0:23:50.800 --> 0:23:52.879
<v Speaker 1>sense of what we should be doing. But I just mean,

0:23:53.119 --> 0:23:54.480
<v Speaker 1>you know, all three of us, I think we have,

0:23:54.800 --> 0:23:58.520
<v Speaker 1>but we kind of got psyched out of trusting that

0:23:58.680 --> 0:24:02.680
<v Speaker 1>if that makes sense. Music first becomes popular people like

0:24:03.640 --> 0:24:05.239
<v Speaker 1>the honesty of it and what it is, and then

0:24:05.280 --> 0:24:07.200
<v Speaker 1>you sit and second guess what that is and you

0:24:07.359 --> 0:24:09.680
<v Speaker 1>try and focus group out the things that yeah, and

0:24:09.800 --> 0:24:12.760
<v Speaker 1>it's just it's endless. So I feel like this was

0:24:12.840 --> 0:24:16.000
<v Speaker 1>a good time for us to just be like, we

0:24:16.119 --> 0:24:20.840
<v Speaker 1>need to trust ourselves more and if anything that I

0:24:20.920 --> 0:24:23.000
<v Speaker 1>had a conversation with our manager at one point in

0:24:23.119 --> 0:24:26.520
<v Speaker 1>twenty nineteen and he was like, I understand, I totally

0:24:26.560 --> 0:24:27.840
<v Speaker 1>get it, and he made a good point to me,

0:24:27.840 --> 0:24:29.080
<v Speaker 1>and I think about a lot. He was that you

0:24:29.119 --> 0:24:31.480
<v Speaker 1>can say no to all these things and that's totally fine,

0:24:32.440 --> 0:24:34.639
<v Speaker 1>but if you say no to something, you have to

0:24:34.920 --> 0:24:36.600
<v Speaker 1>come back with what you do when I do, And

0:24:36.720 --> 0:24:39.080
<v Speaker 1>I was like, So then I sat and steward on

0:24:39.160 --> 0:24:40.719
<v Speaker 1>that and I was like, what do is see? How

0:24:40.760 --> 0:24:42.680
<v Speaker 1>am I supposed to know? I'm not the buzz or everything.

0:24:42.800 --> 0:24:44.920
<v Speaker 1>And then about three weeks later, I've been looking through

0:24:45.840 --> 0:24:47.800
<v Speaker 1>like some archive stuff I had of churches and I

0:24:47.880 --> 0:24:50.800
<v Speaker 1>found this list of band names that we were going

0:24:50.880 --> 0:24:52.119
<v Speaker 1>to call the band, and there was a lot of

0:24:52.160 --> 0:24:55.359
<v Speaker 1>bad ones, but then Screen Violence was on. It was

0:24:55.440 --> 0:24:56.760
<v Speaker 1>something we were going to call the band, and I

0:24:56.880 --> 0:24:59.080
<v Speaker 1>was like, well, that would be if we're feeling a

0:24:59.119 --> 0:25:01.639
<v Speaker 1>bit disjointed. Sure, and maybe that's just a good writing

0:25:01.760 --> 0:25:04.320
<v Speaker 1>prompt because we all love everything from that era and

0:25:04.440 --> 0:25:07.600
<v Speaker 1>for me lyrically that pheze now means something very different

0:25:08.000 --> 0:25:10.000
<v Speaker 1>than what it did at the time. So I thought

0:25:10.080 --> 0:25:11.720
<v Speaker 1>it was just going to be a cool writing prompt

0:25:11.800 --> 0:25:14.800
<v Speaker 1>for us to all get excited about old movies, and

0:25:15.600 --> 0:25:18.760
<v Speaker 1>then it kind of evolved into this other, this other thing,

0:25:18.840 --> 0:25:21.800
<v Speaker 1>and now here we are. So if anything, yeah, it's

0:25:21.840 --> 0:25:23.879
<v Speaker 1>all part of the journey. If you take one of

0:25:23.960 --> 0:25:26.879
<v Speaker 1>these blocks away, the whole thing falls down. So I

0:25:26.920 --> 0:25:30.200
<v Speaker 1>don't really believe in the whole look back and regret thing.

0:25:31.119 --> 0:25:33.840
<v Speaker 1>Personal life, totally life, no.

0:25:39.280 --> 0:25:41.840
<v Speaker 2>Screen violence, and settling on that title and then the

0:25:41.920 --> 0:25:44.000
<v Speaker 2>various meanings like you just said there that it sort

0:25:44.040 --> 0:25:46.679
<v Speaker 2>of collects together, like your your your love of classic

0:25:46.760 --> 0:25:49.760
<v Speaker 2>horror movies and like that genre. But then also this

0:25:49.920 --> 0:25:53.160
<v Speaker 2>sense that we've all just come out of or still

0:25:53.280 --> 0:25:55.880
<v Speaker 2>a lot of us in a period of basically life

0:25:55.920 --> 0:26:00.159
<v Speaker 2>has been continued via screens like technologies. Basically in the

0:26:00.240 --> 0:26:02.080
<v Speaker 2>one thing that's allowed to kind of that it's meant

0:26:02.119 --> 0:26:05.880
<v Speaker 2>that we can sort of stay together in the during

0:26:05.920 --> 0:26:09.000
<v Speaker 2>this period starting on the on the movie side of things. Actually,

0:26:09.040 --> 0:26:12.760
<v Speaker 2>where did your love of horror movies start? Because did

0:26:12.840 --> 0:26:15.760
<v Speaker 2>you you worked in the cinema at one point, I did.

0:26:15.840 --> 0:26:18.359
<v Speaker 1>I worked in two cinemas. I worked in the Sunny

0:26:18.400 --> 0:26:22.160
<v Speaker 1>World on Renfrew Street in Glasgow, Glasgow, this big multi

0:26:22.200 --> 0:26:24.800
<v Speaker 1>story one, and then I worked in the in theory

0:26:24.840 --> 0:26:27.480
<v Speaker 1>it's alternative but still owned by a big company called

0:26:27.480 --> 0:26:31.000
<v Speaker 1>the Grooveler in the West end of Glasgow. So okay, yes,

0:26:31.240 --> 0:26:33.120
<v Speaker 1>I have cleaned up a lot of stuff.

0:26:35.760 --> 0:26:37.760
<v Speaker 2>That was very diplomatic there the way you said a

0:26:37.800 --> 0:26:41.159
<v Speaker 2>lot of stuff because my brother worked in the cinema

0:26:41.400 --> 0:26:45.560
<v Speaker 2>when we were teenagers. And yeah, some of the stuff

0:26:45.680 --> 0:26:48.040
<v Speaker 2>that goes on in the cinema and also some of

0:26:48.119 --> 0:26:52.520
<v Speaker 2>the things like I would never eat a hot dog

0:26:52.840 --> 0:26:56.520
<v Speaker 2>that's been made in the cinema. Despite that weirdness, you

0:26:56.560 --> 0:26:58.119
<v Speaker 2>have fond memories of working in the cinema.

0:26:58.960 --> 0:27:01.360
<v Speaker 1>I really do, Like if I of thing all those

0:27:01.480 --> 0:27:05.440
<v Speaker 1>just disgusting stories, Like there's so many disgusting stories of

0:27:05.840 --> 0:27:08.120
<v Speaker 1>like I remember a couple shagging up the back during

0:27:08.200 --> 0:27:11.480
<v Speaker 1>like a morning showing of Horton. Here's a who And

0:27:11.560 --> 0:27:15.359
<v Speaker 1>I was like, why this is not what Toucher Seuss

0:27:15.400 --> 0:27:17.919
<v Speaker 1>would want. I don't know, maybe you would, I mean,

0:27:18.160 --> 0:27:21.080
<v Speaker 1>I'm not sure, and more sinister things than that. But

0:27:21.440 --> 0:27:24.919
<v Speaker 1>I look quite fondly on that time, because I mean

0:27:24.960 --> 0:27:26.919
<v Speaker 1>I did just love movies. I still love movies now,

0:27:26.960 --> 0:27:29.920
<v Speaker 1>Like I think, for me, it's always been like escaping

0:27:30.119 --> 0:27:32.880
<v Speaker 1>and storytelling. And I grew up in a pretty remote

0:27:33.160 --> 0:27:36.000
<v Speaker 1>area where there wasn't a lot to do, so a

0:27:36.080 --> 0:27:39.000
<v Speaker 1>lot of the escaping that you did was into films

0:27:39.160 --> 0:27:42.560
<v Speaker 1>and you would get a bus and then two buses

0:27:42.680 --> 0:27:46.000
<v Speaker 1>into Sterling so you could go to the one of

0:27:46.040 --> 0:27:48.280
<v Speaker 1>the two screens in the Bengo Hall. And like you know,

0:27:48.640 --> 0:27:51.680
<v Speaker 1>I think that's always been something that's really attractive to me.

0:27:51.800 --> 0:27:54.720
<v Speaker 1>And Ian and Martin are really big movie heads also,

0:27:54.880 --> 0:27:57.560
<v Speaker 1>but we all kind of align on that that kind

0:27:57.640 --> 0:28:01.639
<v Speaker 1>of Cronenbergie John Carpenter world. And I do think you

0:28:01.680 --> 0:28:03.520
<v Speaker 1>can hear that in the music to a degree because

0:28:03.600 --> 0:28:07.480
<v Speaker 1>of the synths that come from that time period. And yeah,

0:28:07.680 --> 0:28:11.000
<v Speaker 1>it was always something that we found interesting and because

0:28:11.280 --> 0:28:16.000
<v Speaker 1>churches started out specifically using only those synths, that's where

0:28:16.040 --> 0:28:17.840
<v Speaker 1>the kind of idea for the name came from. So

0:28:18.400 --> 0:28:20.200
<v Speaker 1>but we decided at the time where like is too

0:28:20.400 --> 0:28:22.760
<v Speaker 1>specifically retro. It's going to make people think that the

0:28:22.800 --> 0:28:25.960
<v Speaker 1>band is just this retro only project, which wasn't what

0:28:26.080 --> 0:28:29.000
<v Speaker 1>we wanted. But I kind of like that the idea

0:28:29.040 --> 0:28:31.560
<v Speaker 1>of what screen violence means to us has evolved since then.

0:28:31.800 --> 0:28:34.680
<v Speaker 1>It means this aesthetic thing. So that's the horror aesthetic

0:28:34.760 --> 0:28:38.200
<v Speaker 1>for the album. But the songs aren't concept horror songs,

0:28:38.320 --> 0:28:40.360
<v Speaker 1>you know, they're about the other parts. I feel like

0:28:40.440 --> 0:28:43.560
<v Speaker 1>it's always like when we talk about it, violence on screen,

0:28:43.960 --> 0:28:47.880
<v Speaker 1>violence through screens, and violence by screens, if that makes sense,

0:28:48.040 --> 0:28:50.880
<v Speaker 1>because I feel like this stuff that we're talking through

0:28:50.960 --> 0:28:54.040
<v Speaker 1>right now is incredible and it's insane that we're able

0:28:54.080 --> 0:28:57.160
<v Speaker 1>to do this, But I don't know that that technology

0:28:57.240 --> 0:29:00.680
<v Speaker 1>is great for us emotionally as human being. And also

0:29:00.760 --> 0:29:03.880
<v Speaker 1>I think my relationship with those things as a female

0:29:03.920 --> 0:29:05.800
<v Speaker 1>and as a female in the job I have has

0:29:05.880 --> 0:29:09.920
<v Speaker 1>been quite tricky at times, to see the least, so

0:29:10.040 --> 0:29:12.680
<v Speaker 1>I think, and we did sort of quite a lot

0:29:12.720 --> 0:29:15.720
<v Speaker 1>of that with in twenty nineteen, So I think coming

0:29:15.840 --> 0:29:18.120
<v Speaker 1>into this rating, there was a lot a lot of

0:29:18.160 --> 0:29:23.680
<v Speaker 1>fodder for the idea of being feeling possessed or hunted

0:29:23.920 --> 0:29:27.720
<v Speaker 1>and all those kinds of things, concepts, concepts everywhere.

0:29:27.640 --> 0:29:30.760
<v Speaker 2>Selecting one of those talking about the almost like screen

0:29:30.840 --> 0:29:35.000
<v Speaker 2>time and our relationship with the Internet and just just

0:29:35.120 --> 0:29:37.840
<v Speaker 2>how that shapes us and the impact it has and

0:29:37.920 --> 0:29:40.920
<v Speaker 2>our well being. Early on in the podcast, you mentioned

0:29:41.000 --> 0:29:45.240
<v Speaker 2>like hype Machine in relations like that when you were

0:29:45.280 --> 0:29:46.800
<v Speaker 2>starting out with the band, and like the way that

0:29:46.840 --> 0:29:49.920
<v Speaker 2>people would kind of discover music and stuff, and instantly

0:29:50.000 --> 0:29:52.680
<v Speaker 2>the feeling I had in that moment was like that

0:29:52.880 --> 0:29:55.600
<v Speaker 2>felt like a bit of a simpler time, like and

0:29:56.680 --> 0:29:59.240
<v Speaker 2>makes you sort of throw back to like the healthy

0:29:59.240 --> 0:30:04.200
<v Speaker 2>in days of MySpace in biber or something, but like it, Yeah.

0:30:04.120 --> 0:30:07.440
<v Speaker 1>That was that for a while. It started it because

0:30:07.440 --> 0:30:09.640
<v Speaker 1>the whole like who do you give your daily heart

0:30:09.880 --> 0:30:13.880
<v Speaker 1>to thing like not started but that kind of like

0:30:14.240 --> 0:30:16.080
<v Speaker 1>likes culture is weird.

0:30:16.320 --> 0:30:18.640
<v Speaker 2>Yeah, and that's just like it's you know it likes

0:30:18.720 --> 0:30:23.240
<v Speaker 2>culture on acid now with Instagram and everything else. But yeah,

0:30:23.480 --> 0:30:26.400
<v Speaker 2>if you kind of is your relationship with that reshaped

0:30:26.480 --> 0:30:29.400
<v Speaker 2>over time? And have you ever been curious about the

0:30:29.480 --> 0:30:31.720
<v Speaker 2>idea that if if we just turned off the Internet,

0:30:31.840 --> 0:30:33.720
<v Speaker 2>and what would what would happen? What would life be

0:30:33.880 --> 0:30:35.959
<v Speaker 2>like if in twenty twenty one we just turned off

0:30:36.000 --> 0:30:37.600
<v Speaker 2>the Internet for a bit of a break from it all.

0:30:38.680 --> 0:30:42.040
<v Speaker 1>Well, I feel like our band has a really specific

0:30:42.120 --> 0:30:44.760
<v Speaker 1>relationship with the Internet because we came out at such

0:30:44.800 --> 0:30:48.080
<v Speaker 1>a specific time, as you say, like it was SoundCloud

0:30:48.200 --> 0:30:52.760
<v Speaker 1>and blogs and Hepe machine and that just doesn't exist

0:30:52.800 --> 0:30:54.080
<v Speaker 1>in the same way now. I don't think.

0:30:54.240 --> 0:30:54.280
<v Speaker 2>So.

0:30:55.360 --> 0:30:58.000
<v Speaker 1>Yeah, we were like really heavily immersed in the Internet

0:30:58.120 --> 0:31:00.360
<v Speaker 1>from the beginning of the band. But I remember being

0:31:00.480 --> 0:31:03.000
<v Speaker 1>on an early churches tour and our manager being like,

0:31:03.080 --> 0:31:05.120
<v Speaker 1>you guys should get this thing called Instagram, and we

0:31:05.240 --> 0:31:08.000
<v Speaker 1>were like, oh, and then like putting up a picture

0:31:08.040 --> 0:31:11.280
<v Speaker 1>of Martin in like a service station in England somewhere,

0:31:11.400 --> 0:31:13.360
<v Speaker 1>and think I was like, I'll just show you Instagram.

0:31:13.480 --> 0:31:16.080
<v Speaker 1>I don't know, So, you know, like I feel like

0:31:16.200 --> 0:31:18.800
<v Speaker 1>we've been at the We've been at the birth of

0:31:18.880 --> 0:31:21.280
<v Speaker 1>so many of those things, but nobody understood what it

0:31:21.360 --> 0:31:24.600
<v Speaker 1>was going to be in that what it would evolve into.

0:31:24.760 --> 0:31:27.840
<v Speaker 1>And I don't know. My partner doesn't have any social

0:31:27.880 --> 0:31:31.440
<v Speaker 1>media and I see the joy that that brings him,

0:31:32.600 --> 0:31:34.440
<v Speaker 1>So I do think. I don't know. I think if

0:31:34.480 --> 0:31:37.120
<v Speaker 1>I wasn't in the job i'm in, I don't know

0:31:37.160 --> 0:31:38.840
<v Speaker 1>if I would. I don't think I would do it

0:31:38.920 --> 0:31:41.080
<v Speaker 1>because I don't use it really, like I'll message a

0:31:41.160 --> 0:31:43.440
<v Speaker 1>friend who replies to something I posted, but I don't

0:31:43.880 --> 0:31:47.120
<v Speaker 1>use it personally just because that's not what my relationship

0:31:47.240 --> 0:31:49.800
<v Speaker 1>is with it. But it's I do think it's an

0:31:49.840 --> 0:31:53.000
<v Speaker 1>incredible way to communicate with people, and especially for an artist,

0:31:53.080 --> 0:31:55.680
<v Speaker 1>I'm like, okay, well, it's the only place really that

0:31:55.800 --> 0:31:58.480
<v Speaker 1>you get to say exactly what you want to say,

0:31:58.520 --> 0:32:02.640
<v Speaker 1>apart from your actual art. Like, if I can, I

0:32:02.720 --> 0:32:06.880
<v Speaker 1>try and make the Instagram less about pictures of my

0:32:07.080 --> 0:32:09.080
<v Speaker 1>face from certain angles and use it more as like

0:32:09.120 --> 0:32:12.160
<v Speaker 1>a mood board's like Pinterest. Especially in the run up

0:32:12.160 --> 0:32:13.880
<v Speaker 1>to the album coming out, I was always like, this

0:32:14.000 --> 0:32:15.840
<v Speaker 1>is how you kind of set the tone, and but

0:32:16.000 --> 0:32:18.640
<v Speaker 1>the like sculpture is weird because nobody wants that. Really.

0:32:19.080 --> 0:32:22.240
<v Speaker 1>I'm like, guys, let's make something creative and find a community,

0:32:22.880 --> 0:32:24.400
<v Speaker 1>and you know it is a direct line to your

0:32:24.440 --> 0:32:27.080
<v Speaker 1>fan base. But even though I know how the sausage

0:32:27.200 --> 0:32:31.360
<v Speaker 1>is made, is still feel like it makes us all

0:32:31.360 --> 0:32:37.160
<v Speaker 1>feel terrible about ourselves, especially esthetically, like it's just so bizarre,

0:32:37.400 --> 0:32:39.880
<v Speaker 1>so bizarre and dark in a lot of ways. And

0:32:40.800 --> 0:32:42.680
<v Speaker 1>even though I know how long it takes I'm like,

0:32:42.760 --> 0:32:45.680
<v Speaker 1>that person took that photo forty times, and then these

0:32:45.720 --> 0:32:47.720
<v Speaker 1>are the filters that they put on it, and this

0:32:47.920 --> 0:32:50.040
<v Speaker 1>is a professional photo that they obviously paid for from

0:32:50.080 --> 0:32:52.959
<v Speaker 1>a shoot. But when, even if you know that, when

0:32:53.000 --> 0:32:55.040
<v Speaker 1>you're not in the right mindset and you look at it,

0:32:55.160 --> 0:32:57.520
<v Speaker 1>it just makes you feel fucking terrible. Like I have

0:32:57.680 --> 0:33:01.560
<v Speaker 1>never known more about what's right wrong with my physical

0:33:01.600 --> 0:33:05.280
<v Speaker 1>appearance the other than when people tell me on the internet,

0:33:05.440 --> 0:33:07.240
<v Speaker 1>you know, and I don't We all think that about

0:33:07.280 --> 0:33:10.840
<v Speaker 1>ourselves anyway, because of the images that we the messages

0:33:10.880 --> 0:33:13.600
<v Speaker 1>that we take in from the world, and then it's

0:33:13.680 --> 0:33:16.240
<v Speaker 1>just odd that, Yeah, I feel like we're in this

0:33:17.440 --> 0:33:19.880
<v Speaker 1>spinning wheel. I don't know where it's going to end.

0:33:20.000 --> 0:33:20.320
<v Speaker 1>I don't know.

0:33:20.400 --> 0:33:21.840
<v Speaker 2>Yeah, I feel like we're in a real kind of

0:33:21.960 --> 0:33:25.080
<v Speaker 2>pivotal point. I do think there'll be something will happen

0:33:25.160 --> 0:33:27.280
<v Speaker 2>in the next couple of years whereby you know, we've

0:33:27.280 --> 0:33:30.560
<v Speaker 2>got governments and we've got platforms and they're kind of

0:33:30.920 --> 0:33:33.400
<v Speaker 2>telling each other that they need to take responsibility for

0:33:33.520 --> 0:33:36.200
<v Speaker 2>this stuff. And then we've got kind of third parties,

0:33:36.360 --> 0:33:39.000
<v Speaker 2>you know, people that are on those platforms saying, you know,

0:33:39.160 --> 0:33:41.120
<v Speaker 2>it's time to do something about this, and it does

0:33:41.200 --> 0:33:44.600
<v Speaker 2>feel like we're moving towards a point where things will happen.

0:33:44.720 --> 0:33:46.920
<v Speaker 2>I don't know exactly what, but yeah, I.

0:33:46.920 --> 0:33:50.400
<v Speaker 1>Guess it's just this tricky space because it's like, oh,

0:33:50.400 --> 0:33:52.600
<v Speaker 1>if you start pulling at this thread, then you have

0:33:52.640 --> 0:33:54.000
<v Speaker 1>to pull it this thread, and you have to pull

0:33:54.040 --> 0:33:56.000
<v Speaker 1>it this one. And I was like, yeah, that's interesting.

0:33:56.040 --> 0:33:58.720
<v Speaker 1>In the conversation around like streaming and things like that,

0:33:59.560 --> 0:34:02.840
<v Speaker 1>it feels like that conversation is really waited towards one

0:34:03.000 --> 0:34:06.240
<v Speaker 1>or two services. And I'm like, but if you hate that,

0:34:06.400 --> 0:34:08.359
<v Speaker 1>then you're going to have to hate YouTube. And if

0:34:08.400 --> 0:34:10.800
<v Speaker 1>you hate YouTube, then no more cat videos for you,

0:34:11.200 --> 0:34:14.600
<v Speaker 1>and like, you know, like it's just and I don't know,

0:34:14.760 --> 0:34:17.719
<v Speaker 1>it's like why are we mad? Like I think it's

0:34:18.480 --> 0:34:21.200
<v Speaker 1>we're mad at those companies for what they've done to

0:34:21.239 --> 0:34:25.080
<v Speaker 1>the music industry, but major labels have stakes in those companies,

0:34:25.880 --> 0:34:27.800
<v Speaker 1>and we're not mad at the music industry for not

0:34:28.440 --> 0:34:30.879
<v Speaker 1>getting a fucking clue fast like they knew. Like I've

0:34:30.920 --> 0:34:34.080
<v Speaker 1>watched enough documentaries on this, I'm like, you basically handed

0:34:34.120 --> 0:34:37.120
<v Speaker 1>the keys to tech companies because you were being so

0:34:37.320 --> 0:34:40.440
<v Speaker 1>stubborn about the change that was happening, and you just

0:34:40.520 --> 0:34:43.280
<v Speaker 1>couldn't see it. And now everyone's annoyed that tech companies

0:34:43.280 --> 0:34:46.680
<v Speaker 1>control music. But I think labels are doing fine because

0:34:46.680 --> 0:34:48.520
<v Speaker 1>they figured out how to get a back end on that,

0:34:49.320 --> 0:34:49.520
<v Speaker 1>you know.

0:34:50.560 --> 0:34:52.399
<v Speaker 2>I think I think a huge amount of that could

0:34:52.400 --> 0:34:54.239
<v Speaker 2>be like like it was like this big pendulum swing

0:34:54.320 --> 0:34:56.600
<v Speaker 2>that came at like just into the you know, the

0:34:56.680 --> 0:34:59.160
<v Speaker 2>millennium came along, and like Napster was there in Lime

0:34:59.239 --> 0:35:02.160
<v Speaker 2>Wire and basically they just absolutely smash their hand on

0:35:02.239 --> 0:35:04.680
<v Speaker 2>the panic button and we're like, we're going to go

0:35:04.960 --> 0:35:07.919
<v Speaker 2>the other direction here. I think the industry is living

0:35:07.960 --> 0:35:11.200
<v Speaker 2>with the consequences of that period and their reaction to that.

0:35:11.840 --> 0:35:14.239
<v Speaker 1>Yeah, and it is tricky when artists talk about it

0:35:14.320 --> 0:35:16.920
<v Speaker 1>because I don't think that's set up in that system

0:35:17.160 --> 0:35:21.120
<v Speaker 1>is correct. But if I was a teenager, I would

0:35:21.120 --> 0:35:24.240
<v Speaker 1>be overwhelmed. I would overjoyed because you can have access

0:35:24.280 --> 0:35:26.359
<v Speaker 1>to so much music And why is it your It's

0:35:26.400 --> 0:35:29.160
<v Speaker 1>not really your job as a fan to care about

0:35:30.320 --> 0:35:32.400
<v Speaker 1>why this person is or isn't making money. And I

0:35:32.440 --> 0:35:36.839
<v Speaker 1>also don't think that you're owed a living from making music,

0:35:36.920 --> 0:35:40.360
<v Speaker 1>Like making music is a privilege. And yes, the problem

0:35:40.480 --> 0:35:42.160
<v Speaker 1>is if other people are making money in a way

0:35:42.200 --> 0:35:45.759
<v Speaker 1>that you are not, but I think that, yeah, it's

0:35:45.840 --> 0:35:49.480
<v Speaker 1>never guaranteed. And even ten to fifteen years ago, if

0:35:49.520 --> 0:35:51.560
<v Speaker 1>you were an artist of a certain size, you probably

0:35:51.600 --> 0:35:54.440
<v Speaker 1>weren't making very much money then either. So yeah, I

0:35:54.480 --> 0:35:57.440
<v Speaker 1>guess it's how the pie is broken down, is I

0:35:57.480 --> 0:36:00.040
<v Speaker 1>think what's upsetting people. But some of the narrative I

0:36:00.120 --> 0:36:02.600
<v Speaker 1>do think is strange because I'm like, well, but none

0:36:02.640 --> 0:36:05.360
<v Speaker 1>of us are guaranteed that this is a job. We're

0:36:05.400 --> 0:36:08.719
<v Speaker 1>not unionized in that way, like there's a daily rate

0:36:08.840 --> 0:36:09.719
<v Speaker 1>and our wage like.

0:36:09.760 --> 0:36:10.359
<v Speaker 2>There just isn't.

0:36:10.480 --> 0:36:13.080
<v Speaker 1>So I don't. It's a tricky it's very tricky thing.

0:36:13.160 --> 0:36:15.400
<v Speaker 1>It's a hot potato. I don't know how to handle it,

0:36:15.480 --> 0:36:19.080
<v Speaker 1>and I don't know what's right. And I resigned from

0:36:19.120 --> 0:36:19.640
<v Speaker 1>this conversation.

0:36:21.800 --> 0:36:25.920
<v Speaker 2>Let's move on to talking about Robert Smith. Yes, I

0:36:26.000 --> 0:36:28.560
<v Speaker 2>mean you're going to get asked, obviously, in every single

0:36:28.640 --> 0:36:31.600
<v Speaker 2>interview you do around this album about working with Robert

0:36:31.600 --> 0:36:34.959
<v Speaker 2>Smith and the Cure an amazing more an amazing track,

0:36:35.040 --> 0:36:40.760
<v Speaker 2>but also what an amazing experience. I read that basically

0:36:41.040 --> 0:36:43.480
<v Speaker 2>you had approached him to contribute to the track and

0:36:43.840 --> 0:36:45.440
<v Speaker 2>it went off into the ether, and you weren't really

0:36:45.560 --> 0:36:49.160
<v Speaker 2>necessarily sure whether that collaboration would happen, and then he

0:36:49.280 --> 0:36:51.120
<v Speaker 2>sent it back and said, what do you want and

0:36:51.360 --> 0:36:54.719
<v Speaker 2>he said to record something for us, and he sent it.

0:36:54.920 --> 0:36:58.080
<v Speaker 2>He sent his vocals for the track back on Halloween.

0:36:58.400 --> 0:36:59.719
<v Speaker 2>That feels very appropriate.

0:37:00.520 --> 0:37:02.719
<v Speaker 1>He says, there's an accident, But I wonder. I'm like

0:37:02.760 --> 0:37:04.840
<v Speaker 1>he maybe he was doing as a service as fans.

0:37:04.920 --> 0:37:06.560
<v Speaker 1>He was like, this is what I know they want,

0:37:06.719 --> 0:37:09.840
<v Speaker 1>Let's just do it this way. But yeah, it's beyond

0:37:09.960 --> 0:37:13.040
<v Speaker 1>my mind still is like boggled by the fact that

0:37:13.120 --> 0:37:16.160
<v Speaker 1>that happened at all, just because we're all such big

0:37:16.320 --> 0:37:19.760
<v Speaker 1>fans of The Cure and of Robert's lyrics and his writing,

0:37:19.840 --> 0:37:23.040
<v Speaker 1>and just the way that he has carried himself through

0:37:23.120 --> 0:37:26.480
<v Speaker 1>his career, like like they've always been completely unique and

0:37:27.239 --> 0:37:30.759
<v Speaker 1>had such an integrity to it, and yeah, I think

0:37:30.800 --> 0:37:33.439
<v Speaker 1>that's something that we're always in awe of, and working

0:37:33.480 --> 0:37:36.879
<v Speaker 1>with him has honestly been the best it's been. He's

0:37:36.960 --> 0:37:41.880
<v Speaker 1>been the best, easiest, nicest person that we've collaborated with.

0:37:41.960 --> 0:37:43.480
<v Speaker 1>And that's saying a lot, because we've worked with a

0:37:43.560 --> 0:37:47.440
<v Speaker 1>lot of nice people. So yeah, he's just incredibly engaged

0:37:47.560 --> 0:37:50.320
<v Speaker 1>and really generous, Like he's so conscious of not wanting

0:37:50.400 --> 0:37:53.560
<v Speaker 1>to be treading on what we're doing, and I'm like, tread,

0:37:53.800 --> 0:37:56.799
<v Speaker 1>tread all over the song, please, and he just yeah,

0:37:56.960 --> 0:37:58.719
<v Speaker 1>I think he was a big one.

0:37:58.760 --> 0:37:58.920
<v Speaker 2>For me.

0:37:59.000 --> 0:38:00.760
<v Speaker 1>I was like, oh my god, oh he's not a prick.

0:38:01.800 --> 0:38:03.200
<v Speaker 1>I really also say, oh, this is going to be

0:38:03.280 --> 0:38:06.840
<v Speaker 1>so dissolutioning if he's a prick. But no, he's generally

0:38:07.760 --> 0:38:10.799
<v Speaker 1>everything that you would would think. And yeah, we're really

0:38:10.880 --> 0:38:14.440
<v Speaker 1>excited about that. And yeah, I feel it's exciting to

0:38:14.520 --> 0:38:18.520
<v Speaker 1>see the crossover and the fan bases as well. What Like,

0:38:19.160 --> 0:38:22.520
<v Speaker 1>I've seen enough Cure shirts or shows to be like,

0:38:23.239 --> 0:38:26.640
<v Speaker 1>I think that they will like this, and I guess yeah.

0:38:26.719 --> 0:38:28.520
<v Speaker 1>For me, I'm like, there's a thread that goes through

0:38:28.560 --> 0:38:31.919
<v Speaker 1>all these bands. Like when you mentioned Deaftnes earlier, I'm like, well,

0:38:32.360 --> 0:38:34.600
<v Speaker 1>the Cure and Deftones have a connection in a different way.

0:38:34.800 --> 0:38:36.959
<v Speaker 1>And for me, I'm like, yeah, it's always this. There's

0:38:37.040 --> 0:38:42.120
<v Speaker 1>this kind of honesty and emotion and melancholy or something

0:38:42.200 --> 0:38:44.640
<v Speaker 1>that goes through all those bands and hopefully through our

0:38:44.719 --> 0:38:47.600
<v Speaker 1>band as well. So yeah, I always like to think

0:38:47.640 --> 0:38:50.600
<v Speaker 1>about not a scene in a traditional sense, but like

0:38:50.719 --> 0:38:52.759
<v Speaker 1>a scene in terms of like a tapestry of music

0:38:52.800 --> 0:38:55.480
<v Speaker 1>that makes sense together we're trying to get Robert in

0:38:55.560 --> 0:38:59.399
<v Speaker 1>our scene. Basically we're trying to get into Robert's scene. Yeah,

0:38:59.480 --> 0:39:03.600
<v Speaker 1>like a tiny version of Robert's career sounds pretty amazing

0:39:03.719 --> 0:39:03.920
<v Speaker 1>to me.

0:39:04.160 --> 0:39:06.239
<v Speaker 2>Yeah, going back to what we were talking about earlier

0:39:06.239 --> 0:39:09.960
<v Speaker 2>about kind of managing how you your relationship with like

0:39:10.200 --> 0:39:12.160
<v Speaker 2>the online world. One of my favorite I don't know

0:39:12.160 --> 0:39:13.840
<v Speaker 2>whether necessarily whether this is true, but one of my

0:39:13.920 --> 0:39:17.000
<v Speaker 2>favorite things I'd heard about Robert Smith was that he

0:39:17.120 --> 0:39:20.120
<v Speaker 2>has got it absolutely sewn up because he he basically

0:39:20.239 --> 0:39:23.000
<v Speaker 2>does all of his email correspondents on like one day

0:39:23.040 --> 0:39:25.920
<v Speaker 2>of the week and basically you know that you're only

0:39:25.960 --> 0:39:28.080
<v Speaker 2>going to get any email back from Robert Smith on

0:39:28.200 --> 0:39:30.120
<v Speaker 2>like a Thursday or something like. He treats it a

0:39:30.160 --> 0:39:31.920
<v Speaker 2>bit like fan mail, so like on a Thursday he

0:39:31.960 --> 0:39:33.920
<v Speaker 2>will go through all of his emails and say like,

0:39:34.040 --> 0:39:36.480
<v Speaker 2>yes I'll do that interview, Yes I'll go on that track,

0:39:36.680 --> 0:39:38.200
<v Speaker 2>and like, like, I don't know.

0:39:41.480 --> 0:39:44.320
<v Speaker 1>He did say that he he has he does have

0:39:44.360 --> 0:39:47.320
<v Speaker 1>a smartphone, and he has he bought like five or

0:39:47.360 --> 0:39:49.440
<v Speaker 1>six versions of the same phone at the same time,

0:39:50.000 --> 0:39:51.719
<v Speaker 1>but ten fifteen years ago because he was like, I know,

0:39:51.760 --> 0:39:53.960
<v Speaker 1>I like this one, which I respect, and then I

0:39:54.000 --> 0:39:56.200
<v Speaker 1>feel really bad because he's been so generous to us.

0:39:56.239 --> 0:39:58.719
<v Speaker 1>I'm like, it's like charity outreach for us because he's

0:39:58.960 --> 0:40:02.480
<v Speaker 1>he got FaceTime and Zoom so he could do promo

0:40:02.640 --> 0:40:05.400
<v Speaker 1>like he hadn't used at any point in the pandemic.

0:40:05.480 --> 0:40:07.799
<v Speaker 1>And then he was just like, Span needs my help.

0:40:08.080 --> 0:40:10.239
<v Speaker 1>I will help them get this interview by doing a

0:40:10.280 --> 0:40:13.279
<v Speaker 1>FaceTime and you know, like most people would not in

0:40:13.400 --> 0:40:15.880
<v Speaker 1>his position, wouldn't do that. I don't think so. I

0:40:16.160 --> 0:40:18.840
<v Speaker 1>he'd like self taped at home the stuff for the

0:40:18.880 --> 0:40:20.719
<v Speaker 1>music video. He just did it in his house and

0:40:20.800 --> 0:40:22.880
<v Speaker 1>sent it to us, and he doesn't need to be

0:40:22.960 --> 0:40:25.359
<v Speaker 1>doing that. But I feel like that sums him up

0:40:25.360 --> 0:40:27.759
<v Speaker 1>as a as an artist, or what I would like

0:40:27.840 --> 0:40:29.800
<v Speaker 1>to think about him as an artist is that it

0:40:29.960 --> 0:40:33.600
<v Speaker 1>is about creation and collaboration in the truest sense, you know,

0:40:33.960 --> 0:40:36.600
<v Speaker 1>and ultimately that's what we're all supposed to be doing.

0:40:36.760 --> 0:40:39.239
<v Speaker 1>Like he said something on an interview the other day

0:40:40.160 --> 0:40:42.560
<v Speaker 1>which got me a little misty, but then I'm was like,

0:40:43.160 --> 0:40:46.200
<v Speaker 1>I was already a crier. Twenty twenty pushed me into

0:40:46.280 --> 0:40:49.600
<v Speaker 1>the stratosphere, like there's no coming back, Formina. But what

0:40:49.760 --> 0:40:52.359
<v Speaker 1>he said was the interviewer had been like, oh, yeah,

0:40:52.400 --> 0:40:55.480
<v Speaker 1>it must be difficult to not be constantly working on

0:40:55.560 --> 0:40:57.759
<v Speaker 1>a track because you know your work is right there

0:40:57.800 --> 0:41:00.680
<v Speaker 1>all the time. And then he immediately was like, but music,

0:41:00.880 --> 0:41:04.719
<v Speaker 1>music's not work. It was like, this is work. Other

0:41:04.840 --> 0:41:08.160
<v Speaker 1>things around. Facilitating your right to make music is work,

0:41:08.239 --> 0:41:10.320
<v Speaker 1>but actual making of music is not work. And I

0:41:10.360 --> 0:41:13.400
<v Speaker 1>don't ever think about it in it And as I

0:41:13.480 --> 0:41:15.560
<v Speaker 1>feel like that's maybe.

0:41:15.440 --> 0:41:17.879
<v Speaker 2>All be more like that, I think, yeah, that takes

0:41:17.960 --> 0:41:20.080
<v Speaker 2>the wisdom from Robert Smith. I think he's Yeah. I mean,

0:41:20.120 --> 0:41:22.120
<v Speaker 2>he's always struck me as like a really generous spirit

0:41:22.200 --> 0:41:24.600
<v Speaker 2>and also really straight talking, which I've always said as

0:41:24.640 --> 0:41:27.640
<v Speaker 2>a fan appreciated. And I also love the fact that

0:41:27.680 --> 0:41:31.160
<v Speaker 2>maybe he's walking around with sort of five Nokia thirty

0:41:31.200 --> 0:41:33.960
<v Speaker 2>two tens in his pocket, just like I like this one.

0:41:34.160 --> 0:41:36.000
<v Speaker 2>It's easy. I like the texting on this one.

0:41:36.400 --> 0:41:39.120
<v Speaker 1>And he's smart because then there's no there's no even

0:41:40.360 --> 0:41:42.880
<v Speaker 1>temptation of any of the things that we've just been

0:41:42.920 --> 0:41:44.800
<v Speaker 1>talking about, because you're safe from the devil, because the

0:41:44.800 --> 0:41:46.560
<v Speaker 1>devil's not in sage your phone exactly.

0:41:46.680 --> 0:41:48.480
<v Speaker 2>We probably haven't got time to kind of go in

0:41:48.600 --> 0:41:51.480
<v Speaker 2>and sort of talk about lots of kind of individual

0:41:51.800 --> 0:41:54.400
<v Speaker 2>songs on the album, but I particularly like Good Girls.

0:41:54.800 --> 0:41:57.560
<v Speaker 2>I think it's an amazing, amazing track, And I like

0:41:57.640 --> 0:42:00.480
<v Speaker 2>the line that you have in there talking about well

0:42:00.480 --> 0:42:03.120
<v Speaker 2>your reference like killing your idols and this idea of

0:42:03.280 --> 0:42:06.719
<v Speaker 2>kind of that that's a chore and it's difficult but

0:42:06.800 --> 0:42:09.880
<v Speaker 2>almost maybe potentially kind of a necessary thing. And I

0:42:09.960 --> 0:42:11.719
<v Speaker 2>was wondering whether that was just a reference to some

0:42:12.280 --> 0:42:15.400
<v Speaker 2>of the sort of the sort of habits and attitudes

0:42:15.440 --> 0:42:18.960
<v Speaker 2>that go along with much older generations and how like

0:42:19.160 --> 0:42:21.239
<v Speaker 2>in time they will disappear, and maybe that makes you

0:42:21.280 --> 0:42:23.480
<v Speaker 2>feel a bit hopeful about what the sort of general

0:42:23.640 --> 0:42:26.719
<v Speaker 2>like your generation and generations below you, the kind of

0:42:26.800 --> 0:42:28.279
<v Speaker 2>world that they might create. Yeah.

0:42:28.320 --> 0:42:31.240
<v Speaker 1>Well, I guess the opening line came. I had written

0:42:31.280 --> 0:42:36.160
<v Speaker 1>it down in my notebook after a lengthy pop discussion

0:42:36.640 --> 0:42:40.200
<v Speaker 1>with friends about certain musicians who have been doing certain things.

0:42:40.680 --> 0:42:45.280
<v Speaker 1>And I guess I feel like the concept of councel

0:42:45.360 --> 0:42:49.160
<v Speaker 1>culture has really evolved and snowballed and almost now been

0:42:49.239 --> 0:42:52.600
<v Speaker 1>weaponized by the right, and I don't know that that's

0:42:53.080 --> 0:42:58.000
<v Speaker 1>I feel like accountability culture makes more sense in a

0:42:58.040 --> 0:42:59.520
<v Speaker 1>lot of ways, but it's not as catchy, it's not

0:42:59.560 --> 0:43:01.759
<v Speaker 1>as quick and also a lot of things that people

0:43:01.800 --> 0:43:04.520
<v Speaker 1>are getting quote unquote canceled for. There's another name for

0:43:04.600 --> 0:43:06.960
<v Speaker 1>a lot of those things. If you're getting fired for

0:43:07.000 --> 0:43:10.040
<v Speaker 1>a workplace for doing a certain thing, that's not cancel culture.

0:43:10.200 --> 0:43:14.200
<v Speaker 1>That's abuse. So yeah, but I sat and listened and

0:43:14.239 --> 0:43:17.080
<v Speaker 1>listened to this thing, and then I just had this

0:43:17.480 --> 0:43:19.480
<v Speaker 1>kind of quiet rage where I was like, Yeah, but

0:43:20.160 --> 0:43:22.680
<v Speaker 1>isn't it a privilege to sit and talk about that,

0:43:23.520 --> 0:43:25.920
<v Speaker 1>talk about whether what this person has done is hurtful,

0:43:26.080 --> 0:43:29.880
<v Speaker 1>to talk about whether this person is an abhorrent racist,

0:43:29.960 --> 0:43:33.319
<v Speaker 1>or talk about whether this person is is abusing women

0:43:33.360 --> 0:43:37.040
<v Speaker 1>because it doesn't affect you, It doesn't affect your life.

0:43:37.440 --> 0:43:42.160
<v Speaker 1>And I just that, like it just made smoke come

0:43:42.160 --> 0:43:43.719
<v Speaker 1>outd my ears as I was just that I don't

0:43:43.800 --> 0:43:47.120
<v Speaker 1>understand why you would sit, you would go to such

0:43:47.320 --> 0:43:51.800
<v Speaker 1>lengths to make excuses for Woody Allen like things like that.

0:43:51.920 --> 0:43:55.719
<v Speaker 1>I'm like, I just don't get that. Like, and they

0:43:55.760 --> 0:43:57.880
<v Speaker 1>almost get more annoyed at the people who are pointing

0:43:57.920 --> 0:44:00.960
<v Speaker 1>out the thing than they do the man that's done it,

0:44:01.000 --> 0:44:04.799
<v Speaker 1>and it's mostly always a man. But not that women

0:44:04.840 --> 0:44:07.799
<v Speaker 1>can't be terrible, especially white women. We can be really

0:44:07.880 --> 0:44:11.719
<v Speaker 1>fucking shit. But yeah, it was just interesting sitting thinking

0:44:11.719 --> 0:44:14.600
<v Speaker 1>about it, being like yeah, but whether for me as

0:44:14.640 --> 0:44:19.440
<v Speaker 1>a listener, I find it difficult to listen to somebody's art,

0:44:19.600 --> 0:44:23.040
<v Speaker 1>especially like the narrator of the song or the writer

0:44:23.200 --> 0:44:26.319
<v Speaker 1>of the film, if I know that the same brain

0:44:27.200 --> 0:44:29.160
<v Speaker 1>that this came from is the same brain that could

0:44:29.880 --> 0:44:35.520
<v Speaker 1>feel something so hurtful and violent and aggressive. And I

0:44:35.560 --> 0:44:38.480
<v Speaker 1>don't know. And I understand that you're not You're never

0:44:38.480 --> 0:44:40.640
<v Speaker 1>gonna agree with somebody on everything. You can't expect all

0:44:40.719 --> 0:44:43.040
<v Speaker 1>your favorite artists to think exactly the same way as you.

0:44:43.280 --> 0:44:45.360
<v Speaker 1>But I feel like as a listener, there's like a

0:44:45.440 --> 0:44:49.000
<v Speaker 1>giving over of control and the vulnerability when you're sharing

0:44:49.600 --> 0:44:51.960
<v Speaker 1>in that with somebody, and I don't I don't want

0:44:52.000 --> 0:44:54.160
<v Speaker 1>to share in Woody Allen's art with him. It doesn't

0:44:54.200 --> 0:44:56.239
<v Speaker 1>mean that he's not made some profound art, but I

0:44:56.280 --> 0:44:58.480
<v Speaker 1>don't want to share in that. I would find it

0:44:58.560 --> 0:45:02.279
<v Speaker 1>difficult to listen to Modessey in the present day. Like

0:45:02.480 --> 0:45:05.160
<v Speaker 1>you know, there's just certain things that you know when

0:45:05.160 --> 0:45:06.960
<v Speaker 1>everyone feels differently about it. But I do feel like

0:45:07.239 --> 0:45:09.439
<v Speaker 1>a lot of people are able to feel differently about

0:45:09.440 --> 0:45:12.040
<v Speaker 1>it because they come from a place of such protection

0:45:12.680 --> 0:45:15.719
<v Speaker 1>where the discussions around those things are hypothetical for them.

0:45:15.840 --> 0:45:19.319
<v Speaker 1>I just instead of flipping the bar table at leaving,

0:45:19.400 --> 0:45:22.560
<v Speaker 1>I was like, hmm, you see them that later. And

0:45:22.680 --> 0:45:25.120
<v Speaker 1>then you know, and I think as I think, I

0:45:25.239 --> 0:45:28.960
<v Speaker 1>was the only woman involved in that conversation because you know,

0:45:29.160 --> 0:45:32.440
<v Speaker 1>I have a pretty heavy male friendship group and pretty

0:45:32.480 --> 0:45:36.440
<v Speaker 1>heavy male work group because of the profession I work in,

0:45:36.520 --> 0:45:38.600
<v Speaker 1>and I was just interesting to sit and listen to

0:45:38.640 --> 0:45:40.720
<v Speaker 1>people to talk about it. And I was say, hmmm,

0:45:41.200 --> 0:45:43.719
<v Speaker 1>but a lot of people don't have that luxury as

0:45:43.760 --> 0:45:45.600
<v Speaker 1>a woman. I don't feel like I have that luxury

0:45:45.640 --> 0:45:48.799
<v Speaker 1>in terms of making excuses for Louis c. K. Even

0:45:48.840 --> 0:45:52.080
<v Speaker 1>though I have heavily enjoyed Louis K's comedy, at times,

0:45:52.280 --> 0:45:54.759
<v Speaker 1>I don't feel comfortable making excuses for that man. So

0:45:54.920 --> 0:45:57.480
<v Speaker 1>I can continue to enjoy his comedy, like it's just

0:45:57.800 --> 0:45:59.680
<v Speaker 1>it's not abstract for me in the way that it's

0:45:59.680 --> 0:46:02.520
<v Speaker 1>abso act for other people that were in that chat. So,

0:46:03.000 --> 0:46:04.759
<v Speaker 1>but I promise it's a fun pop song. You know,

0:46:04.840 --> 0:46:09.200
<v Speaker 1>we made there, We made the chorus hooky, we made

0:46:09.239 --> 0:46:09.960
<v Speaker 1>the chorus fun.

0:46:10.760 --> 0:46:14.319
<v Speaker 2>Yeah, it is an amazing song. And I think you're

0:46:14.320 --> 0:46:17.080
<v Speaker 2>absolutely right, And I think it's about what you just

0:46:17.120 --> 0:46:21.320
<v Speaker 2>described there is the classic case of kind of a

0:46:21.440 --> 0:46:24.719
<v Speaker 2>real privilege as well of just like maybe yeah, being

0:46:24.800 --> 0:46:27.879
<v Speaker 2>in that sort of male dominated environment of them kind

0:46:27.920 --> 0:46:32.319
<v Speaker 2>of just just being more passive about the subject. And Yeah,

0:46:32.560 --> 0:46:34.440
<v Speaker 2>I'm super glad that you've written about it because I

0:46:34.480 --> 0:46:36.759
<v Speaker 2>think I think it will I think it will have

0:46:36.880 --> 0:46:38.160
<v Speaker 2>a real impact. Thanks. Man.

0:46:38.200 --> 0:46:40.320
<v Speaker 1>I'm excited for the men on the internet.

0:46:41.080 --> 0:46:44.520
<v Speaker 2>Yeah, my god, we'll just break out your battle armor

0:46:44.640 --> 0:46:47.879
<v Speaker 2>and just like your thicker skin because I think, like, yeah,

0:46:47.960 --> 0:46:48.720
<v Speaker 2>fuck those guys.

0:46:49.560 --> 0:46:51.640
<v Speaker 1>Yeah. Well, and I think that was what's been interesting

0:46:51.680 --> 0:46:54.120
<v Speaker 1>about it for me is because I don't actively believe

0:46:54.200 --> 0:46:56.279
<v Speaker 1>that I spend a lot of time with any men

0:46:57.440 --> 0:46:59.600
<v Speaker 1>who would think any of those things in a different

0:46:59.640 --> 0:47:02.239
<v Speaker 1>set of but when it comes to defending the art

0:47:02.360 --> 0:47:04.680
<v Speaker 1>of artists that they love, they will definitely go to

0:47:05.239 --> 0:47:09.040
<v Speaker 1>really extreme lengths to explain away those things. And I

0:47:09.080 --> 0:47:11.920
<v Speaker 1>think it's because you then you love the art, you

0:47:12.040 --> 0:47:15.360
<v Speaker 1>don't love the artists. But I think for me, I

0:47:15.440 --> 0:47:18.239
<v Speaker 1>can't ever divorce. I don't know, I just I find

0:47:18.280 --> 0:47:23.720
<v Speaker 1>it difficult. And yeah, even like financially and emotionally supporting

0:47:23.800 --> 0:47:26.360
<v Speaker 1>somebody that has done that, I'm like that's just I

0:47:26.520 --> 0:47:28.160
<v Speaker 1>choose not to do that. I'm not saying that that

0:47:28.280 --> 0:47:30.400
<v Speaker 1>person needs to be disappeared to the top of a

0:47:30.480 --> 0:47:32.440
<v Speaker 1>mountain forever. But do I want to go see that

0:47:32.520 --> 0:47:34.200
<v Speaker 1>person in content and listen to what they have to

0:47:34.280 --> 0:47:35.680
<v Speaker 1>say and emotionally connect with them.

0:47:35.800 --> 0:47:39.480
<v Speaker 2>Not really, But your way of your way of making

0:47:39.520 --> 0:47:41.759
<v Speaker 2>your point is to yeah, not not can see that art.

0:47:41.920 --> 0:47:43.600
<v Speaker 2>I'm not going to support that person. I don't agree

0:47:43.600 --> 0:47:44.120
<v Speaker 2>with what they've done.

0:47:44.400 --> 0:47:46.920
<v Speaker 1>Yeah, And it doesn't mean that I need to violently

0:47:47.600 --> 0:47:49.960
<v Speaker 1>assault that person verbally on the Internet or any of

0:47:49.960 --> 0:47:52.640
<v Speaker 1>those things. And I just don't need to participate in

0:47:52.760 --> 0:47:56.120
<v Speaker 1>that because I don't want to be contributing to that

0:47:56.320 --> 0:47:59.040
<v Speaker 1>as a worldview or something. I don't know. That sounds

0:47:59.040 --> 0:48:01.720
<v Speaker 1>privileged as well, doesn't it? See im part of the problem.

0:48:02.320 --> 0:48:05.160
<v Speaker 2>No, I mean, we could send thisselves in endless circles.

0:48:05.239 --> 0:48:09.239
<v Speaker 2>That's how these things are so difficult to unravel. My

0:48:09.600 --> 0:48:12.520
<v Speaker 2>final question, just quickly was really just about the practicals

0:48:12.560 --> 0:48:15.239
<v Speaker 2>of how you've worked the last about eighteen months. Because

0:48:15.239 --> 0:48:18.360
<v Speaker 2>the majority of this record that's coming out was made remotely.

0:48:18.800 --> 0:48:21.040
<v Speaker 2>Has it made you think, you know what, in the future,

0:48:21.120 --> 0:48:24.440
<v Speaker 2>we could make albums remotely or has it or has

0:48:24.480 --> 0:48:27.399
<v Speaker 2>the experience made you think, you know what we did,

0:48:27.480 --> 0:48:29.799
<v Speaker 2>that we did a really practical thing. We made it work,

0:48:29.960 --> 0:48:31.440
<v Speaker 2>and next time I would love to get back in

0:48:31.520 --> 0:48:32.280
<v Speaker 2>the studio together.

0:48:32.480 --> 0:48:34.840
<v Speaker 1>I think we were lucky that we had quite a

0:48:34.920 --> 0:48:38.440
<v Speaker 1>lot of the rough demos before we had to separate,

0:48:38.640 --> 0:48:42.960
<v Speaker 1>so at least the structure of them existed in some way,

0:48:43.040 --> 0:48:45.120
<v Speaker 1>whether that was just a demo that Ian and Martina

0:48:45.200 --> 0:48:48.759
<v Speaker 1>had from previously, or I think the only things that

0:48:48.840 --> 0:48:51.719
<v Speaker 1>we'd recorded vocals on before Ian had to leave was

0:48:52.680 --> 0:48:54.360
<v Speaker 1>he Said, She Said and Good Girls were like the

0:48:54.440 --> 0:48:56.719
<v Speaker 1>two first things that had happened. All the rest of

0:48:56.760 --> 0:48:59.799
<v Speaker 1>the lyrics were written remotely, and I think I can

0:49:00.320 --> 0:49:04.040
<v Speaker 1>lyrics remotely, and the guys can do production remotely, but

0:49:04.239 --> 0:49:07.160
<v Speaker 1>that's because the structure's already in place. I think if

0:49:07.200 --> 0:49:11.040
<v Speaker 1>we had to work and write and create songs over zoom,

0:49:11.120 --> 0:49:14.600
<v Speaker 1>that would be really a lot more difficult, because there

0:49:14.680 --> 0:49:16.520
<v Speaker 1>is something about the energy of being in a room

0:49:16.600 --> 0:49:19.000
<v Speaker 1>and like the speeds that you can communicate with somebody

0:49:19.040 --> 0:49:20.279
<v Speaker 1>when you're in a room and you're like, no, no,

0:49:20.360 --> 0:49:23.080
<v Speaker 1>not that sound, what about this? And that's just much

0:49:23.160 --> 0:49:27.200
<v Speaker 1>harder on zoom. And I think it was a really

0:49:27.719 --> 0:49:30.760
<v Speaker 1>special way to make a record and a really special

0:49:30.840 --> 0:49:34.080
<v Speaker 1>way to stay connected. But I don't I think by

0:49:34.120 --> 0:49:35.560
<v Speaker 1>the time, by the time we all get out of here,

0:49:35.600 --> 0:49:37.520
<v Speaker 1>I think we're all going to be very grateful for

0:49:37.640 --> 0:49:40.200
<v Speaker 1>this technology but very happy to not have to use

0:49:40.239 --> 0:49:41.560
<v Speaker 1>it as much again.

0:49:42.160 --> 0:49:44.080
<v Speaker 2>And it would be nice to wrap up a song

0:49:44.160 --> 0:49:45.799
<v Speaker 2>and then say, should have a drink?

0:49:46.440 --> 0:49:48.800
<v Speaker 1>Yeah, should we like hang out rather than And the

0:49:48.920 --> 0:49:52.040
<v Speaker 1>time zone was a real sticker as well, because it

0:49:52.080 --> 0:49:55.160
<v Speaker 1>would mean that one of us would have to be

0:49:55.280 --> 0:49:57.279
<v Speaker 1>up to stupid o'clock in the morning or getting up

0:49:57.320 --> 0:49:59.120
<v Speaker 1>at stupid clock in the morning all the time. And

0:49:59.200 --> 0:50:02.040
<v Speaker 1>I think that brings different energy to your writing. But

0:50:02.960 --> 0:50:05.399
<v Speaker 1>it's just, yeah, you're never in the same emotional state

0:50:05.640 --> 0:50:08.320
<v Speaker 1>as one at least one person in the group because

0:50:09.239 --> 0:50:12.080
<v Speaker 1>you're just not in the same Yeah, you're not in

0:50:12.160 --> 0:50:13.279
<v Speaker 1>the same life at that moment.

0:50:14.680 --> 0:50:17.960
<v Speaker 2>To find previous episodes of Midnight Chats, simply search your

0:50:18.040 --> 0:50:21.440
<v Speaker 2>podcast app, don't forget to follow or subscribe to keep

0:50:21.520 --> 0:50:24.799
<v Speaker 2>up as they're published every week at midnight. For more

0:50:24.840 --> 0:50:27.640
<v Speaker 2>information on the music magazine that makes this series, visit

0:50:27.760 --> 0:50:29.200
<v Speaker 2>Loud and Quiet dot com.

0:50:31.400 --> 0:50:32.600
<v Speaker 1>Anyway, good Night