WEBVTT - Ep 94: IDLES

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<v Speaker 1>I'd just be grateful to play in a bin evening.

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<v Speaker 2>Everyone. What a weird and unsettling few months it's been

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<v Speaker 2>since we were last together. I hope that you're doing okay.

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<v Speaker 1>But here we are.

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<v Speaker 2>A brand new series of midnight Chats starts right here.

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<v Speaker 2>I'm Greg, and between my co host Stewart and I

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<v Speaker 2>we're going to bring you ten new episodes of the

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<v Speaker 2>podcast over the coming weeks. In a small change to

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<v Speaker 2>how we do things. They're going to be released on

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<v Speaker 2>a Tuesday at midnight, so we'll be here keeping you

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<v Speaker 2>company all the way through the autumn. If you're joining

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<v Speaker 2>us for the first time, come on in. You are

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<v Speaker 2>very welcome. Tap subscribe wherever you're listening to this and

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<v Speaker 2>you'll get all of those new podcasts we're putting out.

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<v Speaker 2>There are also now more than ninety archive conversations to

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<v Speaker 2>get into. We've been doing this for a little while,

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<v Speaker 2>so do take a scroll through those and hopefully you

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<v Speaker 2>will find other episodes that you like. Loads planned for

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<v Speaker 2>this series in terms of guests, Phoebe Bridges, Matt Berninger

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<v Speaker 2>from The National Big Pig, Tim Burgess, Femi Colioso from

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<v Speaker 2>Ezra Collective, and loads more others were going to be

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<v Speaker 2>recording in the next few weeks. They're all on their way.

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<v Speaker 2>Some special plans for our one hundredth episode that's coming

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<v Speaker 2>up as well. But onto tonight's guests. They are Joe

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<v Speaker 2>Talbot and Mark Bone from the band Idols. They released

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<v Speaker 2>their eagerly anticipated a third album, Ultremono, on September the

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<v Speaker 2>twenty fifth of this year, twenty twenty. It was a

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<v Speaker 2>day of record breaking heam when I went to go

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<v Speaker 2>and meet them in a slightly airless hotel boardroom in

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<v Speaker 2>East London back in early August because of the COVID restrictions.

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<v Speaker 2>They'd been hold up there all week doing photo shoots

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<v Speaker 2>and videos and speaking to press. Hence where the table

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<v Speaker 2>we were sat was strewn with empty coffee cups and

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<v Speaker 2>sweets just to keep them going. Been doing a lot

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<v Speaker 2>of talking and I was the final one in before

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<v Speaker 2>they were released back to Freedom for the weekend. So

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<v Speaker 2>much to talk about with them, though, not least how

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<v Speaker 2>they coped at home and with the band during the

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<v Speaker 2>UK national lockdown due to coronavirus earlier this year. Lots

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<v Speaker 2>of boxing and walking and Joe Wicks live streams by

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<v Speaker 2>the Sound of it. We talked a bit about how

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<v Speaker 2>to navigate releasing a new album in the current circumstances

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<v Speaker 2>obviously all very weird and unusual, and we got into

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<v Speaker 2>chatting about Jamie Cullum he's on the album, Mike Skinner,

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<v Speaker 2>Alan McGhee, Jenny Beth, and lots of other interesting things

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<v Speaker 2>and people that they've been working with. Check out the

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<v Speaker 2>show notes for links to stuff we talked about, and

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<v Speaker 2>also how you can get behind Midnight Chats if you

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<v Speaker 2>are a fan of what we do.

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<v Speaker 3>But here we go.

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<v Speaker 2>It's a pleasure to be back with a new run

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<v Speaker 2>of Midnight Chats. This is episode ninety four with idols.

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<v Speaker 2>Before we get get into it, This episode of Midnight

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<v Speaker 2>Chats is kindly supported by Domino Records, who released loads

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<v Speaker 2>of artists that we love, including past guest on the podcast, Georgia.

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<v Speaker 2>Since she appeared on the podcast in May twenty nineteen,

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<v Speaker 2>Georgia made the BBC Sound Long List and her second album,

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<v Speaker 2>Seeking Thrills, was nominated for the twenty twenty Mercury Prize.

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<v Speaker 2>She's collaborated with Gorillas on their current song Machine project

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<v Speaker 2>remix Jesse Ware's What's Your Pleasure and reworked her own

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<v Speaker 2>track feel It with Young Baby Tait, co produced by

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<v Speaker 2>another past guest on the podcast, Toddler t. Of course,

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<v Speaker 2>this all pails into comparison to the eight out of

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<v Speaker 2>ten album review we gave Seeking Thrills at Loud and

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<v Speaker 2>Quiet a career highlight, I'm sure for Georgia, so thank

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<v Speaker 2>you to Domino for supporting our podcast. Georgia's live dates

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<v Speaker 2>for April and May of twenty twenty one can be

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<v Speaker 2>found via the magic of Internet search.

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<v Speaker 1>Midnight Snach, Midnight Midnight Face, Midnight Match.

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<v Speaker 2>I'm just pleased to see some other human beings. I'm

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<v Speaker 2>going to be honest with you. Today is one of

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<v Speaker 2>the first times that I've ventured out of my flat

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<v Speaker 2>in five months. Got on public transport for the first time,

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<v Speaker 2>which felt joyous but also a little bit weird scary.

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<v Speaker 2>How are you both doing?

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<v Speaker 1>Yeah good. We've been.

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<v Speaker 4>Sat in different rooms with circle cycles of different people

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<v Speaker 4>coming in and out, shaking our hands, high fiving our crotches,

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<v Speaker 4>and spreading.

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<v Speaker 1>Jams all over the place. So we are well and

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<v Speaker 1>truly decherried.

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<v Speaker 4>In the verses of COVID nineteen, but Na, it's I'm good,

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<v Speaker 4>how are you?

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<v Speaker 3>It's of convoluted a strange, bizarre answer. I'm good. It's

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<v Speaker 3>kind of this is nudi us too. It's weird doing

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<v Speaker 3>things that were like completely normal to us. Now you

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<v Speaker 3>feel completely novel and it's a bit strange and you

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<v Speaker 3>feel kind of like the new kidets girl. But it's

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<v Speaker 3>slowly coming back.

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<v Speaker 1>I think, Yeah, I'm done with it all.

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<v Speaker 2>Promoting an album in the age of coronavirus. On a

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<v Speaker 2>practical level, what's that been like?

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<v Speaker 4>All right, Well, we just sat, like I said, We've

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<v Speaker 4>just been in a room, and then people have come

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<v Speaker 4>in a studio and everyone's just all the photographers have

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<v Speaker 4>come to us, and then today we've just been in

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<v Speaker 4>here all day wait for the journalists to come and

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<v Speaker 4>ask me who down in the delco Is.

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<v Speaker 1>But yeah, it's been fine. I'm one of those people.

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<v Speaker 1>I'm not very big pictury, like I keep forgetting.

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<v Speaker 4>I think it's a protective thing, self preservation, Like I

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<v Speaker 4>don't need to know just how fucked it is at

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<v Speaker 4>the moment. Obviously I pay attention to the numbers, and

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<v Speaker 4>I'm concerned for the people.

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<v Speaker 1>Around me and others whatever, But really I think it's

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<v Speaker 1>way more terrifying.

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<v Speaker 4>Then I'm letting I'm really scared of how idiotic people

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<v Speaker 4>can be in the masses, just how fucking terrible this

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<v Speaker 4>situation could get.

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<v Speaker 1>But there's no point in thinking about that. There's nothing

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<v Speaker 1>we can do.

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<v Speaker 4>Just vote for labor a few years ago. That's probably

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<v Speaker 4>what we should do.

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<v Speaker 2>Take me back to sort of February March time, and

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<v Speaker 2>what did what's happened end up changing the schedule for

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<v Speaker 2>you in any way? Do we you mid plans and

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<v Speaker 2>sort of down tools. Obviously went into Lockdown the same

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<v Speaker 2>as everybody else, but your circumstances, how did that change?

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<v Speaker 3>Obviously I was in La mixing the album when lock

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<v Speaker 3>Din's were really kind of coming in across Europe and

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<v Speaker 3>stuff like that, and I literally got off my flight

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<v Speaker 3>the day before Lockdown was announced Tier and we just

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<v Speaker 3>finished mixing the album. And actually our master and engineer,

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<v Speaker 3>this guy Bernie Grunman, who's I think he's in his eighties.

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<v Speaker 3>He might be in his eighties, so he's not supposed

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<v Speaker 3>to be anywhere, but he managed to do us a

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<v Speaker 3>favor and he drove in snuck under cover of Darkness

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<v Speaker 3>and mastered the album for us. So luckily we had it.

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<v Speaker 3>We were done. We didn't have anything else to do

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<v Speaker 3>with it, and then we just we had some serious

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<v Speaker 3>conversations about because all shows were just canceled, left, right

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<v Speaker 3>and center, festival season was slowly just dissipating away, and

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<v Speaker 3>we just had some serious conversations about whether or not

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<v Speaker 3>the album could be released without the kind of live

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<v Speaker 3>setting that Idols kind of live in, and whether we

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<v Speaker 3>could handle waiting any longer. We didn't think we could,

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<v Speaker 3>and we also felt that it was really appropriate for

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<v Speaker 3>people to have something still to look forward to. You know,

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<v Speaker 3>people or have had everything taken away from them, Why

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<v Speaker 3>take one more thing away from them? So we thought

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<v Speaker 3>we'd give people an opportunity to have something to look

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<v Speaker 3>forward to. We decided we were going to do things differently.

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<v Speaker 3>We were a lot more transparent with the release. We've

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<v Speaker 3>told people when the singles are coming out, so they

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<v Speaker 3>know that, oh, Tuesday the new Idol single. We've released

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<v Speaker 3>more singles than we would normally for an album. It's

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<v Speaker 3>been different, but in many ways very similar. It just

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<v Speaker 3>we're just not able to quite show what this music

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<v Speaker 3>is live, which is obviously where it lives. So it's

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<v Speaker 3>got that bit. It's been kind of hard.

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<v Speaker 2>And obviously everybody's circumstance is different. Some people. I know

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<v Speaker 2>that when we all had to retreat into our personal

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<v Speaker 2>bubbles at home for that whatever ended up being two

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<v Speaker 2>and a half months or something, what was that like

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<v Speaker 2>for you both, you know, spending all that time at home,

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<v Speaker 2>you know, what was that like and what was your

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<v Speaker 2>communication like with the rest of them?

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<v Speaker 4>And during that period band wise, it was pretty straightforward,

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<v Speaker 4>like we all resided in the fact we just starting

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<v Speaker 4>new album, utilize that down time and I have some

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<v Speaker 4>kind of introspected writing and teach ourselves songwriting a bit more,

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<v Speaker 4>and then like congregate once a week on a zoom

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<v Speaker 4>bad meeting all that shit.

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<v Speaker 1>It was cooled.

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<v Speaker 4>We're just seen as a challenge and we understand our

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<v Speaker 4>privilege and how lucky we are as a band that

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<v Speaker 4>our album had just been released and that we can

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<v Speaker 4>come back to touring at a later date and people

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<v Speaker 4>are still buying our merchandying some of that. So we

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<v Speaker 4>just kind of embraced it, really and saw it as

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<v Speaker 4>a healthy challenge because it was for us, very different

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<v Speaker 4>for a friend's band and other people we know, but

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<v Speaker 4>for us it was okay. And then on a personal level,

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<v Speaker 4>it's tough for me trying to like I didn't see

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<v Speaker 4>my daughter for a bit and then just get my

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<v Speaker 4>head around that. I obviously see it now, but yeah,

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<v Speaker 4>that was a very bizarre time.

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<v Speaker 1>But apart from the fatherhood side of things, like.

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<v Speaker 4>I've learned, I'm definitely an introvert and I enjoyed my

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<v Speaker 4>own company and I started walking, which was like something

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<v Speaker 4>I really was never interested in, but it's really transformed

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<v Speaker 4>my life.

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<v Speaker 2>I did something similar. I created a new routine quite quickly,

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<v Speaker 2>and now that I'm out of that routine, I'm I

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<v Speaker 2>am really missing it, Like I'm missing that sort of

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<v Speaker 2>hour at least a day where I was like, yeah,

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<v Speaker 2>but when I finished work, I go for a walk,

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<v Speaker 2>and now I'm not doing that. I feel dislodged, disjointed,

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<v Speaker 2>not quite sure what the word is.

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<v Speaker 1>Yeah, I think I'm definitely a creature. I have it

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<v Speaker 1>if I just really really embraced.

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<v Speaker 4>In situations like this where lots of people go through

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<v Speaker 4>a huge shift in their life. For some that's a

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<v Speaker 4>massive loss and some that's a massive game, depending on

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<v Speaker 4>their situation. For me, it was a it was a

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<v Speaker 4>loss of contact with my daughter, but he's gain in

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<v Speaker 4>downtime from touring and from everything.

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<v Speaker 1>So I just saw that as a privilege.

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<v Speaker 4>And it's like, if I'm not going to be with

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<v Speaker 4>my daughter, I'm going to really put this is a

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<v Speaker 4>good use to do some work and go for walks

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<v Speaker 4>and all sorts of stuff.

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<v Speaker 1>So I really embraced it. I had to really for

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<v Speaker 1>my insanity, what.

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<v Speaker 3>About you beame it was good, like I got to

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<v Speaker 3>hang out with my daughter. Conversely to Joe, it was

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<v Speaker 3>I've been since we had finished her in in December,

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<v Speaker 3>so I've been kind of looking after during the day

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<v Speaker 3>whenever my web works for three months already, so it

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<v Speaker 3>just meant even more time with her, and we've really

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<v Speaker 3>developed a connection, which is great. And I just you know,

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<v Speaker 3>that's the thing I've got to focus on is the

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<v Speaker 3>lucky aspect of this. You know, I as a term musician,

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<v Speaker 3>I don't normally get to hang out with my family

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<v Speaker 3>that much. So it was a real blessing to be

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<v Speaker 3>able to be with her and and see her grow

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<v Speaker 3>up and stuff like that. It's it's amazing. But also,

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<v Speaker 3>I mean, I also really miss live shows. I didn't

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<v Speaker 3>I didn't realize how important it was for my mental

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<v Speaker 3>health to perform. Okay, I a little bit more about

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<v Speaker 3>that both, like physically, I actually like it's really weird,

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<v Speaker 3>Like during Lockdown I realized that, like I need to

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<v Speaker 3>like Violet violently move every.

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<v Speaker 2>So often Joe Wicks every day.

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<v Speaker 3>Yeah, no, we actually did quite a bit.

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<v Speaker 4>But no, that's the kind of essex essex Yeah yeah, yeah.

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<v Speaker 1>You you loves Yeah.

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<v Speaker 2>But yeah, so that physical basically need to get.

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<v Speaker 5>Every day literally like an animal, Like I need to

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<v Speaker 5>like lift something heavy and through it or like thrash

0:12:53.960 --> 0:12:56.400
<v Speaker 5>about it like I do on stage, and that gets

0:12:56.640 --> 0:12:57.840
<v Speaker 5>gets that out of my system.

0:12:58.200 --> 0:13:01.240
<v Speaker 3>So yeah, I really missed performing live, but so I've

0:13:01.240 --> 0:13:04.040
<v Speaker 3>had to like I exercise like four times a day.

0:13:06.280 --> 0:13:09.240
<v Speaker 2>Yeah that how does that link to the you mentioned

0:13:09.320 --> 0:13:11.000
<v Speaker 2>on the mental health side of things as well? So

0:13:11.080 --> 0:13:14.559
<v Speaker 2>that did you feel a bit kind of agaphobic? We've

0:13:14.880 --> 0:13:16.640
<v Speaker 2>not to go out and spend.

0:13:18.400 --> 0:13:23.280
<v Speaker 3>Mainly like this kind of like pent up testosterone ridgey thing,

0:13:23.760 --> 0:13:28.959
<v Speaker 3>like I just get angry at stuff. So it's really stupid,

0:13:28.960 --> 0:13:31.760
<v Speaker 3>like it's very animalistic, but I just need to like

0:13:32.080 --> 0:13:34.000
<v Speaker 3>get that out of my system and then i'm like

0:13:34.600 --> 0:13:36.280
<v Speaker 3>the zen person that I normally am.

0:13:37.160 --> 0:13:38.240
<v Speaker 1>Some people you could get it.

0:13:39.760 --> 0:13:43.560
<v Speaker 3>Not that way, like not it's not aggressive. It's like

0:13:45.080 --> 0:13:46.280
<v Speaker 3>just expand that energy.

0:13:48.040 --> 0:13:49.440
<v Speaker 1>Yeah, need help with that.

0:13:51.200 --> 0:13:52.920
<v Speaker 2>You need some people that need taking care of.

0:13:53.960 --> 0:13:54.160
<v Speaker 3>Yeah.

0:13:54.360 --> 0:13:56.000
<v Speaker 1>I bought a part of Got a punch Bag?

0:13:56.280 --> 0:13:57.240
<v Speaker 3>Did you have to start yet?

0:13:57.240 --> 0:13:59.800
<v Speaker 1>Because I was boxing for like six months before it,

0:14:00.640 --> 0:14:01.920
<v Speaker 1>and then I was like, yeah.

0:14:03.520 --> 0:14:05.800
<v Speaker 4>So I've got a heavy bag, which is like about

0:14:05.800 --> 0:14:08.880
<v Speaker 4>fifty kilograms, a bit lighter than fifty kids heavy.

0:14:08.920 --> 0:14:12.719
<v Speaker 3>Sorry, yeah, that's a bit heavy, isn't it.

0:14:12.720 --> 0:14:16.199
<v Speaker 2>It's really it's no broken risks.

0:14:17.000 --> 0:14:19.600
<v Speaker 4>But honestly, for the first few weeks, it was like

0:14:20.240 --> 0:14:22.920
<v Speaker 4>my wrists like the next day were really.

0:14:22.840 --> 0:14:25.240
<v Speaker 3>Bad, thirty seconds and then done, and you're like.

0:14:25.520 --> 0:14:26.960
<v Speaker 1>Well, that's what I did it the wrong way.

0:14:27.000 --> 0:14:29.120
<v Speaker 4>I was doing like I did I was I think

0:14:29.160 --> 0:14:31.640
<v Speaker 4>I started with like eight eight rounds and then I

0:14:31.680 --> 0:14:32.960
<v Speaker 4>went up to ten rounds.

0:14:33.720 --> 0:14:35.480
<v Speaker 3>And it's just three minutes for two minutes.

0:14:36.080 --> 0:14:37.240
<v Speaker 1>It's my it's on my app.

0:14:37.360 --> 0:14:38.360
<v Speaker 3>I tell you here we go.

0:14:39.920 --> 0:14:41.000
<v Speaker 1>It's three minutes three minutes.

0:14:41.640 --> 0:14:46.520
<v Speaker 3>That's intense, stupid. It's like, I haven't I've only been

0:14:46.560 --> 0:14:47.120
<v Speaker 3>doing it for.

0:14:47.240 --> 0:14:48.080
<v Speaker 1>Six months before that.

0:14:48.200 --> 0:14:53.520
<v Speaker 4>It's the fucking stupid idea anyway, But I love fast.

0:14:52.440 --> 0:14:55.680
<v Speaker 2>And that helped as well. Just expend some restless energy.

0:14:56.480 --> 0:14:58.480
<v Speaker 1>Yeah, yeah, I mean I was.

0:14:58.560 --> 0:15:01.080
<v Speaker 4>I was doing it more just a note how to

0:15:01.160 --> 0:15:03.880
<v Speaker 4>knock someone's head off if I needed to, rather than expending.

0:15:04.000 --> 0:15:05.520
<v Speaker 1>He don't have any pen utridge.

0:15:06.480 --> 0:15:09.240
<v Speaker 3>Joe often comes again up against people that he might

0:15:09.280 --> 0:15:10.240
<v Speaker 3>need to knock her head off.

0:15:10.240 --> 0:15:11.960
<v Speaker 1>And I'm basically I.

0:15:14.240 --> 0:15:17.640
<v Speaker 4>Live in a very dangerous place and there's ninjas everywhere.

0:15:18.120 --> 0:15:19.720
<v Speaker 2>You're still talking about Bristol.

0:15:20.360 --> 0:15:22.440
<v Speaker 1>Now Cardiff, mate, Oh I lived in Cardiff.

0:15:22.640 --> 0:15:24.520
<v Speaker 2>Yeah, there's ninjas in Cardiff.

0:15:24.800 --> 0:15:26.320
<v Speaker 4>No, no, it was it was It was more for

0:15:26.360 --> 0:15:29.440
<v Speaker 4>exercise to punch bag. It wasn't for expending or fighting

0:15:29.480 --> 0:15:31.640
<v Speaker 4>or anything. It was just like a really good form

0:15:31.680 --> 0:15:35.520
<v Speaker 4>of exercise. Because I find I like to exercise, well,

0:15:35.600 --> 0:15:39.440
<v Speaker 4>I need to not know i'm exercising, So I've put

0:15:39.520 --> 0:15:42.360
<v Speaker 4>little dots on the bag and I focus on getting

0:15:42.520 --> 0:15:47.120
<v Speaker 4>hitting that right and hitting it properly, because if you

0:15:47.240 --> 0:15:49.760
<v Speaker 4>hit something badly, your shoulders out.

0:15:49.640 --> 0:15:53.680
<v Speaker 2>For a month, which quite literally learned the painful way.

0:15:54.320 --> 0:15:57.280
<v Speaker 2>When was the first time that the band got back together.

0:15:57.320 --> 0:15:59.480
<v Speaker 2>You got in a room and you've played music.

0:15:59.640 --> 0:16:04.320
<v Speaker 3>Oh my god, right, so that was two three weeks

0:16:04.320 --> 0:16:08.160
<v Speaker 3>ago ago? Whatever, whenever, whenever, Lockdown was eased enough for

0:16:08.360 --> 0:16:09.800
<v Speaker 3>us to be able to get in the room we

0:16:09.800 --> 0:16:12.600
<v Speaker 3>were in the very first day we signed. It was

0:16:12.720 --> 0:16:15.720
<v Speaker 3>I was really taken aback. We sounded like a really

0:16:15.840 --> 0:16:18.800
<v Speaker 3>terrible idol to cover a band. It was awful and

0:16:18.920 --> 0:16:21.400
<v Speaker 3>like I got scared and I was talking about love.

0:16:21.560 --> 0:16:24.320
<v Speaker 3>My wife was like, you're really talking about this a lot.

0:16:24.360 --> 0:16:26.000
<v Speaker 3>You don't normally talk about this kind of thing a lot.

0:16:26.440 --> 0:16:30.120
<v Speaker 3>And it was so strange because a lot of our music,

0:16:30.240 --> 0:16:33.040
<v Speaker 3>so every example it takes on a mother. We've been

0:16:33.080 --> 0:16:37.880
<v Speaker 3>blamed mother for probably four years and I haven't thought

0:16:37.880 --> 0:16:42.000
<v Speaker 3>about how I play mother for three years, Like I haven't.

0:16:42.080 --> 0:16:44.400
<v Speaker 3>I have no idea what to do with my hands.

0:16:44.480 --> 0:16:47.360
<v Speaker 3>It's all feeling now, and so like I had to

0:16:47.360 --> 0:16:51.120
<v Speaker 3>go back and learn it and like watch videos and go, yeah,

0:16:51.160 --> 0:16:54.640
<v Speaker 3>that's what my hands are, which is just mad and

0:16:54.800 --> 0:16:57.240
<v Speaker 3>very disconcerting them. Because I thought we were going to

0:16:57.280 --> 0:16:58.880
<v Speaker 3>be able to come back in the room and the

0:16:58.960 --> 0:17:03.080
<v Speaker 3>muscle memory would just kick it, and I really didn't

0:17:03.120 --> 0:17:05.480
<v Speaker 3>there was. It was awful and so bad, and we

0:17:05.520 --> 0:17:08.120
<v Speaker 3>could and we were retired after like twenty minutes playing

0:17:08.119 --> 0:17:08.720
<v Speaker 3>and we were like.

0:17:10.240 --> 0:17:13.080
<v Speaker 2>I think a halftime, just some oranges sit on the

0:17:13.080 --> 0:17:13.760
<v Speaker 2>side for a moment.

0:17:14.240 --> 0:17:15.880
<v Speaker 4>The next three weeks are gonna have to be real

0:17:16.800 --> 0:17:20.560
<v Speaker 4>because we've got happy road live sessions.

0:17:22.320 --> 0:17:23.360
<v Speaker 3>It came back quick though.

0:17:23.680 --> 0:17:26.040
<v Speaker 1>It's the fitness though. I don't like we're doing three

0:17:26.840 --> 0:17:28.040
<v Speaker 1>three hours.

0:17:28.480 --> 0:17:30.919
<v Speaker 3>It's gonna be like man, I was just.

0:17:30.920 --> 0:17:32.560
<v Speaker 1>You know, it's like going into the deep end.

0:17:33.080 --> 0:17:35.520
<v Speaker 4>I think it would make for more interesting live sessions

0:17:35.760 --> 0:17:36.960
<v Speaker 4>because it will be a struggle.

0:17:37.520 --> 0:17:40.439
<v Speaker 2>Are you thinking about it? So last night Mike Skinner

0:17:40.480 --> 0:17:42.320
<v Speaker 2>did a Streets live show and just because it was

0:17:42.320 --> 0:17:46.359
<v Speaker 2>a live stream, just played with the format, like moved around.

0:17:46.480 --> 0:17:48.879
<v Speaker 2>It was an Earth in London. There was like a

0:17:48.880 --> 0:17:51.200
<v Speaker 2>stage set and moved around the venue and just kind

0:17:51.200 --> 0:17:53.119
<v Speaker 2>of had fun with it, knowing that unfortunately can be

0:17:53.160 --> 0:17:55.600
<v Speaker 2>doing just a gig in front of people, but made

0:17:55.600 --> 0:17:58.719
<v Speaker 2>the most of what it is. So what when you're rehearsing,

0:17:58.760 --> 0:18:00.960
<v Speaker 2>are you rehearsing like you were for a gig where

0:18:00.960 --> 0:18:03.920
<v Speaker 2>you're rehearsing in your mind You're like, I'm rehearsing kind

0:18:03.920 --> 0:18:06.720
<v Speaker 2>of for like an extended I know, almost like a

0:18:06.720 --> 0:18:07.679
<v Speaker 2>TV performance.

0:18:08.040 --> 0:18:10.560
<v Speaker 4>It's n not a lot of TV performances are so

0:18:10.760 --> 0:18:16.760
<v Speaker 4>weird mm because for me it's like it's it's a gig.

0:18:17.440 --> 0:18:19.560
<v Speaker 4>I'm gonna picture the audience those.

0:18:21.040 --> 0:18:23.200
<v Speaker 1>You know how many people are bought tickets.

0:18:22.880 --> 0:18:31.040
<v Speaker 6>And couple of thousand, whatever, Just picture them.

0:18:29.000 --> 0:18:31.840
<v Speaker 4>Before I go in, and then just really focus on

0:18:31.840 --> 0:18:35.480
<v Speaker 4>the music when I'm playing, like pot, focus on the.

0:18:35.520 --> 0:18:36.560
<v Speaker 1>Song and what I mean.

0:18:36.760 --> 0:18:38.880
<v Speaker 6>Cause it's a new thing. It's not like life. It's

0:18:38.920 --> 0:18:41.040
<v Speaker 6>not a gig, but you treat it like right.

0:18:41.240 --> 0:18:44.040
<v Speaker 4>You practice and practice and practice, and just be as

0:18:44.119 --> 0:18:49.440
<v Speaker 4>momentary present as possible by letting go y, I think

0:18:49.480 --> 0:18:52.480
<v Speaker 4>it's kind of to be as honest as possible with it.

0:18:52.560 --> 0:18:54.359
<v Speaker 4>You know, that's why we're doing that Abbey Roads and

0:18:54.440 --> 0:18:55.880
<v Speaker 4>not Venus, because we.

0:18:55.880 --> 0:18:57.800
<v Speaker 6>Know it's not a gig, so we can make more

0:18:57.840 --> 0:19:00.800
<v Speaker 6>of it with the recording and the sound and the

0:19:00.880 --> 0:19:05.320
<v Speaker 6>quality of that and the venue being of interest is

0:19:05.359 --> 0:19:07.520
<v Speaker 6>just more interesting for the ticket buyer.

0:19:08.080 --> 0:19:09.800
<v Speaker 1>Is fucking what it is.

0:19:09.880 --> 0:19:13.840
<v Speaker 4>It is a very strange clash of circumstance, which is

0:19:13.840 --> 0:19:16.160
<v Speaker 4>a good challenge for us. I think that it's important

0:19:16.200 --> 0:19:19.280
<v Speaker 4>that we've got something like that to please.

0:19:20.119 --> 0:19:24.040
<v Speaker 2>As you said earlier, almost not thinking too much about

0:19:24.080 --> 0:19:27.240
<v Speaker 2>the current situation, you're rehearsing for a couple of special

0:19:27.320 --> 0:19:30.960
<v Speaker 2>live stream performances. Normally, what would happen is Idol would

0:19:30.960 --> 0:19:33.080
<v Speaker 2>go on tour for a year eighteen months once you

0:19:33.119 --> 0:19:35.959
<v Speaker 2>release a record, that's not going to happen for the moment.

0:19:38.160 --> 0:19:42.040
<v Speaker 2>Have you allowed your mind to go there? You pessimistic

0:19:42.080 --> 0:19:44.159
<v Speaker 2>about the idea of doing that at some stage, optimistic

0:19:44.160 --> 0:19:46.120
<v Speaker 2>at the moment, have even been thinking about it at all?

0:19:46.760 --> 0:19:48.919
<v Speaker 4>I have to really, just because we need to know

0:19:49.000 --> 0:19:55.480
<v Speaker 4>when we always have six months onwards, so we've normally

0:19:55.560 --> 0:19:59.680
<v Speaker 4>got eighteen months planned ahead of us. It's been twelve

0:19:59.760 --> 0:20:01.680
<v Speaker 4>months for quite a long time, but in the last

0:20:01.840 --> 0:20:05.359
<v Speaker 4>year or two it's been eighteen months. Obviously we've changes

0:20:05.440 --> 0:20:08.720
<v Speaker 4>here and there all the time, but it's just how

0:20:08.760 --> 0:20:12.199
<v Speaker 4>we work. So yeah, we have to know, and that

0:20:12.320 --> 0:20:15.840
<v Speaker 4>means like making difficult decisions that other bands might not

0:20:16.640 --> 0:20:19.600
<v Speaker 4>like when we start or obviously if you've got an

0:20:19.600 --> 0:20:22.480
<v Speaker 4>eighteen month plan, it's like trying to predict one of

0:20:22.480 --> 0:20:27.680
<v Speaker 4>the most unpredictable times in human history at the behest

0:20:27.720 --> 0:20:32.080
<v Speaker 4>and the cost of loads of your friends and their jobs.

0:20:32.400 --> 0:20:36.600
<v Speaker 4>So it's very bizarre. We have to think were constantly.

0:20:36.640 --> 0:20:39.680
<v Speaker 4>We're very conscientious. You know, people have faith in us,

0:20:39.720 --> 0:20:42.680
<v Speaker 4>people spend money on us. We're a business as well

0:20:42.720 --> 0:20:46.800
<v Speaker 4>as an art collective, so we need to be conscientious

0:20:46.800 --> 0:20:48.520
<v Speaker 4>to that and do right by our people.

0:20:48.680 --> 0:20:50.399
<v Speaker 2>So as soon as it's safe to get back out there,

0:20:50.440 --> 0:20:53.480
<v Speaker 2>you'll be You can't wait for that moment, presumably.

0:20:53.280 --> 0:20:57.359
<v Speaker 3>Yeah, it's like it's there in our mind, fuck ya.

0:20:58.080 --> 0:21:00.400
<v Speaker 3>But also, you know, we are thinking, are the things

0:21:00.400 --> 0:21:02.320
<v Speaker 3>that we do. You still have control over things we

0:21:02.359 --> 0:21:06.480
<v Speaker 3>are still able to do. So we're focusing on writing

0:21:06.520 --> 0:21:09.600
<v Speaker 3>and recording and getting things together for another album. But

0:21:10.359 --> 0:21:12.879
<v Speaker 3>you know, we'll drop that out as soon as we

0:21:12.920 --> 0:21:15.920
<v Speaker 3>can if we find out we can go play Guatemala

0:21:16.080 --> 0:21:19.119
<v Speaker 3>and we'll go play Guatemala's if for us today.

0:21:19.160 --> 0:21:22.199
<v Speaker 2>So would you be good if you didn't get the

0:21:22.280 --> 0:21:24.720
<v Speaker 2>chance to tour Ultra Mono in the same way that

0:21:24.720 --> 0:21:26.680
<v Speaker 2>you have done with the previous two albums.

0:21:26.760 --> 0:21:29.560
<v Speaker 3>We will, you will, you will.

0:21:29.600 --> 0:21:31.520
<v Speaker 2>You're waiting until the time is right. You wouldn't kind

0:21:31.520 --> 0:21:34.919
<v Speaker 2>of say say there's no gigs for another year eighteen months.

0:21:35.160 --> 0:21:37.760
<v Speaker 4>We will tour it exactly as we would have before.

0:21:39.359 --> 0:21:45.560
<v Speaker 4>It deserves it, and our audience will appreciate it.

0:21:46.720 --> 0:21:46.959
<v Speaker 1>You know.

0:21:47.200 --> 0:21:51.359
<v Speaker 4>It's like that is one serious bottleneck ready to go off.

0:21:51.560 --> 0:21:55.720
<v Speaker 4>In my opinion, we love playing live as much as

0:21:55.720 --> 0:21:58.920
<v Speaker 4>people love going to see live music. So I think

0:21:58.960 --> 0:22:01.440
<v Speaker 4>the marriage of that, when we are all allowed back

0:22:01.480 --> 0:22:04.919
<v Speaker 4>into a room where there was no social fucking distancing,

0:22:05.760 --> 0:22:07.200
<v Speaker 4>it's going to be insane.

0:22:07.760 --> 0:22:10.800
<v Speaker 2>From a punter perspective. I mean, I'm not on stage

0:22:10.840 --> 0:22:13.240
<v Speaker 2>like you guys are, but it does feel very odd

0:22:13.280 --> 0:22:15.800
<v Speaker 2>to have been starved with that experience for getting on

0:22:15.840 --> 0:22:16.720
<v Speaker 2>for six months now.

0:22:16.840 --> 0:22:19.639
<v Speaker 4>So I mean, like just seeings that I was thinking

0:22:19.640 --> 0:22:22.840
<v Speaker 4>about this the other day, I'm now really excited about

0:22:22.840 --> 0:22:26.240
<v Speaker 4>going to see Proto Marters album at festivals. I'm really

0:22:26.280 --> 0:22:32.480
<v Speaker 4>excited about seeing girl band's album because they've also amazing

0:22:32.560 --> 0:22:37.760
<v Speaker 4>life and I've been disallowed those tours and at.

0:22:37.680 --> 0:22:40.000
<v Speaker 6>The moment, like those festivals, so are normally be like,

0:22:40.000 --> 0:22:42.760
<v Speaker 6>oh yeah, I'll gus to. Everyone's going to be like

0:22:43.840 --> 0:22:44.920
<v Speaker 6>for the first time film.

0:22:44.960 --> 0:22:51.280
<v Speaker 4>If people are honest, festivals are fucking you know, hard.

0:22:51.600 --> 0:22:55.600
<v Speaker 4>They're a hard gig for artists, not for punters, for

0:22:55.600 --> 0:22:57.360
<v Speaker 4>for artists because it's not their show. It's like an

0:22:57.359 --> 0:23:00.280
<v Speaker 4>away gig. It's not an away game, you know. But

0:23:00.359 --> 0:23:04.280
<v Speaker 4>I think not ILike I'd just be grateful to play

0:23:04.320 --> 0:23:04.480
<v Speaker 4>in a.

0:23:04.520 --> 0:23:06.400
<v Speaker 1>Bin, do you know what I mean?

0:23:07.400 --> 0:23:11.560
<v Speaker 4>So, like first showback, I think the atmosphere backstage at

0:23:11.640 --> 0:23:15.040
<v Speaker 4>festivals is going to be uncommonly electric.

0:23:15.200 --> 0:23:18.880
<v Speaker 1>I think for the first time it's going to things

0:23:18.920 --> 0:23:19.200
<v Speaker 1>like that.

0:23:19.240 --> 0:23:23.240
<v Speaker 3>You know, I'm so excited, but it's so far away when.

0:23:23.040 --> 0:23:24.800
<v Speaker 2>I watch all the glass and by footage. This year

0:23:25.440 --> 0:23:27.919
<v Speaker 2>that was a real Obviously my mind has gone back

0:23:27.960 --> 0:23:30.960
<v Speaker 2>to thinking about shows a lot, but that particular weekend

0:23:31.000 --> 0:23:33.760
<v Speaker 2>and just consuming all of the all of the footage

0:23:33.760 --> 0:23:35.399
<v Speaker 2>and all of the performances and stuff in it. Well,

0:23:35.480 --> 0:23:38.560
<v Speaker 2>just it was the equal parts enjoyable and gutting not

0:23:38.640 --> 0:23:40.760
<v Speaker 2>to have any of those events.

0:23:40.400 --> 0:23:47.080
<v Speaker 4>Having in Yeah, but now the fiftieth anniversary classes will

0:23:47.080 --> 0:23:48.760
<v Speaker 4>probably have idols playing at it.

0:23:48.920 --> 0:23:50.040
<v Speaker 3>So there you go.

0:23:50.200 --> 0:23:53.160
<v Speaker 1>That would be good. You're welcome. That's a joke.

0:23:53.359 --> 0:24:03.359
<v Speaker 4>Just for the listeners you're listening to midnight snacks. This

0:24:03.520 --> 0:24:07.080
<v Speaker 4>is more than light and buttery, short bed short bread

0:24:07.119 --> 0:24:10.800
<v Speaker 4>rings by Border, beautifully crafted biscuits. There are the snack

0:24:10.880 --> 0:24:14.160
<v Speaker 4>companies out there, over priced snack companies in hotels.

0:24:14.280 --> 0:24:17.359
<v Speaker 2>You've got some miniature Harry Bows there as well, and

0:24:17.440 --> 0:24:18.159
<v Speaker 2>a couple.

0:24:17.920 --> 0:24:20.040
<v Speaker 1>Of tang fastics.

0:24:20.160 --> 0:24:22.800
<v Speaker 3>Yeah, there you go, it's Harry Boy snack.

0:24:24.520 --> 0:24:27.159
<v Speaker 1>Yeah, it's not a staple part of your diety. Is

0:24:27.160 --> 0:24:29.520
<v Speaker 1>it's a small it's a small tree, color tree.

0:24:31.640 --> 0:24:35.000
<v Speaker 3>You know, I need a snack. That's not your snack,

0:24:35.240 --> 0:24:36.960
<v Speaker 3>Harry Bows the place.

0:24:37.280 --> 0:24:38.560
<v Speaker 2>Is a snack normally savory.

0:24:39.920 --> 0:24:42.600
<v Speaker 1>That's a good question. What banana is a snack?

0:24:42.800 --> 0:24:45.520
<v Speaker 2>Is it not called banana sna It's not a tree,

0:24:45.640 --> 0:24:45.920
<v Speaker 2>is it?

0:24:46.200 --> 0:24:46.440
<v Speaker 4>No?

0:24:49.119 --> 0:24:51.280
<v Speaker 3>I'd call n tell.

0:24:51.200 --> 0:24:57.040
<v Speaker 4>On toast about dressing on you.

0:24:57.400 --> 0:24:59.280
<v Speaker 2>I want to ask you both about some of the

0:24:59.280 --> 0:25:02.359
<v Speaker 2>projects that have and since Joy, since the release of

0:25:02.359 --> 0:25:04.240
<v Speaker 2>the last album, and stuff that's happened in the last

0:25:04.240 --> 0:25:07.360
<v Speaker 2>few months. Joe, you got stuck into Bally TV. If

0:25:07.400 --> 0:25:08.680
<v Speaker 2>you wanted to do something like that for a long

0:25:08.720 --> 0:25:11.520
<v Speaker 2>time or was that idea born out of what's been

0:25:11.600 --> 0:25:12.720
<v Speaker 2>going on the last few months.

0:25:13.400 --> 0:25:13.960
<v Speaker 1>Good question.

0:25:14.359 --> 0:25:16.720
<v Speaker 4>I've wanted to do it for a while, not not

0:25:16.840 --> 0:25:22.080
<v Speaker 4>Bally TV. Bally TV, yes, called Bally TV. But I

0:25:22.119 --> 0:25:27.800
<v Speaker 4>wanted to do something in between T five Friday, the Tube,

0:25:28.440 --> 0:25:36.560
<v Speaker 4>shooting stars, basically anything from the late nineties, and also,

0:25:36.640 --> 0:25:40.600
<v Speaker 4>like Jules Holland, just like predominantly be a music show

0:25:40.640 --> 0:25:42.679
<v Speaker 4>where there's a live performance and then I chat to

0:25:42.720 --> 0:25:47.119
<v Speaker 4>people afterwards. But it wouldn't look and be the same

0:25:47.480 --> 0:25:51.880
<v Speaker 4>because obviously on ballyt TV. It's just obviously remotely filmed

0:25:51.960 --> 0:25:56.840
<v Speaker 4>and remotely produced and there's no live music and shit

0:25:56.960 --> 0:25:59.000
<v Speaker 4>like that, but it's just a really nice start to

0:25:59.119 --> 0:26:05.840
<v Speaker 4>my my contribution to TV. Really, like I just really am.

0:26:06.080 --> 0:26:08.520
<v Speaker 4>I feel like, just like when I started Idols with

0:26:08.720 --> 0:26:13.040
<v Speaker 4>dev and Bowen, there's just no good music TV anymore.

0:26:13.480 --> 0:26:18.080
<v Speaker 4>MTV doesn't have any fucking music on it, and there's

0:26:18.119 --> 0:26:19.920
<v Speaker 4>nothing real about reality.

0:26:19.520 --> 0:26:20.320
<v Speaker 1>TV and stuff.

0:26:20.359 --> 0:26:24.480
<v Speaker 4>So it would be nice to just again, just like

0:26:24.480 --> 0:26:26.359
<v Speaker 4>like we did with the band, is like, just have

0:26:26.440 --> 0:26:29.240
<v Speaker 4>a bit of a fairer representation of what real means

0:26:30.359 --> 0:26:34.359
<v Speaker 4>and I have interesting and interested conversations about music by

0:26:34.520 --> 0:26:37.720
<v Speaker 4>musicians who actually are important to.

0:26:39.640 --> 0:26:42.960
<v Speaker 1>Sanity rather than custom what's.

0:26:42.760 --> 0:26:44.520
<v Speaker 2>Some of your favorite moments of that being so far.

0:26:45.600 --> 0:26:50.640
<v Speaker 4>Nadia from Pussy Riot, Just encountering hers great, She's scary

0:26:51.760 --> 0:26:52.520
<v Speaker 4>and very chill.

0:26:53.080 --> 0:26:53.639
<v Speaker 1>Interesting.

0:26:55.400 --> 0:26:58.879
<v Speaker 4>Talking to Kenny Beats and Kate Tempest and my friend

0:26:58.920 --> 0:27:04.720
<v Speaker 4>Bobby was a beautiful time, very you know, because obviously

0:27:05.040 --> 0:27:07.760
<v Speaker 4>I'm the mediator between different personalities, so they.

0:27:07.640 --> 0:27:08.440
<v Speaker 1>Were all great.

0:27:08.760 --> 0:27:14.359
<v Speaker 4>Every guest was interesting and interested. But when you're the media,

0:27:14.359 --> 0:27:15.800
<v Speaker 4>it's like having a birthday party.

0:27:16.320 --> 0:27:17.640
<v Speaker 1>You're the one who has the least fun.

0:27:17.800 --> 0:27:21.439
<v Speaker 4>Everyone else is like weally cake ship faced by, whereas

0:27:21.440 --> 0:27:23.760
<v Speaker 4>the person who's having the birthday has the least fine.

0:27:23.800 --> 0:27:27.399
<v Speaker 4>And it just felt like the Kate Tempest and Kenny

0:27:27.400 --> 0:27:28.160
<v Speaker 4>Bat's one.

0:27:28.960 --> 0:27:29.960
<v Speaker 1>I didn't need to be there.

0:27:30.119 --> 0:27:33.280
<v Speaker 4>I just listened Stunding and Bobby as well, my mate

0:27:33.680 --> 0:27:34.359
<v Speaker 4>Bobby answer.

0:27:35.000 --> 0:27:35.760
<v Speaker 1>They were all.

0:27:35.560 --> 0:27:39.520
<v Speaker 4>Just just it was a really beautiful combination of personality.

0:27:39.640 --> 0:27:39.840
<v Speaker 1>Said.

0:27:40.000 --> 0:27:42.600
<v Speaker 4>I was just like, oh, this is fascinating, and I

0:27:42.720 --> 0:27:44.919
<v Speaker 4>just got more and more confident with it. And I

0:27:45.160 --> 0:27:48.800
<v Speaker 4>knew who was on enough times to do some research

0:27:48.840 --> 0:27:51.200
<v Speaker 4>and write my questions. I find that quite interesting and

0:27:51.320 --> 0:27:55.679
<v Speaker 4>quoting them, quoting people, quoting people back at them, you

0:27:55.760 --> 0:27:56.880
<v Speaker 4>said this, and then.

0:27:56.800 --> 0:27:59.720
<v Speaker 1>They're like, oh, yeah it is. Yeah.

0:28:00.000 --> 0:28:03.119
<v Speaker 4>It's almost like I don't mind doing this. Yeah right,

0:28:04.760 --> 0:28:07.040
<v Speaker 4>some of them. But yeah no, So it's just an

0:28:07.040 --> 0:28:09.680
<v Speaker 4>interesting challenge. It's just something to do. But so, yeah,

0:28:09.840 --> 0:28:12.679
<v Speaker 4>it's circumstance, not just me into doing something similar to

0:28:12.720 --> 0:28:13.920
<v Speaker 4>what I've wanted to do for a while.

0:28:13.960 --> 0:28:16.600
<v Speaker 1>But if I do do it properly, you.

0:28:16.520 --> 0:28:21.280
<v Speaker 2>Know, I think it would be And what about you,

0:28:21.400 --> 0:28:23.760
<v Speaker 2>and you've got your project with Lead, Yeah, if you

0:28:23.880 --> 0:28:25.520
<v Speaker 2>enjoyed doing that playing that together.

0:28:26.000 --> 0:28:28.800
<v Speaker 3>Yeah, it's been weird. We kind of again, we all

0:28:28.800 --> 0:28:30.760
<v Speaker 3>sat down as a band and talked about different things

0:28:30.760 --> 0:28:33.080
<v Speaker 3>that we could do. Mainly have been talking about doing

0:28:33.119 --> 0:28:36.479
<v Speaker 3>something like this for a while because we're very nerdy

0:28:36.520 --> 0:28:40.760
<v Speaker 3>about gear like a by guitar, pedals, guitars, amplifiers and

0:28:40.760 --> 0:28:44.080
<v Speaker 3>stuff like that, and there's a bit of a saturated

0:28:44.160 --> 0:28:49.440
<v Speaker 3>market in those kind of shows, but they're all very instructional,

0:28:49.880 --> 0:28:51.000
<v Speaker 3>a little bit dry.

0:28:51.960 --> 0:28:55.120
<v Speaker 1>And just so fucking dry.

0:28:56.000 --> 0:28:58.160
<v Speaker 3>A little bit dry, but and also you don't really

0:28:58.520 --> 0:29:03.160
<v Speaker 3>like it's always someone playing lose licks or like you know,

0:29:03.320 --> 0:29:05.760
<v Speaker 3>just not really getting getting the idea of why you

0:29:05.840 --> 0:29:09.280
<v Speaker 3>would put pedals together and forms of the creative process

0:29:09.280 --> 0:29:11.680
<v Speaker 3>and stuff like that. So we decided to do this,

0:29:11.680 --> 0:29:13.760
<v Speaker 3>and we were like, right, well, we'll get some guests

0:29:13.800 --> 0:29:17.880
<v Speaker 3>on and kind of really get into their creative process,

0:29:18.400 --> 0:29:20.240
<v Speaker 3>and we'd also use it as a way of kind

0:29:20.240 --> 0:29:22.360
<v Speaker 3>of ultra model. We were going to talk about like

0:29:22.920 --> 0:29:28.360
<v Speaker 3>different kind of signs and different different this signed palette

0:29:28.360 --> 0:29:30.000
<v Speaker 3>that we used for Ultramono and how we got that

0:29:30.120 --> 0:29:33.400
<v Speaker 3>with our pedals and guitars and the effects that we

0:29:33.520 --> 0:29:37.440
<v Speaker 3>use and the as things like that, and then it

0:29:37.640 --> 0:29:43.160
<v Speaker 3>just like it slowly has descended into me andle just

0:29:43.400 --> 0:29:46.800
<v Speaker 3>trying to do each other with really stupid stuff. So

0:29:46.920 --> 0:29:50.040
<v Speaker 3>like I cut my hair and do a mullet and

0:29:50.840 --> 0:29:55.160
<v Speaker 3>dug up my mum's back garden just for this, like

0:29:55.360 --> 0:29:59.000
<v Speaker 3>really one minute of the TV show my mum's sitting

0:29:59.040 --> 0:30:00.840
<v Speaker 3>filming it just go and look still a lot more

0:30:01.720 --> 0:30:04.960
<v Speaker 3>in the background. It's very funny, and it's just been great.

0:30:05.000 --> 0:30:06.680
<v Speaker 3>It's been really it's been really good to work with

0:30:06.760 --> 0:30:10.160
<v Speaker 3>Lee like that, and the guests has been amazing. Like

0:30:10.200 --> 0:30:14.120
<v Speaker 3>we had Alan from a girl band and he just

0:30:14.560 --> 0:30:17.160
<v Speaker 3>really like we got we got to learn a lot

0:30:17.200 --> 0:30:21.440
<v Speaker 3>about his creative process and how he use his effects

0:30:21.440 --> 0:30:23.640
<v Speaker 3>and pedals because like he for me, he's one of

0:30:23.800 --> 0:30:25.880
<v Speaker 3>the best people in the world doing that, and just

0:30:25.920 --> 0:30:28.880
<v Speaker 3>things like he was playing you know, so low man

0:30:28.920 --> 0:30:31.840
<v Speaker 3>by girl band. I've been trying to work out how

0:30:31.880 --> 0:30:34.640
<v Speaker 3>to play that for so long and it turns out

0:30:34.720 --> 0:30:38.680
<v Speaker 3>it's just him moving a pedal around. It's wild. I

0:30:38.840 --> 0:30:42.600
<v Speaker 3>can't believe I've been so stupid. And then we had

0:30:42.680 --> 0:30:45.600
<v Speaker 3>Kate kit Lebone. She was great, but she couldn't make

0:30:45.640 --> 0:30:47.840
<v Speaker 3>it so she Alan could make noise. So we got

0:30:47.840 --> 0:30:50.680
<v Speaker 3>Alan to kind of like record his pedals and lots

0:30:50.680 --> 0:30:53.280
<v Speaker 3>of weird different bits of gear. She couldn't make noise.

0:30:53.360 --> 0:30:55.080
<v Speaker 3>So what we did was we played kit lebonne or

0:30:55.120 --> 0:30:59.320
<v Speaker 3>kit la ron and mainly had to try and imagine

0:30:59.360 --> 0:31:02.280
<v Speaker 3>what kitler bone would use to make certain signs off

0:31:02.680 --> 0:31:06.600
<v Speaker 3>certain songs. That was funny. She was good, good sport.

0:31:07.360 --> 0:31:09.480
<v Speaker 3>But yeah, that's that's been good. I mean it's been weird.

0:31:09.560 --> 0:31:13.880
<v Speaker 3>It's not like I'd rather be doing gigs. I'd rather

0:31:13.960 --> 0:31:14.880
<v Speaker 3>be playing chows.

0:31:14.960 --> 0:31:20.040
<v Speaker 4>And was it kitle bonn or katela wrong?

0:31:20.400 --> 0:31:21.280
<v Speaker 1>What was the other choice?

0:31:21.280 --> 0:31:24.640
<v Speaker 3>She came out with no playing on the French.

0:31:25.160 --> 0:31:28.840
<v Speaker 1>Ye now in hindsight, yeah.

0:31:28.600 --> 0:31:32.080
<v Speaker 3>But kitler wrong kind of feels more wrong, like it's

0:31:32.640 --> 0:31:34.400
<v Speaker 3>he's just Caitlin non is.

0:31:34.400 --> 0:31:35.840
<v Speaker 1>Like non kate lebon.

0:31:37.280 --> 0:31:40.320
<v Speaker 3>Luckily no, we actually we actually used them all. She

0:31:40.600 --> 0:31:43.200
<v Speaker 3>was lying to us, just.

0:31:44.920 --> 0:31:47.360
<v Speaker 1>What was she going to shed?

0:31:47.360 --> 0:31:49.560
<v Speaker 3>She give the thumbs up for all of them. Yeah,

0:31:49.880 --> 0:31:53.400
<v Speaker 3>one of the nothing like it, like nothing like it.

0:31:53.520 --> 0:31:54.840
<v Speaker 3>She was a ghast, you could.

0:31:54.600 --> 0:31:58.360
<v Speaker 4>Tell she was a ghast, but then said, yes, anyway, there.

0:31:58.240 --> 0:32:00.880
<v Speaker 3>Was there was people, There was There was one bit

0:32:01.000 --> 0:32:03.400
<v Speaker 3>as well, where I was playing her song back to her.

0:32:04.360 --> 0:32:07.280
<v Speaker 3>She put her hands on her face like she was

0:32:07.280 --> 0:32:10.880
<v Speaker 3>inconsolable and didn't and didn't didn't move her hands from

0:32:10.920 --> 0:32:14.600
<v Speaker 3>her face until a little while after I started playing

0:32:15.440 --> 0:32:18.480
<v Speaker 3>isn't that bad? I thought it was good, but she

0:32:18.680 --> 0:32:20.760
<v Speaker 3>was just like, what is what is this?

0:32:21.720 --> 0:32:23.200
<v Speaker 1>She's a serious musician, but.

0:32:23.360 --> 0:32:27.600
<v Speaker 3>She is also like one of my guitar heroes. I

0:32:27.680 --> 0:32:32.400
<v Speaker 3>think she's like her choices that she makes when she's

0:32:32.440 --> 0:32:36.920
<v Speaker 3>playing guitar really inspire me. So a bit funny, I

0:32:36.960 --> 0:32:38.320
<v Speaker 3>haven't that chat whether really.

0:32:38.520 --> 0:32:41.320
<v Speaker 2>Speaking of guests, let's talk ol Tomno and the people

0:32:41.320 --> 0:32:43.840
<v Speaker 2>that you've collaborated with on the new record. Should we

0:32:43.840 --> 0:32:44.880
<v Speaker 2>talk about Jamie Kellen?

0:32:45.280 --> 0:32:48.400
<v Speaker 3>Yes, yes, let's I always want to talk about Jimmy Collen.

0:32:49.040 --> 0:32:53.560
<v Speaker 4>So I approached him at the Mercuries because he's a judge,

0:32:54.560 --> 0:32:55.880
<v Speaker 4>and I said, hello, chat.

0:32:56.600 --> 0:32:58.440
<v Speaker 1>I'm always a massive fan of his radio show.

0:32:58.480 --> 0:33:00.680
<v Speaker 4>I never listened to his music, but listen to his

0:33:00.720 --> 0:33:03.280
<v Speaker 4>show a lot because we worked in a kitchen is

0:33:03.320 --> 0:33:06.200
<v Speaker 4>a KP and C. Chef was like, well into radio

0:33:06.240 --> 0:33:09.760
<v Speaker 4>two and I love this show. I think he's great.

0:33:10.040 --> 0:33:13.200
<v Speaker 4>I think he comes across really well and again interested

0:33:13.240 --> 0:33:18.080
<v Speaker 4>and interesting. So yeah, we got on and then uh,

0:33:18.120 --> 0:33:20.520
<v Speaker 4>he said, if you ever need piano on the album

0:33:20.640 --> 0:33:22.800
<v Speaker 4>Let's Now, and we were like, we do not need piano,

0:33:22.880 --> 0:33:25.000
<v Speaker 4>but we definitely need Jane Culler, so.

0:33:25.840 --> 0:33:26.840
<v Speaker 1>We got him involved.

0:33:27.000 --> 0:33:30.680
<v Speaker 4>He's supposed to be that signifier of working hard for

0:33:30.760 --> 0:33:33.480
<v Speaker 4>what you love from everything that we're about, and that

0:33:34.800 --> 0:33:38.640
<v Speaker 4>ignorance to cuts that kind of what I've been saying

0:33:38.720 --> 0:33:42.120
<v Speaker 4>is that q dos is a bit like Stockholm syndrome.

0:33:42.240 --> 0:33:45.600
<v Speaker 4>You know, like your you're captives, you fall in love

0:33:45.640 --> 0:33:49.680
<v Speaker 4>with and really they they only do you harm. Q

0:33:49.840 --> 0:33:54.200
<v Speaker 4>los is a bullshit currency in the city. Doesn't go

0:33:54.560 --> 0:33:56.920
<v Speaker 4>as far in Bristol, I don't think, and we can

0:33:56.960 --> 0:34:00.840
<v Speaker 4>see for it from a distance. Pretentious people with pompous

0:34:00.880 --> 0:34:04.720
<v Speaker 4>people in obsession and wanting to be loved by.

0:34:06.160 --> 0:34:08.160
<v Speaker 1>Bullies counts.

0:34:09.920 --> 0:34:12.080
<v Speaker 4>So we wanted wanted to get away from that, build

0:34:12.200 --> 0:34:15.080
<v Speaker 4>build an arena where people feel safe to be themselves

0:34:15.160 --> 0:34:20.440
<v Speaker 4>instead of pretending to be others, and including Jamie Culluman,

0:34:20.520 --> 0:34:25.600
<v Speaker 4>and that should annoy those captors, It should annoy the bullies,

0:34:25.719 --> 0:34:29.319
<v Speaker 4>should annoy the assholes, and we love it. I think

0:34:29.320 --> 0:34:32.239
<v Speaker 4>it's a great, great start to a very violent song.

0:34:32.280 --> 0:34:36.080
<v Speaker 4>It's like a nice breather, it's like a little palate

0:34:36.160 --> 0:34:40.200
<v Speaker 4>cleanser in the in the otherwise pretty.

0:34:39.920 --> 0:34:41.040
<v Speaker 1>Full on album.

0:34:41.280 --> 0:34:44.120
<v Speaker 4>So it works for me perfect it's perfectly both in

0:34:44.600 --> 0:34:49.320
<v Speaker 4>sonics it works perfectly and in messaging Ethos.

0:34:49.000 --> 0:34:53.560
<v Speaker 2>Jenny Beth wren Ls. David Yao also contributed to the album.

0:34:53.760 --> 0:34:56.799
<v Speaker 2>How did it work with those guests including Jamie you

0:34:56.960 --> 0:35:00.640
<v Speaker 2>recorded in Paris? Were they coming through the studio with

0:35:00.760 --> 0:35:03.839
<v Speaker 2>a contributing remotely? How did it work? And why did

0:35:03.880 --> 0:35:04.640
<v Speaker 2>you want to get those people?

0:35:04.760 --> 0:35:09.520
<v Speaker 3>And actually Colin Webster from the band sex Wing, we

0:35:09.560 --> 0:35:11.040
<v Speaker 3>wanted him on early Doors.

0:35:11.040 --> 0:35:11.680
<v Speaker 1>He hit that.

0:35:12.920 --> 0:35:14.960
<v Speaker 4>Yeah, I forgot to say that, and I said it

0:35:15.000 --> 0:35:18.280
<v Speaker 4>was David ya to premeditate.

0:35:18.880 --> 0:35:19.120
<v Speaker 3>Yeah.

0:35:19.760 --> 0:35:21.359
<v Speaker 2>Oh. The others were more of a kind of a

0:35:21.600 --> 0:35:23.680
<v Speaker 2>those are people we went out actively when you were

0:35:23.719 --> 0:35:25.840
<v Speaker 2>like I want you on this record. The others it happened.

0:35:26.040 --> 0:35:27.600
<v Speaker 1>It was less recording, Okay.

0:35:28.080 --> 0:35:32.400
<v Speaker 3>Saxophone was in the was present in the writing. We

0:35:32.560 --> 0:35:35.640
<v Speaker 3>kind of it was always there, like this bit needs

0:35:35.719 --> 0:35:40.200
<v Speaker 3>that that tom Bro that tone, massive fan of sex Wing,

0:35:40.560 --> 0:35:44.360
<v Speaker 3>like and the kind of tones that he gets, the

0:35:44.480 --> 0:35:49.239
<v Speaker 3>violence that's in them and the kind of threat that

0:35:49.320 --> 0:35:52.200
<v Speaker 3>he gets out of something that's kind of saxy and

0:35:52.360 --> 0:35:55.319
<v Speaker 3>you know it's kill. So, yeah, he was involved and

0:35:55.360 --> 0:35:57.520
<v Speaker 3>he kind of came down to the studio, did everything

0:35:57.560 --> 0:35:59.440
<v Speaker 3>in one afternoon, and then kind of hung out for

0:35:59.480 --> 0:36:02.839
<v Speaker 3>a bit. David, y'all, I think we just knew he

0:36:03.000 --> 0:36:05.879
<v Speaker 3>was he had to be on there, and he kind

0:36:05.920 --> 0:36:08.680
<v Speaker 3>of he fitted the he fitted the bill vocally. I

0:36:08.680 --> 0:36:11.200
<v Speaker 3>think on the on an album that doesn't have a

0:36:11.200 --> 0:36:13.560
<v Speaker 3>lot of backing vocals, I didn't feel like my voice

0:36:13.719 --> 0:36:16.239
<v Speaker 3>or Dav's voice were appropriate.

0:36:16.040 --> 0:36:17.200
<v Speaker 1>Dev I wrote.

0:36:17.360 --> 0:36:20.160
<v Speaker 4>I always wrote backing vocals with Devi or baring in mind,

0:36:20.200 --> 0:36:24.480
<v Speaker 4>it was nearly all Dev in this album, just because Yeah,

0:36:24.640 --> 0:36:26.120
<v Speaker 4>I'm not a massive fan of your voice.

0:36:26.160 --> 0:36:27.440
<v Speaker 3>I don't like my voice out there.

0:36:28.320 --> 0:36:31.200
<v Speaker 1>But like you know, massive fan of Death's either.

0:36:31.239 --> 0:36:34.319
<v Speaker 2>I just it like you work with what you got.

0:36:34.520 --> 0:36:36.680
<v Speaker 1>Yeah, but yeah, the same with me.

0:36:36.719 --> 0:36:38.520
<v Speaker 4>I'm not a great singer, and some of the things

0:36:38.560 --> 0:36:40.640
<v Speaker 4>I sing, I know you don't like either. It's like

0:36:40.880 --> 0:36:44.600
<v Speaker 4>he's but anyway. So with Dev it's just he's losing

0:36:44.600 --> 0:36:46.839
<v Speaker 4>his voice. He smokes too much, he drinks too much,

0:36:46.920 --> 0:36:50.680
<v Speaker 4>and he's got a terrible singing technique. So at the

0:36:50.719 --> 0:36:52.560
<v Speaker 4>time we were like, do you know what would be

0:36:52.680 --> 0:36:54.280
<v Speaker 4>much better than Dev David?

0:36:54.360 --> 0:36:58.560
<v Speaker 1>Yeah, you know, I wrote, I wrote them with a

0:36:58.560 --> 0:36:59.600
<v Speaker 1>better DEVI in mind.

0:37:02.239 --> 0:37:03.759
<v Speaker 2>What about Jenny Jenny Beth.

0:37:03.840 --> 0:37:06.799
<v Speaker 4>We met up with her to do her TV show

0:37:06.840 --> 0:37:11.360
<v Speaker 4>Echoes Yep, and obviously I'm I was friends were before

0:37:11.400 --> 0:37:14.160
<v Speaker 4>we met and stuff, and I stayed in contact with Jenny.

0:37:15.640 --> 0:37:18.400
<v Speaker 4>So we were on the TV show and I was

0:37:18.400 --> 0:37:20.560
<v Speaker 4>talking her through the album. I said, there's a song

0:37:20.640 --> 0:37:23.400
<v Speaker 4>that's French and she said it's terrible French. It's like

0:37:23.560 --> 0:37:26.640
<v Speaker 4>you say, don't touch me. So I was like, oh fuck,

0:37:27.000 --> 0:37:29.760
<v Speaker 4>uh panic. The engineer at the time, who was French,

0:37:29.800 --> 0:37:31.480
<v Speaker 4>said it was the correct French. I said, is this

0:37:31.560 --> 0:37:34.040
<v Speaker 4>right and he said yes. We thought I was asking us,

0:37:34.040 --> 0:37:36.600
<v Speaker 4>did you like this or something like that, something along

0:37:36.680 --> 0:37:39.879
<v Speaker 4>those fucking lines. Anyway, he said yes emphatically.

0:37:39.880 --> 0:37:42.719
<v Speaker 1>It was like sick. Turns out it's the wrong French.

0:37:42.880 --> 0:37:44.279
<v Speaker 4>So I said, well, we can change it and you

0:37:44.320 --> 0:37:46.040
<v Speaker 4>could just sing the chorus cause I wanted a female

0:37:46.040 --> 0:37:48.640
<v Speaker 4>perspective on this song. Anyway, she was like, keep it

0:37:48.920 --> 0:37:51.480
<v Speaker 4>bad French because that's more honest. I was like, that's

0:37:51.520 --> 0:37:55.480
<v Speaker 4>a very good point, especially in tune with what Oldromnto is.

0:37:56.360 --> 0:37:59.680
<v Speaker 4>She's about self expect acceptance, Bone and I talked about

0:37:59.680 --> 0:38:04.000
<v Speaker 4>having that female Tom Borough and perspective for that song anyway,

0:38:04.760 --> 0:38:10.960
<v Speaker 4>and it worked beautifully. She was very very forgiving to

0:38:11.000 --> 0:38:12.400
<v Speaker 4>sing on that song in particular.

0:38:12.560 --> 0:38:14.839
<v Speaker 2>But he's got to leave now because he's got he's

0:38:14.880 --> 0:38:15.560
<v Speaker 2>got somewhere to be.

0:38:17.360 --> 0:38:19.040
<v Speaker 1>A man about down.

0:38:20.760 --> 0:38:24.400
<v Speaker 2>Cheers Bone before we ask a few more questions about

0:38:24.480 --> 0:38:27.160
<v Speaker 2>Ultramonto Mike Skinner in the Streets and your contribution to

0:38:27.200 --> 0:38:29.799
<v Speaker 2>that record. What was the experience like of stepping out

0:38:29.840 --> 0:38:33.440
<v Speaker 2>of the Idols collective of creating stuff and working with

0:38:33.520 --> 0:38:34.960
<v Speaker 2>somebody like Mike Skinner.

0:38:35.840 --> 0:38:39.680
<v Speaker 4>Well, I mean, he he's sent the beat over. Obviously,

0:38:39.680 --> 0:38:43.920
<v Speaker 4>it's like an album, it's an album of collaboration, so

0:38:43.480 --> 0:38:45.160
<v Speaker 4>he had he had a couple of beats, so he

0:38:45.239 --> 0:38:50.480
<v Speaker 4>sent the beats over and it just sounded like our

0:38:50.600 --> 0:38:53.800
<v Speaker 4>worlds of intertwined because it was very similar to me.

0:38:53.920 --> 0:38:56.759
<v Speaker 4>That song is quite similar and what we wrote over

0:38:56.840 --> 0:38:59.400
<v Speaker 4>the top of the beat was similar to what we

0:38:59.400 --> 0:39:01.480
<v Speaker 4>were doing on Tomnto, so which just fit in the

0:39:01.520 --> 0:39:05.040
<v Speaker 4>remit of what we're doing. I actually had some lyrics

0:39:05.200 --> 0:39:08.720
<v Speaker 4>for it that I ended up using on grounds because

0:39:08.760 --> 0:39:11.080
<v Speaker 4>he changed his lyrics for it. He wrote some lyrics

0:39:11.120 --> 0:39:13.880
<v Speaker 4>he didn't like. We wrote the music on top of

0:39:13.920 --> 0:39:17.440
<v Speaker 4>his beat in the studio in London, and then he

0:39:17.520 --> 0:39:20.239
<v Speaker 4>wrote his lyrics on top and then sent it back

0:39:20.280 --> 0:39:21.759
<v Speaker 4>to me because obviously I had to hook you know,

0:39:21.960 --> 0:39:23.959
<v Speaker 4>none of us are getting out of life for life.

0:39:23.960 --> 0:39:26.480
<v Speaker 4>So I was like, oh, sick, go use that, and

0:39:26.560 --> 0:39:30.400
<v Speaker 4>I kind of weaved myself into the song. So I

0:39:30.400 --> 0:39:33.680
<v Speaker 4>took the grounds lyrics and wrote the rest of the

0:39:33.680 --> 0:39:35.680
<v Speaker 4>song around it in the studio.

0:39:37.160 --> 0:39:39.800
<v Speaker 1>But yeah, I mean it was great. It's like working

0:39:39.800 --> 0:39:40.800
<v Speaker 1>with one of my heroes.

0:39:40.800 --> 0:39:45.640
<v Speaker 4>It's bizarre for a relief because he's a good guy. Yeah,

0:39:45.719 --> 0:39:50.279
<v Speaker 4>and he's aligned with his strengths as an artist. It's

0:39:50.320 --> 0:39:52.279
<v Speaker 4>like that's what it's like in real life, which is

0:39:52.280 --> 0:39:52.760
<v Speaker 4>a relief.

0:39:52.800 --> 0:39:53.440
<v Speaker 1>I think for me.

0:39:53.960 --> 0:39:56.080
<v Speaker 2>Was it an encouraging enough process to want to do

0:39:56.280 --> 0:39:59.640
<v Speaker 2>some more of that stuff in the future or what

0:39:59.719 --> 0:40:02.120
<v Speaker 2>kind of stuff, or just like contributing to other people's

0:40:02.160 --> 0:40:02.919
<v Speaker 2>records and.

0:40:02.920 --> 0:40:05.560
<v Speaker 4>Oh yeah, well I've done I've done a few now. Yeah,

0:40:05.600 --> 0:40:08.040
<v Speaker 4>I'll always do it. I'm like a yes guy, Okay,

0:40:08.160 --> 0:40:10.800
<v Speaker 4>as long as it's not shit, of course, or I'm busy.

0:40:11.640 --> 0:40:15.839
<v Speaker 4>The idols always comes first until it doesn't. But yeah,

0:40:15.880 --> 0:40:17.600
<v Speaker 4>I love it. I love it. I just I like

0:40:17.680 --> 0:40:20.799
<v Speaker 4>the challenge because what I would like to do is

0:40:20.880 --> 0:40:22.960
<v Speaker 4>to collaborate with different artists.

0:40:24.160 --> 0:40:27.080
<v Speaker 1>I've just done the recently. Actually that was very different.

0:40:26.760 --> 0:40:30.279
<v Speaker 4>To what people know me as, but it's still me,

0:40:31.160 --> 0:40:33.320
<v Speaker 4>and I feel like I should challenge myself for different

0:40:33.360 --> 0:40:39.960
<v Speaker 4>genres and and push my poeticism to a level where

0:40:40.160 --> 0:40:41.680
<v Speaker 4>I can do whatever the fuck I want.

0:40:42.400 --> 0:40:42.800
<v Speaker 1>I will.

0:40:43.040 --> 0:40:46.640
<v Speaker 2>Every idol's album has been a reaction to the work

0:40:46.680 --> 0:40:49.560
<v Speaker 2>that you've done before. How is Ultra Mono a reaction

0:40:49.719 --> 0:40:51.640
<v Speaker 2>to joy as an active resistance.

0:40:52.200 --> 0:40:55.239
<v Speaker 1>It's entirely a reaction to joys an active resistance.

0:40:56.080 --> 0:40:59.319
<v Speaker 4>Ultramono came as a realization I was out of just

0:40:59.400 --> 0:41:03.399
<v Speaker 4>in a relabhaps of alcohol and drugs. I was very

0:41:03.440 --> 0:41:06.920
<v Speaker 4>lost and sad and depressed and angry and stuff.

0:41:08.680 --> 0:41:10.440
<v Speaker 1>So I had to kind of regroup and started.

0:41:11.920 --> 0:41:15.719
<v Speaker 4>Ultra Monto is about the entirety of being in and

0:41:15.760 --> 0:41:20.480
<v Speaker 4>now in the present and self acceptance and being a

0:41:20.520 --> 0:41:23.600
<v Speaker 4>defense lawyer as well as the prosecution on your own

0:41:23.719 --> 0:41:30.560
<v Speaker 4>past and present and future and really truly, you know,

0:41:31.560 --> 0:41:34.800
<v Speaker 4>loving yourself in the moment. So with that in mind,

0:41:35.160 --> 0:41:37.920
<v Speaker 4>it was entire like it was written as a necessity

0:41:38.000 --> 0:41:42.920
<v Speaker 4>to progress and survive that time where so many voices

0:41:43.000 --> 0:41:46.600
<v Speaker 4>were reflecting on what Joy meant and who we were

0:41:46.640 --> 0:41:48.640
<v Speaker 4>as a band to them at that point, what the

0:41:48.719 --> 0:41:51.319
<v Speaker 4>album meant to them, whether it was good or not.

0:41:51.520 --> 0:41:54.239
<v Speaker 1>You know, there is such a thing. There isn't such

0:41:54.280 --> 0:41:56.000
<v Speaker 1>a thing. There's good art.

0:41:56.239 --> 0:42:01.080
<v Speaker 4>It's just it's concise art, and there's true, authentic art

0:42:01.560 --> 0:42:07.399
<v Speaker 4>and brilliant art, vibrant art, and we wanted to make

0:42:07.440 --> 0:42:12.120
<v Speaker 4>all of that be true and vibrant, brilliant, and for us,

0:42:12.160 --> 0:42:16.600
<v Speaker 4>that was at the time, learning to be as lucid, transparent,

0:42:16.760 --> 0:42:18.360
<v Speaker 4>present in the moment as possible.

0:42:20.200 --> 0:42:21.640
<v Speaker 1>Ultramno was the phrase we.

0:42:21.640 --> 0:42:25.600
<v Speaker 4>Came up with first, and then we worked towards that artistically,

0:42:25.800 --> 0:42:29.800
<v Speaker 4>and I worked towards that existentially therapeuticly.

0:42:30.880 --> 0:42:33.720
<v Speaker 2>Yeah. I mean, in the liner notes for the album,

0:42:33.800 --> 0:42:37.880
<v Speaker 2>you talk about how maybe you found yourself straying a

0:42:37.880 --> 0:42:41.400
<v Speaker 2>little bit away from not the vision or just the

0:42:41.440 --> 0:42:44.560
<v Speaker 2>path you wanted to be on, that some of those distractions,

0:42:45.080 --> 0:42:47.239
<v Speaker 2>external elements had found their way in. So how did

0:42:47.239 --> 0:42:51.920
<v Speaker 2>you what was your route to remaining present and focused?

0:42:52.920 --> 0:42:56.880
<v Speaker 4>Dissolution of ego, I guess because ego assumes it's about

0:42:57.080 --> 0:43:02.240
<v Speaker 4>this inflated self, but what it is really is relying

0:43:02.320 --> 0:43:05.120
<v Speaker 4>on other people's reaction to you and what you think

0:43:05.239 --> 0:43:09.640
<v Speaker 4>you are. Instead of just being good or bad, it's

0:43:09.719 --> 0:43:14.160
<v Speaker 4>just about being present. And yeah, it became a thing again,

0:43:14.400 --> 0:43:17.560
<v Speaker 4>like it does every time something we put out happens.

0:43:17.840 --> 0:43:20.720
<v Speaker 4>I'm so invested in our art and our music and lyrics.

0:43:21.640 --> 0:43:26.319
<v Speaker 4>People were slagging off the music, but it feels like

0:43:26.320 --> 0:43:29.759
<v Speaker 4>they're slagging me off and threatening my family. And it's

0:43:29.760 --> 0:43:32.120
<v Speaker 4>about separating yourself and that realizing it's bullshit.

0:43:32.120 --> 0:43:32.799
<v Speaker 1>It doesn't matter.

0:43:33.200 --> 0:43:36.200
<v Speaker 4>It's about the music being You can't be true and

0:43:36.239 --> 0:43:42.959
<v Speaker 4>be obsessed with other people's opinions too, don't correlate. So yeah,

0:43:43.000 --> 0:43:47.680
<v Speaker 4>I had to just realign, you know, regroup and being unified,

0:43:48.640 --> 0:43:52.760
<v Speaker 4>accept all parts of myself in the moment, it's true,

0:43:52.880 --> 0:43:54.279
<v Speaker 4>to be true and to carry on.

0:43:54.760 --> 0:43:56.880
<v Speaker 2>One thing I wanted to ask about is something that

0:43:56.880 --> 0:43:58.920
<v Speaker 2>you did. I don't remember if it was at the

0:43:58.960 --> 0:44:00.680
<v Speaker 2>start of this year and end of LAS you're the

0:44:00.719 --> 0:44:03.120
<v Speaker 2>talk the Q and atal where you're taking answer questions

0:44:03.120 --> 0:44:06.239
<v Speaker 2>and answers from people that attended the events, basically just

0:44:06.320 --> 0:44:09.360
<v Speaker 2>the people in the audience. How did you find that

0:44:09.400 --> 0:44:12.680
<v Speaker 2>experience in terms of the types of things that people

0:44:12.760 --> 0:44:14.719
<v Speaker 2>ask you. Effectively, people that are fans of the band,

0:44:14.719 --> 0:44:17.200
<v Speaker 2>they came along, they had the chance to ask you anything.

0:44:18.120 --> 0:44:20.480
<v Speaker 2>How is that different from the types of questions you

0:44:20.520 --> 0:44:23.080
<v Speaker 2>normally get asked in the sort of standard setups of

0:44:23.600 --> 0:44:26.200
<v Speaker 2>whether you're doing interviews for radio or TV or print

0:44:26.239 --> 0:44:28.920
<v Speaker 2>or whatever. To then open yourself up to the questioning

0:44:28.960 --> 0:44:32.000
<v Speaker 2>process of people who are fans of your band? Were

0:44:32.040 --> 0:44:34.680
<v Speaker 2>they different types of questions? Did you did you get

0:44:34.680 --> 0:44:36.680
<v Speaker 2>something else out of that doing that and that process.

0:44:37.160 --> 0:44:40.920
<v Speaker 4>Yeah, journalists wouldn't ever allow themselves to be vulnerable enough

0:44:40.960 --> 0:44:45.000
<v Speaker 4>to play the card of I don't know how this works.

0:44:45.040 --> 0:44:48.000
<v Speaker 4>How does it work? You know, that's not journalists do.

0:44:48.040 --> 0:44:51.560
<v Speaker 4>They're like for the sake of the reader. But people

0:44:51.600 --> 0:44:58.080
<v Speaker 4>are generally interested, and they're like, it's I don't know,

0:44:58.440 --> 0:45:00.879
<v Speaker 4>I don't know what the questions are. I can't really

0:45:00.920 --> 0:45:01.560
<v Speaker 4>remember them.

0:45:02.200 --> 0:45:04.280
<v Speaker 2>I was just wondering if it, like, basically something different

0:45:04.320 --> 0:45:05.919
<v Speaker 2>came out of that process and you were like, well,

0:45:05.960 --> 0:45:08.000
<v Speaker 2>I'm refreshed because I didn't normally get asked that type

0:45:08.000 --> 0:45:10.080
<v Speaker 2>of thing. I don't know, Maybe you didn't. Maybe they

0:45:10.120 --> 0:45:12.000
<v Speaker 2>were the types of thing you were used to being asked.

0:45:12.200 --> 0:45:14.759
<v Speaker 4>Yeah, they are pretty similar. It's just the tone of

0:45:14.800 --> 0:45:17.840
<v Speaker 4>the question is less.

0:45:18.320 --> 0:45:20.319
<v Speaker 1>Assertive. I don't know.

0:45:21.520 --> 0:45:24.319
<v Speaker 4>I genuinely can't remember any of the questions. I was

0:45:24.440 --> 0:45:28.400
<v Speaker 4>very like just present and you know, conversational. I don't

0:45:28.480 --> 0:45:31.279
<v Speaker 4>like to try to be as honest as possible, so

0:45:31.320 --> 0:45:33.920
<v Speaker 4>I don't really remember my answers. They're just like talking

0:45:33.920 --> 0:45:36.279
<v Speaker 4>to me in a room, do you know what I mean? Like,

0:45:36.320 --> 0:45:38.800
<v Speaker 4>I'm not going to fucking embellish anything or lie or

0:45:40.160 --> 0:45:43.320
<v Speaker 4>but it felt it felt really good. It felt really good.

0:45:44.200 --> 0:45:47.200
<v Speaker 4>Like I was worried that my ego would be inflated

0:45:47.239 --> 0:45:48.120
<v Speaker 4>and it would be all.

0:45:48.040 --> 0:45:51.160
<v Speaker 1>Like, so, Joe, how'd you write these amazing songs? But

0:45:51.200 --> 0:45:52.839
<v Speaker 1>it was none of that shit. But it was good.

0:45:53.040 --> 0:45:58.120
<v Speaker 1>My ego was was, if anything, deflated enough. It was good.

0:45:58.200 --> 0:46:00.680
<v Speaker 1>It was good. And hanging out with Adam gears or

0:46:00.719 --> 0:46:02.280
<v Speaker 1>so a huge privilege.

0:46:02.360 --> 0:46:04.920
<v Speaker 2>Yeah. I'm looking forward to the Creation film that's coming see.

0:46:05.239 --> 0:46:08.600
<v Speaker 4>Yeah, me too, because you know what you can see,

0:46:08.640 --> 0:46:11.120
<v Speaker 4>he's like, I think he's a lethal thinker.

0:46:11.200 --> 0:46:12.200
<v Speaker 1>It's the best way, you know.

0:46:12.280 --> 0:46:18.520
<v Speaker 4>It's like there's no fucking bullshit, but he's he knows

0:46:18.560 --> 0:46:21.319
<v Speaker 4>what he's doing. You know, those people that just don't

0:46:21.360 --> 0:46:24.400
<v Speaker 4>have to prove themselves but are very welcoming at the

0:46:24.400 --> 0:46:24.919
<v Speaker 4>same time.

0:46:25.200 --> 0:46:27.920
<v Speaker 1>Yea beautiful man, really cool sky.

0:46:28.360 --> 0:46:31.839
<v Speaker 2>Final question is about we talked a bit about, you know,

0:46:31.960 --> 0:46:35.560
<v Speaker 2>divorcing the aspect of ego from the art that you

0:46:35.680 --> 0:46:38.040
<v Speaker 2>create and just being in the band. Whether that's like

0:46:38.960 --> 0:46:41.880
<v Speaker 2>the reception of the album in terms of reviews or

0:46:42.719 --> 0:46:45.880
<v Speaker 2>guess things like sales and things like that looking upon

0:46:46.280 --> 0:46:48.440
<v Speaker 2>what's going to happen with Ultramno, how you measure the

0:46:48.440 --> 0:46:50.759
<v Speaker 2>success of that? How will you be pleased by that

0:46:51.160 --> 0:46:55.000
<v Speaker 2>being delivered to listeners or in a way just by

0:46:55.000 --> 0:46:56.520
<v Speaker 2>the fact that it's been created? Is it kind of

0:46:56.560 --> 0:46:58.840
<v Speaker 2>like that's done. I'm satisfied with it because it is

0:46:58.880 --> 0:46:59.279
<v Speaker 2>what it is.

0:46:59.600 --> 0:47:01.560
<v Speaker 4>Yeah, I mean, I think we made this album at

0:47:01.600 --> 0:47:04.080
<v Speaker 4>the perfect time in terms of COVID was going to

0:47:04.120 --> 0:47:07.719
<v Speaker 4>happen either way. So yes, we couldn't have made an

0:47:07.760 --> 0:47:12.239
<v Speaker 4>album about self belief at a better time. Because I

0:47:12.280 --> 0:47:14.279
<v Speaker 4>don't need anyone to tell me what this album is.

0:47:14.360 --> 0:47:19.560
<v Speaker 4>This album's brilliant album because it sounds and says exactly

0:47:19.600 --> 0:47:20.600
<v Speaker 4>what we set out to do.

0:47:20.640 --> 0:47:23.440
<v Speaker 1>A year ago. We started writing it.

0:47:23.600 --> 0:47:26.160
<v Speaker 4>I don't know when, but we wrote most of it

0:47:26.200 --> 0:47:29.320
<v Speaker 4>within three months, just before we went into the studio,

0:47:29.600 --> 0:47:31.560
<v Speaker 4>so we didn't have much time together in a room

0:47:31.600 --> 0:47:36.839
<v Speaker 4>because daughters and whatnot, and like it is exactly what

0:47:36.880 --> 0:47:39.920
<v Speaker 4>Baron and has set out to make. It sounds exactly

0:47:40.080 --> 0:47:44.759
<v Speaker 4>like I imagine it to sound, and my lyrics are as

0:47:44.880 --> 0:47:50.319
<v Speaker 4>potent and me as they should be and can be

0:47:50.840 --> 0:47:51.880
<v Speaker 4>it possibly can be.

0:47:53.200 --> 0:47:56.120
<v Speaker 1>So I'm really happy with it. That is our success.

0:47:56.840 --> 0:48:01.840
<v Speaker 4>But along the way I will I will pay attention

0:48:01.960 --> 0:48:05.040
<v Speaker 4>to things that the are barometers of success in terms

0:48:05.040 --> 0:48:08.239
<v Speaker 4>of everyone's knowledge of what that means. I'll probably know

0:48:08.360 --> 0:48:11.040
<v Speaker 4>more about record sales than I ever would have normally

0:48:11.040 --> 0:48:15.880
<v Speaker 4>because I'll just be taking and it's something as a measurement,

0:48:16.120 --> 0:48:17.960
<v Speaker 4>like what else do we have at the moment, But

0:48:18.120 --> 0:48:21.400
<v Speaker 4>like I'm because of this situation, I'm going to make

0:48:21.400 --> 0:48:25.360
<v Speaker 4>sure I pay less attention to that stuff as possible,

0:48:25.360 --> 0:48:27.279
<v Speaker 4>because I don't think it's healthy in any sense of

0:48:27.320 --> 0:48:27.680
<v Speaker 4>the word.

0:48:28.320 --> 0:48:31.200
<v Speaker 1>I just think it's like best like it is.

0:48:31.160 --> 0:48:34.319
<v Speaker 4>What it is like as far as I don't feel

0:48:34.360 --> 0:48:37.719
<v Speaker 4>pride on anything like that, but as far as happiness

0:48:37.719 --> 0:48:41.080
<v Speaker 4>and contentness with the album, I am fully at peace

0:48:41.120 --> 0:48:41.640
<v Speaker 4>with it.

0:48:43.120 --> 0:48:45.279
<v Speaker 1>Because it's brilliant.

0:48:53.040 --> 0:48:53.440
<v Speaker 3>Anyway.

0:48:53.760 --> 0:48:54.200
<v Speaker 1>Good Night,