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Speaker 1: Pushkin Justice, the French electronic music duo comprised of Gaspa

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Speaker 1: OJ and Xavier du Rone, is the gift that keeps

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Speaker 1: on giving. Not only did they soundtrack every great party

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Speaker 1: from the Mad Dots On along with fellow countrymen Daft Punk,

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Speaker 1: of course, but they're keeping the party going in twenty

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Speaker 1: twenty five. They just released an incredible sounding new album

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Speaker 1: called Hyperdrama that not only sounds like the best possible

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Speaker 1: night out in Paris, but brings in touches of jazz

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Speaker 1: and experimentation that feel new for the group. They also

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Speaker 1: just co produce the opening track of the Weekend's new album,

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Speaker 1: a song called wake Me Up that finds a rather

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Speaker 1: brilliant way of hearkening back to MJ's Thriller. We discussed

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Speaker 1: the creative process behind the Weekend track their new album,

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Speaker 1: why they've never been able to reproduce their iconic Cross

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Speaker 1: logo in real life, and who's drums they surprisingly sampled

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Speaker 1: on their first album Cross. If you'd like to watch

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Speaker 1: the video of today's episode, visit our YouTube page YouTube

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Speaker 1: dot com. Slash the Broken Record Podcast. This is Broken Record,

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Speaker 1: real musicians, real conversations. Here's my conversation with gaspar Ouja

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Speaker 1: and Xavier Drone of Justice. What music did you grow

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Speaker 1: up with me?

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Speaker 2: You know, you always have a cuisin, an older cousin,

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Speaker 2: or a big brother, and my case was an older cusion.

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Speaker 2: He was really into the old school hard rock stuff,

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Speaker 2: like a Metallica Iron Maiden, So I grew up with

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Speaker 2: listening to his tapes. Then I moved on to grunge

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Speaker 2: a bit, because I mean I didn't really choose it,

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Speaker 2: you know, it was what you were exposed to on

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Speaker 2: MTV and everything. Then I had a new metal phase

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Speaker 2: for a short time, not so sure.

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Speaker 3: Any any specific any album, Yeah, you were talking about

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Speaker 3: it and on the way here, like I was willing

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Speaker 3: to con and uh but like yeah for a few

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Speaker 3: albums and and uh yeah, and I had readlocks because

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Speaker 3: of them for a short time.

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Speaker 2: So I'm sorry for over sharing. But there's like, for

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Speaker 2: those who know how to search, there's on Google there's

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Speaker 2: one picture of him with red locks. So for for

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Speaker 2: all the really big girls here, I'll be what is

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Speaker 2: what is one search? I will not We've said everything,

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Speaker 2: so now if you're really the girl, you will find it.

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Speaker 1: Responsibilities on us to find it.

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Speaker 2: Responsibility or guilt because you don't know what what you're

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Speaker 2: gonna find. It can be easily made with a idols

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Speaker 2: might make you. However, to look at this picture.

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Speaker 1: Oh man, I had dread lock still, but I think

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Speaker 1: it's just a little different probably.

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Speaker 2: But somehow I can imagine it's not that's bad. You know.

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Speaker 1: Did you have a new metal phase?

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Speaker 2: No? No, never. I mean like like like like one

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Speaker 2: of the first albums I really loved was the first

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Speaker 2: regigaenst the Machine album. But that's not I mean that's

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Speaker 2: new metal technically because it's a guy rapping on metal. Yeah,

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Speaker 2: but it's it's much more than this. You know.

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Speaker 1: They kind of created it sadly maybe in a way,

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Speaker 1: although you know, like.

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Speaker 2: Yeah yeah, like like it's the only band I've ever

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Speaker 2: listened to in that type. No, I just handed a

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Speaker 2: bit too a band then Squad too that was like

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Speaker 2: the Dutch equivalent of regigaenst the Machine.

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Speaker 1: What were they?

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Speaker 2: Oh band? Then Squad the medal track called magog Listening.

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Speaker 1: What was your trajectory in terms of what you started

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Speaker 1: listening to and how alone?

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Speaker 2: First the first album I Boat was a doggie style.

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Speaker 1: And the Dark Star Yeah, so it's beautiful, yeah, yeah.

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Speaker 2: And still today, I love this album and I still

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Speaker 2: listen to it and and because of this album, I

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Speaker 2: started to listen to Parliament and Funkadelic and so my

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Speaker 2: second city, the second CD I bought was Uncle Jam

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Speaker 2: Wants You, And that's fun because I bolted because it's

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Speaker 2: because he only has eight songs on it. It was

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Speaker 2: less expensive with cheaper than the other ones, so that's

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Speaker 2: why I bought this one, and I didn't really like it.

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Speaker 1: First.

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Speaker 2: I liked knee Deep and a Freak of the Week,

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Speaker 2: of course, but years after my favorite songs on them

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Speaker 2: on this album are more like a film Maneuvers and

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Speaker 2: only Wants to Go to California. That are not the

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Speaker 2: songs that I liked at the moment. But but because

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Speaker 2: I didn't have money and I forced myself to listen

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Speaker 2: to this record over and over and and and and

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Speaker 2: like all good things, it's it's like, really of Tony,

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Speaker 2: it's not the things that strike you first that stay

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Speaker 2: with you, but more the under dogs songs and uh

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Speaker 2: and yeah, I miss that a bit with like the

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Speaker 2: new way we listen to music and not being able

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Speaker 2: to like I can't like and I'm not scared, but yeah,

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Speaker 2: I'm scared of thinking how many of my favorite songs

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Speaker 2: I missed because I just listened to the singers or

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Speaker 2: like the most popular songs of an album or an artist.

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Speaker 1: It's really easy not to listen to a full album.

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Speaker 1: I mean, I'm so guilt. I hate listening that way,

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Speaker 1: but I'm completely guilty of it, you know.

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Speaker 2: Yeah, yeah, it's it's very easy, but but but easy

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Speaker 2: way of of not doing so. And this is what

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Speaker 2: we do a bit still is buying vinyls, Like the

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Speaker 2: albums I really want to listen to, I buy vinyl, yeah,

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Speaker 2: and then I just I just put it on and uh,

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Speaker 2: and I try not to do anything else. It's very

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Speaker 2: difficult not to be tempted to listen to record and

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Speaker 2: watch something else at the same time. But it's but

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Speaker 2: it's worth it. Yeah, yeah, yeah.

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Speaker 1: It's like reading a book these days. It's like you

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Speaker 1: have to if you dedicate yourself to do it, it's

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Speaker 1: worth the time. But yeah, it's hard to slow yourself

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Speaker 1: down enough to.

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Speaker 2: Yeah, and exactly the same way, like like it's it's

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Speaker 2: really rare to get into a book before you have

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Speaker 2: read at least like one hundred pages of it and

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Speaker 2: then it's it's like you you start getting in it

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Speaker 2: and and you stop reading and you start just like

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Speaker 2: fluing in it and do the same with the record.

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Speaker 1: Yeah, yeah, what do you think it is about the

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Speaker 1: Snoop Dog record about dog Star that makes it still

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Speaker 1: good today?

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Speaker 2: Everything like like like first is that pretty much every

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Speaker 2: song on Dougie Style is a nassemblage. It's like a

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Speaker 2: blend of like three songs of a Parliament and Frankadelics,

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Speaker 2: So they're starting from a good material and then doctor

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Speaker 2: dre as the great producer that is, he made it

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Speaker 2: the right way to make this song in something modern

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Speaker 2: and sometimes even better than the original tracks that he sampled.

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Speaker 2: And Snoop at this moment was, yes, such a cool

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Speaker 2: character he was at the same time, Uh a bit

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Speaker 2: especially for me because I grew up in like a

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Speaker 2: white Paris suburbs, so that was the exact opposite of

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Speaker 2: what I what I knew, you know what I mean.

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Speaker 2: So it was so exoti fascinating, Yeah, fascinating. You know.

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Speaker 2: His rap was amazing, like yeah, there's so many, so many.

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Speaker 1: His voice was really good. I mean it's still it's

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Speaker 1: still iconic and still sounds but when you do listen

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Speaker 1: to that era of him, You're like, wow, his voice

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Speaker 1: was particularly.

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Speaker 2: Yeah, very specific, specific voice. It doesn't sound like anyone

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Speaker 2: else in the rap and and yes so no yeah,

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Speaker 2: and even like the cover like this Bad Lead Rone cover,

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Speaker 2: it's like completely yeah, amateur fanzine thing. It's yes, so good.

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Speaker 1: Yeah, similar to like how Parliament funk Delic color album,

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Speaker 1: I mean the album covers are. That was paed Ro

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Speaker 1: Bell that did the Funkadelic and Parliament covers, and then

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Speaker 1: it was just guy Joe Cool from Long Beach it

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Speaker 1: just died recently, that did the Snoop Dogg cover. But

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Speaker 1: I always felt inspired by like those hand drawn Funkadelic covers.

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Speaker 2: To me, it is but but but the Parliament scatic

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Speaker 2: ones are like they have a level of professionalism that

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Speaker 2: the Snoop one doesn't have. But this is more psychedelic.

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Speaker 2: And this is when the Snoop ones are great because

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Speaker 2: they really feel true. You know, is a bit like

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Speaker 2: it's not really well drawn. It looks very here, very rough,

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Speaker 2: but it suits the project perfectly for you.

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Speaker 1: Listening in the music was it was the art work

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Speaker 1: important because you guys, we're both like graphic designers before.

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Speaker 2: Yeah, and and and I mean especially like back in

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Speaker 2: the days when you had to to save money to

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Speaker 2: buy your record, so obviously you would go for the

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Speaker 2: cover you liked better. And if you had the choice

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Speaker 2: between two records you wanted to get, and and and yeah,

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Speaker 2: and and we bought like so many vinyls just for

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Speaker 2: the cover. And sometimes you have this this perfect like

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Speaker 2: match between what the cover is and and the music.

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Speaker 2: But yeah, like we we definitely like did our graphic

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Speaker 2: design education through vinyl covers and stuff like this because

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Speaker 2: it's the perfect format and it's really like the the

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Speaker 2: blend between like typography, photography, illustration and and on such

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Speaker 2: a like concise square. You know, it's just perfect.

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Speaker 1: Yeah, yeah, did you guys draph from a young age.

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Speaker 2: Yeah, we we both wear But but I guess Part

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Speaker 2: rose pretty well. I think I'm not too good now better,

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Speaker 2: but you're very good at this, is very good at handwriting.

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Speaker 2: You can really has a school graphity guy past. You know.

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Speaker 2: Now I'm good at analytic drawing, but I'm not good

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Speaker 2: at illustration. And guess part is a better illustrator.

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Speaker 1: So analytic drum you mean more like like like.

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Speaker 2: I call it like this because it was the name

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Speaker 2: of the courses we had. But it's like, if if

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Speaker 2: you show me like an object with the structure, I

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Speaker 2: can I can enjoy it because like analytic drawing is

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Speaker 2: about understanding the structure of something, and but I'm drawing.

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Speaker 2: It's this, you know, it's understing how things are made

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Speaker 2: and then just like draw them. So this I can do.

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Speaker 1: So you draw more the way like an architect or engineer, I.

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Speaker 2: Wouldn't go that far from more that direction. Then no, no,

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Speaker 2: because like I can draw human body or whatever. We

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Speaker 2: had like anatomic courses, so I understand how it's made

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Speaker 2: and I can do it. But that doesn't make me

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Speaker 2: a good drawer. Like a good drawer someone that can

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Speaker 2: transfer good idea into a drawing and make you feel something.

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Speaker 2: If I draw a spoon, it would look like a spoon,

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Speaker 2: but you will not feel anything looking at it.

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Speaker 1: That's funny, man, did how how did you two come together?

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Speaker 2: We met in a in a party in a kitchen,

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Speaker 2: because it's always in the kitchen that you're having the

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Speaker 2: most fun at parties most of the time, and just

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Speaker 2: through common friends, and we started like like laughing about

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Speaker 2: what is still making us love today? You know, like

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Speaker 2: just a bit of absurd humor and like just just yes,

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Speaker 2: stepping away from reality and finding precise words to have

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Speaker 2: fun of it. You know, I think it's if we

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Speaker 2: are our favorite and humor is. But I mean, the

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Speaker 2: best humor is always about precision in terms of words,

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Speaker 2: you know, the choice of worlds to describe something.

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Speaker 1: Yeah, how did you guys bond over music?

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Speaker 2: We both had a few like pieces of gear, but

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Speaker 2: it was really radimental. Does it exist that word radimental?

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Speaker 1: Yeah?

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Speaker 2: Yeah, okay?

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Speaker 1: And elementary yeah.

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Speaker 2: Radimentary okay. And and at the time we used to

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Speaker 2: hang out a lot in pown shops in Paris, but

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Speaker 2: they used to have like some pieces of equipment like

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Speaker 2: synthetizers and also records, and we could not afford the synthesizers,

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Speaker 2: but we would buy records and listen to them. And

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Speaker 2: the common friends that introduced us to each other. How

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Speaker 2: the indie label, like a proper indie label, where they

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Speaker 2: were like burning cities and then mailing them out by hand,

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Speaker 2: you know, printing the covers on a home printer, So

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Speaker 2: that was like a proper one. And the and yeah,

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Speaker 2: two things happened at the same time is that they

220
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Speaker 2: were making compilation and asked all their friends to make

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Speaker 2: a track, so we decided to make one together and

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Speaker 2: at the same time we received the stems of Simeon

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Speaker 2: never Buloon for a remix contests in Paris, and this

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Speaker 2: is when we made we Are Your Friends. So that

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Speaker 2: that was, yeah, the first track we made alongside the

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Speaker 2: other one that we met for our friends.

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Speaker 1: That's really graz thought for sure. The must have been

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Speaker 1: a couple more songs before that that just never came out.

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Speaker 2: No, No, that was really like the beginnings. And we

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Speaker 2: didn't have a computer at the time. We had like

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Speaker 2: a Chai S two thousands simpler, uh gas band, had

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Speaker 2: a Boss drum machine, doctorism, a cop Poly eight hundred,

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Speaker 2: and we had like a Maquis mixer, uh an Archai expander,

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Speaker 2: so that was doing your piano sounds. And yeah, that

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Speaker 2: was made with this with no computer. We burned to

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Speaker 2: CD and that was the master of the track.

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Speaker 1: Did you guys even know how to use all the

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Speaker 1: equipment just yet or was it kind of just experimenting

239
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Speaker 1: the figure out how to use it? And then now we.

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Speaker 2: Still don't know to be honest, nor for real, like

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Speaker 2: like synthetizers are really not good at it. But because

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Speaker 2: like to properly use a synthesizer, you need to understand

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Speaker 2: like the electric architecture of us, because this is electricity

244
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Speaker 2: running through things, you know. Yeah, and we never made

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Speaker 2: the effort of learning. So if we have a citylizer,

246
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Speaker 2: if we find like a good preset that we like,

247
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Speaker 2: we can tweaky to beat to make it sound exactly.

248
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Speaker 2: But we can't, like if you will hand us like

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Speaker 2: a mini moog or harp or whatever. We can't start

250
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Speaker 2: from like a noise or no ocillator and then get

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Speaker 2: what we want. You know, that's impossible to do.

252
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Speaker 1: And did you guys play do you guys playing instruments

253
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Speaker 1: before that?

254
00:16:28,236 --> 00:16:32,276
Speaker 2: Yes, we used to play in high school bands. I

255
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Speaker 2: used to play bass and guitar, and Guess drums and piano.

256
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Speaker 1: We're never in the same groups.

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Speaker 2: Oh yeah we did, yeah pre internet. Yeah, at the

258
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Speaker 2: same time as we started Justice, we were in the

259
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Speaker 2: backing bend of a friend of us and Guess but

260
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Speaker 2: was playing the drums and I was playing the bass.

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Speaker 1: Well, you guys probably lacked in rhythm section.

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Speaker 2: We guys like, yeah, we're not that tight. Yeah, yeah,

263
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Speaker 2: we were that now, thank god the computer happened. Yeah,

264
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Speaker 2: computer saved us.

265
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Speaker 1: So how did you guys, how exactly did you put together?

266
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Speaker 1: We are your friends, how did you guys manage that together?

267
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Speaker 2: But so we received the stems for this like remix

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Speaker 2: contest that was on a on a student radio in Paris,

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Speaker 2: and uh, and because we didn't have a computer, just

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Speaker 2: a sampler, we listened to the vocal parts and we

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Speaker 2: asuly is related the chorus because we couldn't, like there

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Speaker 2: was not enough memory of the on the sampler to

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Speaker 2: take more. And we looked that thing and then we

274
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Speaker 2: started like writing music on it. And we didn't even

275
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Speaker 2: listen to the original track because we just had these

276
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Speaker 2: stems and uh, and so we we just wrote music

277
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Speaker 2: to those, like to those vocals exactly the same way

278
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Speaker 2: as if the guy was here like singing something and

279
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Speaker 2: we would just like play with him. And but but

280
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Speaker 2: the process is still the same same today, Like we

281
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Speaker 2: just like play around and.

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Speaker 1: You both each will have something and you'll play against

283
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Speaker 1: each other or you'll each.

284
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Speaker 2: Uh, it depends. It's like sometimes we play together, but

285
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Speaker 2: it's pretty rare. Like most of the times we take turns,

286
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Speaker 2: like like one of us he's like starting something and uh,

287
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Speaker 2: and then when the other one has an idea or

288
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Speaker 2: when the other one sees that the other one is

289
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Speaker 2: like has like he's just like circling around, just jump

290
00:18:45,836 --> 00:18:49,156
Speaker 2: in and then continue. And that's how we make things

291
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Speaker 2: most of the time.

292
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Speaker 1: It feels like from the beginning and maybe I'm wrong,

293
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Speaker 1: but it's just my impression from having well and it

294
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Speaker 1: actually we get to that next it from you as perspective,

295
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Speaker 1: how did We Are your Friends get as popular as

296
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Speaker 1: it did.

297
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Speaker 2: It's diffintively slow burner because it's like, like the big

298
00:19:10,836 --> 00:19:13,196
Speaker 2: luck that we had is that we made this track.

299
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Speaker 2: We lost the contest and we met Pedro Winter like

300
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Speaker 2: two weeks after losing the contest. We knew who he

301
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Speaker 2: was and for those who don't know, like at the time,

302
00:19:28,836 --> 00:19:33,836
Speaker 2: he was a Death Mounk's manager, and so we end.

303
00:19:33,836 --> 00:19:36,676
Speaker 1: Up and yeah.

304
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Speaker 2: Exactly, and he ends up coming coming to gas Path

305
00:19:39,716 --> 00:19:45,036
Speaker 2: place for dinner because our friend bertrand Somi was like

306
00:19:45,916 --> 00:19:48,476
Speaker 2: working on ed Banger the label with him and they

307
00:19:48,476 --> 00:19:53,236
Speaker 2: were just starting it together, and so we we knew

308
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Speaker 2: that he was looking like for like new artists and

309
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Speaker 2: that he was a Death Monk's manager and he was there,

310
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Speaker 2: so we at some point we told him making some music.

311
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Speaker 2: We haven't made much, but we can play you the stuff.

312
00:20:06,996 --> 00:20:08,796
Speaker 2: So we just had we are your friends to play

313
00:20:08,876 --> 00:20:12,756
Speaker 2: him another track and we played it to him like okay,

314
00:20:12,916 --> 00:20:15,396
Speaker 2: so we made this for contest. We lost, but we werena,

315
00:20:15,436 --> 00:20:18,836
Speaker 2: we're gonna make more ifever you're interested, and he was like, nah,

316
00:20:19,436 --> 00:20:22,996
Speaker 2: like give me this one. I want to release this one.

317
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Speaker 2: So like yeah, basically, like two months after we started

318
00:20:26,356 --> 00:20:31,316
Speaker 2: making music, we were signed to ed Bunger with this

319
00:20:31,436 --> 00:20:34,316
Speaker 2: guy that was a French hero, you know. So we

320
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Speaker 2: are very very happy and excited and he released the

321
00:20:39,116 --> 00:20:47,836
Speaker 2: track not with not too much response. I mean it

322
00:20:48,036 --> 00:20:52,396
Speaker 2: was okay, but it was not crazy. But because that's

323
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Speaker 2: always the same thing, like like you can you can

324
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Speaker 2: be like with a manager, you can be the biggest

325
00:21:00,796 --> 00:21:03,316
Speaker 2: band in the world. If you do like a side project,

326
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Speaker 2: you start from zero again. And with that BEng girl,

327
00:21:06,436 --> 00:21:08,876
Speaker 2: I started from zero again like like people who were

328
00:21:08,916 --> 00:21:11,716
Speaker 2: interested in Dastank of course, but not in the new

329
00:21:11,756 --> 00:21:12,556
Speaker 2: stuff he was doing.

330
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Speaker 1: It's like, let me play the stuff.

331
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Speaker 2: Yeah, So he was really like doing it like a

332
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Speaker 2: Garia style, you know, like he was like pressing like

333
00:21:19,916 --> 00:21:23,876
Speaker 2: five lynd records. He was like driving on his like scooter,

334
00:21:24,636 --> 00:21:27,476
Speaker 2: putting them in record stores by himself. So it was

335
00:21:27,636 --> 00:21:33,876
Speaker 2: very like all handmade. And then I think one year

336
00:21:34,276 --> 00:21:37,876
Speaker 2: and a half after it gets really released on Gigolo Records.

337
00:21:37,956 --> 00:21:42,076
Speaker 2: It's the German label in Munich, it's a DJ hel

338
00:21:42,396 --> 00:21:46,436
Speaker 2: record label. And then in two thousand and six it

339
00:21:46,476 --> 00:21:52,636
Speaker 2: gets released again on Virgin Records, and this is when

340
00:21:52,676 --> 00:21:56,396
Speaker 2: it started like becoming something more. So that was three

341
00:21:56,476 --> 00:21:59,236
Speaker 2: years after after we released it.

342
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Speaker 1: She has made it in two thousand and three.

343
00:22:01,076 --> 00:22:07,436
Speaker 2: Yes, but everything we do is like slow. We only

344
00:22:07,476 --> 00:22:10,596
Speaker 2: make slow burners, you know it. So d NC was

345
00:22:10,596 --> 00:22:14,356
Speaker 2: the same our first album. It's only after like one

346
00:22:14,436 --> 00:22:19,396
Speaker 2: year or something that we saw like like the first

347
00:22:19,556 --> 00:22:22,636
Speaker 2: hundred one hundred thousand copies of it. Really yeah, it

348
00:22:22,756 --> 00:22:25,716
Speaker 2: was like all very slow. What was of Nazareth? Our

349
00:22:25,836 --> 00:22:29,956
Speaker 2: summon track was really slow, so like we had we

350
00:22:30,036 --> 00:22:32,316
Speaker 2: saw the foots of that like one year or two

351
00:22:32,396 --> 00:22:38,516
Speaker 2: years after. So yeah, like like making like an instant

352
00:22:38,596 --> 00:22:42,196
Speaker 2: hits is definitely not our forte.

353
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Speaker 1: We'll be back with more justice after the break. My

354
00:22:49,956 --> 00:22:52,396
Speaker 1: memory of the first album was like that it was

355
00:22:52,796 --> 00:22:56,636
Speaker 1: kind of like instantly popular, like you know.

356
00:22:56,876 --> 00:23:00,276
Speaker 2: Because your trendsetter. Maybe it was for you, maybe it was, yeah,

357
00:23:00,316 --> 00:23:02,516
Speaker 2: but but it was not for the for the for

358
00:23:02,596 --> 00:23:03,876
Speaker 2: the people in general, you know.

359
00:23:03,876 --> 00:23:05,996
Speaker 1: Yeah, yeah, yeah, because I remember, I just remember everyone

360
00:23:06,916 --> 00:23:10,956
Speaker 1: having like we are your friends and everyone parties in California.

361
00:23:10,996 --> 00:23:13,036
Speaker 1: You would play it and everyone be like, oh, like

362
00:23:13,076 --> 00:23:15,316
Speaker 1: there's no like remembering, like there's no album. Like that's

363
00:23:15,316 --> 00:23:18,476
Speaker 1: weird because it sounded like such a like a coherent

364
00:23:19,076 --> 00:23:20,876
Speaker 1: sounds like they must have like a bunch of stuff

365
00:23:20,876 --> 00:23:23,196
Speaker 1: and remember like there's nothing, like where's the other stuff?

366
00:23:23,236 --> 00:23:26,516
Speaker 2: And then now, yeah, it's fun because we are your friends.

367
00:23:26,556 --> 00:23:32,036
Speaker 2: I guess like Siman did it, and and and probably

368
00:23:32,276 --> 00:23:37,036
Speaker 2: with some kind of tongue in cheek like intention, and

369
00:23:37,036 --> 00:23:40,076
Speaker 2: and and and so we kind of took this element

370
00:23:40,196 --> 00:23:44,476
Speaker 2: out and and and it became like this very almost

371
00:23:44,596 --> 00:23:50,436
Speaker 2: like very positive and almost naive, you know, like lyrical

372
00:23:50,556 --> 00:23:55,316
Speaker 2: content and which is something like we could never come

373
00:23:55,396 --> 00:23:58,396
Speaker 2: up with, you know, like just saying we are your friends,

374
00:23:58,436 --> 00:24:01,916
Speaker 2: You'll never be alone again. It would be impossible for

375
00:24:01,996 --> 00:24:05,996
Speaker 2: us to to yeah, to get along with those lyrics.

376
00:24:06,556 --> 00:24:10,116
Speaker 2: And I guess this is what made the track popular

377
00:24:10,196 --> 00:24:13,916
Speaker 2: as well, is that because the music goes into that

378
00:24:14,236 --> 00:24:21,116
Speaker 2: kind of naivty direction, but with more more groove, and

379
00:24:21,156 --> 00:24:25,156
Speaker 2: obviously it's more repetitive, but it's it's its completely like

380
00:24:25,356 --> 00:24:30,596
Speaker 2: changed the angle of the track. Go ahead now, Yeah,

381
00:24:30,756 --> 00:24:33,796
Speaker 2: it's it's interesting because I can't imagine like coming up

382
00:24:33,836 --> 00:24:36,876
Speaker 2: to Gaspan and telling him you listen, we're gonna make

383
00:24:36,916 --> 00:24:39,276
Speaker 2: a song. It's gonna say where your friends, You'll never

384
00:24:39,316 --> 00:24:41,996
Speaker 2: be alone again, so come on and sing him the

385
00:24:42,036 --> 00:24:46,116
Speaker 2: hood and him saying, yeah, let's do it right now.

386
00:24:46,276 --> 00:24:46,956
Speaker 1: I know.

387
00:24:47,196 --> 00:24:48,756
Speaker 2: I think it would look at me and tell me

388
00:24:48,836 --> 00:24:52,636
Speaker 2: like to fuck off. So it's it's very interesting. Like

389
00:24:52,676 --> 00:24:55,796
Speaker 2: when we make music, we often think of this, like

390
00:24:55,796 --> 00:24:58,916
Speaker 2: like would we be able to come up with the

391
00:25:00,036 --> 00:25:02,356
Speaker 2: reefs such as like seven National me from is the

392
00:25:02,356 --> 00:25:07,316
Speaker 2: best example of a reef that like if we we

393
00:25:07,756 --> 00:25:11,636
Speaker 2: would find it, I think we would studied immediately. Uh.

394
00:25:11,676 --> 00:25:13,956
Speaker 2: And the genius of those people is to manage like

395
00:25:14,036 --> 00:25:17,836
Speaker 2: to to think, to like recognize what's gonna be, like

396
00:25:17,916 --> 00:25:21,276
Speaker 2: something huge, and then be focused enough to manage to

397
00:25:21,316 --> 00:25:23,316
Speaker 2: finish a track with it.

398
00:25:23,396 --> 00:25:27,236
Speaker 1: Yeah, to your point, guys, but like that is such

399
00:25:27,236 --> 00:25:30,116
Speaker 1: a naive lyric. But the way you guys, what you

400
00:25:30,156 --> 00:25:33,076
Speaker 1: guys orchestrated around it does almost make did make it

401
00:25:33,116 --> 00:25:37,436
Speaker 1: sound a little tongue in cheek, you know, like.

402
00:25:37,436 --> 00:25:39,756
Speaker 2: The yeah, because the way he thinks it is like

403
00:25:39,996 --> 00:25:43,636
Speaker 2: very intense, like he's screaming, you know, and it's almost

404
00:25:43,716 --> 00:25:47,876
Speaker 2: like keyless in a way, you know, like but it's

405
00:25:47,956 --> 00:25:52,116
Speaker 2: just yeah, I guess it's just very positive and powerful

406
00:25:52,196 --> 00:25:57,596
Speaker 2: and and and also like people can relate to it

407
00:25:57,716 --> 00:26:00,876
Speaker 2: because it's screamed as well. Yeah, and it's not like

408
00:26:00,996 --> 00:26:10,516
Speaker 2: you know, to to what's the world to sweet and

409
00:26:10,556 --> 00:26:15,676
Speaker 2: it's yeah. But when actually, when the guys from a

410
00:26:15,876 --> 00:26:18,796
Speaker 2: San received a remix, they didn't like it, so we

411
00:26:18,916 --> 00:26:23,596
Speaker 2: lost the contest and they they sat it sounded like

412
00:26:23,996 --> 00:26:27,516
Speaker 2: medi jazz, which is not too far from the truth,

413
00:26:27,556 --> 00:26:29,756
Speaker 2: you know, when you listen to it sounded like what

414
00:26:29,996 --> 00:26:34,636
Speaker 2: media jazz meddi jazz. Yeah. James Ford described the song

415
00:26:34,676 --> 00:26:38,436
Speaker 2: as being medi jazz. But that's fun and fair enough.

416
00:26:38,516 --> 00:26:41,396
Speaker 2: It technically this is what it was. You know. It

417
00:26:41,516 --> 00:26:44,396
Speaker 2: was all medi with like some kind of like a

418
00:26:44,476 --> 00:26:47,116
Speaker 2: course with like a more than free not in it.

419
00:26:47,236 --> 00:26:48,476
Speaker 2: So yeah, that's medi jazz.

420
00:26:48,476 --> 00:26:52,196
Speaker 1: You know, there are peggiated kind of thing almost like

421
00:26:52,356 --> 00:26:54,156
Speaker 1: I guess video game music sometimes too.

422
00:26:54,196 --> 00:26:56,636
Speaker 2: It could be that, you know, Yeah, but there's are

423
00:26:56,716 --> 00:26:59,116
Speaker 2: such amazing tunes like the Mario Ones and they are

424
00:26:59,116 --> 00:27:02,436
Speaker 2: inspired by like jazz tunes and everything. So yeah, yeah,

425
00:27:02,476 --> 00:27:03,436
Speaker 2: it makes sense.

426
00:27:03,756 --> 00:27:06,916
Speaker 1: With the sounds that you guys, because like that sort

427
00:27:06,916 --> 00:27:11,156
Speaker 1: of distorted the size of sound, like how did you

428
00:27:11,196 --> 00:27:14,036
Speaker 1: guys come up? Come on CONCRACD? Like how did you

429
00:27:14,076 --> 00:27:15,116
Speaker 1: guys die that sound?

430
00:27:16,036 --> 00:27:19,196
Speaker 2: But the first thing is that is that when we because,

431
00:27:19,196 --> 00:27:21,716
Speaker 2: for example, to make baselines, so we use like the

432
00:27:21,756 --> 00:27:24,436
Speaker 2: base pre set in the Ark two thousand and player,

433
00:27:25,396 --> 00:27:28,516
Speaker 2: so it was like maybe like one octaves and a

434
00:27:28,596 --> 00:27:33,556
Speaker 2: half of base notes, but they sound like very uh

435
00:27:34,436 --> 00:27:38,796
Speaker 2: sterile and the record, and so we would crank it

436
00:27:39,876 --> 00:27:43,916
Speaker 2: to make it sound more real. Uh. So that that's

437
00:27:43,916 --> 00:27:45,516
Speaker 2: the thing, is that a lot of the because a

438
00:27:45,596 --> 00:27:47,636
Speaker 2: lot of the sounds that we have didn't sound good.

439
00:27:48,876 --> 00:27:51,476
Speaker 2: We noticed that if you compress them like four times

440
00:27:51,596 --> 00:27:56,676
Speaker 2: and you distort them, they start sounding good and and

441
00:27:56,796 --> 00:28:00,916
Speaker 2: uh and also at the time, we used to listen

442
00:28:00,956 --> 00:28:02,996
Speaker 2: to a lot of Zoo Gaming. I don't know if

443
00:28:03,076 --> 00:28:07,676
Speaker 2: you know this Japanese UK band. It's really good. Well

444
00:28:08,676 --> 00:28:13,796
Speaker 2: z O n G A M I N it's the

445
00:28:13,876 --> 00:28:17,636
Speaker 2: guy like the main guy is a so English, a

446
00:28:17,756 --> 00:28:21,716
Speaker 2: Japanese bassist and is a virtuoso, such a good player,

447
00:28:22,356 --> 00:28:26,236
Speaker 2: and Zong Gamme is kind of like, yeah, disco psychedelic

448
00:28:26,356 --> 00:28:30,436
Speaker 2: rock instrumental. It's like, it's still one of the best

449
00:28:30,476 --> 00:28:34,116
Speaker 2: albums of this decade today. We used to listen to

450
00:28:34,196 --> 00:28:36,876
Speaker 2: a lot of The White Stripes too. We love the

451
00:28:36,916 --> 00:28:44,276
Speaker 2: sound of it. And so we knew that how we

452
00:28:44,356 --> 00:28:50,316
Speaker 2: felt that distorting and over compressing things were making them

453
00:28:50,356 --> 00:28:52,516
Speaker 2: feel better for us, also because we had no idea

454
00:28:52,556 --> 00:28:54,996
Speaker 2: what we were doing, you know, so that's the shortest

455
00:28:55,036 --> 00:29:00,236
Speaker 2: pass to something that's satisfactory. And then in two thousand

456
00:29:00,276 --> 00:29:04,436
Speaker 2: and four we build a computer because we could finally

457
00:29:04,516 --> 00:29:10,836
Speaker 2: afford one, and then we found out about the digital

458
00:29:10,836 --> 00:29:15,476
Speaker 2: distortion and how far you can go with like compressors

459
00:29:15,636 --> 00:29:18,076
Speaker 2: because also like when we are only hardware, we only

460
00:29:18,116 --> 00:29:22,676
Speaker 2: had one compressor. Now we could put like sixteen compressors

461
00:29:22,796 --> 00:29:28,116
Speaker 2: on one channel and uh and just chain like distortions

462
00:29:28,116 --> 00:29:32,316
Speaker 2: and everything and uh and it just yeah, opened a

463
00:29:32,356 --> 00:29:35,636
Speaker 2: new world of possibilities to us.

464
00:29:35,836 --> 00:29:40,756
Speaker 1: Wow, and what what about you know you're you're talking

465
00:29:40,756 --> 00:29:43,556
Speaker 1: about how you just the storting because you didn't have

466
00:29:43,796 --> 00:29:46,396
Speaker 1: in your mind good sounds or the storting was the

467
00:29:46,396 --> 00:29:49,276
Speaker 1: best way to come up with something satisfying. But I

468
00:29:49,276 --> 00:29:55,636
Speaker 1: feel like your drum sound dating back to at least

469
00:29:55,636 --> 00:29:58,996
Speaker 1: the first record too, I think drum sounds always seemed

470
00:29:59,036 --> 00:30:02,876
Speaker 1: really clean to me. Not or am I am I misremembering?

471
00:30:04,236 --> 00:30:06,756
Speaker 2: No, No, I mean they are clean, they're just very

472
00:30:07,556 --> 00:30:11,276
Speaker 2: on the first album where without going to technical like

473
00:30:11,356 --> 00:30:17,116
Speaker 2: on the master Bus, there was so many distortion and

474
00:30:17,356 --> 00:30:21,796
Speaker 2: so much distortion and compression that whatever we would put

475
00:30:21,836 --> 00:30:25,316
Speaker 2: in our session, we had like to lower the gain

476
00:30:25,356 --> 00:30:28,916
Speaker 2: but at least like thirty six DB's for it to

477
00:30:28,996 --> 00:30:34,276
Speaker 2: some normal And most of the drums on the first

478
00:30:34,276 --> 00:30:40,476
Speaker 2: album they come from like there's a track on Show

479
00:30:40,516 --> 00:30:43,076
Speaker 2: by Stilly Done where we took like a kick and snare,

480
00:30:43,636 --> 00:30:49,076
Speaker 2: and also we had like some drum parts from solo

481
00:30:49,116 --> 00:30:51,316
Speaker 2: Waks that we use, so they are live drums, but

482
00:30:51,396 --> 00:30:59,356
Speaker 2: they are so compressed that they sound the way they are.

483
00:30:59,076 --> 00:31:02,436
Speaker 2: We're not into like distorted drums in the sense that

484
00:31:02,516 --> 00:31:07,116
Speaker 2: we we don't like when we when I don't like

485
00:31:07,156 --> 00:31:09,316
Speaker 2: when I listen to record and I can pick sure

486
00:31:09,396 --> 00:31:12,516
Speaker 2: like the drummer hitting like very hard. We prefer like

487
00:31:12,756 --> 00:31:17,956
Speaker 2: the soft touch, and so we would try to make

488
00:31:18,036 --> 00:31:25,676
Speaker 2: them sound as not soft but like not hard hitting

489
00:31:26,036 --> 00:31:29,796
Speaker 2: it is possible. So that's why we never put any

490
00:31:32,076 --> 00:31:38,356
Speaker 2: what's the world any he rebel discorsion on the on

491
00:31:38,436 --> 00:31:41,556
Speaker 2: the drums. We don't want them to do like or

492
00:31:41,636 --> 00:31:43,436
Speaker 2: just out of curiosity. If you looked at the track

493
00:31:43,516 --> 00:31:45,916
Speaker 2: or from Gaucha, which we able to pick which one

494
00:31:46,396 --> 00:32:00,356
Speaker 2: it's seem so that's a time out of mind. Wow,

495
00:32:02,916 --> 00:32:05,716
Speaker 2: that's amazing. Were you did you guys? Were you still there?

496
00:32:05,796 --> 00:32:11,036
Speaker 2: Fans not fans, but but we we we liked the

497
00:32:11,516 --> 00:32:14,716
Speaker 2: for we like the idea of stilly done more than

498
00:32:14,716 --> 00:32:17,516
Speaker 2: the songs. Sometimes, what was it? What was the idea

499
00:32:17,556 --> 00:32:20,996
Speaker 2: to you of being two and using a studio as

500
00:32:20,996 --> 00:32:25,516
Speaker 2: an instrument. It's like being two and being the orchestrator

501
00:32:25,556 --> 00:32:28,756
Speaker 2: of your band, sometimes not even playing in your own band,

502
00:32:29,356 --> 00:32:31,796
Speaker 2: but just being the architects and selling. Okay, so this

503
00:32:31,876 --> 00:32:33,796
Speaker 2: guy is gonna play this part. This guy is gonna

504
00:32:33,796 --> 00:32:37,996
Speaker 2: play this part, and uh and and that was the

505
00:32:38,036 --> 00:32:41,876
Speaker 2: same thing with the Buggles that we loved. It's just

506
00:32:41,916 --> 00:32:45,116
Speaker 2: like group of one or two guys, two guys in

507
00:32:45,156 --> 00:32:50,676
Speaker 2: those like two cases who started to consider the possibilities

508
00:32:51,596 --> 00:32:55,036
Speaker 2: of the studio more than a place where you record

509
00:32:55,116 --> 00:32:57,916
Speaker 2: what you have to record. But we need to use

510
00:32:57,956 --> 00:33:00,876
Speaker 2: it as a tool to make something more than more

511
00:33:00,916 --> 00:33:08,196
Speaker 2: than this and u and even in the worst things

512
00:33:08,436 --> 00:33:10,996
Speaker 2: like because for example, like like if you look at

513
00:33:11,036 --> 00:33:15,636
Speaker 2: this like documentary about Asia, and when they when they

514
00:33:15,676 --> 00:33:19,236
Speaker 2: record like the PEG solo, they use like I don't know,

515
00:33:19,396 --> 00:33:24,116
Speaker 2: like thirteen deferense guitarists, and it's it's despicable, you know,

516
00:33:24,196 --> 00:33:26,916
Speaker 2: it's it's not it's not a good thing to do.

517
00:33:26,996 --> 00:33:31,316
Speaker 2: But at the same time, it's cool that they were like, yeah, nope, nope,

518
00:33:31,556 --> 00:33:34,356
Speaker 2: until they find the one that makes exactly the right

519
00:33:34,396 --> 00:33:37,716
Speaker 2: thing thereafter. And and there's something a bit like this

520
00:33:37,836 --> 00:33:40,596
Speaker 2: in the in in our bend, is that is that

521
00:33:40,676 --> 00:33:47,076
Speaker 2: sometimes we we have an intuition of what we want,

522
00:33:47,156 --> 00:33:49,796
Speaker 2: we don't know exactly how to get there, and it's

523
00:33:49,836 --> 00:33:53,196
Speaker 2: gonna take us like dozens or hundreds of versions sometimes

524
00:33:53,276 --> 00:33:58,716
Speaker 2: until we pinpoint exactly what we want. And uh so

525
00:33:58,916 --> 00:34:03,236
Speaker 2: maybe that's why we recognize ourselves in this type of process.

526
00:34:03,276 --> 00:34:07,756
Speaker 1: Yeah, did you guys? I was?

527
00:34:07,796 --> 00:34:08,036
Speaker 2: I was.

528
00:34:08,556 --> 00:34:12,276
Speaker 1: I love the Flints. Yeah, yeah, cool, love the Flints.

529
00:34:12,316 --> 00:34:14,196
Speaker 1: I've been meaning to try to have them out here

530
00:34:14,236 --> 00:34:17,236
Speaker 1: for a few years now, a couple of years. Did

531
00:34:17,316 --> 00:34:20,196
Speaker 1: you guys work with them similarly or no, like like

532
00:34:20,276 --> 00:34:24,596
Speaker 1: almost like you guys were directing them still then stuff.

533
00:34:25,036 --> 00:34:28,716
Speaker 2: Yeah, we went to London in the studio to record

534
00:34:28,756 --> 00:34:34,196
Speaker 2: the vocals and yeah, I mean the yeah, really great

535
00:34:34,196 --> 00:34:37,676
Speaker 2: pair of twins that we we just discover on them

536
00:34:37,716 --> 00:34:39,596
Speaker 2: like randomly and we love.

537
00:34:39,516 --> 00:34:41,116
Speaker 1: To Yeah, how did you guys find them?

538
00:34:41,156 --> 00:34:45,836
Speaker 2: And actually it's like similarly to still Done. They were

539
00:34:45,996 --> 00:34:50,316
Speaker 2: like the I think the Foce people to try on

540
00:34:50,396 --> 00:34:53,316
Speaker 2: that song, like to put vocals on on that track?

541
00:34:53,516 --> 00:34:59,596
Speaker 2: No way, yeah, and uh and uh. But as soon

542
00:34:59,636 --> 00:35:01,836
Speaker 2: as we started working on them, we felt that it

543
00:35:01,876 --> 00:35:04,116
Speaker 2: would be the right the right one.

544
00:35:04,356 --> 00:35:06,796
Speaker 1: Who else did you guys work with on?

545
00:35:06,956 --> 00:35:12,076
Speaker 2: But it wouldn't be a nice to say, especially since

546
00:35:13,596 --> 00:35:17,556
Speaker 2: in that case, like some of the people we worked with,

547
00:35:17,716 --> 00:35:19,996
Speaker 2: we felt it was not working because it was not

548
00:35:20,036 --> 00:35:22,716
Speaker 2: the right song for them. And there are still people

549
00:35:22,796 --> 00:35:25,596
Speaker 2: that we want to try things with. So it was

550
00:35:25,636 --> 00:35:30,996
Speaker 2: not out of like like lack of skills or and

551
00:35:31,076 --> 00:35:33,556
Speaker 2: competitivility or whatever. It was just not the right tune.

552
00:35:33,596 --> 00:35:35,436
Speaker 2: And and it happens sometimes.

553
00:35:35,516 --> 00:35:38,396
Speaker 1: It wasn't a rejection of the artist at all.

554
00:35:38,516 --> 00:35:41,916
Speaker 2: Never never, and and and we reject so much of

555
00:35:41,956 --> 00:35:45,916
Speaker 2: what we're doing ourselves that that if it happens one

556
00:35:45,956 --> 00:35:50,236
Speaker 2: time with someone, we don't mistake it for like incompetence

557
00:35:50,356 --> 00:35:52,036
Speaker 2: or whatever. It's just not the right thing, you.

558
00:35:52,036 --> 00:35:55,516
Speaker 1: Know that that that stretch of the album of the

559
00:35:55,516 --> 00:36:00,676
Speaker 1: new album hyper hyper Drama from uh from like Dear

560
00:36:00,796 --> 00:36:03,796
Speaker 1: Allen to Explore is like, that's one of my favorite

561
00:36:04,036 --> 00:36:12,636
Speaker 1: was really the way it just moved. Uh the is

562
00:36:12,676 --> 00:36:16,596
Speaker 1: it Midnight Rendezvous? Yeah, that Moonlight round view? Excuse me,

563
00:36:16,756 --> 00:36:17,916
Speaker 1: Moonlight Rendezvous.

564
00:36:18,236 --> 00:36:22,156
Speaker 2: Uh yeah, we we hesitated between Midnight and Moonlight, so

565
00:36:22,796 --> 00:36:26,476
Speaker 2: we didn't you really, yeah, we didn't do it because

566
00:36:26,476 --> 00:36:29,196
Speaker 2: there was a Japanese track well band that was called

567
00:36:29,196 --> 00:36:32,836
Speaker 2: the Midnight Rendezvous, and we didn't want to use the

568
00:36:32,876 --> 00:36:34,276
Speaker 2: exact same same world.

569
00:36:34,316 --> 00:36:37,396
Speaker 1: Oh man, okay, well that's that's that's what my brain

570
00:36:37,436 --> 00:36:40,596
Speaker 1: went the same place. What were the that was such

571
00:36:40,596 --> 00:36:43,516
Speaker 1: a cool that's such a unique track. How did that

572
00:36:43,676 --> 00:36:44,236
Speaker 1: come together?

573
00:36:46,476 --> 00:36:50,676
Speaker 2: Like like Moonnight, Hondezvous and Explorer they belong to the

574
00:36:50,796 --> 00:36:54,316
Speaker 2: same basically for us. It's one track that's cut into

575
00:36:54,836 --> 00:36:59,116
Speaker 2: to make it more digestible. And also that if you

576
00:36:59,156 --> 00:37:01,076
Speaker 2: want to listen to Explore only, you don't have to

577
00:37:01,076 --> 00:37:07,916
Speaker 2: listen to moon Night before and uh does this guy

578
00:37:07,956 --> 00:37:12,516
Speaker 2: called is a saxophone player in friends, like a studio

579
00:37:12,916 --> 00:37:14,716
Speaker 2: session player, but he also makes.

580
00:37:14,476 --> 00:37:14,716
Speaker 1: It on.

581
00:37:16,796 --> 00:37:24,396
Speaker 2: Records. And we also like had the PPG at the time.

582
00:37:24,676 --> 00:37:29,396
Speaker 2: PPG Wave PEPG is one of the first digital synthesizer.

583
00:37:29,476 --> 00:37:32,636
Speaker 2: It's a twelve bit scence and because it has a

584
00:37:32,676 --> 00:37:37,556
Speaker 2: twelve bit twelve bit cheap, there's like always this kind

585
00:37:37,556 --> 00:37:40,196
Speaker 2: of like bit crosser, like very soft bit crosser on

586
00:37:40,236 --> 00:37:43,836
Speaker 2: it that sounds very futuristic, and it's all throughout the record.

587
00:37:44,716 --> 00:37:50,036
Speaker 2: And we wanted to make this kind of like like

588
00:37:52,076 --> 00:37:56,756
Speaker 2: saxophone piano track, a bit like blade runner or type

589
00:37:56,756 --> 00:38:00,876
Speaker 2: of thing, you know, but with the modern sound of

590
00:38:01,036 --> 00:38:04,316
Speaker 2: the pipg ins of a piano. And also like this

591
00:38:05,196 --> 00:38:08,276
Speaker 2: the way we made the saxophone sound, so it has

592
00:38:08,316 --> 00:38:12,476
Speaker 2: like a Yale bunch of of futurism in a classic

593
00:38:12,556 --> 00:38:17,956
Speaker 2: form of writing and and uh and just a musical

594
00:38:18,036 --> 00:38:18,476
Speaker 2: form you know.

595
00:38:19,636 --> 00:38:23,636
Speaker 1: And did you with the with the saxophone part is beautiful?

596
00:38:23,836 --> 00:38:26,596
Speaker 1: Did you how did you guys achieve it? Did you?

597
00:38:26,636 --> 00:38:27,996
Speaker 1: Did it take some time or did it? Was that

598
00:38:28,116 --> 00:38:29,916
Speaker 1: like a first take? Now?

599
00:38:29,956 --> 00:38:34,956
Speaker 2: We worked also with another friend called Victor Leman, who

600
00:38:35,356 --> 00:38:41,996
Speaker 2: was the the musical Olympics director in Paris, and uh,

601
00:38:42,276 --> 00:38:46,196
Speaker 2: and so yeah, we were just like bdancing back, like

602
00:38:46,236 --> 00:38:49,916
Speaker 2: you know, singing stuff to each other. And and obviously

603
00:38:49,996 --> 00:38:54,156
Speaker 2: they are we can't play the saxophone, so but we

604
00:38:54,156 --> 00:38:58,996
Speaker 2: we were just like directed this guy a solo man.

605
00:38:59,596 --> 00:39:03,836
Speaker 2: And and he's a really funny character because he's he's

606
00:39:04,156 --> 00:39:08,316
Speaker 2: a huge guy. You know, he looks like an American

607
00:39:08,356 --> 00:39:12,396
Speaker 2: football player, you know, like massive shoulders and a very

608
00:39:12,556 --> 00:39:20,396
Speaker 2: like I mean, he looks very like masculine in a

609
00:39:20,396 --> 00:39:27,236
Speaker 2: WiFi in the sense that his old school, old school masculine.

610
00:39:28,156 --> 00:39:34,076
Speaker 2: And he's like a great Superson City jazz musicians. So

611
00:39:34,156 --> 00:39:37,636
Speaker 2: I really really love like the deco to me of

612
00:39:37,716 --> 00:39:40,516
Speaker 2: this guy. And we spent like an afternoon, like a

613
00:39:41,036 --> 00:39:46,076
Speaker 2: whole day with him in the studio, and so we yeah,

614
00:39:46,116 --> 00:39:48,436
Speaker 2: we would direct him and and for example, we would

615
00:39:48,436 --> 00:39:50,756
Speaker 2: tell him things like, okay, so now you go into

616
00:39:50,836 --> 00:39:53,956
Speaker 2: like the cocaine jazz part. So he was playing and

617
00:39:54,036 --> 00:39:56,476
Speaker 2: like now you put like more cocaine and you're playing,

618
00:39:56,516 --> 00:39:59,516
Speaker 2: you know. But because there's like different forms of jazz.

619
00:39:59,956 --> 00:40:02,436
Speaker 2: There's like and one of them is the cocaine jazz,

620
00:40:02,436 --> 00:40:04,876
Speaker 2: and then there's the heroine jazz. But we we didn't

621
00:40:04,916 --> 00:40:09,156
Speaker 2: want to go in that hero into that territory, but

622
00:40:09,836 --> 00:40:12,196
Speaker 2: we would say things like this because we knew that

623
00:40:12,356 --> 00:40:14,476
Speaker 2: because and that's the good thing with working with like

624
00:40:14,556 --> 00:40:18,116
Speaker 2: friends is that like they know exactly what we're talking

625
00:40:18,116 --> 00:40:21,196
Speaker 2: about when we were saying that, because we have kind

626
00:40:21,196 --> 00:40:26,436
Speaker 2: of the same references and and things. So there was

627
00:40:26,476 --> 00:40:29,356
Speaker 2: no cocaine at the studio, but he knows what cocaine

628
00:40:29,436 --> 00:40:31,716
Speaker 2: jazz is, so it would do like the type of

629
00:40:31,756 --> 00:40:34,476
Speaker 2: parts and then we say, you know, so now it's

630
00:40:34,596 --> 00:40:39,596
Speaker 2: more like it would describe him like it's stupid, tough,

631
00:40:39,636 --> 00:40:42,196
Speaker 2: you know, like okay, so now it's too much like

632
00:40:42,236 --> 00:40:44,396
Speaker 2: you're working like a letther can girls. So we don't

633
00:40:44,436 --> 00:40:48,556
Speaker 2: do that, you know, like like those those guys who

634
00:40:48,636 --> 00:40:50,836
Speaker 2: know exactly what we but what we talk about like

635
00:40:50,876 --> 00:40:53,476
Speaker 2: this all this, so we know that's a wait for

636
00:40:53,556 --> 00:40:56,316
Speaker 2: us to achieve like precise results.

637
00:40:56,436 --> 00:40:59,516
Speaker 1: Yeah, yeah, those kinds of references that you can both.

638
00:40:59,796 --> 00:41:03,236
Speaker 1: So cocaine jazz would be more like like mid seventies

639
00:41:03,276 --> 00:41:06,556
Speaker 1: and the like eighties jazz like that or if or.

640
00:41:07,316 --> 00:41:11,396
Speaker 2: It's it's it's it's a choice of notes but also interpretation,

641
00:41:12,276 --> 00:41:16,036
Speaker 2: and it's in that song. It's more when it's like

642
00:41:16,156 --> 00:41:21,036
Speaker 2: it he stops like following like the main theme and

643
00:41:21,276 --> 00:41:25,316
Speaker 2: goes a bit more improvictional and and it's and it

644
00:41:25,396 --> 00:41:28,876
Speaker 2: starts like cranking a bit, like just putting more more

645
00:41:28,916 --> 00:41:33,316
Speaker 2: air into the saxophone and playing more disparate a bit

646
00:41:33,556 --> 00:41:36,196
Speaker 2: like looking for blue notes and everything rather than sticking

647
00:41:36,276 --> 00:41:38,116
Speaker 2: to the softer parts at the beginning.

648
00:41:38,276 --> 00:41:39,876
Speaker 1: And got the gout it right because you did say

649
00:41:39,876 --> 00:41:41,076
Speaker 1: it was for that specific part you asked for that,

650
00:41:41,076 --> 00:41:42,676
Speaker 1: because yeah, cause it sounds like like, you know, he's

651
00:41:42,756 --> 00:41:44,436
Speaker 1: kind of in the in the in the cut for

652
00:41:44,596 --> 00:41:46,836
Speaker 1: most of the songs. But okay, so it was for

653
00:41:46,876 --> 00:41:50,356
Speaker 1: that particular part and he wanted him the.

654
00:41:49,876 --> 00:41:55,276
Speaker 2: But he does well like long leader cuts, yeah, black

655
00:41:55,356 --> 00:41:58,236
Speaker 2: leather cuts. So yeah, he's in those zone for sure.

656
00:41:58,236 --> 00:42:01,036
Speaker 1: You guys gotta bring him on the tour. It would

657
00:42:01,076 --> 00:42:03,036
Speaker 1: be great, so hell of a site, but it's too

658
00:42:03,076 --> 00:42:06,676
Speaker 1: busy a man, how like you know, those are eight

659
00:42:06,756 --> 00:42:11,676
Speaker 1: years between albums, do you guys continue? And your solo

660
00:42:11,716 --> 00:42:16,236
Speaker 1: album was released between there, Yeah, which was I really

661
00:42:16,276 --> 00:42:18,316
Speaker 1: liked that one too, by the way, and the cover

662
00:42:18,396 --> 00:42:22,116
Speaker 1: too with the tuning for tuning for one was like

663
00:42:22,436 --> 00:42:25,196
Speaker 1: it's like one of those crazy covers you find in

664
00:42:25,236 --> 00:42:26,316
Speaker 1: like a record store or something.

665
00:42:26,396 --> 00:42:31,556
Speaker 2: Yeah, but it's yeah, it's I mean, yeah, it's mostly

666
00:42:31,596 --> 00:42:36,476
Speaker 2: our main reference for record covers. It's hypnosis, you know,

667
00:42:36,596 --> 00:42:39,996
Speaker 2: like the old label. Yeah, if I do the all

668
00:42:40,076 --> 00:42:43,716
Speaker 2: the graphic design studio from the seventies that did the

669
00:42:43,836 --> 00:42:49,876
Speaker 2: old at least the best covers for us. And so yeah,

670
00:42:49,916 --> 00:42:54,396
Speaker 2: that's so great, that's a great documentary on the Yeah,

671
00:42:54,436 --> 00:42:59,476
Speaker 2: they did like the late Ziplin covers, Pink Flood and yeah,

672
00:42:59,996 --> 00:43:05,396
Speaker 2: best studio, Like they made something that would never exist again. Unfortunately.

673
00:43:06,236 --> 00:43:08,556
Speaker 2: It's it's like there are some artists that make things

674
00:43:08,876 --> 00:43:13,876
Speaker 2: and uh and they kill the possibility of doing something

675
00:43:13,956 --> 00:43:17,116
Speaker 2: better afterwards and ignow this is one of the studio.

676
00:43:17,676 --> 00:43:21,076
Speaker 2: There's like an automovet Hal for example, he made like

677
00:43:21,116 --> 00:43:24,476
Speaker 2: a Japanese animation in a way that's not going to

678
00:43:24,596 --> 00:43:28,916
Speaker 2: exist anymore. I think miyas a key when it will stop.

679
00:43:29,596 --> 00:43:31,716
Speaker 2: If we'll bring this with him too, you know that

680
00:43:31,836 --> 00:43:34,876
Speaker 2: people who will reach a level that makes it impossible

681
00:43:34,956 --> 00:43:38,476
Speaker 2: to come afterward. Her Blue Berlin with the typography is

682
00:43:38,476 --> 00:43:42,396
Speaker 2: the same, like since the since he stopped like doing things,

683
00:43:42,596 --> 00:43:45,276
Speaker 2: there was nobody that managed like to reach his level.

684
00:43:45,356 --> 00:43:47,876
Speaker 1: So it happened sometimes, and you think it's because someone

685
00:43:47,916 --> 00:43:52,156
Speaker 1: got such a level of greatness that it's hard to Yeah.

686
00:43:52,036 --> 00:43:55,156
Speaker 2: It's just makes it impossible. They kill it with when

687
00:43:55,196 --> 00:43:57,556
Speaker 2: they stopped, they killed the discipline, and then you have

688
00:43:57,636 --> 00:43:59,636
Speaker 2: to do something. But it's it's fine. You know.

689
00:43:59,796 --> 00:44:01,036
Speaker 1: That's not what I think about a lot, and I

690
00:44:01,036 --> 00:44:04,676
Speaker 1: don't like to I guess it could it feels like

691
00:44:04,716 --> 00:44:09,036
Speaker 1: maybe I don't know, I guess the pression at the pression,

692
00:44:09,276 --> 00:44:13,436
Speaker 1: But sometimes I start to feel like maybe there must

693
00:44:13,516 --> 00:44:16,156
Speaker 1: be a saturation point and maybe we were reaching it

694
00:44:16,276 --> 00:44:20,036
Speaker 1: where like I mean sometimes, I mean I often feel

695
00:44:20,036 --> 00:44:22,356
Speaker 1: that way with film, Like I look at films now,

696
00:44:22,356 --> 00:44:24,356
Speaker 1: I look at an old like I look like a

697
00:44:24,596 --> 00:44:27,116
Speaker 1: what I would have thought was a really terrible like

698
00:44:27,236 --> 00:44:31,436
Speaker 1: movie from thirty or forty years ago, and I'm watching

699
00:44:31,436 --> 00:44:33,436
Speaker 1: I'm like, wow, look at those shots like I wouldn't

700
00:44:33,556 --> 00:44:34,996
Speaker 1: like I don't even see that, and like the best

701
00:44:34,996 --> 00:44:35,436
Speaker 1: movie now.

702
00:44:35,436 --> 00:44:35,556
Speaker 2: You know.

703
00:44:35,636 --> 00:44:37,276
Speaker 1: Then I start to feel like, well, maybe movies are

704
00:44:37,356 --> 00:44:39,196
Speaker 1: just maybe they're done, you know, I don't, you.

705
00:44:39,116 --> 00:44:43,636
Speaker 2: Know, but the thing is that we're optimistic and and

706
00:44:43,756 --> 00:44:47,956
Speaker 2: they they kill like the the discipline with them, but

707
00:44:47,996 --> 00:44:51,316
Speaker 2: then the new things coming in and things are just

708
00:44:51,356 --> 00:44:54,676
Speaker 2: being made differently. But but for example, there was like

709
00:44:54,716 --> 00:45:00,476
Speaker 2: a like a gibli after Automo. It's just different and

710
00:45:00,516 --> 00:45:04,076
Speaker 2: it's great and it's another form of animation and they

711
00:45:04,116 --> 00:45:09,836
Speaker 2: made something amazing but different and uh and with topography.

712
00:45:09,916 --> 00:45:12,076
Speaker 2: Then there was like a lot of other things happening after.

713
00:45:12,756 --> 00:45:15,236
Speaker 2: So it doesn't mean that things will not be good again,

714
00:45:15,556 --> 00:45:19,316
Speaker 2: they will be different. And also it's a bit there's

715
00:45:19,316 --> 00:45:23,796
Speaker 2: a buyers because those are personal heroes. But I guess

716
00:45:24,676 --> 00:45:28,756
Speaker 2: like people are twenty twenty years younger than we are

717
00:45:29,276 --> 00:45:34,596
Speaker 2: have different heroes, and so it's very subjective, it is

718
00:45:34,676 --> 00:45:36,796
Speaker 2: in a way. But at the same time there's like

719
00:45:36,836 --> 00:45:43,116
Speaker 2: a level of technicity that's objective and that can't be

720
00:45:43,556 --> 00:45:48,036
Speaker 2: like the technicity of a hubble ballin for example, it's

721
00:45:48,636 --> 00:45:52,196
Speaker 2: unmatched and I don't think it's possible to make it.

722
00:45:52,636 --> 00:45:57,476
Speaker 2: And obviously we will don't exist without the computer, either

723
00:45:57,596 --> 00:46:01,836
Speaker 2: in a graphic design or music. But I think that yes,

724
00:46:02,036 --> 00:46:06,076
Speaker 2: definitely something has been lost, like just that link between

725
00:46:06,116 --> 00:46:09,836
Speaker 2: the hand and the brain. And so this is why

726
00:46:09,956 --> 00:46:14,476
Speaker 2: like the the cars look terrible, the buildings look terrible

727
00:46:14,556 --> 00:46:18,396
Speaker 2: for most of them, you know, and just because it's

728
00:46:19,076 --> 00:46:23,196
Speaker 2: it's that natural connection has been a bit lost with computer.

729
00:46:24,236 --> 00:46:26,196
Speaker 2: This and also the fact that when you look at

730
00:46:26,196 --> 00:46:30,516
Speaker 2: a Hubluebling logo, even if you have like four times

731
00:46:30,556 --> 00:46:33,556
Speaker 2: like the letter A like the four times, they're gonna

732
00:46:33,596 --> 00:46:37,076
Speaker 2: be just slightly different just to make the right interconnection.

733
00:46:37,196 --> 00:46:41,316
Speaker 2: And so like an optical balance that's good as today

734
00:46:41,636 --> 00:46:45,116
Speaker 2: with the computer, you're gonna in most cases type your

735
00:46:45,156 --> 00:46:47,396
Speaker 2: world or even if you do it, and when you

736
00:46:47,436 --> 00:46:49,956
Speaker 2: are satisfied with an A, you're gonna take it and

737
00:46:50,036 --> 00:46:53,996
Speaker 2: then duplicate it. And that's why you you that's also

738
00:46:53,996 --> 00:46:57,356
Speaker 2: why you can't reach the same level of a precision

739
00:46:57,356 --> 00:47:00,516
Speaker 2: and everything when you stop working by hand.

740
00:47:00,316 --> 00:47:03,436
Speaker 1: To do you think about that we're making music the

741
00:47:03,476 --> 00:47:06,116
Speaker 1: way you make music. Do you think about how to

742
00:47:06,156 --> 00:47:10,436
Speaker 1: your example to your point, Like if you make something

743
00:47:10,516 --> 00:47:13,196
Speaker 1: it's just very easy to copy paste, like oh this

744
00:47:13,316 --> 00:47:16,396
Speaker 1: this is it just sort of lupid or copy pay

745
00:47:16,556 --> 00:47:20,196
Speaker 1: or whatever. But do you think about sometimes like there's

746
00:47:20,236 --> 00:47:23,236
Speaker 1: a slight variation to this that could happen in the

747
00:47:23,276 --> 00:47:25,876
Speaker 1: song that would make this song even stronger if it

748
00:47:25,956 --> 00:47:28,476
Speaker 1: was this part but just slightly a little faster, a

749
00:47:28,516 --> 00:47:30,276
Speaker 1: little solwer behind the beat, ahead of the beat, or

750
00:47:30,316 --> 00:47:33,076
Speaker 1: just off a bit or you know, the imperfection that

751
00:47:33,156 --> 00:47:34,916
Speaker 1: can sometimes if you want to call it that.

752
00:47:35,236 --> 00:47:38,196
Speaker 2: Of course we do, but that's also why we don't try.

753
00:47:39,636 --> 00:47:42,916
Speaker 2: I mean, if we like in a world where we

754
00:47:43,116 --> 00:47:45,956
Speaker 2: like skills or whatever, wouldn't be all technicity wouldn't be

755
00:47:45,996 --> 00:47:48,836
Speaker 2: a problem. We would probably be a band like she

756
00:47:49,036 --> 00:47:55,436
Speaker 2: calls stilly Dan. But because because of all these reasons, specifically,

757
00:47:55,516 --> 00:47:58,356
Speaker 2: we were not trying to make she called stidy dance music,

758
00:47:58,916 --> 00:48:02,036
Speaker 2: but taking advantage of what the computer canfil to make

759
00:48:02,076 --> 00:48:07,516
Speaker 2: something different that doesn't try to be that, but to

760
00:48:07,596 --> 00:48:13,236
Speaker 2: be something that's taking yet that's taking the best in

761
00:48:13,276 --> 00:48:18,796
Speaker 2: our is that computers can do, which is repetitivity like precision,

762
00:48:19,676 --> 00:48:23,796
Speaker 2: power and stuff like this. And then within a song,

763
00:48:24,636 --> 00:48:27,516
Speaker 2: of course we can't help. But like even on songs

764
00:48:27,516 --> 00:48:30,596
Speaker 2: that are loop based, at the end, there's not two

765
00:48:30,636 --> 00:48:34,276
Speaker 2: loops that are the same. It's like constantly like shifting

766
00:48:34,356 --> 00:48:39,236
Speaker 2: and progressing. So the aline is one loop from the

767
00:48:39,276 --> 00:48:42,196
Speaker 2: beginning till the end. There's a b section in the middle,

768
00:48:42,756 --> 00:48:46,476
Speaker 2: but those loops that will there's not two loops that

769
00:48:46,476 --> 00:48:49,516
Speaker 2: are exactly the same as always like something changing. But

770
00:48:49,596 --> 00:48:54,556
Speaker 2: that's because we are like a borderline. We have like

771
00:48:54,756 --> 00:48:59,596
Speaker 2: a severe lack of deficit of attention. So we need

772
00:48:59,636 --> 00:49:01,436
Speaker 2: things to be changing all the time. And not that

773
00:49:01,476 --> 00:49:04,756
Speaker 2: we compare ourselves to Hike or Stilly Down. Of course,

774
00:49:05,396 --> 00:49:07,436
Speaker 2: we would never try to do something like them, you know,

775
00:49:07,756 --> 00:49:13,276
Speaker 2: because we know it's like it's pointless.

776
00:49:12,076 --> 00:49:19,396
Speaker 1: One last break and moving back with justice. Do you

777
00:49:19,396 --> 00:49:22,756
Speaker 1: guys ever Nile Rogers.

778
00:49:22,436 --> 00:49:25,156
Speaker 2: Yeah, we did actually in Los Angeles you go something

779
00:49:25,236 --> 00:49:26,516
Speaker 2: like this great bands.

780
00:49:27,556 --> 00:49:28,956
Speaker 1: What was the occasion.

781
00:49:29,396 --> 00:49:34,156
Speaker 2: It was, like I think it was some Yeah it was.

782
00:49:34,596 --> 00:49:39,716
Speaker 2: It was a zay No party. Yeah, and he was there. Yeah,

783
00:49:39,916 --> 00:49:44,876
Speaker 2: it was great like for us, like him and Bernard was.

784
00:49:45,196 --> 00:49:49,036
Speaker 2: I think Bernard Wants is a bit like easily forgotten.

785
00:49:49,316 --> 00:49:51,516
Speaker 1: Oh so easily forgotten to us.

786
00:49:51,836 --> 00:49:57,156
Speaker 2: She is really the blend of Nirojos and Bernard and

787
00:49:57,196 --> 00:50:00,236
Speaker 2: even like from Sons at the drums. But but like

788
00:50:00,556 --> 00:50:03,076
Speaker 2: I remember when when we were listening to Sikh when

789
00:50:03,116 --> 00:50:06,076
Speaker 2: we were like when we met and uh and even

790
00:50:06,116 --> 00:50:09,036
Speaker 2: before that all the stuff that they did. What we

791
00:50:09,316 --> 00:50:14,076
Speaker 2: loved about their music is that it's very difficult to

792
00:50:14,116 --> 00:50:18,996
Speaker 2: comprehend what they are doing, you know, like even when

793
00:50:18,996 --> 00:50:22,076
Speaker 2: you listen to like I don't know, like for me,

794
00:50:22,116 --> 00:50:26,196
Speaker 2: one of the best examples is the freak or upside

795
00:50:26,196 --> 00:50:32,396
Speaker 2: down because like they're so intertwined and they're playing that.

796
00:50:32,956 --> 00:50:36,236
Speaker 2: When when I, for example, when I finally finally learned

797
00:50:36,316 --> 00:50:38,596
Speaker 2: how to play like the freak on the guitar, I

798
00:50:38,676 --> 00:50:45,716
Speaker 2: was so disappointed because the guitar part is very deceitful

799
00:50:45,876 --> 00:50:48,796
Speaker 2: on its own, because it doesn't sound at all like

800
00:50:48,836 --> 00:50:52,356
Speaker 2: what you're listening when you listen to the record and

801
00:50:52,356 --> 00:50:54,556
Speaker 2: and to us that the magic of this band is

802
00:50:54,556 --> 00:51:00,556
Speaker 2: the perfect intertwining of at least.

803
00:51:01,876 --> 00:51:04,356
Speaker 1: There are also to your points, like the guitar on

804
00:51:04,396 --> 00:51:08,956
Speaker 1: its own just solowed is just yeah, it's that's that magical.

805
00:51:08,796 --> 00:51:11,716
Speaker 2: Yeah, earl, But but that's the genius. They know not

806
00:51:11,836 --> 00:51:14,156
Speaker 2: to overdo it. They just do exactly what they have

807
00:51:14,276 --> 00:51:17,636
Speaker 2: to do so that it works as a whole, like

808
00:51:17,636 --> 00:51:22,516
Speaker 2: like the in that regard, uh the Strokes how great band?

809
00:51:22,556 --> 00:51:27,836
Speaker 2: Also uh like like between like the two guitars, the

810
00:51:27,916 --> 00:51:32,116
Speaker 2: bass and the drums, Like if you listen closely, they

811
00:51:32,156 --> 00:51:34,796
Speaker 2: do like something different all the time. They do things

812
00:51:34,796 --> 00:51:38,676
Speaker 2: that don't really make sense on their own, but everything

813
00:51:38,796 --> 00:51:41,876
Speaker 2: is so well in Tatwine that it makes for an

814
00:51:41,876 --> 00:51:43,596
Speaker 2: amazing result.

815
00:51:43,036 --> 00:51:46,756
Speaker 1: Yeah did you was was was now? Was now familiar?

816
00:51:46,796 --> 00:51:50,396
Speaker 1: With your guys' stuff. At least he pretended party is

817
00:51:50,436 --> 00:51:52,036
Speaker 1: and he seems like he's up on stuff. I think

818
00:51:52,076 --> 00:51:53,236
Speaker 1: he that he is.

819
00:51:53,556 --> 00:51:55,436
Speaker 2: Yeah, we we we don't know for sure, but he

820
00:51:55,676 --> 00:51:57,836
Speaker 2: was like very nice.

821
00:51:57,516 --> 00:52:00,516
Speaker 1: That's pretty, that's pretty, that's man, that's pretty cool of

822
00:52:00,636 --> 00:52:05,276
Speaker 1: zaying love got a love part of me. Now, Rogers,

823
00:52:06,356 --> 00:52:09,636
Speaker 1: would you would you? I mean thinking and Nile thinking

824
00:52:09,636 --> 00:52:11,876
Speaker 1: of like you know, like them doing records for you

825
00:52:11,876 --> 00:52:14,676
Speaker 1: know whatever, Madonna and Diana Ross and then you guys

826
00:52:14,756 --> 00:52:18,356
Speaker 1: just did wake me up we referenced earlier for the weekend.

827
00:52:19,916 --> 00:52:22,516
Speaker 1: Is that something you guys would do more of, like

828
00:52:22,996 --> 00:52:26,956
Speaker 1: making stuff for other artists or with other artists.

829
00:52:27,356 --> 00:52:36,516
Speaker 2: Not necessarily we we we're not running after this. We

830
00:52:36,556 --> 00:52:39,716
Speaker 2: would we would do it if we if the initial

831
00:52:39,756 --> 00:52:42,236
Speaker 2: ideas sounds good to us, and if we think there's

832
00:52:42,236 --> 00:52:48,196
Speaker 2: something interesting to do. But producing pop music for the

833
00:52:48,236 --> 00:52:51,636
Speaker 2: sake of producing pop music doesn't interest us.

834
00:52:52,316 --> 00:52:54,676
Speaker 1: How did that we can collaboration come together?

835
00:52:56,356 --> 00:52:59,996
Speaker 2: You get in touch, like I can't remember if it

836
00:53:00,076 --> 00:53:03,236
Speaker 2: was late twenty twenty one or twenty twenty two, something

837
00:53:03,316 --> 00:53:07,236
Speaker 2: like this while we were still working on our album,

838
00:53:08,636 --> 00:53:13,516
Speaker 2: and you told us that, yeah, he wanted to make

839
00:53:13,556 --> 00:53:16,356
Speaker 2: like an orchestral piece that would be like an opening,

840
00:53:16,756 --> 00:53:22,036
Speaker 2: that would sound good as an opening and uh. And

841
00:53:22,076 --> 00:53:25,116
Speaker 2: then we started talking like about what he wanted to

842
00:53:25,116 --> 00:53:29,196
Speaker 2: do and and we thought it was the fact that

843
00:53:29,236 --> 00:53:31,196
Speaker 2: he called us to make this made sense to us.

844
00:53:31,236 --> 00:53:34,836
Speaker 2: So we're like, okay, let's let's do it and uh

845
00:53:34,956 --> 00:53:37,676
Speaker 2: and yeah, and then we we worked on enough on

846
00:53:37,796 --> 00:53:40,556
Speaker 2: it for one year something.

847
00:53:40,956 --> 00:53:45,916
Speaker 1: Wow, how did how did the thriller of it come

848
00:53:45,916 --> 00:53:46,356
Speaker 1: into play?

849
00:53:47,756 --> 00:53:50,276
Speaker 2: So we first like made the orchestral part to the

850
00:53:50,276 --> 00:53:54,436
Speaker 2: beginning of the song as it is now almost and uh,

851
00:53:54,956 --> 00:54:01,116
Speaker 2: play to him and and we made like ten seconds

852
00:54:01,116 --> 00:54:04,516
Speaker 2: of music as a drop to show him that it

853
00:54:04,636 --> 00:54:06,836
Speaker 2: could go somewhere and it could be more than just

854
00:54:06,916 --> 00:54:09,996
Speaker 2: like an intro, you know. And I was like, oh yeah,

855
00:54:10,116 --> 00:54:14,116
Speaker 2: I like this, Like give me more of that. And

856
00:54:14,236 --> 00:54:16,796
Speaker 2: so we we because we're working on our album, we

857
00:54:16,876 --> 00:54:22,076
Speaker 2: made something very quickly and uh that sounded a lot

858
00:54:22,156 --> 00:54:24,996
Speaker 2: like thriller. And we told him, Okay, there you go

859
00:54:25,556 --> 00:54:27,596
Speaker 2: as a demo, but beware it sounds a lot like

860
00:54:27,676 --> 00:54:30,796
Speaker 2: thriller able and he was like, yeah, and I like

861
00:54:30,876 --> 00:54:35,196
Speaker 2: that it sounds like thriller. And I mean it makes

862
00:54:35,236 --> 00:54:38,676
Speaker 2: sense because like there's a there's a natural filation between

863
00:54:38,876 --> 00:54:44,796
Speaker 2: Michael Jackson and him. Yeah, and uh on on different levels.

864
00:54:46,956 --> 00:54:53,596
Speaker 2: And we think he liked the idea of overtly is

865
00:54:53,636 --> 00:54:58,636
Speaker 2: it the right world or openly having like a Micael

866
00:54:58,676 --> 00:55:03,476
Speaker 2: Jackson reference in one of his songs. And and also

867
00:55:03,636 --> 00:55:07,236
Speaker 2: that yeah, and also because we made like different versions

868
00:55:07,796 --> 00:55:14,396
Speaker 2: with without and the all sounded good. Uh but at

869
00:55:14,396 --> 00:55:16,276
Speaker 2: the end that was the one he was feeling the

870
00:55:16,356 --> 00:55:21,196
Speaker 2: most at ease with, and uh, fair enough. It just works.

871
00:55:21,316 --> 00:55:24,356
Speaker 1: It's cool though too that like it's it's like, you know,

872
00:55:24,356 --> 00:55:27,476
Speaker 1: because we're talking about I mean, it's the breakdown of thrillers.

873
00:55:27,476 --> 00:55:30,116
Speaker 1: So it's like even though it's like the most you know,

874
00:55:30,236 --> 00:55:33,476
Speaker 1: maybe the most iconic Michael is the most iconic Michael

875
00:55:33,516 --> 00:55:35,436
Speaker 1: Jackson song, it's like a part of the song that

876
00:55:35,676 --> 00:55:38,836
Speaker 1: you wouldn't necessarily grab, like thing to use if you're

877
00:55:38,876 --> 00:55:41,636
Speaker 1: gonna you know, use some of it, you know.

878
00:55:42,436 --> 00:55:45,476
Speaker 2: Yeah, yeah, and and and actually it's it's only like

879
00:55:45,556 --> 00:55:48,836
Speaker 2: the base placement. It's just it's just to do, like

880
00:55:49,036 --> 00:55:52,476
Speaker 2: to do That's just it because the notes everything else

881
00:55:52,556 --> 00:55:55,276
Speaker 2: is different, but.

882
00:55:56,476 --> 00:55:57,836
Speaker 1: The notes of the base are different.

883
00:55:58,076 --> 00:56:00,756
Speaker 2: Now everything even the notes of the apidu, like the cords.

884
00:56:00,836 --> 00:56:02,796
Speaker 2: Nothing is the same. It's just like the placement.

885
00:56:03,116 --> 00:56:03,476
Speaker 1: Wow.

886
00:56:04,396 --> 00:56:08,596
Speaker 2: But but in all fairness and also knowing that we

887
00:56:08,596 --> 00:56:11,156
Speaker 2: we all you what it was, it makes sense also

888
00:56:11,836 --> 00:56:14,356
Speaker 2: not to do it the subway and to include the

889
00:56:14,436 --> 00:56:16,796
Speaker 2: Rod Templeton in the thing. You know. Yeah, it's a

890
00:56:16,836 --> 00:56:19,756
Speaker 2: it's an idea, and the idea was was very clear.

891
00:56:20,236 --> 00:56:24,356
Speaker 2: But on the musical point of view, it's not. It's

892
00:56:24,396 --> 00:56:28,236
Speaker 2: not the same notes. But of course everybody thinks of freedom,

893
00:56:28,596 --> 00:56:30,516
Speaker 2: so it makes sense to include him.

894
00:56:30,796 --> 00:56:35,876
Speaker 1: Yeah. Yeah, we were talking about album covers earlier. Fourth album,

895
00:56:35,996 --> 00:56:39,356
Speaker 1: hyper Inflation, hyper hyper Drama.

896
00:56:39,396 --> 00:56:41,396
Speaker 2: What did you create the fourth hyper Inflation?

897
00:56:41,916 --> 00:56:44,116
Speaker 1: Don't even don't even ask me. Hyper Drama is the

898
00:56:44,116 --> 00:56:50,476
Speaker 1: fourth album? Okay, and it occurred. It didn't really occurred

899
00:56:50,476 --> 00:56:53,636
Speaker 1: to me before, but occurred to me looking at him now.

900
00:56:53,796 --> 00:56:55,836
Speaker 1: There's been a fortune that you guys never put your

901
00:56:55,916 --> 00:56:58,796
Speaker 1: name on on the album.

902
00:56:59,116 --> 00:57:02,156
Speaker 2: Yes, yeah, but but that's the we're talking about hypnosis earlier.

903
00:57:03,556 --> 00:57:07,396
Speaker 2: That's the led Zippeline Lawson we learned. Is that is

904
00:57:07,476 --> 00:57:11,236
Speaker 2: that on King Floyd too? Yeah, but on Pick Floyd

905
00:57:11,236 --> 00:57:14,436
Speaker 2: it's written on the cover, but not every time, but

906
00:57:14,516 --> 00:57:19,236
Speaker 2: from let Zeppelin four onwards, so on have seas of

907
00:57:19,236 --> 00:57:23,956
Speaker 2: the Holy Two presence. There's not the name of the

908
00:57:23,996 --> 00:57:28,996
Speaker 2: band on the covers anymore, no track list, no album name, nothing,

909
00:57:30,516 --> 00:57:33,716
Speaker 2: and uh and yeah, we've always liked this idea of

910
00:57:33,956 --> 00:57:39,716
Speaker 2: putting minimal information. You just put one image and and

911
00:57:39,836 --> 00:57:44,636
Speaker 2: there's a on audio videos, video disco too, there's no

912
00:57:44,956 --> 00:57:47,436
Speaker 2: there's no track list, nothing, you just have an image

913
00:57:47,476 --> 00:57:50,396
Speaker 2: and even on the back there's nothing. Yeah, it's it's

914
00:57:50,396 --> 00:57:56,116
Speaker 2: a blend between the Chicago strategy, you know, the band like,

915
00:57:56,276 --> 00:57:58,996
Speaker 2: oh yeah, they always have this logo, but it's a

916
00:57:59,036 --> 00:58:03,276
Speaker 2: bit different because it says Chicago. But since we have

917
00:58:03,436 --> 00:58:07,996
Speaker 2: that cross logo, we just like this idea of like

918
00:58:08,116 --> 00:58:10,436
Speaker 2: ripeating it over over with a different look.

919
00:58:11,396 --> 00:58:13,436
Speaker 1: How did you guys come up with a cross lego?

920
00:58:14,996 --> 00:58:19,476
Speaker 2: We yeah, but so hypnow this again, like like we

921
00:58:19,476 --> 00:58:23,516
Speaker 2: were finishing our first album and we're like trying to

922
00:58:23,556 --> 00:58:28,516
Speaker 2: look for an ID and we didn't know what to do.

923
00:58:28,636 --> 00:58:33,316
Speaker 2: And one time in Toronto, after playing a show, we

924
00:58:33,436 --> 00:58:36,316
Speaker 2: ended up at the promoter's place. They were like a

925
00:58:36,356 --> 00:58:39,636
Speaker 2: bunch of young people and were having a drink and

926
00:58:39,676 --> 00:58:41,596
Speaker 2: they had the Dark Side of the Moon on the

927
00:58:41,716 --> 00:58:45,476
Speaker 2: mental piece and we looked at the at the cover

928
00:58:45,596 --> 00:58:47,396
Speaker 2: and were like, yeah, this is such a great cover.

929
00:58:47,636 --> 00:58:50,916
Speaker 2: If only we had the symbols frong enough that we

930
00:58:50,916 --> 00:58:53,556
Speaker 2: could put on a cover and that would be it

931
00:58:53,636 --> 00:58:57,876
Speaker 2: and we wouldn't need nothing else. And mind you were

932
00:58:57,876 --> 00:59:00,316
Speaker 2: touring and everything, so we already had the cross with us,

933
00:59:00,356 --> 00:59:03,316
Speaker 2: but for some reason we didn't think of it. And

934
00:59:03,356 --> 00:59:06,796
Speaker 2: then three weeks later we had this kind of epiphany

935
00:59:06,796 --> 00:59:08,996
Speaker 2: and I were like, of course we have this symbol

936
00:59:09,156 --> 00:59:11,676
Speaker 2: because we have the cross, so we can just put

937
00:59:11,676 --> 00:59:15,396
Speaker 2: the cross on the on the album and that would

938
00:59:15,396 --> 00:59:21,116
Speaker 2: be it. And so we I called up a not

939
00:59:21,276 --> 00:59:24,036
Speaker 2: friend of mine that's making music now under the name

940
00:59:24,076 --> 00:59:27,156
Speaker 2: of a break Boat, but at the time I knew

941
00:59:27,236 --> 00:59:29,876
Speaker 2: him because I was in graphic design school with him

942
00:59:30,196 --> 00:59:33,956
Speaker 2: and we knew that he then I went into like

943
00:59:34,036 --> 00:59:36,236
Speaker 2: two D graphic design and he went into three D

944
00:59:36,356 --> 00:59:39,756
Speaker 2: and an animation, so he had the tools to make

945
00:59:39,756 --> 00:59:42,156
Speaker 2: a model of a three D render like a cross,

946
00:59:43,716 --> 00:59:47,676
Speaker 2: and we we told him like, we made the draft

947
00:59:47,676 --> 00:59:50,356
Speaker 2: of the cross like this because we knew that if

948
00:59:50,356 --> 00:59:52,836
Speaker 2: it was from told, he wouldn't look good. So we

949
00:59:52,876 --> 00:59:55,556
Speaker 2: wanted it to have a perspective and to be a

950
00:59:55,556 --> 00:59:59,436
Speaker 2: bit like the like like the ship that enters in

951
00:59:59,476 --> 01:00:02,996
Speaker 2: Star Wars, you know, yeah, And so we made like

952
01:00:03,036 --> 01:00:06,236
Speaker 2: a like a hand hand drone draft of the of

953
01:00:06,276 --> 01:00:09,956
Speaker 2: the cover. We told him, can you do it? Can

954
01:00:09,996 --> 01:00:11,796
Speaker 2: you make us a three D models? So then that

955
01:00:12,036 --> 01:00:16,956
Speaker 2: so me can like enjoy it by hand, and it

956
01:00:17,036 --> 01:00:20,196
Speaker 2: started working on it, and the first result they didn't

957
01:00:20,236 --> 01:00:23,636
Speaker 2: look cool because actually, like the perspective of the cross

958
01:00:23,636 --> 01:00:26,316
Speaker 2: that we use, it doesn't exist in the real world.

959
01:00:26,836 --> 01:00:30,636
Speaker 2: It's it's an anamorphic design. We had like to transform

960
01:00:30,676 --> 01:00:33,076
Speaker 2: it to a lot so that it looks cool in perspective.

961
01:00:33,796 --> 01:00:36,556
Speaker 2: If you take our cross as it is on our albums,

962
01:00:37,156 --> 01:00:40,036
Speaker 2: you render it in three D and then you you

963
01:00:40,076 --> 01:00:45,316
Speaker 2: walk around it, it's almost like the same size on

964
01:00:45,556 --> 01:00:49,156
Speaker 2: both sides of the horizontal bars. I don't know if

965
01:00:49,156 --> 01:00:49,916
Speaker 2: I'm making sense.

966
01:00:50,716 --> 01:00:53,996
Speaker 1: The both bars are the same length, like the like.

967
01:00:54,356 --> 01:00:58,556
Speaker 2: The the the bottom bar and the top bar, they

968
01:00:58,596 --> 01:01:01,276
Speaker 2: are the same length. So if you take perspect if

969
01:01:01,316 --> 01:01:03,756
Speaker 2: you look at it like like if you take the

970
01:01:03,796 --> 01:01:06,316
Speaker 2: three D model and then you you flip it and

971
01:01:06,356 --> 01:01:08,676
Speaker 2: you put it from all it's it's going to be

972
01:01:08,716 --> 01:01:10,796
Speaker 2: like a US where the horizontal bar is in the

973
01:01:10,796 --> 01:01:15,476
Speaker 2: middle almost of the vertical bound. Interesting, So we had

974
01:01:15,596 --> 01:01:19,036
Speaker 2: like to cheat and to adapt like the three D

975
01:01:19,236 --> 01:01:21,476
Speaker 2: until it looks like what it does. That's why we

976
01:01:21,516 --> 01:01:24,956
Speaker 2: can never do it in in in real life. Sometimes

977
01:01:24,996 --> 01:01:29,116
Speaker 2: we would think maybe for this event or maybe sometimes festivals,

978
01:01:29,156 --> 01:01:32,396
Speaker 2: there can we make the crossing three D? And so

979
01:01:33,196 --> 01:01:36,276
Speaker 2: I'm like, no, you can't, because this shape doesn't exist

980
01:01:36,316 --> 01:01:39,436
Speaker 2: in the real world, or if it does, it looks corny.

981
01:01:39,476 --> 01:01:43,036
Speaker 2: It doesn't look at all. It's an anamorphos. Anamorphosis we

982
01:01:43,116 --> 01:01:46,596
Speaker 2: say in English, Wow, it's not it's not. It doesn't

983
01:01:46,596 --> 01:01:49,356
Speaker 2: look like this in in real That's.

984
01:01:49,276 --> 01:01:52,556
Speaker 1: Kind of makes it even cooler that it's not replicable

985
01:01:52,876 --> 01:01:54,956
Speaker 1: in real life and a way it is, but it

986
01:01:54,956 --> 01:01:57,636
Speaker 1: looks like shit, you know whatever, it's not replicable in

987
01:01:57,636 --> 01:02:00,476
Speaker 1: the way that you intended it to look, right.

988
01:02:00,516 --> 01:02:03,196
Speaker 2: Yeah, Like like for example, like all the covers of

989
01:02:03,836 --> 01:02:08,356
Speaker 2: Audio Audio Video Disco or second album, they were like models,

990
01:02:08,436 --> 01:02:13,436
Speaker 2: miniatures that were photographed, and the miniatures they looked so

991
01:02:13,556 --> 01:02:17,876
Speaker 2: weird because because just one point of view that works. Yeah,

992
01:02:18,116 --> 01:02:20,596
Speaker 2: and if them in really they have such a weird shape,

993
01:02:20,756 --> 01:02:21,636
Speaker 2: that's so funny.

994
01:02:21,876 --> 01:02:26,476
Speaker 1: But between albums, what do you guys, you guys sending

995
01:02:26,516 --> 01:02:28,876
Speaker 1: ideas back and forth, are you guys thinking about what

996
01:02:28,956 --> 01:02:33,436
Speaker 1: could another album be or just for the life.

997
01:02:34,756 --> 01:02:41,236
Speaker 2: Yeah, we're living the life, and we don't we don't

998
01:02:42,156 --> 01:02:46,756
Speaker 2: walk until we walk until we decide to work. But

999
01:02:46,956 --> 01:02:51,516
Speaker 2: because one neighbors and and and uh, and we don't

1000
01:02:51,516 --> 01:02:57,036
Speaker 2: stop seeing each other when we don't work. We yeah,

1001
01:02:57,076 --> 01:03:00,836
Speaker 2: there's always some thing, some kind of exchange, like listen

1002
01:03:00,916 --> 01:03:03,596
Speaker 2: to this or look at this cover and watch this film.

1003
01:03:04,596 --> 01:03:10,436
Speaker 2: So there's already this ongoing conversation and we say, little

1004
01:03:10,716 --> 01:03:14,956
Speaker 2: what could be our next our next record? And when

1005
01:03:14,996 --> 01:03:18,556
Speaker 2: we feel that we're already we were just like meeting

1006
01:03:18,596 --> 01:03:20,556
Speaker 2: the studio every day and start walking here.

1007
01:03:21,236 --> 01:03:25,196
Speaker 1: And how do you so in does just one just

1008
01:03:25,236 --> 01:03:27,596
Speaker 1: proposed the other, like let's say, let's meetings, like let's

1009
01:03:27,596 --> 01:03:30,236
Speaker 1: go to the studio next week, or I mean, do

1010
01:03:30,236 --> 01:03:32,036
Speaker 1: you both have to feel like you have the.

1011
01:03:33,836 --> 01:03:36,676
Speaker 2: Natural we know it, Yeah, we feel when it's when

1012
01:03:36,716 --> 01:03:39,916
Speaker 2: it's ready and and and then we we naturally start

1013
01:03:39,956 --> 01:03:44,916
Speaker 2: to meet at the studio and we we we yeah,

1014
01:03:44,956 --> 01:03:47,996
Speaker 2: we both know, and let's start next week.

1015
01:03:48,356 --> 01:03:51,716
Speaker 1: When you started justice album, when you're in the beginning

1016
01:03:51,756 --> 01:04:00,276
Speaker 1: stages of it, how do are things pretty in place

1017
01:04:00,316 --> 01:04:03,036
Speaker 1: already or or does it you have to search for

1018
01:04:03,156 --> 01:04:06,676
Speaker 1: you have to search for something in the studio, you

1019
01:04:06,756 --> 01:04:10,756
Speaker 1: have to find what you're hearing in your head. Yeah.

1020
01:04:10,836 --> 01:04:13,676
Speaker 2: No, Now there's a lot of research, like like like

1021
01:04:15,156 --> 01:04:20,716
Speaker 2: on this album, we spent like months doing research and

1022
01:04:20,796 --> 01:04:25,516
Speaker 2: development before we finally started like writing the first tunes

1023
01:04:25,556 --> 01:04:30,676
Speaker 2: the R and D Yeah for real. Uh. We did

1024
01:04:30,876 --> 01:04:34,476
Speaker 2: R and D both in the analog world and in

1025
01:04:34,676 --> 01:04:37,196
Speaker 2: the digital world, but more in the digital because we

1026
01:04:37,236 --> 01:04:41,516
Speaker 2: are more interested in that. And uh. And the thing

1027
01:04:41,596 --> 01:04:43,996
Speaker 2: is that when you do this research, you can't help

1028
01:04:44,076 --> 01:04:47,316
Speaker 2: but like starting like shaping some like ideas that can

1029
01:04:47,396 --> 01:04:51,116
Speaker 2: become songs later and some of them that we that

1030
01:04:51,196 --> 01:04:57,916
Speaker 2: we used and uh. And once the shape, once the

1031
01:04:57,996 --> 01:05:00,796
Speaker 2: ideas were like translating in something that felt good for us,

1032
01:05:01,316 --> 01:05:03,476
Speaker 2: then we started to write songs.

1033
01:05:03,636 --> 01:05:07,036
Speaker 1: Wow, And so what are the what is the R

1034
01:05:07,116 --> 01:05:07,276
Speaker 1: and D?

1035
01:05:07,476 --> 01:05:07,876
Speaker 2: How is that?

1036
01:05:08,636 --> 01:05:08,916
Speaker 1: What is that?

1037
01:05:09,476 --> 01:05:12,916
Speaker 2: Border? Is R and D for justice, but it's it's

1038
01:05:12,956 --> 01:05:15,436
Speaker 2: as sexy as R and D is any other department,

1039
01:05:16,036 --> 01:05:19,236
Speaker 2: which is not at all. We just spend days like

1040
01:05:19,436 --> 01:05:23,516
Speaker 2: nerding out on on things and twigging them until we

1041
01:05:23,636 --> 01:05:27,716
Speaker 2: find ways of making things sound in a way that

1042
01:05:27,756 --> 01:05:32,196
Speaker 2: we like. And we already had the idea of making

1043
01:05:32,236 --> 01:05:35,996
Speaker 2: something that was more loop based, but at the same

1044
01:05:36,036 --> 01:05:38,436
Speaker 2: time we're thinking, okay, like like we like the idea

1045
01:05:38,476 --> 01:05:40,596
Speaker 2: of flu based music, but we can't listen to loup

1046
01:05:40,636 --> 01:05:44,356
Speaker 2: based music because it's boring so to us, So how

1047
01:05:44,396 --> 01:05:49,036
Speaker 2: can we make it so that's like, that's exciting and

1048
01:05:49,076 --> 01:05:54,316
Speaker 2: that's constantly evolving. And so this is when we came

1049
01:05:54,396 --> 01:05:57,676
Speaker 2: up with like this thing of like maybe we can

1050
01:05:57,796 --> 01:06:01,036
Speaker 2: do one loop and then we take the exact same

1051
01:06:01,076 --> 01:06:06,116
Speaker 2: loop and we make it with all different instruments. And

1052
01:06:06,196 --> 01:06:08,556
Speaker 2: for example, INCOGNITOI is like this, and there's like a

1053
01:06:08,676 --> 01:06:11,116
Speaker 2: lot of or something one night or Night is like that.

1054
01:06:12,116 --> 01:06:14,796
Speaker 2: The disco part in the middle is exactly the same

1055
01:06:14,916 --> 01:06:18,196
Speaker 2: as the rave part, but one is made only with

1056
01:06:18,236 --> 01:06:21,196
Speaker 2: synthesizers and the other one is made only with like drums,

1057
01:06:21,236 --> 01:06:24,996
Speaker 2: bass and guitar and it. And it was like, okay,

1058
01:06:25,156 --> 01:06:27,436
Speaker 2: like so this album could sound like if we had

1059
01:06:27,436 --> 01:06:31,836
Speaker 2: the switch on our board of time travel switch Yeah,

1060
01:06:31,836 --> 01:06:35,516
Speaker 2: and you're like techno disco and so it's exactly the

1061
01:06:35,556 --> 01:06:40,516
Speaker 2: same music but being like made made in very different ways.

1062
01:06:40,516 --> 01:06:44,356
Speaker 2: And so we're like, okay, that's one simple way. Technically

1063
01:06:44,396 --> 01:06:47,516
Speaker 2: it's not simple because you have to re record everything. Yeah,

1064
01:06:47,596 --> 01:06:51,436
Speaker 2: but it's a simple way of making something Bok based exciting,

1065
01:06:51,876 --> 01:06:55,356
Speaker 2: exciting because it's the same loop, but everything is different

1066
01:06:55,436 --> 01:06:55,796
Speaker 2: about it.

1067
01:06:55,916 --> 01:06:57,836
Speaker 1: You have to try to case find a way that

1068
01:06:57,916 --> 01:07:01,316
Speaker 1: maybe maybe or maybe not tastefully like hit the switch,

1069
01:07:01,396 --> 01:07:05,436
Speaker 1: you know, how how do you go from raved to

1070
01:07:05,556 --> 01:07:08,356
Speaker 1: disco and make it actually work, you know on a

1071
01:07:08,356 --> 01:07:09,396
Speaker 1: record especially.

1072
01:07:09,476 --> 01:07:12,436
Speaker 2: Yeah, But and for this we were like really treating

1073
01:07:12,476 --> 01:07:15,916
Speaker 2: them as defunt songs. So the disco Paths, we would

1074
01:07:16,116 --> 01:07:20,316
Speaker 2: make a session for it and recorded, produce it, mix it.

1075
01:07:20,876 --> 01:07:23,116
Speaker 2: Then we would do the same with electronic parts, and

1076
01:07:23,156 --> 01:07:25,836
Speaker 2: then only at the end, during the editing phase, we

1077
01:07:25,876 --> 01:07:29,396
Speaker 2: would put them together once they were like mixed and everything.

1078
01:07:30,316 --> 01:07:34,596
Speaker 2: At some point where we almost thought for the disco Paths,

1079
01:07:34,716 --> 01:07:39,236
Speaker 2: we're gonna mix them, master them, print them on the vinyl,

1080
01:07:39,396 --> 01:07:42,556
Speaker 2: then record them, then reintegrate them, and are like, fuck,

1081
01:07:42,596 --> 01:07:45,756
Speaker 2: it's too complicated. And also because we didn't want them

1082
01:07:45,756 --> 01:07:48,996
Speaker 2: to sound to retro. We wanted them to be a

1083
01:07:49,036 --> 01:07:52,076
Speaker 2: disco but disco of today, yeah, and not to sound

1084
01:07:53,156 --> 01:07:56,996
Speaker 2: like seventies disco. We wanted everything to sound modern.

1085
01:07:58,036 --> 01:08:03,276
Speaker 1: Going back to so you guys two, when you guys

1086
01:08:03,436 --> 01:08:06,876
Speaker 1: major album or didn't you guys turned down a tour

1087
01:08:06,916 --> 01:08:08,116
Speaker 1: with that plan, didn't you.

1088
01:08:08,796 --> 01:08:10,876
Speaker 2: On the first album? Yeah?

1089
01:08:10,956 --> 01:08:13,356
Speaker 1: Yes, yeah, what was? What was? Why was?

1090
01:08:14,076 --> 01:08:19,676
Speaker 2: But but because we we uh we used to be

1091
01:08:19,756 --> 01:08:24,676
Speaker 2: compelled a lot to them, and and we thought it

1092
01:08:24,796 --> 01:08:27,916
Speaker 2: was better, a better move to do smaller things but

1093
01:08:28,876 --> 01:08:34,716
Speaker 2: our own thing, rather than opening for for them. And

1094
01:08:34,836 --> 01:08:38,036
Speaker 2: uh and yeah, we think it was the right move

1095
01:08:38,116 --> 01:08:41,676
Speaker 2: to to do. We we love them and that's not

1096
01:08:41,756 --> 01:08:43,556
Speaker 2: the problem at all. You know, we're very happy that

1097
01:08:43,556 --> 01:08:46,116
Speaker 2: they would propose us, but it was a better move

1098
01:08:46,156 --> 01:08:48,356
Speaker 2: for us to just go sideways.

1099
01:08:48,876 --> 01:08:52,036
Speaker 1: Did they ever here and in your early stuff? And

1100
01:08:52,196 --> 01:08:53,836
Speaker 1: did you ever get any feedback from like, oh, yeah,

1101
01:08:54,596 --> 01:08:56,796
Speaker 1: we like it? Did you did you even know were

1102
01:08:56,796 --> 01:08:59,316
Speaker 1: you around them at that point like to even know that?

1103
01:08:59,476 --> 01:09:04,756
Speaker 2: Or yeah, yeah like like like like Toma, I think

1104
01:09:04,796 --> 01:09:09,796
Speaker 2: it did like some sort of pre mastering on two

1105
01:09:09,876 --> 01:09:14,636
Speaker 2: of the very early remixes that we did, but I

1106
01:09:14,716 --> 01:09:16,116
Speaker 2: can't remember for which tracks.

1107
01:09:16,156 --> 01:09:16,596
Speaker 1: It was.

1108
01:09:18,636 --> 01:09:26,396
Speaker 2: Yeah, like very helpful and welcoming, very yeah, very like

1109
01:09:26,476 --> 01:09:28,196
Speaker 2: both of them are very very cool guys.

1110
01:09:28,276 --> 01:09:35,756
Speaker 1: Yeah, that's awesome. The fire that was how did that happen?

1111
01:09:37,596 --> 01:09:42,196
Speaker 2: We Yeah, we wanted to make a video and the

1112
01:09:42,236 --> 01:09:50,436
Speaker 2: basic pitch was, was we lack the visual of of

1113
01:09:50,556 --> 01:09:55,636
Speaker 2: a mirror car being washed and h and we're like, okay,

1114
01:09:55,676 --> 01:09:59,916
Speaker 2: how about if we instead of making like girls washing

1115
01:09:59,916 --> 01:10:03,436
Speaker 2: a car, it could be us washing a car for

1116
01:10:03,636 --> 01:10:06,876
Speaker 2: a girl or woman like to drive it then, because

1117
01:10:06,876 --> 01:10:11,116
Speaker 2: none of us has a driving license, And we started thinking, okay,

1118
01:10:11,156 --> 01:10:13,276
Speaker 2: who would be the best woman to drive this car?

1119
01:10:13,396 --> 01:10:17,956
Speaker 2: And were like Susan Sundon of course, because we like

1120
01:10:18,076 --> 01:10:23,356
Speaker 2: for many reasons, like she she was our first choice

1121
01:10:23,996 --> 01:10:29,516
Speaker 2: and and uh and we got in touch and weird enough,

1122
01:10:29,556 --> 01:10:31,596
Speaker 2: she said okay, let's let's do it.

1123
01:10:31,476 --> 01:10:35,716
Speaker 1: It wasn't a hard pitch, It wasn't hard to get ian.

1124
01:10:35,836 --> 01:10:40,236
Speaker 2: We got very lucky. But but I think like her

1125
01:10:40,356 --> 01:10:45,956
Speaker 2: son was aware of our music, so he said like, yeah, mom,

1126
01:10:45,996 --> 01:10:49,396
Speaker 2: you should do this. It's cool. Yeah. So he helped

1127
01:10:49,396 --> 01:10:52,156
Speaker 2: a lot. Yea. He told her they're cool, do it

1128
01:10:53,196 --> 01:10:55,796
Speaker 2: because we were one of the first show he ever

1129
01:10:56,236 --> 01:11:00,556
Speaker 2: went to. So yeah, thank you Jack, because that's his name.

1130
01:11:01,076 --> 01:11:02,916
Speaker 1: You were one of the first shows we ever went to. Yeah,

1131
01:11:02,956 --> 01:11:03,676
Speaker 1: oh wow.

1132
01:11:03,516 --> 01:11:07,236
Speaker 2: Cool And and she was yeah, she's she was so

1133
01:11:07,316 --> 01:11:10,956
Speaker 2: cool and she's like so good. Ruse, she was perfect.

1134
01:11:12,276 --> 01:11:14,796
Speaker 1: Does that? I love cars? I'm not really I know

1135
01:11:14,876 --> 01:11:16,436
Speaker 1: too much about him does that car exist? Is that

1136
01:11:16,476 --> 01:11:16,876
Speaker 1: a real call?

1137
01:11:17,716 --> 01:11:23,796
Speaker 2: I think car that we we pimped. Yeah, we pimped

1138
01:11:24,676 --> 01:11:28,556
Speaker 2: and and at some point we we gave it to

1139
01:11:28,876 --> 01:11:34,396
Speaker 2: Mac DeMarco, but I guess he the paperwork didn't get done,

1140
01:11:34,516 --> 01:11:37,196
Speaker 2: so yeah, yeah we made him like in French, it's

1141
01:11:37,196 --> 01:11:40,556
Speaker 2: called the poisonous present, so we gave him the carter.

1142
01:11:41,516 --> 01:11:44,356
Speaker 2: But but it's yeah, I think it's such a terrible

1143
01:11:44,396 --> 01:11:47,276
Speaker 2: present because it's not allowed. It's illegal to drive it

1144
01:11:47,756 --> 01:11:49,716
Speaker 2: because it's mild so you can't see it. It's like

1145
01:11:49,796 --> 01:11:53,316
Speaker 2: actually dangerous to drive a car like it's an old car.

1146
01:11:53,476 --> 01:11:56,996
Speaker 2: The PaperWorks so sorry, I sawry mac.

1147
01:11:57,836 --> 01:12:00,076
Speaker 1: So just said and grass.

1148
01:12:00,196 --> 01:12:02,196
Speaker 2: Or maybe you don't kid some well have no idea

1149
01:12:02,236 --> 01:12:03,436
Speaker 2: what what you don't need it?

1150
01:12:03,556 --> 01:12:06,876
Speaker 1: That's amazing cool. Well, thanks so much for making the

1151
01:12:06,916 --> 01:12:09,596
Speaker 1: time to do this. Thanks thanks for having its great

1152
01:12:10,476 --> 01:12:16,556
Speaker 1: have fun, less your time. In la you an episode description,

1153
01:12:16,596 --> 01:12:18,876
Speaker 1: you'll find a link to some of our favorite Justice tracks,

1154
01:12:19,116 --> 01:12:22,516
Speaker 1: as well as songs and artists referenced in today's episode

1155
01:12:22,996 --> 01:12:25,036
Speaker 1: and again. To see the video version of this episode,

1156
01:12:25,116 --> 01:12:28,836
Speaker 1: visit YouTube dot com slash Broken Record Podcast, and be

1157
01:12:28,876 --> 01:12:31,676
Speaker 1: sure to follow us on Instagram at the Broken Record pod.

1158
01:12:32,316 --> 01:12:35,476
Speaker 1: You can follow us on Twitter at broken Record. Broken

1159
01:12:35,516 --> 01:12:38,596
Speaker 1: Record is produced and edited by Leah Rose, with marketing

1160
01:12:38,636 --> 01:12:41,916
Speaker 1: help from Eric Sandler and Jordan McMillan. Our engineer is

1161
01:12:41,956 --> 01:12:46,236
Speaker 1: Ben Holliday. Broken Record is a production of Pushkin Industries.

1162
01:12:46,596 --> 01:12:49,356
Speaker 1: If you love this show and others from Pushkin, consider

1163
01:12:49,436 --> 01:12:53,796
Speaker 1: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription

1164
01:12:53,916 --> 01:12:56,676
Speaker 1: that offers bonus content and ad free listening for four

1165
01:12:56,796 --> 01:13:00,076
Speaker 1: ninety nine a month. Look for Pushkin Plus on Apple

1166
01:13:00,116 --> 01:13:04,116
Speaker 1: Podcasts subscriptions, and if you like this show, please remember

1167
01:13:04,116 --> 01:13:06,716
Speaker 1: to share, rate, and review us on your podcast app.

1168
01:13:06,996 --> 01:13:09,676
Speaker 1: Our theme music's by Kenny Beats. I'm just Enrichment.