1 00:00:08,200 --> 00:00:14,760 Speaker 1: Pushkin. Fka Twiggs is someone whose music is nearly impossible 2 00:00:14,760 --> 00:00:17,720 Speaker 1: to categorize. She's a singer songwriter who plays around with 3 00:00:17,800 --> 00:00:20,680 Speaker 1: R and B, electronica and hip hop. She's been lumped 4 00:00:20,680 --> 00:00:22,800 Speaker 1: into the alt R and B category with Frank Ocean, 5 00:00:22,880 --> 00:00:25,840 Speaker 1: The Weekend and Sissa, but prefers not to be boxed 6 00:00:25,880 --> 00:00:29,400 Speaker 1: in Bonn and raised in the rural Ukka Twiggs is 7 00:00:29,400 --> 00:00:32,600 Speaker 1: probably best known for dating actor Robert Pattinson, also for 8 00:00:32,640 --> 00:00:34,920 Speaker 1: the health scare that left her needing six tumors removed 9 00:00:34,960 --> 00:00:37,760 Speaker 1: just last year. At least, that's what the press wanted 10 00:00:37,760 --> 00:00:39,839 Speaker 1: to focus on when her new album Magdalen came out 11 00:00:39,880 --> 00:00:42,320 Speaker 1: in November. But when she decided to sit with Rick 12 00:00:42,400 --> 00:00:44,600 Speaker 1: Ruben on Broken Record, she wanted to talk about what 13 00:00:44,680 --> 00:00:48,200 Speaker 1: matters most to her, her creative process and her music. 14 00:00:49,280 --> 00:00:51,040 Speaker 1: She sat with Rick on the old tour bus studio 15 00:00:51,120 --> 00:00:53,680 Speaker 1: parked at Shangri. Lad discussed the striking video she came 16 00:00:53,760 --> 00:00:56,160 Speaker 1: up with for her single Cellophane and how recording this 17 00:00:56,200 --> 00:01:03,800 Speaker 1: album helped her heal. This is Broken Record Season three. 18 00:01:03,920 --> 00:01:10,920 Speaker 1: Liner notes for the Digital Age. I'm justin Richmond. Just 19 00:01:10,959 --> 00:01:13,280 Speaker 1: a quick note here. You can listen to all of 20 00:01:13,280 --> 00:01:16,200 Speaker 1: the music mentioned in this episode on our playlist, which 21 00:01:16,200 --> 00:01:18,480 Speaker 1: you can find a link to in the show notes 22 00:01:19,120 --> 00:01:21,920 Speaker 1: for licensing reasons. Each time a song is referenced in 23 00:01:21,959 --> 00:01:27,960 Speaker 1: this episode, you'll hear this sound effect all right. Enjoy 24 00:01:28,000 --> 00:01:31,640 Speaker 1: the episode. Here's Rick Rubin and FKA Twigs on her 25 00:01:31,680 --> 00:01:36,399 Speaker 1: new album. How was making this album different than anything 26 00:01:36,400 --> 00:01:39,760 Speaker 1: you've done before? I was able to write for my 27 00:01:39,880 --> 00:01:43,160 Speaker 1: voice more, And I don't just mean like my physical voice, 28 00:01:43,160 --> 00:01:45,679 Speaker 1: I mean like for my soul voice as well. Like 29 00:01:45,760 --> 00:01:48,680 Speaker 1: I feel like I wrote it from more of a 30 00:01:50,520 --> 00:01:56,560 Speaker 1: like an inside out kind of place, which I always 31 00:01:56,600 --> 00:01:58,400 Speaker 1: have done in the past. But you know, during that 32 00:01:58,440 --> 00:02:00,800 Speaker 1: in your early twenties, is doing it different from doing 33 00:02:00,800 --> 00:02:04,640 Speaker 1: it in your thirties? You know, I think this process 34 00:02:04,760 --> 00:02:07,280 Speaker 1: was even though I was like going through a lot 35 00:02:07,280 --> 00:02:09,040 Speaker 1: in my personal life, I think it was a much 36 00:02:09,120 --> 00:02:14,120 Speaker 1: kinder as much kinder to myself in my process. And 37 00:02:15,560 --> 00:02:18,040 Speaker 1: I just didn't feel very like ferocious when I made 38 00:02:18,040 --> 00:02:20,560 Speaker 1: this record. I think, like, you know, as a new artist, 39 00:02:20,680 --> 00:02:23,000 Speaker 1: to get that those first pieces of music out, like 40 00:02:23,040 --> 00:02:26,080 Speaker 1: I had such like like a fire, such a ferociousness, 41 00:02:26,160 --> 00:02:28,880 Speaker 1: such a push, such like an endless amount of energy, 42 00:02:29,280 --> 00:02:32,320 Speaker 1: such like an endless amount of like ambition and fight, 43 00:02:32,520 --> 00:02:35,120 Speaker 1: And for me, this record didn't come from a place 44 00:02:35,120 --> 00:02:37,360 Speaker 1: of fight at all. It came from a place of 45 00:02:37,400 --> 00:02:42,400 Speaker 1: like stillness, beautiful. It's been really nice actually, so it 46 00:02:42,440 --> 00:02:46,000 Speaker 1: sounds like it became a pleasant process making it. Yeah, 47 00:02:46,400 --> 00:02:49,200 Speaker 1: And don't get me wrong, there were some tough moments, 48 00:02:49,360 --> 00:02:52,680 Speaker 1: but I don't feel like scarred by it. You know, 49 00:02:52,720 --> 00:02:55,079 Speaker 1: there's some songs which you know, there's just like forty 50 00:02:55,200 --> 00:02:58,360 Speaker 1: versions of a song and it's so stressful, and you 51 00:02:58,400 --> 00:03:00,680 Speaker 1: know you want the song to come out like it's 52 00:03:00,720 --> 00:03:03,480 Speaker 1: just a struggle to the point where even you know, 53 00:03:03,520 --> 00:03:05,440 Speaker 1: you're like playing at live three years later and you're 54 00:03:05,520 --> 00:03:07,960 Speaker 1: kind of still got like the kind of angst off 55 00:03:08,000 --> 00:03:09,880 Speaker 1: when you first made it, Like there's nothing on the 56 00:03:10,000 --> 00:03:14,520 Speaker 1: record necessarily that feels like that for me this time, 57 00:03:15,240 --> 00:03:17,239 Speaker 1: I wonder if it came from being in a different 58 00:03:17,240 --> 00:03:20,040 Speaker 1: place or maybe just having more experience. I think just 59 00:03:20,080 --> 00:03:22,840 Speaker 1: having more experience, and I think just believing in myself 60 00:03:22,919 --> 00:03:27,480 Speaker 1: more and being more certain in my decisions and my 61 00:03:27,600 --> 00:03:32,360 Speaker 1: decisions being the final decisions and not like not like 62 00:03:32,600 --> 00:03:36,840 Speaker 1: needing anybody else's opinion or approval. You weren't sick and 63 00:03:36,880 --> 00:03:40,200 Speaker 1: guessing yourself. Yeah, great, yeah. Great. And also to have 64 00:03:40,240 --> 00:03:43,280 Speaker 1: amazing collaborators that were there like supporting me out of 65 00:03:43,320 --> 00:03:46,640 Speaker 1: love and of like ego or like cloud chasing or 66 00:03:46,720 --> 00:03:50,240 Speaker 1: like you know, that makes a big difference as well. Absolutely, Yeah, 67 00:03:50,520 --> 00:03:53,840 Speaker 1: that sounds great. Yeah, I haven't heard it yet. Exciting. 68 00:03:56,040 --> 00:03:59,760 Speaker 1: Tell me what was the how did that one start? Well, 69 00:03:59,760 --> 00:04:03,080 Speaker 1: that actually from the first session that I worked with 70 00:04:03,640 --> 00:04:06,600 Speaker 1: Nicholas jar and when we did that song, like I 71 00:04:06,640 --> 00:04:08,880 Speaker 1: just knew he was going to be such an important 72 00:04:09,000 --> 00:04:12,880 Speaker 1: part of the record. He had like a sensitivity and 73 00:04:13,920 --> 00:04:21,720 Speaker 1: just like an emotional depth and intellectual depth that really 74 00:04:22,720 --> 00:04:26,680 Speaker 1: touched me. He's just such an incredible person. And he 75 00:04:26,839 --> 00:04:31,359 Speaker 1: is a music artist. You know, there's music it's the 76 00:04:31,400 --> 00:04:33,080 Speaker 1: first time that you worked with him, it's the first 77 00:04:33,080 --> 00:04:35,600 Speaker 1: time I worked with him. Yeah, you know, there's music makers, 78 00:04:35,600 --> 00:04:38,600 Speaker 1: and there's amazing programmers, and there's people that have all 79 00:04:38,640 --> 00:04:43,240 Speaker 1: the tricks in the world. But he's a music artist 80 00:04:43,640 --> 00:04:48,920 Speaker 1: and that's different. Like he it's not about him, you know, 81 00:04:49,000 --> 00:04:53,159 Speaker 1: it's about the music and the work. And that was 82 00:04:53,320 --> 00:04:58,040 Speaker 1: just so inspiring to me. And he was so gentle 83 00:04:58,160 --> 00:05:03,120 Speaker 1: and so funny and so I don't know, like in 84 00:05:03,160 --> 00:05:05,160 Speaker 1: someone's we were quite similar because we can both be 85 00:05:05,279 --> 00:05:09,080 Speaker 1: very serious and we take what we do extremely seriously 86 00:05:09,880 --> 00:05:12,159 Speaker 1: and with so much care, but at the same time, 87 00:05:12,279 --> 00:05:15,640 Speaker 1: like both really goofy and really like just have a 88 00:05:15,640 --> 00:05:18,520 Speaker 1: lot of fun. And like, you know, we'd have this 89 00:05:18,600 --> 00:05:21,440 Speaker 1: like joke in the studio that like just before sunset, 90 00:05:21,560 --> 00:05:24,840 Speaker 1: like it would turn into like cat hour, and like 91 00:05:24,880 --> 00:05:26,240 Speaker 1: you know when you have a cat and then they 92 00:05:26,279 --> 00:05:29,880 Speaker 1: start running around for an hour. You ever had that before, Yeah, 93 00:05:29,920 --> 00:05:32,320 Speaker 1: and they just go crazy for like one hour out 94 00:05:32,360 --> 00:05:35,440 Speaker 1: of the day. You know. We would have this joke 95 00:05:35,600 --> 00:05:39,760 Speaker 1: that like Nigo had like a cat hourly he would 96 00:05:39,839 --> 00:05:43,040 Speaker 1: be working really hard and he would just turn around 97 00:05:43,040 --> 00:05:44,760 Speaker 1: and look at me and say, oh no, I felt 98 00:05:44,800 --> 00:05:47,479 Speaker 1: like a cat it's coming. And it would just be 99 00:05:47,640 --> 00:05:50,919 Speaker 1: so much fun. And you know they say that for 100 00:05:51,000 --> 00:05:55,160 Speaker 1: any good relationship, you know, food is such an important 101 00:05:55,279 --> 00:06:00,360 Speaker 1: thing because it's like bonding, isn't it. So you know, 102 00:06:00,400 --> 00:06:02,600 Speaker 1: we just really liked the same food as well. So 103 00:06:02,640 --> 00:06:05,240 Speaker 1: it's just really nicely to always be like hunting down 104 00:06:05,320 --> 00:06:10,119 Speaker 1: like really beautiful, healthy, like homemade vegan food to eat. 105 00:06:10,800 --> 00:06:13,600 Speaker 1: And there was just such a wholesome aspect to our 106 00:06:13,720 --> 00:06:16,920 Speaker 1: music making process and that's what I needed. I think 107 00:06:16,960 --> 00:06:20,320 Speaker 1: I really, you know. I came to him quite broken 108 00:06:20,400 --> 00:06:28,159 Speaker 1: and fragile, and he just understood and he didn't try 109 00:06:28,160 --> 00:06:31,839 Speaker 1: to like fix me. This was the first time you 110 00:06:31,880 --> 00:06:34,040 Speaker 1: worked together? Oh, just you know, the first time and 111 00:06:34,120 --> 00:06:36,159 Speaker 1: just over the duration. Yeah, I mean that was the 112 00:06:36,160 --> 00:06:40,200 Speaker 1: first time ye doing some thousand eyes. Yeah, that was 113 00:06:40,200 --> 00:06:42,880 Speaker 1: in our first session and then I knew and you 114 00:06:42,880 --> 00:06:45,960 Speaker 1: know this thousand eys hasn't really changed a lot from 115 00:06:46,000 --> 00:06:51,600 Speaker 1: the the demo. And did it start as a track first? No? No, 116 00:06:51,720 --> 00:06:53,800 Speaker 1: nothing I ever do really no. I don't think anything 117 00:06:53,800 --> 00:06:55,839 Speaker 1: I've ever done starts from a track. From what I 118 00:06:55,880 --> 00:06:58,320 Speaker 1: can remember, I just can't make music like that. It 119 00:06:58,440 --> 00:07:00,839 Speaker 1: started with me on The Tempest, all of the drums 120 00:07:00,839 --> 00:07:04,000 Speaker 1: and stuff and the kind of like low end. I 121 00:07:04,040 --> 00:07:07,919 Speaker 1: was doing that on the Tempest and Nico was playing 122 00:07:07,960 --> 00:07:10,880 Speaker 1: the piano and we were just having a lot of fun. 123 00:07:10,920 --> 00:07:13,520 Speaker 1: Even at the end of the song. I was like, oh, 124 00:07:13,560 --> 00:07:15,560 Speaker 1: this song would be so good with a horn section, 125 00:07:15,640 --> 00:07:17,640 Speaker 1: and I was like, I don't know anyone who can 126 00:07:17,680 --> 00:07:19,600 Speaker 1: be cool, and then we were both like, just like 127 00:07:19,640 --> 00:07:21,640 Speaker 1: do it with your mouth. So like the end of it, 128 00:07:21,640 --> 00:07:25,400 Speaker 1: there's like a trumpet sound that's just making broaded like 129 00:07:25,440 --> 00:07:28,360 Speaker 1: there's you know, Nico affecting it, and the way I 130 00:07:28,360 --> 00:07:30,320 Speaker 1: wrote the song was I just kept on looping myself 131 00:07:30,320 --> 00:07:32,760 Speaker 1: and recording over and over and over. I've been listening 132 00:07:32,760 --> 00:07:35,679 Speaker 1: to a lot of Gregorian music and like it shows. 133 00:07:35,760 --> 00:07:39,200 Speaker 1: It feels like. It made me feel like it had 134 00:07:39,240 --> 00:07:44,440 Speaker 1: an ancient, spiritual feeling about it that really feels good. 135 00:07:44,440 --> 00:07:49,280 Speaker 1: It feels while it feels traditional, would also feels super modern, cool, 136 00:07:49,560 --> 00:07:52,480 Speaker 1: very exciting. It's like a procession to me. Yeah, Like 137 00:07:52,480 --> 00:07:54,840 Speaker 1: it feels like something's happening, whether it's like a wedding 138 00:07:54,960 --> 00:07:58,280 Speaker 1: or a funeral or there's just something and the repetitive 139 00:07:58,400 --> 00:08:02,640 Speaker 1: nature exactly, it's kind of just keeps coming around marching. Yeah, 140 00:08:02,680 --> 00:08:04,240 Speaker 1: It's just this kind of like feeling of people just 141 00:08:04,280 --> 00:08:07,520 Speaker 1: moving forward altogether in Unison. You know. That's what it 142 00:08:07,520 --> 00:08:09,760 Speaker 1: makes me think of, Like imagine like just some sort 143 00:08:09,800 --> 00:08:12,520 Speaker 1: of procession, you know, some sort of like something that 144 00:08:12,520 --> 00:08:18,000 Speaker 1: feels very like sacred and gentle and necessary. It was 145 00:08:18,120 --> 00:08:24,320 Speaker 1: very organic, and to me, that's just testament to the 146 00:08:24,400 --> 00:08:27,160 Speaker 1: relationship that I had with Nicholas jar throughout the whole 147 00:08:27,240 --> 00:08:31,640 Speaker 1: music making process. I'm just so grateful to him. You know, 148 00:08:32,600 --> 00:08:36,400 Speaker 1: we were there like side by side in the earliest 149 00:08:36,440 --> 00:08:39,360 Speaker 1: hours of the morning, when we were both tired and 150 00:08:39,440 --> 00:08:48,040 Speaker 1: you know, exhausted, and I think the world is really 151 00:08:48,080 --> 00:08:54,720 Speaker 1: even yet to see just how brilliant he is. I 152 00:08:54,840 --> 00:08:58,280 Speaker 1: had his I guess his first EP for a really 153 00:08:58,320 --> 00:09:00,960 Speaker 1: long time, and then there was no more music for Yeah, 154 00:09:01,040 --> 00:09:05,760 Speaker 1: it seems seemingly forever. But that's what happens, you know, 155 00:09:05,880 --> 00:09:08,640 Speaker 1: Like when you're an artist. It doesn't just you can't 156 00:09:08,640 --> 00:09:11,040 Speaker 1: just click your fingers and come. And I think it's different, like, 157 00:09:11,559 --> 00:09:14,920 Speaker 1: you know, to set myself and Nico like we're not 158 00:09:15,080 --> 00:09:17,640 Speaker 1: interested in making like hit songs. It's not about that. 159 00:09:17,679 --> 00:09:20,080 Speaker 1: It's not just like where's the hook get in? Who's 160 00:09:20,120 --> 00:09:24,520 Speaker 1: the hit maker? Like you know, like just get on 161 00:09:24,559 --> 00:09:27,079 Speaker 1: the mic and do it like easy. It's not like that, 162 00:09:27,160 --> 00:09:29,080 Speaker 1: Like it really has to come from a different place, 163 00:09:29,160 --> 00:09:35,000 Speaker 1: and that place is you don't know when you're going 164 00:09:35,040 --> 00:09:38,360 Speaker 1: to tap into it, Like it's it is literally like 165 00:09:39,200 --> 00:09:43,120 Speaker 1: tapping for oil or digging for water. You know, you 166 00:09:43,160 --> 00:09:45,360 Speaker 1: get a little sprout and then it stops. Then sometimes 167 00:09:45,360 --> 00:09:48,520 Speaker 1: it's just the tiniest scratch and all of a sudden 168 00:09:48,640 --> 00:09:51,400 Speaker 1: you're like flooded with like so much stuff. When you 169 00:09:51,400 --> 00:09:53,560 Speaker 1: have a week and you could write like half an 170 00:09:53,600 --> 00:09:55,920 Speaker 1: album in a week after like four years of only 171 00:09:55,920 --> 00:09:58,040 Speaker 1: writing one song. And for me, that's kind of how 172 00:09:58,080 --> 00:09:59,800 Speaker 1: Magdalene was in a way. It was sort of like 173 00:10:00,320 --> 00:10:03,480 Speaker 1: one song here like a break, like here at a break, 174 00:10:03,520 --> 00:10:05,640 Speaker 1: and then four songs at once. Yeah, you know, two 175 00:10:05,640 --> 00:10:07,440 Speaker 1: songs in a day. Yea, it was time. Yeah, it 176 00:10:07,559 --> 00:10:10,280 Speaker 1: was time. And it has so little to do with us. Oh, 177 00:10:10,320 --> 00:10:12,360 Speaker 1: it has nothing to do with me. I always say that. 178 00:10:12,640 --> 00:10:16,920 Speaker 1: It's just like, yeah, something just comes through you sometimes, 179 00:10:17,280 --> 00:10:20,440 Speaker 1: Yeah it's bigger. That's why I text Nico the other 180 00:10:20,480 --> 00:10:22,199 Speaker 1: day and I said, like, this is like bigger than us, 181 00:10:22,280 --> 00:10:24,679 Speaker 1: like we did really well and I'm so happy then, 182 00:10:25,880 --> 00:10:28,800 Speaker 1: isn't it? And that feeling when it, when it does appear, 183 00:10:28,960 --> 00:10:32,320 Speaker 1: it's so exciting and a little scary, I know for me, 184 00:10:32,440 --> 00:10:34,480 Speaker 1: Like I always the feeling like, oh I don't want 185 00:10:34,480 --> 00:10:36,720 Speaker 1: it to dissipline, like you know what I mean, Like, 186 00:10:37,120 --> 00:10:41,720 Speaker 1: let's not mess it up. Yeah. To me, it just 187 00:10:41,960 --> 00:10:45,400 Speaker 1: feels like the closest thing to dying. That's how I feel. 188 00:10:45,760 --> 00:10:48,240 Speaker 1: It's like when you die, like that moment, your last 189 00:10:48,240 --> 00:10:51,440 Speaker 1: piece of consciousness before you know what happens next, even 190 00:10:51,440 --> 00:10:54,120 Speaker 1: if what happens next is like nothing or if it's everything. 191 00:10:54,559 --> 00:10:58,040 Speaker 1: When I feel like I'm in that zone of making music, 192 00:10:58,120 --> 00:11:02,520 Speaker 1: that to me is the closest human experience of what 193 00:11:02,679 --> 00:11:07,120 Speaker 1: it must be like to find out what happens next. Ye. 194 00:11:07,400 --> 00:11:09,480 Speaker 1: I always say when I create, the veil is the thinnest, 195 00:11:09,760 --> 00:11:11,320 Speaker 1: and I mean the veil between like where we are 196 00:11:11,360 --> 00:11:14,320 Speaker 1: now and like what happens next. You're just like tapping 197 00:11:14,320 --> 00:11:19,840 Speaker 1: at that door. Like it just feels like not like 198 00:11:19,880 --> 00:11:25,480 Speaker 1: a human experience, it feels like a otherworldly experience to me. Yeah, 199 00:11:25,559 --> 00:11:28,520 Speaker 1: And I would say it's not it's not intellectual at all. 200 00:11:28,640 --> 00:11:32,079 Speaker 1: It's it's just you just feel it. Yeah, And if 201 00:11:32,080 --> 00:11:35,160 Speaker 1: you think about it, it dissipates as well. It's it's 202 00:11:35,200 --> 00:11:38,360 Speaker 1: such a fine line, isn't it is. You almost say, 203 00:11:38,520 --> 00:11:41,480 Speaker 1: you know, even when you're institute and someone's doing something great, yeah, 204 00:11:42,000 --> 00:11:44,199 Speaker 1: you don't even tell them it's good. No, you know, 205 00:11:44,320 --> 00:11:46,000 Speaker 1: Like I've had that with like Nika a couple of 206 00:11:46,000 --> 00:11:47,920 Speaker 1: times in the record at the end of Mary Magdalen, 207 00:11:48,640 --> 00:11:51,079 Speaker 1: because I can be like, you know, I'm very involved 208 00:11:51,080 --> 00:11:53,720 Speaker 1: in my music making process, and I'm very like, Nope, 209 00:11:53,720 --> 00:11:56,760 Speaker 1: I don't like that, Nope, Nope, nope. I mean, yep, 210 00:11:56,880 --> 00:11:58,440 Speaker 1: take that, Okay, I'll have that. Send it over here, 211 00:11:59,080 --> 00:12:00,520 Speaker 1: send me that part. Do you know what I mean. 212 00:12:00,559 --> 00:12:06,400 Speaker 1: I'm very like, yeah, I know everything that's going on 213 00:12:06,520 --> 00:12:09,200 Speaker 1: all the time, almost like to the point like Carlos 214 00:12:09,200 --> 00:12:11,120 Speaker 1: who works on a record, like he makes a joke 215 00:12:11,160 --> 00:12:13,839 Speaker 1: out of it that I'll be like, yeah, it sounds great, 216 00:12:13,880 --> 00:12:17,680 Speaker 1: But there was a bell in the second chorus three 217 00:12:17,720 --> 00:12:20,120 Speaker 1: weeks ago when we did that session with this person, 218 00:12:20,160 --> 00:12:23,240 Speaker 1: this person, this person, and it's not there now, and 219 00:12:23,360 --> 00:12:25,199 Speaker 1: everyone will be like, oh, what bell. And then we'll 220 00:12:25,240 --> 00:12:26,960 Speaker 1: go through all the fouls and then someone will find 221 00:12:26,960 --> 00:12:28,800 Speaker 1: a bell and I'll be like, you're crazy, Like you're 222 00:12:28,840 --> 00:12:31,800 Speaker 1: actually crazy. But there's a few times on the record 223 00:12:31,840 --> 00:12:36,920 Speaker 1: of Nico where like I just had to back off 224 00:12:37,000 --> 00:12:41,280 Speaker 1: and sit quietly and just let him do his thing. 225 00:12:41,280 --> 00:12:42,800 Speaker 1: And the end of Mary MG for me was like 226 00:12:42,840 --> 00:12:45,160 Speaker 1: that in the sense that he just went off on 227 00:12:45,280 --> 00:12:49,080 Speaker 1: like a kind of journey of finishing this song kind 228 00:12:49,080 --> 00:12:51,960 Speaker 1: of for about forty minutes. He started making these crazy, 229 00:12:52,120 --> 00:12:55,360 Speaker 1: like plastic, stretchy drums, and I was like, Ah, that 230 00:12:55,520 --> 00:12:58,560 Speaker 1: is what I've been aching for for this song for 231 00:12:58,600 --> 00:13:01,960 Speaker 1: the whole time. And I have been through every drum programmer, 232 00:13:02,480 --> 00:13:06,200 Speaker 1: and I've used every single explaining word. I've gone through 233 00:13:06,240 --> 00:13:10,959 Speaker 1: every sound on my tempest, and nothing is doing what 234 00:13:11,040 --> 00:13:12,880 Speaker 1: I mean. And I don't know what I mean, but 235 00:13:12,920 --> 00:13:15,600 Speaker 1: I can hear it. And then Nico just did it 236 00:13:15,679 --> 00:13:20,360 Speaker 1: and I was like, nobody move, it's happening. Nobody moved. 237 00:13:21,120 --> 00:13:25,200 Speaker 1: So yeah, there are a few times on the record that, yeah, 238 00:13:25,360 --> 00:13:27,480 Speaker 1: just that kind of presence of something else sort of 239 00:13:28,240 --> 00:13:32,439 Speaker 1: came through for sure. So exciting. Let's listen to the 240 00:13:32,520 --> 00:13:35,160 Speaker 1: next one. We'll have more with Fgate Twigs and Rick 241 00:13:35,240 --> 00:13:41,439 Speaker 1: Rubin when we come back. We're back with more from 242 00:13:41,440 --> 00:13:46,200 Speaker 1: f Gate Twigs. How did that one happen? I was 243 00:13:46,240 --> 00:13:54,559 Speaker 1: in this studio with my bandmate and my labelmate, Sian 244 00:13:54,640 --> 00:13:59,320 Speaker 1: and Ethan, and it was quite a flow of consciousness 245 00:13:59,320 --> 00:14:01,560 Speaker 1: from ber Ethan was on the piano and I was 246 00:14:04,040 --> 00:14:08,640 Speaker 1: had like my helicon like voice machine, and I started 247 00:14:08,679 --> 00:14:11,680 Speaker 1: like just making these like effects using that, like layering 248 00:14:11,760 --> 00:14:16,240 Speaker 1: up my voice. And I didn't know that when I 249 00:14:16,240 --> 00:14:18,840 Speaker 1: was using a helicon, I felt quite free, you know, 250 00:14:19,040 --> 00:14:22,720 Speaker 1: like I didn't feel because I just felt like it 251 00:14:22,760 --> 00:14:25,480 Speaker 1: was like a different character and it just like enabled 252 00:14:25,480 --> 00:14:28,480 Speaker 1: me to kind of like have like this cadence that 253 00:14:30,800 --> 00:14:32,720 Speaker 1: it's strange because I like kind of wrapped on my 254 00:14:32,800 --> 00:14:34,800 Speaker 1: music before, but it was so distorted just started. It 255 00:14:34,840 --> 00:14:37,480 Speaker 1: was like an alien rap kind of quite so synthetic, 256 00:14:37,800 --> 00:14:43,480 Speaker 1: but through the helicon it sounded like grounded and earthy 257 00:14:43,840 --> 00:14:46,760 Speaker 1: and like you said, that more personal and closer rather 258 00:14:46,800 --> 00:14:48,760 Speaker 1: than like an alien rap, which is like far away 259 00:14:48,760 --> 00:14:54,320 Speaker 1: and like esoteric science fiction. Yeah, exactly like us real. Yeah, 260 00:14:54,320 --> 00:14:56,480 Speaker 1: it's like roots, it's like in the earth. It's like 261 00:14:56,560 --> 00:14:59,760 Speaker 1: you know, a growling voice from inside your stomach or something. 262 00:15:00,200 --> 00:15:01,760 Speaker 1: And so I just felt like I was able to 263 00:15:01,800 --> 00:15:06,000 Speaker 1: just express like that kind of like frustration and hardness 264 00:15:06,040 --> 00:15:13,600 Speaker 1: like easier. And and Ethan was playing these beautiful piano chords, 265 00:15:13,680 --> 00:15:19,880 Speaker 1: and I was weirdly thinking about Elton John, you know, 266 00:15:19,960 --> 00:15:22,720 Speaker 1: even as an incredible musician, Like he's just one of 267 00:15:22,720 --> 00:15:26,080 Speaker 1: those guys that can play like five instruments to like 268 00:15:26,120 --> 00:15:30,720 Speaker 1: a you know, ridiculously high standard, and you know he's like, yeah, yeah, 269 00:15:30,800 --> 00:15:33,080 Speaker 1: sure I can do that, but like he's kind of, 270 00:15:35,280 --> 00:15:38,080 Speaker 1: you know, very humble and sweet and and quite sort 271 00:15:38,120 --> 00:15:41,160 Speaker 1: of reserved. But then he'll just like pick up the 272 00:15:41,240 --> 00:15:44,400 Speaker 1: clarinet and like we'll pick up the saxophone and make 273 00:15:44,520 --> 00:15:47,960 Speaker 1: the whole kind of rise at the end. So working 274 00:15:47,960 --> 00:15:51,000 Speaker 1: with him was really exciting. And then I remember it 275 00:15:51,040 --> 00:15:54,840 Speaker 1: was kind of done in one flow of consciousness. It 276 00:15:54,920 --> 00:15:57,760 Speaker 1: was sort of like a jam, I guess. And then 277 00:15:58,760 --> 00:16:01,160 Speaker 1: My Tempest was on and I started making these really 278 00:16:01,240 --> 00:16:03,960 Speaker 1: like ugly sounds on the Tempest and I was like, 279 00:16:03,960 --> 00:16:05,960 Speaker 1: oh my gosh, this is so cool. It's like some 280 00:16:06,160 --> 00:16:10,360 Speaker 1: weird like musical but then like with these like Elton 281 00:16:10,520 --> 00:16:14,400 Speaker 1: Johnny sort of like piano chords and then like my 282 00:16:14,520 --> 00:16:17,720 Speaker 1: voice like going from this rap to the quite like operatic. 283 00:16:18,040 --> 00:16:20,160 Speaker 1: But then it also felt really punk. You know, there 284 00:16:20,200 --> 00:16:22,200 Speaker 1: was something about it that just felt really punk. And 285 00:16:22,200 --> 00:16:24,120 Speaker 1: I remember my favorite brand, just ex Respects, and they 286 00:16:24,160 --> 00:16:27,240 Speaker 1: always had like saxophone in their music, Like you'd think 287 00:16:27,320 --> 00:16:29,600 Speaker 1: it would be like this kind of like Calamity, and 288 00:16:29,600 --> 00:16:31,120 Speaker 1: then all of a sudden that the sacks would come 289 00:16:31,160 --> 00:16:34,680 Speaker 1: in and I played this like crazy riff or line 290 00:16:34,720 --> 00:16:39,680 Speaker 1: and and yeah, it just it felt punk to me. 291 00:16:39,800 --> 00:16:43,400 Speaker 1: It just felt new, and it felt emotional and it 292 00:16:43,440 --> 00:16:47,960 Speaker 1: felt exciting. And again that was one of the songs. 293 00:16:48,000 --> 00:16:51,840 Speaker 1: It didn't change too much from the beginning, and it 294 00:16:51,880 --> 00:16:53,320 Speaker 1: was I think it was like an eight minute jam, 295 00:16:53,320 --> 00:16:54,520 Speaker 1: and I just went in and I just sat on 296 00:16:54,560 --> 00:16:57,520 Speaker 1: the computer and just did a little like so it 297 00:16:57,720 --> 00:17:00,200 Speaker 1: had some of the beat stuff even from the jam, 298 00:17:01,000 --> 00:17:03,440 Speaker 1: some of the or was it more like ballad like 299 00:17:03,640 --> 00:17:05,720 Speaker 1: and then it got amplified. I think it was more 300 00:17:05,720 --> 00:17:09,840 Speaker 1: ballad like and then it got amplified from what I 301 00:17:09,840 --> 00:17:13,040 Speaker 1: can remember, but I just remember one sign started playing, 302 00:17:13,040 --> 00:17:15,520 Speaker 1: there's like crazy noises on top. I was like yes, 303 00:17:16,400 --> 00:17:20,400 Speaker 1: I was like, yes, it's so ugly and like harsh 304 00:17:20,400 --> 00:17:23,600 Speaker 1: and yeah, but again, just the juxtaposition of that and 305 00:17:23,640 --> 00:17:26,880 Speaker 1: the beauty of the piano, it's really magical to hear, 306 00:17:27,520 --> 00:17:32,080 Speaker 1: and it pulls us in different directions, which draws us 307 00:17:32,200 --> 00:17:34,919 Speaker 1: more into the emotion of the song because it doesn't 308 00:17:34,920 --> 00:17:38,320 Speaker 1: just start and stop, and it's not a it's not 309 00:17:38,480 --> 00:17:41,320 Speaker 1: linear in any way. Neither of the two that we've 310 00:17:41,320 --> 00:17:43,480 Speaker 1: listened to both have sort of gone through these build 311 00:17:43,560 --> 00:17:48,959 Speaker 1: processes where they don't they The first one didn't really change, 312 00:17:48,960 --> 00:17:51,720 Speaker 1: but it felt like it grew and evolved. This one 313 00:17:51,760 --> 00:17:54,479 Speaker 1: felt like it more changed but still felt like it 314 00:17:54,560 --> 00:17:57,600 Speaker 1: was took us on this journey and it was a 315 00:17:57,640 --> 00:18:00,400 Speaker 1: consistent journey, like it made sense to go on the road, 316 00:18:00,640 --> 00:18:04,640 Speaker 1: which is crazy considering us. So it's so vast home 317 00:18:04,680 --> 00:18:07,320 Speaker 1: with you, like there's so many different types of music 318 00:18:07,400 --> 00:18:11,200 Speaker 1: in there, and like, yeah, it's crazy that it manages 319 00:18:11,280 --> 00:18:14,960 Speaker 1: to hold itself together with such certainty. But again, it's 320 00:18:14,960 --> 00:18:18,280 Speaker 1: just like you said, it started from the jail, so 321 00:18:18,280 --> 00:18:23,160 Speaker 1: it's almost like it works on an unconscious level. Totally. Yeah, totally, 322 00:18:23,200 --> 00:18:27,680 Speaker 1: it is unconscious. It is that which is the best way, 323 00:18:27,760 --> 00:18:31,120 Speaker 1: isn't it? Absolutely yeah, it's the best one. We don't 324 00:18:31,160 --> 00:18:33,520 Speaker 1: even know why it's good, but you just feel it's 325 00:18:33,520 --> 00:18:38,159 Speaker 1: like you can't miss that feeling. Yeah. Sometimes I've been 326 00:18:38,160 --> 00:18:40,040 Speaker 1: working with my manager now for a really long time, 327 00:18:40,119 --> 00:18:43,000 Speaker 1: like he's known since I was nineteen years old, And 328 00:18:43,040 --> 00:18:45,240 Speaker 1: sometimes when I write a good song and he'll be like, oh, 329 00:18:45,280 --> 00:18:47,080 Speaker 1: that's so good, like you please and not be like 330 00:18:47,119 --> 00:18:49,160 Speaker 1: I feel sad, and he'll be like wine, and I'll 331 00:18:49,200 --> 00:18:52,160 Speaker 1: be like, I'm never going to make it again, because 332 00:18:52,160 --> 00:18:54,000 Speaker 1: you know what I mean, Like those moments you're like, oh, 333 00:18:54,040 --> 00:18:57,160 Speaker 1: I'm never gonna have that ever again. I can't even 334 00:18:57,200 --> 00:19:02,639 Speaker 1: recreate it just kind have happened. Ye, some songs are 335 00:19:02,680 --> 00:19:06,520 Speaker 1: easy to recreate. You know, when would a visual idea 336 00:19:06,640 --> 00:19:08,840 Speaker 1: come up for a song like you did a video 337 00:19:08,880 --> 00:19:14,360 Speaker 1: for that one. Yeah, I did. I think fairly soon 338 00:19:14,400 --> 00:19:16,640 Speaker 1: after making that, when I just had this idea that like, 339 00:19:17,240 --> 00:19:20,160 Speaker 1: it's like this kind of like linear, constant moving thing 340 00:19:20,240 --> 00:19:24,000 Speaker 1: taking me back home. I'm always moving, I'm always like walking, 341 00:19:24,080 --> 00:19:26,600 Speaker 1: or I'm always in a car, I'm always running until 342 00:19:26,720 --> 00:19:29,040 Speaker 1: like I find what I was looking for, which was 343 00:19:29,080 --> 00:19:32,960 Speaker 1: like my inner child, you know. So yeah, I had 344 00:19:33,000 --> 00:19:35,439 Speaker 1: the idea for that actually quite soon after making it, 345 00:19:35,480 --> 00:19:38,480 Speaker 1: that it just has to be this like constant running running, 346 00:19:38,560 --> 00:19:40,719 Speaker 1: running from the town and from the country, so like 347 00:19:40,920 --> 00:19:44,000 Speaker 1: just running back home, like running back nature, like running 348 00:19:44,640 --> 00:19:51,720 Speaker 1: through like lakes and fields and houses and kind of 349 00:19:51,760 --> 00:19:54,239 Speaker 1: having like a rebirth on the way. So yeah, the 350 00:19:54,280 --> 00:19:58,280 Speaker 1: idea for that came. Where did the thought for closing 351 00:19:58,280 --> 00:20:04,680 Speaker 1: and eye come from? Because to follow your gut, like 352 00:20:04,760 --> 00:20:08,239 Speaker 1: I had like tumors in my uterus, so like my 353 00:20:08,320 --> 00:20:12,560 Speaker 1: stomach became so sensitive. I had like stomach ache for 354 00:20:12,600 --> 00:20:16,240 Speaker 1: so long. But I started to think it actually became 355 00:20:16,240 --> 00:20:19,119 Speaker 1: my intuition in a weird way, because if I ate 356 00:20:19,160 --> 00:20:21,040 Speaker 1: something bad, I would have the worst stomach ache ever. 357 00:20:21,480 --> 00:20:25,000 Speaker 1: So my stomach became this really strong sense of intuition, 358 00:20:25,040 --> 00:20:28,359 Speaker 1: and even if I felt anxious, I'd get a stomach ache, 359 00:20:28,440 --> 00:20:30,520 Speaker 1: or like you know, if someone upset me, I would 360 00:20:30,560 --> 00:20:33,320 Speaker 1: get a stomach ache. Or it was really strange. It 361 00:20:33,400 --> 00:20:39,000 Speaker 1: was like all my emotions became something so physical because basically, 362 00:20:39,040 --> 00:20:40,879 Speaker 1: like my tumors were in my uterust, but they were 363 00:20:40,920 --> 00:20:44,840 Speaker 1: sitting on my colon, so that I was just like irritated, 364 00:20:45,480 --> 00:20:50,800 Speaker 1: and so just to be like in chronic pain like 365 00:20:50,840 --> 00:20:52,840 Speaker 1: that all the time for a year and a half, 366 00:20:54,359 --> 00:20:57,480 Speaker 1: that phrase like follow your gut just became like it 367 00:20:57,560 --> 00:21:00,159 Speaker 1: wasn't even metaphorical for me anymore. It was actually just 368 00:21:00,800 --> 00:21:05,480 Speaker 1: you know a huge part of my feeling life. And 369 00:21:06,880 --> 00:21:09,240 Speaker 1: so to put like my eye in my stomach because 370 00:21:09,320 --> 00:21:11,960 Speaker 1: I just felt like I was like seeing more through 371 00:21:12,000 --> 00:21:14,959 Speaker 1: my stomach than I was. You know, as soon as 372 00:21:15,000 --> 00:21:17,239 Speaker 1: I tried to get too heavy about things or like 373 00:21:17,720 --> 00:21:20,240 Speaker 1: you know, be too up here like in my mind 374 00:21:20,359 --> 00:21:23,240 Speaker 1: or in my eyes about things, my life wasn't working. 375 00:21:23,280 --> 00:21:24,919 Speaker 1: But then when I was like, what did you have 376 00:21:25,000 --> 00:21:27,639 Speaker 1: to what did you have to do to heal the situation, 377 00:21:27,960 --> 00:21:31,000 Speaker 1: I had surgery. Yeah, I had six five wood humors 378 00:21:31,080 --> 00:21:34,399 Speaker 1: removed like a couple of years ago now, Yeah, but 379 00:21:34,440 --> 00:21:36,879 Speaker 1: it was a long process of healing, like then you've 380 00:21:36,880 --> 00:21:39,760 Speaker 1: got a scar tissue and like, yeah, it was really intense, 381 00:21:40,000 --> 00:21:41,399 Speaker 1: but that's what I was kind of going through when 382 00:21:41,400 --> 00:21:44,280 Speaker 1: I was making Magdalen, that kind of pain and then 383 00:21:44,320 --> 00:21:48,679 Speaker 1: the healing process. It's it's interesting because it feels like 384 00:21:48,720 --> 00:21:51,720 Speaker 1: a healing process record. I wouldn't have if you didn't 385 00:21:51,720 --> 00:21:53,840 Speaker 1: tell the story, I wouldn't have not made the connection, 386 00:21:53,920 --> 00:21:56,960 Speaker 1: but hearing it, it feels like that, and it feels 387 00:21:56,960 --> 00:22:00,000 Speaker 1: like the healing part is that sort of that spirit, 388 00:22:00,000 --> 00:22:04,639 Speaker 1: actual uplifting element of it where even though parts of 389 00:22:04,640 --> 00:22:08,560 Speaker 1: it are scary or dark, it still has this sort 390 00:22:08,560 --> 00:22:16,280 Speaker 1: of overwhelming positive flow to it. Yeah. Yeah, it's weird, 391 00:22:16,280 --> 00:22:19,080 Speaker 1: like it wasn't a it was a hard healing process, 392 00:22:19,160 --> 00:22:21,520 Speaker 1: but I mean I wouldn't change it. I would go 393 00:22:21,560 --> 00:22:25,320 Speaker 1: through all again, not just for the music, but just 394 00:22:25,359 --> 00:22:33,439 Speaker 1: for myself and learning to deal with trauma alone and 395 00:22:35,720 --> 00:22:39,800 Speaker 1: learning to be like independent emotionally to a son extent, 396 00:22:39,920 --> 00:22:42,520 Speaker 1: and knowing that I can only depend on myself truly, 397 00:22:43,200 --> 00:22:51,320 Speaker 1: And that was interestingly, although being an only child, my mom, 398 00:22:51,359 --> 00:22:53,520 Speaker 1: being a single parent for a lot of my upbringing, 399 00:22:54,520 --> 00:22:58,760 Speaker 1: and always being incredibly independent, being put in a position 400 00:22:58,800 --> 00:23:07,280 Speaker 1: where I was forced to deal with something really serious 401 00:23:07,320 --> 00:23:15,000 Speaker 1: and traumatic by myself has been like the most incredible 402 00:23:15,040 --> 00:23:20,040 Speaker 1: experience of the whole of my life, and I'm extremely 403 00:23:22,680 --> 00:23:27,399 Speaker 1: grateful for the way that the universe conspired that I 404 00:23:27,440 --> 00:23:30,920 Speaker 1: would have to do that. Yeah, it gives you confidence 405 00:23:31,000 --> 00:23:36,639 Speaker 1: moving forward when you, yeah, get through some serious hurdles. 406 00:23:37,400 --> 00:23:41,800 Speaker 1: Did you dance before you started making music, yes, Evon dones, 407 00:23:41,960 --> 00:23:45,919 Speaker 1: since I was seven. When did the music part kick in? 408 00:23:48,440 --> 00:23:50,720 Speaker 1: Fairly earlier when I started writing songs, not probably like 409 00:23:50,720 --> 00:23:53,520 Speaker 1: eight or nine. I started singing with jazz bands when 410 00:23:53,520 --> 00:23:55,560 Speaker 1: I was like twelve or thirteen. And did you see 411 00:23:55,560 --> 00:23:58,160 Speaker 1: yourself doing music or did you Was there a time 412 00:23:58,200 --> 00:24:01,400 Speaker 1: when you sell yourself more as a dancer. I think 413 00:24:01,400 --> 00:24:02,840 Speaker 1: there was a time when I was really young when 414 00:24:02,840 --> 00:24:07,199 Speaker 1: I saw myself more as a dancer, like maybe like nine, ten, eleven, twelve, 415 00:24:08,720 --> 00:24:11,040 Speaker 1: But then, like when my voice developed a bit more 416 00:24:11,080 --> 00:24:13,200 Speaker 1: as a teenager, then I saw myself more as a 417 00:24:13,240 --> 00:24:15,480 Speaker 1: singer who could dance, but I just didn't know how 418 00:24:15,520 --> 00:24:17,480 Speaker 1: to do it. I'm from the country. I can't really 419 00:24:17,520 --> 00:24:20,600 Speaker 1: explain to you where I'm from. It's funny actually, because 420 00:24:20,600 --> 00:24:24,040 Speaker 1: I was in San Francisco and two of my friends 421 00:24:24,160 --> 00:24:32,320 Speaker 1: came down to see me play and the guy in particular, 422 00:24:32,560 --> 00:24:34,240 Speaker 1: we grew up together. He lived next door to me 423 00:24:34,280 --> 00:24:38,679 Speaker 1: in the countryside, and it was just interesting talking to 424 00:24:38,720 --> 00:24:41,640 Speaker 1: them because they're living in San Francisco now, and that's 425 00:24:41,720 --> 00:24:44,960 Speaker 1: quite like a big adventure to do. Like where I'm from, 426 00:24:46,119 --> 00:24:48,640 Speaker 1: people just kind of stay there and like marry their 427 00:24:48,680 --> 00:24:54,600 Speaker 1: friends brothers, or their childhood's sweetheart, or run the post 428 00:24:54,640 --> 00:24:57,320 Speaker 1: office that was in the village that their grand had. 429 00:24:57,480 --> 00:25:01,439 Speaker 1: You know, it's kind of quite it's a small town life, 430 00:25:01,440 --> 00:25:04,360 Speaker 1: so you know, to know that I wanted to sing 431 00:25:04,400 --> 00:25:06,000 Speaker 1: and dance and do all these things and just have 432 00:25:06,119 --> 00:25:09,080 Speaker 1: no idea how. I really didn't have any idea how 433 00:25:09,119 --> 00:25:12,359 Speaker 1: to do it, but I knew I wanted to, but 434 00:25:12,440 --> 00:25:15,080 Speaker 1: it just seemed like there's also very like pre internet 435 00:25:15,119 --> 00:25:18,160 Speaker 1: as well, if you wanted to. Was there a sense 436 00:25:18,200 --> 00:25:21,919 Speaker 1: of wanting to leave the leave that place? Oh yeah, 437 00:25:22,520 --> 00:25:24,159 Speaker 1: I was like the only black girl in my village. 438 00:25:24,160 --> 00:25:27,800 Speaker 1: It was so stressful. I can wait to get out. Yeah. 439 00:25:27,920 --> 00:25:30,800 Speaker 1: I started going to London when I was thirteen, and 440 00:25:30,840 --> 00:25:32,919 Speaker 1: I have a lot of family in Birmingham, so I 441 00:25:33,000 --> 00:25:36,080 Speaker 1: was lucky enough that, like from London, you grow up 442 00:25:36,880 --> 00:25:40,399 Speaker 1: probably like four hours a long time. Yeah, three four hours, 443 00:25:40,440 --> 00:25:42,760 Speaker 1: and then I had a lot of family in Birmingham, 444 00:25:42,760 --> 00:25:46,560 Speaker 1: which is much more like multicultural, so I was, you know, 445 00:25:46,720 --> 00:25:48,720 Speaker 1: I was exposed to a lot of different cultures and 446 00:25:48,720 --> 00:25:51,520 Speaker 1: stuff growing up, but actually at home and in my 447 00:25:51,600 --> 00:25:58,119 Speaker 1: home town, it was very one way, one way, one 448 00:25:58,160 --> 00:26:02,919 Speaker 1: way of thinking. I think I was definitely like the 449 00:26:03,000 --> 00:26:07,840 Speaker 1: oddball of ficial. We'll have more with FKA Twigs and 450 00:26:07,960 --> 00:26:14,200 Speaker 1: Rick Rubin when we come back. We're back with more 451 00:26:14,240 --> 00:26:19,520 Speaker 1: from FKA Twigs. Here's your song Cellophane, that's my favorite. 452 00:26:19,880 --> 00:26:22,000 Speaker 1: It's so nice to listen to that one again. I actually, like, 453 00:26:22,119 --> 00:26:26,800 Speaker 1: I got laryngitis about three weeks ago, and the interesting 454 00:26:26,800 --> 00:26:30,040 Speaker 1: thing about laryngitis is that your voice will like you'll 455 00:26:30,080 --> 00:26:31,879 Speaker 1: lose your voice for like a week, but then it 456 00:26:31,880 --> 00:26:34,160 Speaker 1: actually takes like three weeks for your voice to come back. 457 00:26:35,440 --> 00:26:38,320 Speaker 1: So like, I still can't sing the Hybits and Cellophane. 458 00:26:38,359 --> 00:26:40,399 Speaker 1: It's so frustrating. So it's so nice to hear me 459 00:26:40,480 --> 00:26:42,800 Speaker 1: sing it there on the record, because I've been on 460 00:26:42,840 --> 00:26:45,639 Speaker 1: tour for the Hybits, like I have to sing as 461 00:26:45,640 --> 00:26:49,040 Speaker 1: a whisper, so it's just k I didn't know. It's 462 00:26:49,119 --> 00:26:50,560 Speaker 1: nice to hear me sing it properly because I've not 463 00:26:50,560 --> 00:26:52,000 Speaker 1: been able to sing it for like a month. I 464 00:26:52,000 --> 00:26:57,000 Speaker 1: bet it has some other emotional feeling when you can't 465 00:26:57,040 --> 00:27:02,000 Speaker 1: get the ns, does some other thing that's BEAUTIFU. Yeah, 466 00:27:02,040 --> 00:27:03,800 Speaker 1: you're right, it does do another thing makes it like 467 00:27:03,960 --> 00:27:07,240 Speaker 1: emotion more emotional in different it does. Yeah, it's really fragile, 468 00:27:07,280 --> 00:27:10,320 Speaker 1: like yeah, and I sound kind of like more angry 469 00:27:10,359 --> 00:27:13,320 Speaker 1: and frustrated and at my wits end or with no 470 00:27:13,480 --> 00:27:18,080 Speaker 1: voices definitely like more tearful and yeah, and so interesting. 471 00:27:18,080 --> 00:27:23,239 Speaker 1: How if we go with whatever the reality of our 472 00:27:23,280 --> 00:27:28,879 Speaker 1: situations are and really are true to where we are, 473 00:27:29,520 --> 00:27:32,000 Speaker 1: something really beautiful comes out. Yeah, you know, maybe it's not, 474 00:27:32,119 --> 00:27:34,159 Speaker 1: oh well, this is how I wanted it. It's like 475 00:27:34,240 --> 00:27:36,359 Speaker 1: forget how you wanted it and just be in it 476 00:27:36,400 --> 00:27:39,840 Speaker 1: in the moment. And definitely that's what I've learned, and 477 00:27:39,640 --> 00:27:43,679 Speaker 1: it's been you know, it's a singer, Like I just 478 00:27:43,720 --> 00:27:47,400 Speaker 1: never realized how much I sang until like I've had 479 00:27:47,560 --> 00:27:50,119 Speaker 1: this weird voice thing for two weeks, which is like 480 00:27:50,160 --> 00:27:52,760 Speaker 1: almost over. But you just have to be patient, like 481 00:27:52,960 --> 00:27:56,280 Speaker 1: with as far as like my vocal calls swelled up. 482 00:27:56,520 --> 00:27:58,280 Speaker 1: So what happens is is when you sing really high 483 00:27:58,359 --> 00:28:01,960 Speaker 1: your larynx close is tight, but if you have any 484 00:28:01,960 --> 00:28:05,320 Speaker 1: type of swelling, it can't close tights or air gets through, 485 00:28:05,400 --> 00:28:07,359 Speaker 1: then you can't hit the high notes anyway. I just 486 00:28:07,400 --> 00:28:09,879 Speaker 1: only need to learn that this week. But like, I 487 00:28:09,880 --> 00:28:13,240 Speaker 1: didn't realize how much I sang around the house until 488 00:28:13,359 --> 00:28:15,240 Speaker 1: I couldn't sing. I've always sort of been like, oh no, 489 00:28:15,320 --> 00:28:17,720 Speaker 1: I don't ever really sing in the shower, or I 490 00:28:17,760 --> 00:28:20,159 Speaker 1: don't sing while I cook or while I'm pottering around. 491 00:28:20,160 --> 00:28:22,720 Speaker 1: But I actually really do. And it's only like losing 492 00:28:22,720 --> 00:28:24,359 Speaker 1: my voice that I'm like, damn, I think all the 493 00:28:24,400 --> 00:28:27,640 Speaker 1: time whenever fight myself. So yeah, it's nice to hear 494 00:28:27,760 --> 00:28:29,359 Speaker 1: me like bout it out there and hopefully in a 495 00:28:29,400 --> 00:28:32,360 Speaker 1: couple of weeks I'll be back there. But yeah, you're 496 00:28:32,440 --> 00:28:36,480 Speaker 1: really that wouldn't happen. I wrote that in the studio 497 00:28:39,000 --> 00:28:45,520 Speaker 1: with Michael and Jeff, and Jeff just did these incredible 498 00:28:45,720 --> 00:28:50,160 Speaker 1: piano chords and really set the tone along with A 499 00:28:50,240 --> 00:28:53,040 Speaker 1: Thousand Eyes for me finding a lot of solace and 500 00:28:53,040 --> 00:28:55,680 Speaker 1: the piano on this record. I never knew I could 501 00:28:55,680 --> 00:28:58,160 Speaker 1: like an instrument more that wasn't like some alien like 502 00:28:58,320 --> 00:29:04,080 Speaker 1: crazy like SyncE awesome, like tempest industrial sound like I 503 00:29:04,160 --> 00:29:05,840 Speaker 1: never knew that I could like have a lover foo 504 00:29:05,920 --> 00:29:08,280 Speaker 1: the piano, but it's really been my saving grace. And 505 00:29:08,600 --> 00:29:13,280 Speaker 1: when just started doing those chords, like it just touched 506 00:29:13,320 --> 00:29:15,880 Speaker 1: me in a different way. And it was towards the 507 00:29:15,960 --> 00:29:18,400 Speaker 1: end of the session actually, and we hadn't had much 508 00:29:18,480 --> 00:29:21,440 Speaker 1: luck in that session, but the last half an hour 509 00:29:21,480 --> 00:29:23,200 Speaker 1: I just started doing that. And I remember I had 510 00:29:23,200 --> 00:29:24,760 Speaker 1: a lift outside and I was like, oh, can you 511 00:29:24,760 --> 00:29:27,800 Speaker 1: wait for twenty minutes? Did you start singing right away? Yeah? 512 00:29:27,800 --> 00:29:29,480 Speaker 1: I did. I was like, can you wait for twenty minutes? 513 00:29:29,520 --> 00:29:32,240 Speaker 1: And then my lift ended up coming in and hanging 514 00:29:32,280 --> 00:29:34,040 Speaker 1: out for about an hour. But yeah, we did it 515 00:29:34,080 --> 00:29:37,600 Speaker 1: in about an hour. Very simple, so beautiful. Yeah, and 516 00:29:37,960 --> 00:29:41,040 Speaker 1: then at the very end, Nico and I came in 517 00:29:41,080 --> 00:29:43,720 Speaker 1: and I did a bit of massaging and programming and 518 00:29:43,760 --> 00:29:46,320 Speaker 1: stuff just to kind of really dial at home. But 519 00:29:46,560 --> 00:29:48,960 Speaker 1: I think when when I heard it last, it didn't 520 00:29:49,040 --> 00:29:51,880 Speaker 1: yet have that additional program just a bit of like, 521 00:29:52,600 --> 00:29:57,560 Speaker 1: and now it feels like it the second half of 522 00:29:57,560 --> 00:30:00,920 Speaker 1: it is much more compelling. Yeah. I always loved the song, 523 00:30:01,240 --> 00:30:03,120 Speaker 1: but I feel like you really did crack the code 524 00:30:03,160 --> 00:30:06,080 Speaker 1: of getting the getting the most out of it. Yeah, 525 00:30:06,200 --> 00:30:09,160 Speaker 1: it just needed a bit of love. Yeah, sos In 526 00:30:09,240 --> 00:30:13,600 Speaker 1: the next song, that one's really interesting. It sounds more. 527 00:30:13,960 --> 00:30:16,480 Speaker 1: That made me realize that when I listened to your 528 00:30:16,520 --> 00:30:22,360 Speaker 1: past music, it sounded like science fiction, and you were 529 00:30:22,520 --> 00:30:26,400 Speaker 1: more of an alien in the science fiction. And now 530 00:30:26,880 --> 00:30:31,840 Speaker 1: on this track, the music is has the science fiction element, 531 00:30:32,360 --> 00:30:37,560 Speaker 1: but you feel much more like this lonely human presence 532 00:30:38,320 --> 00:30:44,720 Speaker 1: in this strange world. Okay, that's cool, Yeah, interesting. How 533 00:30:44,720 --> 00:30:48,320 Speaker 1: did that one come about? I first wrote that one 534 00:30:48,400 --> 00:30:53,520 Speaker 1: with Jack Antonoff, like leading a session. Harley Train was 535 00:30:53,600 --> 00:30:56,440 Speaker 1: quite interesting because that was kind of a slightly different 536 00:30:56,520 --> 00:31:02,000 Speaker 1: version of it that I really loved, but it just 537 00:31:02,120 --> 00:31:06,160 Speaker 1: didn't quite hit home for me in the context of Magdalen. 538 00:31:06,440 --> 00:31:10,240 Speaker 1: It's hard to explain. If it was a standalone piece, 539 00:31:10,280 --> 00:31:11,840 Speaker 1: he would have liked it, but in the context of 540 00:31:11,880 --> 00:31:13,840 Speaker 1: the album it didn't work. It didn't quite work. But 541 00:31:13,880 --> 00:31:15,680 Speaker 1: I don't know why. I don't know what it was. 542 00:31:15,800 --> 00:31:18,760 Speaker 1: But I think also as well, I remember at this 543 00:31:18,800 --> 00:31:23,440 Speaker 1: time in the record, I was getting a lot of like, yeah, fatigue, 544 00:31:23,800 --> 00:31:25,760 Speaker 1: you know that, you know. The end of Holy Train 545 00:31:25,800 --> 00:31:27,760 Speaker 1: is basically the last song I wrote for Magdalene, and 546 00:31:27,800 --> 00:31:29,840 Speaker 1: that's when I knew I had to stop because for me, 547 00:31:29,920 --> 00:31:32,960 Speaker 1: Holy Train is just a slightly different era. Yes, you know, 548 00:31:33,120 --> 00:31:35,200 Speaker 1: like I said, I just sound more confident in it. 549 00:31:35,600 --> 00:31:41,160 Speaker 1: The beats are more confident. Sound Wave was like making 550 00:31:41,400 --> 00:31:44,080 Speaker 1: incredible like beats, and I was okay with it. If 551 00:31:44,080 --> 00:31:47,920 Speaker 1: sound Wave would have made those like heavy beats like 552 00:31:48,000 --> 00:31:49,720 Speaker 1: a year previous, or would have been like, I can't 553 00:31:49,760 --> 00:31:51,719 Speaker 1: deal with this. But he was doing it and I 554 00:31:51,800 --> 00:31:53,880 Speaker 1: was really enjoying it and it sounded great, So I 555 00:31:53,920 --> 00:31:55,400 Speaker 1: was like, okay, cool, this record has to come to 556 00:31:55,440 --> 00:31:58,920 Speaker 1: a close because because I'm clearly like feeling a bit 557 00:31:58,920 --> 00:32:03,880 Speaker 1: more like sassy and don't now. So I had a 558 00:32:04,040 --> 00:32:06,240 Speaker 1: version of it with Jack, which is, you know, it 559 00:32:06,280 --> 00:32:08,920 Speaker 1: was really great, just a little bit different to this one. 560 00:32:08,920 --> 00:32:11,959 Speaker 1: And then and then I took that version to Scrilex 561 00:32:12,640 --> 00:32:14,920 Speaker 1: and Pooh Bear and they helped me kind of just 562 00:32:15,000 --> 00:32:17,320 Speaker 1: massage it completely into place. So it's kind of like 563 00:32:17,360 --> 00:32:22,640 Speaker 1: a hybrid of these two babies coming together. So it's 564 00:32:22,680 --> 00:32:25,160 Speaker 1: like a lot of different production credits and bits and 565 00:32:25,200 --> 00:32:27,960 Speaker 1: parts from a lot of different people for a pretty 566 00:32:28,000 --> 00:32:31,240 Speaker 1: simple song, which is quite funny. But it was just 567 00:32:31,320 --> 00:32:34,760 Speaker 1: due to these two kind of sessions that I did 568 00:32:34,760 --> 00:32:37,840 Speaker 1: in La and then when i'd finished the song, I 569 00:32:37,880 --> 00:32:40,440 Speaker 1: just felt like Dann, like it's just such like a 570 00:32:40,640 --> 00:32:44,400 Speaker 1: female strong album, you know, on this, like it's such 571 00:32:44,440 --> 00:32:48,280 Speaker 1: like a heavy, like feminine presence that I just thought 572 00:32:48,280 --> 00:32:50,720 Speaker 1: it would be really amazing to like bring a guy 573 00:32:50,760 --> 00:32:55,760 Speaker 1: into this and see what his perspective is on Magdalene. 574 00:32:55,840 --> 00:32:59,680 Speaker 1: And for me, Future felt like the right choice because 575 00:33:00,960 --> 00:33:04,120 Speaker 1: Future is very interesting. He's very interesting artist because on 576 00:33:04,120 --> 00:33:07,760 Speaker 1: one hand, he makes these huge bangers, you know that 577 00:33:07,760 --> 00:33:11,120 Speaker 1: it can be very broad, like lyrically, very broad. Everyone 578 00:33:11,200 --> 00:33:14,080 Speaker 1: can kind of understand, everyone can relate, and every now 579 00:33:14,120 --> 00:33:16,600 Speaker 1: and again he does these songs which are so emo 580 00:33:17,240 --> 00:33:20,280 Speaker 1: and emotive and like from a different place, and he 581 00:33:20,360 --> 00:33:23,520 Speaker 1: just taps into this like other side of himself, and 582 00:33:23,560 --> 00:33:26,840 Speaker 1: I think it's very rare that artists can do both, 583 00:33:27,160 --> 00:33:30,640 Speaker 1: especially like you know, in hip hop that's only a 584 00:33:30,680 --> 00:33:32,800 Speaker 1: handful where you think, yeah, you want to hear that 585 00:33:32,840 --> 00:33:34,680 Speaker 1: in a club and you want it to kind of 586 00:33:34,680 --> 00:33:36,520 Speaker 1: like zone out and be part of like the hype 587 00:33:36,520 --> 00:33:38,760 Speaker 1: of it all. And but then at the same time, 588 00:33:40,320 --> 00:33:43,200 Speaker 1: sometimes just come out of these lines or you're like, damn, 589 00:33:44,160 --> 00:33:48,120 Speaker 1: that's so true. He's so melodic as well. Future really melodic, 590 00:33:48,240 --> 00:33:52,360 Speaker 1: and so I played in Magdalen and he totally understood. 591 00:33:52,360 --> 00:33:54,360 Speaker 1: And I just said, you know, this is about me 592 00:33:54,440 --> 00:33:58,360 Speaker 1: healing as a woman and marry Magdalene and sort of 593 00:33:59,000 --> 00:34:01,600 Speaker 1: archetype of the verse in Horror and all these things, 594 00:34:01,640 --> 00:34:04,120 Speaker 1: and he was like, okay. I played it to him 595 00:34:04,160 --> 00:34:07,600 Speaker 1: and he I said, like, you know, just try something, 596 00:34:07,640 --> 00:34:10,200 Speaker 1: but like make it real. You know. He was like, yeah, 597 00:34:10,200 --> 00:34:12,440 Speaker 1: of course, and he did it, and you know, his 598 00:34:12,600 --> 00:34:16,080 Speaker 1: lyrics were like intent. You know, he's saying, I'm gonna 599 00:34:16,120 --> 00:34:18,400 Speaker 1: like pull poison on my woman and then like I 600 00:34:18,440 --> 00:34:20,399 Speaker 1: feel guilty, so I like buy her loads of nice 601 00:34:20,440 --> 00:34:22,760 Speaker 1: things so I can sleep at night. I was like, damn. 602 00:34:23,040 --> 00:34:24,640 Speaker 1: When he first said, I was like damn. But I 603 00:34:24,680 --> 00:34:27,080 Speaker 1: was like but then he's like doing it, and it's 604 00:34:27,080 --> 00:34:28,920 Speaker 1: almost like you don't hear what he's saying because it 605 00:34:28,920 --> 00:34:30,799 Speaker 1: sounds fun. But then you listen to it and you're like, 606 00:34:30,800 --> 00:34:34,600 Speaker 1: oh wow, that's like some confessional like stuff right there. 607 00:34:35,520 --> 00:34:38,080 Speaker 1: And it just felt right. It just felt right and 608 00:34:38,120 --> 00:34:41,080 Speaker 1: it felt fun, you know. For me Magazine it was 609 00:34:41,160 --> 00:34:45,520 Speaker 1: such like a deep such like a deep record, yes 610 00:34:46,239 --> 00:34:51,480 Speaker 1: and heavy at times, and when I perform Holy Terrain, 611 00:34:51,520 --> 00:34:54,000 Speaker 1: it just feels like it feels like fun and it 612 00:34:54,040 --> 00:34:57,080 Speaker 1: feels hopeful, It feels like, okay, now I'm done. Who's 613 00:34:57,080 --> 00:34:59,719 Speaker 1: going to stand up my Holy Terrain? Like who's gonna 614 00:35:00,160 --> 00:35:03,839 Speaker 1: I'm looking for a partner now that can you know 615 00:35:04,360 --> 00:35:07,520 Speaker 1: as any woman does, like not be intimidated by her 616 00:35:10,440 --> 00:35:15,319 Speaker 1: magic and be a part of it. Yes, And do 617 00:35:15,360 --> 00:35:18,239 Speaker 1: you think that it may give a clue to what 618 00:35:18,360 --> 00:35:24,160 Speaker 1: you do next? I mean I've already started making music again, 619 00:35:26,800 --> 00:35:28,759 Speaker 1: Like yes and no, I don't know, Like it takes 620 00:35:28,800 --> 00:35:30,840 Speaker 1: so long, doesn't it, to like find out what you 621 00:35:30,880 --> 00:35:35,640 Speaker 1: want to do next? But certainly like the reaction on 622 00:35:35,760 --> 00:35:38,720 Speaker 1: stage of Holy Terrain is just so fun, especially after 623 00:35:38,760 --> 00:35:41,880 Speaker 1: all that like emotional music, it's just such like a release. 624 00:35:42,400 --> 00:35:45,000 Speaker 1: So yeah, for me, Holy Train it was the last 625 00:35:45,040 --> 00:35:47,600 Speaker 1: song I wrote on Magdalene and it's when I knew, okay, cool, 626 00:35:47,760 --> 00:35:51,600 Speaker 1: I'm done now. Like to start off with writing day Bed, 627 00:35:52,360 --> 00:35:54,600 Speaker 1: which was the first song I wrote, to then going 628 00:35:54,640 --> 00:35:57,680 Speaker 1: on and writing Cellophane and Thousand Eyes and being in 629 00:35:57,719 --> 00:36:01,680 Speaker 1: that place, and then to end writing Holy Terrain, I 630 00:36:01,840 --> 00:36:03,800 Speaker 1: was like, I kick, that's like a cool journey, do 631 00:36:03,840 --> 00:36:05,400 Speaker 1: you know what I mean? That's like I'm proud of 632 00:36:05,440 --> 00:36:11,640 Speaker 1: that before before you wrote the last song, did you 633 00:36:11,680 --> 00:36:14,520 Speaker 1: know you were near the end or not necessarily. Yeah, 634 00:36:14,560 --> 00:36:16,040 Speaker 1: I didn't know I was near the end. Yeah, I 635 00:36:16,080 --> 00:36:18,800 Speaker 1: didn't know. But the end is quite fun because you 636 00:36:18,800 --> 00:36:20,960 Speaker 1: can just play like you're kind of chilling, like yeah, 637 00:36:21,080 --> 00:36:24,440 Speaker 1: you know, you feel like the heavy the heavy lifting 638 00:36:24,800 --> 00:36:27,640 Speaker 1: experimenting and just like, let's make a trance music now 639 00:36:27,680 --> 00:36:28,920 Speaker 1: for a week. You know, it's a kind of like 640 00:36:28,920 --> 00:36:31,600 Speaker 1: the pressures off. It's just like the experiment. Yeah, let's 641 00:36:31,640 --> 00:36:36,040 Speaker 1: just go back in and you know, beautiful, such a 642 00:36:36,040 --> 00:36:38,719 Speaker 1: great album. Thank you, I love it, and it's so 643 00:36:38,840 --> 00:36:44,680 Speaker 1: nice to see you. You seem happy and well yeah, yeah, 644 00:36:45,080 --> 00:36:47,080 Speaker 1: it's quite funny because in talking to a lot of people, 645 00:36:47,120 --> 00:36:50,080 Speaker 1: they really want to focus on like the tragedy of 646 00:36:50,120 --> 00:36:54,279 Speaker 1: the record and how sad it is. But that's just 647 00:36:54,400 --> 00:36:58,160 Speaker 1: not quite my experience of it. I would say, of 648 00:36:58,480 --> 00:37:00,640 Speaker 1: all the terms that we've hung out, you seem the 649 00:37:00,719 --> 00:37:05,200 Speaker 1: most comfortable in your skin today. Really. Yeah, well, I'm 650 00:37:05,239 --> 00:37:07,400 Speaker 1: very shy. It literally takes me about like ten times 651 00:37:07,400 --> 00:37:09,680 Speaker 1: with meeting someone to like be able to it's probably 652 00:37:09,719 --> 00:37:11,799 Speaker 1: like this is maybe like our seventh time meeting now, 653 00:37:12,280 --> 00:37:14,480 Speaker 1: So yeah, it takes me a long time to woman, 654 00:37:14,600 --> 00:37:18,399 Speaker 1: I'm very shy. I'm very, very shy, so and it's 655 00:37:18,440 --> 00:37:20,480 Speaker 1: weird as well because I think like when people first 656 00:37:20,520 --> 00:37:24,080 Speaker 1: meet me, they can think I'm like quite like steely 657 00:37:24,360 --> 00:37:28,279 Speaker 1: or like you know, I see, but it's just because 658 00:37:28,280 --> 00:37:29,799 Speaker 1: I'm quiet and I have big eyes, so I just 659 00:37:29,880 --> 00:37:32,240 Speaker 1: end up like sitting there in silence, like watching everybody. 660 00:37:32,920 --> 00:37:37,080 Speaker 1: But it takes me like a long time to open up. 661 00:37:37,120 --> 00:37:39,120 Speaker 1: And I guess now i'm thinking about it. It's been 662 00:37:39,160 --> 00:37:41,239 Speaker 1: like the same with my music making process as well, 663 00:37:41,719 --> 00:37:47,080 Speaker 1: but it's just like I feel I feel like less. 664 00:37:49,160 --> 00:37:51,839 Speaker 1: I feel like I can just be more open now 665 00:37:51,880 --> 00:37:54,200 Speaker 1: in a different way, not that I wasn't before, but 666 00:37:54,320 --> 00:37:57,320 Speaker 1: it feels now like I can treat my music making 667 00:37:57,320 --> 00:37:59,800 Speaker 1: like an old friend rather than like, yes, it seems 668 00:37:59,800 --> 00:38:03,080 Speaker 1: like from everything you're saying and in the past I 669 00:38:03,120 --> 00:38:05,960 Speaker 1: felt there was more of what I got from it 670 00:38:06,080 --> 00:38:09,040 Speaker 1: from you was the sense of something to have to 671 00:38:09,080 --> 00:38:11,600 Speaker 1: really wrestle to the ground all the time, and it 672 00:38:11,719 --> 00:38:14,759 Speaker 1: was always a fight and always a struggle. And now 673 00:38:14,760 --> 00:38:19,200 Speaker 1: it seems like there's some ease in the way you're 674 00:38:19,239 --> 00:38:22,160 Speaker 1: seeing it, definitely, but that's also down to my collaborators 675 00:38:22,160 --> 00:38:25,440 Speaker 1: as well. That's also down to my collaborators and helping 676 00:38:25,440 --> 00:38:31,839 Speaker 1: it be that ease, because if it wasn't for them 677 00:38:31,880 --> 00:38:36,240 Speaker 1: and for their generosity and their like willingness and helping 678 00:38:36,280 --> 00:38:38,560 Speaker 1: me be the best me instead of like wanting a 679 00:38:38,600 --> 00:38:42,600 Speaker 1: credit or you know. I think also you you being 680 00:38:42,760 --> 00:38:46,160 Speaker 1: open to having collaborators is a big deal because in 681 00:38:46,200 --> 00:38:48,720 Speaker 1: the past, even when you've worked with people, I've always 682 00:38:48,719 --> 00:38:52,640 Speaker 1: felt like you were very you had a sense of 683 00:38:53,719 --> 00:38:57,000 Speaker 1: ultimately you did everything yourself. I remember having a conversation 684 00:38:57,040 --> 00:38:59,200 Speaker 1: where I said, you know, you don't get any extra 685 00:38:59,520 --> 00:39:02,440 Speaker 1: credit for doing it yourself. It's like, all that matters 686 00:39:02,480 --> 00:39:04,480 Speaker 1: is that it's good. You remember us having that conversation. 687 00:39:05,320 --> 00:39:08,120 Speaker 1: I can remember so specifically I agree with you. But 688 00:39:08,160 --> 00:39:10,279 Speaker 1: I do also think that as a female artist, it 689 00:39:10,320 --> 00:39:13,240 Speaker 1: is incredibly important to highlight how much has done yourself, 690 00:39:13,400 --> 00:39:16,680 Speaker 1: because it's something that as a male you take it 691 00:39:16,719 --> 00:39:19,279 Speaker 1: for granted that if you're in a studio and you're 692 00:39:19,280 --> 00:39:21,640 Speaker 1: working that people are going to say, oh, Rick Rubin 693 00:39:21,719 --> 00:39:24,440 Speaker 1: did this, and Rick Rubin is great. But unfortunately, as 694 00:39:24,480 --> 00:39:28,480 Speaker 1: a female in the music industry, it's just not the case. 695 00:39:28,560 --> 00:39:30,880 Speaker 1: So I think if I've ever highlighted in the past 696 00:39:30,880 --> 00:39:34,040 Speaker 1: how passionate I am and how much love I do 697 00:39:34,160 --> 00:39:38,360 Speaker 1: put into myself. That's just more out of me trying 698 00:39:38,360 --> 00:39:41,680 Speaker 1: to change the narrative on what it is being a 699 00:39:41,680 --> 00:39:46,920 Speaker 1: female and having agency over my own work that I 700 00:39:46,960 --> 00:39:49,640 Speaker 1: guess as a male can be taken as a privilege. 701 00:39:51,239 --> 00:39:54,279 Speaker 1: I'm so glad that you feel that comfort now. Yeah, 702 00:39:55,160 --> 00:39:58,120 Speaker 1: it just sounds like it just sounds healthy and the 703 00:39:58,239 --> 00:40:02,120 Speaker 1: music sounds great because of it. Yeah, and I feel 704 00:40:02,160 --> 00:40:06,640 Speaker 1: like there'll be more music sooner than the last round. 705 00:40:06,920 --> 00:40:09,279 Speaker 1: That just feels like you're in. It feels like you're 706 00:40:09,280 --> 00:40:11,960 Speaker 1: in a good place. You never know how long it's 707 00:40:11,960 --> 00:40:14,040 Speaker 1: going to take to you. It's true, it comes when 708 00:40:14,080 --> 00:40:16,480 Speaker 1: it comes. It's true. I just I like when you 709 00:40:16,520 --> 00:40:20,320 Speaker 1: make new music. That's a fan. We like to get 710 00:40:19,960 --> 00:40:23,919 Speaker 1: the good things come to those who weigh as well. 711 00:40:28,239 --> 00:40:30,640 Speaker 1: You can check out twigs new album on the playlist 712 00:40:30,640 --> 00:40:33,040 Speaker 1: we put together for this week's episode at Broken record 713 00:40:33,080 --> 00:40:35,719 Speaker 1: podcast dot com. You can also sign up for our 714 00:40:35,719 --> 00:40:40,040 Speaker 1: behind the scenes newsletter while you're there. Broken Records produced 715 00:40:40,040 --> 00:40:42,560 Speaker 1: by Pushing Industries with help from Jason Gambrell, Me Lovell, 716 00:40:42,600 --> 00:40:47,120 Speaker 1: and Lea Rode. The music is by the Great Kenny Beats. 717 00:40:47,120 --> 00:40:51,000 Speaker 1: Stay tuned for our next episode with Bonnivair I'm justin Richmond. 718 00:40:51,080 --> 00:40:51,800 Speaker 1: Thanks for listening.