WEBVTT - Ep 88: Caribou

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<v Speaker 1>As a woman in full labor, getting into a car

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<v Speaker 1>is not an easy feat or a comfortable thing at all.

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<v Speaker 2>Evening, everyone, Welcome to a new episode of the podcast

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<v Speaker 2>number eighty eight. You've not come here for Coronavirus Chat, obviously,

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<v Speaker 2>but simply to say a lot has happened in the

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<v Speaker 2>weeks since we started putting out the first few episodes

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<v Speaker 2>in this new series of midnight chats. No doubt with

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<v Speaker 2>many of you, your usual routines, including your podcast listening habits,

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<v Speaker 2>have been turned upside down by what's going on. We

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<v Speaker 2>just hope that whenever and wherever you're listening to this,

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<v Speaker 2>that you and those close to you are healthy and

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<v Speaker 2>staying connected. Hopefully this podcast can give you a brief

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<v Speaker 2>distraction from all that, and we'll keep them coming as

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<v Speaker 2>best we can. But on to tonight's guest, Dan Snaith,

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<v Speaker 2>a man who produces music under many guyses, but it's

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<v Speaker 2>best known as Ariboo. The chat you're about to hear

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<v Speaker 2>was recorded in the first week of February this year,

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<v Speaker 2>twenty twenty. Dan was kind enough to invite me around

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<v Speaker 2>to his house in North London. We wound our way

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<v Speaker 2>through his hallway and down a set of very narrow

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<v Speaker 2>stairs and into his basement studio where he works every

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<v Speaker 2>day and makes his music. You may or may not

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<v Speaker 2>pick this up on the recording. I can't remember if

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<v Speaker 2>I left it in, but part way through our conversation upstairs,

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<v Speaker 2>his young kids arrived back from school, and after we

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<v Speaker 2>recorded this, they were leaping about in his kitchen doing

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<v Speaker 2>a impromptu dance competition, which was a lot of fun,

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<v Speaker 2>and they were very sweet and very welcoming, as was

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<v Speaker 2>Dan himself. As many of you will know, Cariboo has

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<v Speaker 2>a new album out. It's available now and it's called Suddenly.

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<v Speaker 2>I recommend you check that out. Going into it, I

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<v Speaker 2>wasn't quite sure what to expect from the chat because

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<v Speaker 2>as a producer, Dan has a reputation as a real technician,

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<v Speaker 2>someone who takes very seriously his craft, and that's true.

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<v Speaker 2>But the guy I met was very warm and conversational

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<v Speaker 2>and deeply caring about his family and the major issues

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<v Speaker 2>affecting the wider world, and just great company. It doesn't

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<v Speaker 2>surprise me that he's really well liked within his community.

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<v Speaker 2>So let's get into this. Stay safe, support your loved

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<v Speaker 2>ones and your neighbors, and your favorite podcasts. This is

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<v Speaker 2>Caribou on episode eighty eight at midnight chats and a

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<v Speaker 2>quick reminder. As well as this podcast, we also make

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<v Speaker 2>a monthly independent music magazine. It's called Loud and Quiet,

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<v Speaker 2>and subscribing to that supports what we do and helps

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<v Speaker 2>fund this podcast. All the information is at loud and

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<v Speaker 2>Quiet dot com slash subscribe. In terms of just to

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<v Speaker 2>describe to listeners of exactly where we are. You've been

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<v Speaker 2>so kind as to let us record this in your

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<v Speaker 2>home studio. I can see an incredible amount of vinyl records.

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<v Speaker 2>How many do you reckon? You've got there?

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<v Speaker 1>Well, this is just there's something. They're also taking over

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<v Speaker 1>the living room upstairs. That's not all of it. No, no,

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<v Speaker 1>this isn't all of it. It's maybe a thousand records

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<v Speaker 1>or something, and then there's a couple more upstairs.

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<v Speaker 2>But we got over here.

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<v Speaker 1>Then we've got some Fender Roads and an Oberheim Obi

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<v Speaker 1>eight and a Juno one oh six synth modular synth

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<v Speaker 1>over there. There's like a kind of black curtain over here,

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<v Speaker 1>behind which there's a drum kit for drum recording, and

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<v Speaker 1>then a little use that as a vocal booth as well.

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<v Speaker 1>But it's worth saying that it's a mess. I would say,

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<v Speaker 1>at the moment, there's stuff everywhere, it's hard to find

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<v Speaker 1>a spot to put two chairs down here.

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<v Speaker 2>At the moment, can you tell me a little bit

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<v Speaker 2>about this space, and like how long you've been making

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<v Speaker 2>music in this room? How far does it go back?

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<v Speaker 2>And what did it used to be.

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<v Speaker 1>Yeah, So we moved into this house when just before

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<v Speaker 1>our first child was born, which is about eight and

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<v Speaker 1>a half years closer to nine years ago now, and

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<v Speaker 1>this room is this is it's a classic London terraced house.

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<v Speaker 1>And this was like a coal hole, you know, with

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<v Speaker 1>a you couldn't stand up in it. You could barely

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<v Speaker 1>stand up in it mud floor. But obviously when we

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<v Speaker 1>were looking for a place, I was like, I'd never

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<v Speaker 1>had a room that was like a studio in any sense,

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<v Speaker 1>Like this room at least now has sound proofed and

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<v Speaker 1>stuff like that. And so that was the thing we

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<v Speaker 1>were looking for. And so we moved in here and

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<v Speaker 1>converted this place with the help of some very able

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<v Speaker 1>bodied people who know how to build things. And I'm

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<v Speaker 1>not pretending that I did it myself. Let's put it

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<v Speaker 1>that way. Finished this little room down here and put

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<v Speaker 1>a bunch of gear in here and then made Our

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<v Speaker 1>Love and the new record suddenly in this room, and

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<v Speaker 1>I'm here every day.

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<v Speaker 2>I was gonna says, spent a lot of hours in here.

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<v Speaker 3>Oh yeah.

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<v Speaker 2>Given the fact that it's in the basement of your house,

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<v Speaker 2>how does that mean that your work life, if you like,

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<v Speaker 2>and your sort of home life interlink. I mean it's

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<v Speaker 2>literally you can sort of knit from having your breakfast

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<v Speaker 2>to coming downstairs. Like, how does that actually work on

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<v Speaker 2>a daily basis? What does your sort of routine that?

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<v Speaker 1>Like, those two parts of my life were completely inseparable

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<v Speaker 1>right there together, And wake up and take the kids,

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<v Speaker 1>get the kids fed, and take them to school, and

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<v Speaker 1>then I'm back down here. Kind of until I used

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<v Speaker 1>to work all hours, every day, all the time. Now

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<v Speaker 1>I work much more kind of nine to five and

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<v Speaker 1>then come up. You know, I just emerge from that.

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<v Speaker 1>My kids are used to be like popping out of

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<v Speaker 1>that door at the top of these little stairs from

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<v Speaker 1>the basement and being dad in dad mode until they're

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<v Speaker 1>in bed, and then maybe later when everybody else is

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<v Speaker 1>going to sleep in the house, I get back down

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<v Speaker 1>here for another few hours.

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<v Speaker 2>To sneak back down, Yeah, exact midnight like the equivons,

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<v Speaker 2>like a midnight face, but with just samples or something exactly.

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<v Speaker 3>I mean it is.

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<v Speaker 1>That's one thing I love about it is that it's here, available, ready,

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<v Speaker 1>whenever you know it's I don't have to think, Okay,

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<v Speaker 1>I'm going home for the day from a studio and

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<v Speaker 1>it's always here if I need to run down and

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<v Speaker 1>make a note of something or record something, or do

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<v Speaker 1>you know, it's right there.

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<v Speaker 2>When you're working on a project. Does it ever get

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<v Speaker 2>to consuming? Because I suppose the opposite argument that you know,

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<v Speaker 2>people work in different ways that they some people would

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<v Speaker 2>prefer to have a studio somewhere else that they the

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<v Speaker 2>moment they walk out the door, they kind of shut

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<v Speaker 2>the door and they're like, well, I'm coming back to

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<v Speaker 2>that tomorrow, whereas you're sort of like this is so accessible. Yeah,

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<v Speaker 2>it can be like I'm just gonna nit down and

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<v Speaker 2>just sort that. So, yeah, there's any kind of friction

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<v Speaker 2>those in that sense.

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<v Speaker 3>Yeah.

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<v Speaker 1>The I mean the thing that the risk would be

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<v Speaker 1>that you can never turn off, which is a kind

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<v Speaker 1>of contemporary not just in my line of work but

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<v Speaker 1>in everybody's work these days, is you're expected to be

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<v Speaker 1>available at all hours. But that used to be the

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<v Speaker 1>situation when before having kids, I was just it was

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<v Speaker 1>always there and I'd always disappear. Now I'm just have

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<v Speaker 1>developed the habit of delineating that those chunks of my

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<v Speaker 1>life more. For a couple of weeks working on this album,

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<v Speaker 1>Sam Floating Points was away on tour DJing, and he

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<v Speaker 1>was like Dan, like the studios. He's got a proper,

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<v Speaker 1>real amazing studio. You can see little videos of it

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<v Speaker 1>online and stuff. It's incredible and it's you know, a

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<v Speaker 1>dedicated space where you go and you open it up,

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<v Speaker 1>and you lock it up at the end of the

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<v Speaker 1>day and you go home. And I recorded in there

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<v Speaker 1>for a couple of weeks and it was really productive,

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<v Speaker 1>probably because he's got it's like a vintage synthesizer museum

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<v Speaker 1>in there, but also I did get a sense of that,

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<v Speaker 1>which I've never had a separate space. I've always worked

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<v Speaker 1>like from beside my bed, you know, in my bedroom

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<v Speaker 1>when I was a teenager and getting older, you know,

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<v Speaker 1>the same thing. Until we moved into this house and

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<v Speaker 1>I got a sense of that, Oh yeah, it can

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<v Speaker 1>be good too, because they're less distraction and things like

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<v Speaker 1>that as well, So you go there for a concentrated

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<v Speaker 1>period of time, but there's nothing else to do there.

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<v Speaker 3>You're just working all the time.

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<v Speaker 1>But in the end, I mean it's evident in the

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<v Speaker 1>music that I make, particularly on this album, my personal

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<v Speaker 1>life ends up in the music that I make. So

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<v Speaker 1>it makes sense for them to be alongside one another.

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<v Speaker 2>And even though we can see an awful lot of

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<v Speaker 2>music here today, all these fun and records that we've

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<v Speaker 2>already mentioned, you did have a bit of a clear

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<v Speaker 2>out this week. You took some took some music, and

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<v Speaker 2>you took some equipment down to your local ox VM shop. Yeah,

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<v Speaker 2>beyond the obvious reasons of that, being able to go

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<v Speaker 2>to a good cause and make some some money for charity. Yeah,

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<v Speaker 2>what do you like about doing that? Because you know,

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<v Speaker 2>it always seems to get a bit of traction when

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<v Speaker 2>it's like, oh, Carabow's left some some sort of gems

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<v Speaker 2>in the local charity shop. So what was it that

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<v Speaker 2>you like about doing that?

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<v Speaker 3>Yeah? I did it once before.

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<v Speaker 1>I just love's say, like, these record shelves look full,

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<v Speaker 1>but actually if I if I kind of grab them

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<v Speaker 1>and I pulled, there's like a good couple inches on

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<v Speaker 1>either of these, yea, and before there's look, there's even

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<v Speaker 1>like four or five inches spare down there. Before that

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<v Speaker 1>clear out, these was like wedged in here till it

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<v Speaker 1>was like a solid wall. You couldn't get a finger

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<v Speaker 1>in anywhere. So the ones upstairs there's actually more space.

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<v Speaker 1>It looks it doesn't look like I've had a clear out,

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<v Speaker 1>does it.

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<v Speaker 2>It's still looking pretty jammed. I've got to ask as well,

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<v Speaker 2>how do you how do you arrange your vinyl? Is

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<v Speaker 2>it via alphabetical? Is it genre?

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<v Speaker 3>Is it?

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<v Speaker 2>Is it any system?

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<v Speaker 1>Well, this is all It's like dance music, club music

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<v Speaker 1>up there, hip hop down here? These three this is

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<v Speaker 1>more experimental music. So upstairs is like jazz and rock,

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<v Speaker 1>and it's genre basically.

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<v Speaker 3>Yeah.

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<v Speaker 2>How often do you visit a vinyl record? You listen

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<v Speaker 2>to it every day? You like a couple times a week?

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<v Speaker 2>Do you never?

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<v Speaker 1>Like?

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<v Speaker 2>I mean, I find myself going through kind of periods, Well,

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<v Speaker 2>listen to it lots, and then maybe a couple of

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<v Speaker 2>weeks will go by, and then I'll won't listen untill

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<v Speaker 2>and then I'll go back again. Do you know what

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<v Speaker 2>I mean?

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<v Speaker 1>I mean, the honest answer at the moment and part

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<v Speaker 1>of the reason for the clear out was that barely ever.

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<v Speaker 1>You know, music's available to us all digitally, universally all

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<v Speaker 1>the time, and a lot of these records that I

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<v Speaker 1>really love I've ripped onto a digital file and that's

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<v Speaker 1>the way I'm going to sample them and manipulate them

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<v Speaker 1>as inside a computer. Eventually, I've got down to the

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<v Speaker 1>point where I'm just keeping the things that mean something

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<v Speaker 1>sentimental to me, which is still a lot. Once before,

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<v Speaker 1>I'd taken a pile of them to the same ox

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<v Speaker 1>vam without intending it to be a thing, just like

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<v Speaker 1>taking them in there, and they posted on social media like.

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<v Speaker 3>Hey, dance, just been in here, and they were.

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<v Speaker 1>Like we we're swamped, and so I was like, okay, well,

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<v Speaker 1>actually that seems to be a big part of what

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<v Speaker 1>I like about. You know, I've spent my whole life

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<v Speaker 1>learning about music, accumulating music that I like. And one

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<v Speaker 1>thing that I can do that seems nice and generous

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<v Speaker 1>and people appreciate it is like some kind of sharing it.

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<v Speaker 1>This obviously is like raising money for charity is the

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<v Speaker 1>other thing. But realizing that people have that connection with like, oh,

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<v Speaker 1>what's what and I get that I totally remember as

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<v Speaker 1>a kid, and even now, you know, oh, what's that

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<v Speaker 1>person been listening to that? If somebody who's music I'm

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<v Speaker 1>interested in. So this time I was like, okay, I'll

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<v Speaker 1>do a proper clear out, get a few one hundred

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<v Speaker 1>records together and take it down there all at once.

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<v Speaker 1>And yeah, apparently it was. It was very busy, busy yesterday.

0:10:46.559 --> 0:10:46.960
<v Speaker 3>It's good.

0:10:47.000 --> 0:10:48.240
<v Speaker 2>But there are a few bits of kit as well,

0:10:48.280 --> 0:10:51.320
<v Speaker 2>because is this something presumably you kind of like quite

0:10:51.679 --> 0:10:53.960
<v Speaker 2>like the idea that somebody picks a bit, picks a

0:10:53.960 --> 0:10:56.720
<v Speaker 2>bit of kit, plays around with it, maybe ends up

0:10:56.760 --> 0:10:59.720
<v Speaker 2>on somebody else's album one day, whoever they might be.

0:11:00.040 --> 0:11:01.959
<v Speaker 1>There were a few bits of equipment. I've done that before.

0:11:02.040 --> 0:11:03.960
<v Speaker 1>I've done it just on the eBay and things, you know,

0:11:04.080 --> 0:11:06.760
<v Speaker 1>just sold things. And I sold a little sampler that

0:11:06.800 --> 0:11:10.600
<v Speaker 1>we used to use on stage and I had forgotten

0:11:10.640 --> 0:11:12.760
<v Speaker 1>to like delete the samples off it, and the person

0:11:12.760 --> 0:11:15.720
<v Speaker 1>who bought it was just like, hey, I just arrived,

0:11:15.720 --> 0:11:18.680
<v Speaker 1>and by the way, are you Caribou because hit this button,

0:11:18.800 --> 0:11:21.400
<v Speaker 1>like a part of your record appears, you know, it's

0:11:21.480 --> 0:11:24.360
<v Speaker 1>things that we'd be triggering during the show. And I

0:11:24.440 --> 0:11:27.319
<v Speaker 1>was like, oh, yeah, I probably should have, but it's Yeah,

0:11:27.360 --> 0:11:29.760
<v Speaker 1>it's nice to feel that kind of sense of lineage

0:11:29.760 --> 0:11:33.160
<v Speaker 1>and you know, connection. I imagine people might like that.

0:11:33.520 --> 0:11:37.959
<v Speaker 1>I like that idea. For example, the last album Our

0:11:38.040 --> 0:11:41.560
<v Speaker 1>Love was mixed on Nigel Godrich's mixing desk, and like

0:11:41.600 --> 0:11:44.960
<v Speaker 1>that was amazing to think like it was from I

0:11:44.960 --> 0:11:47.880
<v Speaker 1>think it's called Ocean Way Studios and Los Angeles he

0:11:47.920 --> 0:11:50.240
<v Speaker 1>got it from. And to have that sense of like, whoa,

0:11:50.280 --> 0:11:53.480
<v Speaker 1>this has been so much amazing music's come through here,

0:11:53.559 --> 0:11:55.960
<v Speaker 1>and he's mixed so many amazing things on there in

0:11:56.000 --> 0:11:56.440
<v Speaker 1>this room.

0:11:56.480 --> 0:11:56.880
<v Speaker 3>You can see.

0:11:56.920 --> 0:12:00.640
<v Speaker 1>This is like not a kind of don't have that

0:12:00.679 --> 0:12:04.320
<v Speaker 1>thing of big grand studio equipment and stuff, but I

0:12:04.400 --> 0:12:04.840
<v Speaker 1>like that idea.

0:12:04.920 --> 0:12:07.320
<v Speaker 2>Yea, it's kind of appropriate that we're here recording this

0:12:07.320 --> 0:12:10.160
<v Speaker 2>podcast in your studio that's at home, because home is

0:12:10.200 --> 0:12:13.320
<v Speaker 2>a real like central theme to Suddenly, which is the

0:12:13.400 --> 0:12:17.520
<v Speaker 2>new Caribou album. Home and family and life and love

0:12:17.640 --> 0:12:20.319
<v Speaker 2>and loss and all those things. So just tell me

0:12:20.320 --> 0:12:22.880
<v Speaker 2>a little bit about how those elements those things is

0:12:22.920 --> 0:12:25.640
<v Speaker 2>everyday things Violes Moss make their way into your music.

0:12:25.720 --> 0:12:29.480
<v Speaker 1>Over the years, I've become comfortable having more and more

0:12:29.520 --> 0:12:31.760
<v Speaker 1>of that personal stuff end up in my music. It's

0:12:31.760 --> 0:12:36.560
<v Speaker 1>a requires some kind of degree of confidence to know

0:12:36.640 --> 0:12:38.640
<v Speaker 1>that people are going to hear those personal things about

0:12:38.640 --> 0:12:41.520
<v Speaker 1>my life and put them in the music. And this

0:12:41.800 --> 0:12:44.239
<v Speaker 1>in the past five years while I was making this record,

0:12:44.920 --> 0:12:47.920
<v Speaker 1>unlike previous times in my life, there are just so

0:12:48.040 --> 0:12:53.600
<v Speaker 1>many of these big, often quite difficult moments in my family.

0:12:53.920 --> 0:12:57.000
<v Speaker 1>Our love I was when we had our first daughter

0:12:57.040 --> 0:13:00.520
<v Speaker 1>in the kind of world seems new and everything's shiny

0:13:00.559 --> 0:13:04.400
<v Speaker 1>and rose tinted and everything it's kind of it's utopian feeling.

0:13:05.400 --> 0:13:07.959
<v Speaker 1>The last years while I was making this, there's been

0:13:08.160 --> 0:13:10.200
<v Speaker 1>loads of happiness. I don't want to make it sound

0:13:10.240 --> 0:13:13.680
<v Speaker 1>like it was all misery and difficulty, because it wasn't

0:13:13.720 --> 0:13:16.679
<v Speaker 1>at all. But the big things that shaped like that

0:13:16.880 --> 0:13:20.880
<v Speaker 1>kind of brought our family together. Unfortunately, a lot of

0:13:20.880 --> 0:13:26.520
<v Speaker 1>them were difficult things, like my wife's family. There's a

0:13:26.600 --> 0:13:29.319
<v Speaker 1>death of somebody with a heart attack not much older

0:13:29.320 --> 0:13:33.400
<v Speaker 1>than me, and and then that catalyzed a divorce, and

0:13:33.440 --> 0:13:36.080
<v Speaker 1>so her family was My wife and I've been together

0:13:36.120 --> 0:13:39.280
<v Speaker 1>for twenty years. You saw our nieces living with us

0:13:39.400 --> 0:13:42.600
<v Speaker 1>in this house, so I'm you know, I'm there as

0:13:42.640 --> 0:13:45.600
<v Speaker 1>close as my family. There's no distinction really, and that

0:13:45.760 --> 0:13:49.600
<v Speaker 1>just like Rocked the kind of foundations of all of us,

0:13:50.000 --> 0:13:55.040
<v Speaker 1>and particularly ended up being I ended up myself and

0:13:55.080 --> 0:13:57.160
<v Speaker 1>my wife ended up in the situation of having to

0:13:57.200 --> 0:13:59.959
<v Speaker 1>support people that were even closer to these things than

0:14:00.600 --> 0:14:01.200
<v Speaker 1>than we were.

0:14:01.559 --> 0:14:03.520
<v Speaker 3>And I think the music helps.

0:14:03.640 --> 0:14:05.920
<v Speaker 1>Some of the songs are like a you know, a letter,

0:14:06.480 --> 0:14:10.480
<v Speaker 1>a tribute directly to the There's the song New Jade

0:14:10.559 --> 0:14:13.560
<v Speaker 1>is like a tribute to the to my wife's sister

0:14:13.600 --> 0:14:17.319
<v Speaker 1>who went to escape this toxic marriage that she'd been

0:14:17.320 --> 0:14:20.720
<v Speaker 1>in for decades and was so strong and brave and

0:14:20.760 --> 0:14:23.240
<v Speaker 1>resilient in doing that, and I wanted to, like, you know,

0:14:24.440 --> 0:14:29.040
<v Speaker 1>pay tribute to her and capture that. And so yeah,

0:14:29.320 --> 0:14:32.120
<v Speaker 1>it would have been very, very strange had these things

0:14:32.120 --> 0:14:34.640
<v Speaker 1>which like shaped my life not been on this record,

0:14:34.680 --> 0:14:37.480
<v Speaker 1>you know, I'd be like looking back and thinking it

0:14:37.480 --> 0:14:39.760
<v Speaker 1>doesn't represent what was happening in my life at that time.

0:14:39.840 --> 0:14:42.080
<v Speaker 2>And some of the songs on the album are not

0:14:42.160 --> 0:14:45.040
<v Speaker 2>just kind of like first person perspective your thoughts on

0:14:45.040 --> 0:14:48.480
<v Speaker 2>those situations, but almost kind of imagine through the eyes

0:14:48.480 --> 0:14:49.120
<v Speaker 2>of those people.

0:14:49.160 --> 0:14:50.800
<v Speaker 3>Is that right? Yep, that's true that it.

0:14:50.760 --> 0:14:52.920
<v Speaker 2>Comes from your natural empathy around the situations with your

0:14:52.960 --> 0:14:54.040
<v Speaker 2>family members.

0:14:53.840 --> 0:14:59.080
<v Speaker 1>That role of being supportive and comforting or empathizing or

0:14:59.400 --> 0:15:02.560
<v Speaker 1>you know, and then also processing it myself. All of

0:15:02.560 --> 0:15:05.320
<v Speaker 1>those things are kind of happening together, you know, and

0:15:05.320 --> 0:15:09.120
<v Speaker 1>that's what the music allows me. And on all these

0:15:09.120 --> 0:15:12.120
<v Speaker 1>difficult things in the record, I think it still sounds

0:15:12.200 --> 0:15:14.840
<v Speaker 1>quite there's kind of melancholy elements in it, but it

0:15:14.920 --> 0:15:19.200
<v Speaker 1>still sounds quite affirming and positive. It was about finding

0:15:19.560 --> 0:15:23.720
<v Speaker 1>something to give comfort, to be some positive in some

0:15:23.760 --> 0:15:26.160
<v Speaker 1>sense out of it, and the music does that for

0:15:26.240 --> 0:15:26.760
<v Speaker 1>me as well.

0:15:26.800 --> 0:15:27.000
<v Speaker 3>You know.

0:15:27.040 --> 0:15:29.680
<v Speaker 1>It's like it's a way of processing difficult things and

0:15:29.720 --> 0:15:34.120
<v Speaker 1>making something constructive or even sometimes joyous out of it,

0:15:34.160 --> 0:15:38.760
<v Speaker 1>you know, making those difficult things work in some way.

0:15:38.920 --> 0:15:40.920
<v Speaker 2>Do you think music kind of plays almost like a

0:15:40.960 --> 0:15:44.920
<v Speaker 2>sort of meditative role when something something big happens in

0:15:44.960 --> 0:15:47.320
<v Speaker 2>your life, something you weren't expecting, whether that's the loss

0:15:47.320 --> 0:15:50.560
<v Speaker 2>of somebody or whatever, it might be, big change. Some

0:15:50.600 --> 0:15:53.480
<v Speaker 2>people kind of find sort this in like doing some exercise,

0:15:53.600 --> 0:15:56.200
<v Speaker 2>like maybe going for a walk, like get some fresh air,

0:15:56.320 --> 0:15:58.400
<v Speaker 2>whatever it might be. If you come to understand music,

0:15:58.520 --> 0:16:00.440
<v Speaker 2>is it playing in almost this sort of like a

0:16:00.480 --> 0:16:04.120
<v Speaker 2>therapeutic like meditative For sure, you poscess in your own

0:16:04.200 --> 0:16:04.880
<v Speaker 2>thoughts something.

0:16:04.760 --> 0:16:07.600
<v Speaker 3>Absolutely, Yeah, for sure. And I mean another way, it.

0:16:07.560 --> 0:16:11.000
<v Speaker 1>Just occurred to me, like people will rely on other

0:16:11.120 --> 0:16:15.240
<v Speaker 1>people's music to process things, you know, when they're going

0:16:15.240 --> 0:16:17.040
<v Speaker 1>through a difficult time. People have told me that about

0:16:17.040 --> 0:16:19.520
<v Speaker 1>other music that I've made, or you know, I know

0:16:19.600 --> 0:16:23.560
<v Speaker 1>other musicians who've or just friends who've relied on a

0:16:23.600 --> 0:16:26.400
<v Speaker 1>record to help them with that. And but my impulse

0:16:26.600 --> 0:16:28.840
<v Speaker 1>in that kind of situation is to make the music

0:16:28.920 --> 0:16:30.520
<v Speaker 1>that feels like it'll do.

0:16:30.560 --> 0:16:30.880
<v Speaker 3>That to me.

0:16:31.560 --> 0:16:34.960
<v Speaker 2>Okay, it's some footsteps upstairs, Yeah, your kids, if I

0:16:35.040 --> 0:16:35.800
<v Speaker 2>back from school.

0:16:35.920 --> 0:16:39.040
<v Speaker 1>Yeah, it's that time. It's three forty five. The tiny

0:16:39.040 --> 0:16:41.120
<v Speaker 1>feet are running over the floors above us.

0:16:41.160 --> 0:16:42.400
<v Speaker 2>How they spend the next few hours.

0:16:42.400 --> 0:16:44.800
<v Speaker 1>So they're very different in ages. An eight year old

0:16:44.800 --> 0:16:46.960
<v Speaker 1>and there's a three year old. The eight year old

0:16:47.000 --> 0:16:50.000
<v Speaker 1>now just wants she's a real writer. She'll just spend

0:16:50.000 --> 0:16:53.280
<v Speaker 1>her time writing and creating all these projects herself. She's

0:16:53.320 --> 0:16:57.920
<v Speaker 1>really like invested in environmental action as well, which is

0:16:58.040 --> 0:17:01.840
<v Speaker 1>I mean, is a thing for kids these days, right unfortunately,

0:17:01.880 --> 0:17:06.240
<v Speaker 1>because we've left them in the scenario where that's relevant.

0:17:06.320 --> 0:17:08.280
<v Speaker 1>So yeah, she's really focused in that way, which is

0:17:08.320 --> 0:17:09.280
<v Speaker 1>remarkable to see.

0:17:09.560 --> 0:17:10.200
<v Speaker 3>The three year old.

0:17:10.240 --> 0:17:13.520
<v Speaker 1>It's just like a ball of fun and trouble and energy.

0:17:13.600 --> 0:17:17.800
<v Speaker 1>So yeah, they have very different moods modes that they're

0:17:18.160 --> 0:17:21.440
<v Speaker 1>they're after school takes. Yeah, but they're both sociable kids,

0:17:21.480 --> 0:17:24.320
<v Speaker 1>so that often there's like often it's those that sounded

0:17:24.440 --> 0:17:26.520
<v Speaker 1>just like the two of them, But often it's like

0:17:26.680 --> 0:17:29.119
<v Speaker 1>ten kids come plowing into the house after.

0:17:29.320 --> 0:17:30.480
<v Speaker 2>Off of the classes coming back.

0:17:30.640 --> 0:17:33.400
<v Speaker 1>Yeah, which is it feels so nice and it's really

0:17:33.480 --> 0:17:35.480
<v Speaker 1>really nice to have that kind of a house where

0:17:35.520 --> 0:17:37.920
<v Speaker 1>it's like the doors are open all the time, people

0:17:37.960 --> 0:17:38.640
<v Speaker 1>are coming and going.

0:17:39.000 --> 0:17:39.480
<v Speaker 3>It lives.

0:17:39.760 --> 0:17:41.280
<v Speaker 1>This neighborhood we live in is kind of like a

0:17:41.280 --> 0:17:45.159
<v Speaker 1>bit of a sesame street. Maybe it's not a British

0:17:45.200 --> 0:17:49.120
<v Speaker 1>appropriate reference, but like definitely we get that. You know everybody,

0:17:49.560 --> 0:17:51.200
<v Speaker 1>We know every You can't I can't walk out of

0:17:51.240 --> 0:17:53.560
<v Speaker 1>the house without like saying hello to five different people,

0:17:53.600 --> 0:17:54.520
<v Speaker 1>which is really nice.

0:17:54.640 --> 0:17:56.200
<v Speaker 2>Before we talk a little bit more about suddenly, I

0:17:56.240 --> 0:17:58.639
<v Speaker 2>guess I suppose we should wind back a little bit.

0:17:58.680 --> 0:18:01.800
<v Speaker 2>We talked about our in that period we were to

0:18:01.840 --> 0:18:04.399
<v Speaker 2>look back to sort of twenty fourteen twenty fifteen, and

0:18:04.440 --> 0:18:07.760
<v Speaker 2>like the music that you'd made, that record took you

0:18:07.840 --> 0:18:10.119
<v Speaker 2>all over the world. The biggest stages you ever played

0:18:10.160 --> 0:18:13.360
<v Speaker 2>the biggest song that you've ever released, Like, coming off

0:18:13.400 --> 0:18:16.120
<v Speaker 2>the back of that, what were your initial thoughts going

0:18:16.160 --> 0:18:19.679
<v Speaker 2>into the process of starting to write new material. Did

0:18:19.720 --> 0:18:23.199
<v Speaker 2>any extra thoughts, any extra baggage, any extra pressure come

0:18:23.240 --> 0:18:23.800
<v Speaker 2>with any of that?

0:18:24.200 --> 0:18:26.240
<v Speaker 3>It was all really affirming. You know.

0:18:26.359 --> 0:18:29.240
<v Speaker 1>I kind of made Our Love as a I mean,

0:18:29.320 --> 0:18:31.399
<v Speaker 1>Swim had seemed like a big step up for me,

0:18:32.280 --> 0:18:33.960
<v Speaker 1>and I made Our Love as a kind of thank

0:18:34.000 --> 0:18:37.520
<v Speaker 1>you and to share directly with the people who my

0:18:37.600 --> 0:18:40.040
<v Speaker 1>music had kind of connected to. And it kind of

0:18:40.080 --> 0:18:42.399
<v Speaker 1>lived up to that potential. You know, it can't do

0:18:42.480 --> 0:18:44.919
<v Speaker 1>without you. When I was making it, I was already

0:18:44.920 --> 0:18:47.960
<v Speaker 1>picture playing at Glastonbury or playing it wherever, and it

0:18:48.080 --> 0:18:51.560
<v Speaker 1>had exactly that kind of life, which is so wonderful.

0:18:51.600 --> 0:18:54.160
<v Speaker 1>I mean, when I'm so fortunate to get to play

0:18:54.800 --> 0:18:56.840
<v Speaker 1>the shows that we get to play, and travel around

0:18:56.880 --> 0:19:00.800
<v Speaker 1>and share that music, have my music mean something to people,

0:19:00.840 --> 0:19:03.920
<v Speaker 1>that's such a fortunate thing that I don't I don't

0:19:03.960 --> 0:19:05.480
<v Speaker 1>lose sight of or take for granted.

0:19:05.640 --> 0:19:08.119
<v Speaker 3>So that's what that album was all about.

0:19:08.160 --> 0:19:12.240
<v Speaker 1>But then I also realized, like, okay, you know, I always,

0:19:12.520 --> 0:19:14.320
<v Speaker 1>to some degree think of myself as.

0:19:14.200 --> 0:19:16.080
<v Speaker 3>Like musical weirdo or outsider.

0:19:16.200 --> 0:19:20.600
<v Speaker 1>You know, I'm never going to make bona fide pop music,

0:19:20.840 --> 0:19:24.600
<v Speaker 1>you know, really popular pop music. I was like, I

0:19:24.640 --> 0:19:27.280
<v Speaker 1>can't just keep chasing that thing. I can't try and

0:19:27.320 --> 0:19:29.359
<v Speaker 1>make another can't do it that you are like top,

0:19:29.520 --> 0:19:32.960
<v Speaker 1>you know, take it up to another level every single time.

0:19:33.000 --> 0:19:36.920
<v Speaker 1>That's not a sustainable, sensible thing to do, and that

0:19:37.359 --> 0:19:41.359
<v Speaker 1>will be frustrating and drive me crazy. So instead it

0:19:41.440 --> 0:19:44.280
<v Speaker 1>was like, well, you know, people have been very generous

0:19:44.320 --> 0:19:49.160
<v Speaker 1>in the past with following my weird trajectory through different genres,

0:19:49.160 --> 0:19:56.080
<v Speaker 1>different styles, music that's quite unusual or idiosyncratic, eccentric at times,

0:19:56.640 --> 0:19:58.240
<v Speaker 1>So I don't need to be afraid of that, you know.

0:19:58.280 --> 0:20:00.280
<v Speaker 1>I think that's that's kind of the thinking that you

0:20:00.280 --> 0:20:03.200
<v Speaker 1>can get into when things have gone well. You can think, okay,

0:20:03.200 --> 0:20:06.760
<v Speaker 1>I'd better not take any risks because that's not what

0:20:06.800 --> 0:20:09.960
<v Speaker 1>people want from me. They you know, that'll ruin everything.

0:20:10.520 --> 0:20:12.479
<v Speaker 1>But I was like, no, I'm not sure that's true,

0:20:12.520 --> 0:20:14.919
<v Speaker 1>and particularly like I feel like we live in a

0:20:15.000 --> 0:20:18.760
<v Speaker 1>time when there's so much music everywhere that the music

0:20:18.800 --> 0:20:21.719
<v Speaker 1>that actually connects with people and has a life is

0:20:21.760 --> 0:20:24.560
<v Speaker 1>the music that stands out or is different or has

0:20:24.680 --> 0:20:27.880
<v Speaker 1>presents like things from a slightly different angle or lens.

0:20:27.960 --> 0:20:30.280
<v Speaker 1>So it was kind of like, I feel like I

0:20:30.320 --> 0:20:32.080
<v Speaker 1>don't need to worry about those things, and I didn't

0:20:32.119 --> 0:20:35.000
<v Speaker 1>really worry about it. Instead, it kind of gave me

0:20:35.800 --> 0:20:41.280
<v Speaker 1>a kind of impetus to highlight those idiosyncrasies and eccentricities

0:20:41.280 --> 0:20:43.760
<v Speaker 1>in the music, which I think you hear in the

0:20:43.840 --> 0:20:47.359
<v Speaker 1>kind of way that the songs will take drastic left turns,

0:20:47.359 --> 0:20:50.240
<v Speaker 1>it will be a genre shift halfway through a song,

0:20:50.320 --> 0:20:52.719
<v Speaker 1>or the bottom feel like the floor dropped out from

0:20:52.800 --> 0:20:54.919
<v Speaker 1>underneath you in a different You'll be in a different

0:20:54.920 --> 0:20:57.480
<v Speaker 1>world all of a sudden, And that felt exciting and

0:20:57.520 --> 0:20:59.439
<v Speaker 1>different to me. That's not been something that's really been

0:20:59.520 --> 0:21:02.359
<v Speaker 1>on my pre records, and just from a kind of

0:21:02.359 --> 0:21:08.560
<v Speaker 1>producer's self, in my very particular perspective, I always want

0:21:08.600 --> 0:21:10.959
<v Speaker 1>to feel like I'm doing something different. I don't want

0:21:10.960 --> 0:21:14.199
<v Speaker 1>to feel like I'm treading over the same territory.

0:21:13.840 --> 0:21:15.560
<v Speaker 2>The space was sat in now. I mean it's not

0:21:15.600 --> 0:21:17.240
<v Speaker 2>a big space. There's a lot of stuff in here.

0:21:17.880 --> 0:21:20.160
<v Speaker 2>So like what I'm imagining is that actual you're working

0:21:20.200 --> 0:21:23.919
<v Speaker 2>on music is a fairly kind of solitary experience. So

0:21:24.200 --> 0:21:27.120
<v Speaker 2>who are the people who are your sounding boards through

0:21:27.160 --> 0:21:30.040
<v Speaker 2>the process of creating suddenly, because like you say, you

0:21:30.080 --> 0:21:33.880
<v Speaker 2>have tried a few different things, so presumably it's various stages.

0:21:34.240 --> 0:21:36.639
<v Speaker 2>You wanted to say to people, I've done something a

0:21:36.680 --> 0:21:38.720
<v Speaker 2>bit different here. What do you think of this? This

0:21:38.800 --> 0:21:40.719
<v Speaker 2>is not my you know, I've not done this before,

0:21:40.840 --> 0:21:43.159
<v Speaker 2>or you wanted just to seek those little bits of

0:21:43.200 --> 0:21:45.320
<v Speaker 2>feedback or reassurance or whatever it might be.

0:21:45.440 --> 0:21:49.959
<v Speaker 1>Yeah, it's my wife and Kieran a fortet and you

0:21:49.960 --> 0:21:52.960
<v Speaker 1>know I make so much music, and I make so

0:21:53.040 --> 0:21:56.399
<v Speaker 1>I made nine hundred and something draft ideas for this album,

0:21:56.400 --> 0:22:00.480
<v Speaker 1>which is just a crazy stupid I mean, it's like

0:22:00.640 --> 0:22:04.800
<v Speaker 1>it's almost like somebody I should be referred to, you know, psychotherapist.

0:22:05.200 --> 0:22:07.520
<v Speaker 1>So when you hear that number. But I make that

0:22:07.600 --> 0:22:09.800
<v Speaker 1>music because I enjoy making it, and I make it

0:22:09.840 --> 0:22:13.000
<v Speaker 1>without any pressure or critical thinking.

0:22:12.640 --> 0:22:14.800
<v Speaker 3>About is this good? Is as bad? Is it fit

0:22:14.840 --> 0:22:15.679
<v Speaker 3>on the record? Is it not?

0:22:16.000 --> 0:22:18.359
<v Speaker 1>I just make it, tinkering around the same way that

0:22:18.400 --> 0:22:21.000
<v Speaker 1>I've always done since I was a teenager. It's just

0:22:21.040 --> 0:22:23.240
<v Speaker 1>a part of my life that I enjoy like I

0:22:23.280 --> 0:22:27.480
<v Speaker 1>can't imagine being without. In that respect, it doesn't matter

0:22:27.520 --> 0:22:30.399
<v Speaker 1>to me that ninety nine percent. I mean, yeah, you know,

0:22:30.520 --> 0:22:33.920
<v Speaker 1>like the vast majority of this stuff will never see

0:22:33.960 --> 0:22:37.040
<v Speaker 1>the light of day. But then there are definitely there

0:22:37.040 --> 0:22:39.760
<v Speaker 1>are definitely some that I'm the vast majority that I

0:22:39.800 --> 0:22:42.119
<v Speaker 1>make are like Okay, that doesn't add anything to anything.

0:22:42.160 --> 0:22:44.040
<v Speaker 3>It's just like it was fun to do. But nobody

0:22:44.080 --> 0:22:45.879
<v Speaker 3>ever needs to hear that. Fine.

0:22:46.680 --> 0:22:50.000
<v Speaker 1>Then there's a bunch that I like, feel pretty confident about,

0:22:50.040 --> 0:22:52.159
<v Speaker 1>and then there's ones that I there's also ones that

0:22:52.160 --> 0:22:55.920
<v Speaker 1>I like, you say, they are something different, there's something unusual,

0:22:56.560 --> 0:22:59.960
<v Speaker 1>they are more of a risk or more of something.

0:23:00.160 --> 0:23:06.439
<v Speaker 1>And having my wife and Kieran hear those and then

0:23:07.119 --> 0:23:10.359
<v Speaker 1>they're both brutally honest with me, you know, they'll they'll

0:23:10.400 --> 0:23:13.600
<v Speaker 1>be that's important. That's really important for me because I'm

0:23:13.640 --> 0:23:16.199
<v Speaker 1>so close to it. I need that perspective. And there

0:23:16.240 --> 0:23:18.760
<v Speaker 1>are times when I'm super excited about something and they'll

0:23:18.800 --> 0:23:20.640
<v Speaker 1>just be like, no, sorry.

0:23:20.480 --> 0:23:24.240
<v Speaker 2>This is this isn't this isn't particularly, But when it

0:23:24.240 --> 0:23:25.400
<v Speaker 2>comes to your wife, then is.

0:23:25.400 --> 0:23:26.680
<v Speaker 3>Oh yeah, oh totally.

0:23:27.480 --> 0:23:30.959
<v Speaker 1>She's she can be exactly as she should be. You know,

0:23:31.320 --> 0:23:33.040
<v Speaker 1>it means she cares about what I'm doing. You know,

0:23:33.040 --> 0:23:37.399
<v Speaker 1>it's not letting things just slide. But it can be

0:23:37.440 --> 0:23:38.640
<v Speaker 1>difficult to hear for sure.

0:23:38.760 --> 0:23:41.320
<v Speaker 2>What about we've already mentioned your two daughters. Do they

0:23:41.400 --> 0:23:43.280
<v Speaker 2>take an interest in what you do? Do they come

0:23:43.320 --> 0:23:45.399
<v Speaker 2>down to the studio listen to the music because you're

0:23:45.440 --> 0:23:47.879
<v Speaker 2>making it? If they kind of particularly older daughter perhaps

0:23:47.880 --> 0:23:50.360
<v Speaker 2>like she's been kind of bitten by like the music bug.

0:23:50.480 --> 0:23:52.840
<v Speaker 1>So the three year old comes and sits in that

0:23:52.920 --> 0:23:54.920
<v Speaker 1>chair that you're in right now and ask me to

0:23:54.960 --> 0:23:57.000
<v Speaker 1>swivel her around. It's like a spinning chair would be

0:23:57.040 --> 0:23:57.520
<v Speaker 1>quite fun.

0:23:57.560 --> 0:23:58.240
<v Speaker 3>That's her thing.

0:23:58.680 --> 0:24:00.600
<v Speaker 1>The eight year old does I just want to hear

0:24:00.600 --> 0:24:03.960
<v Speaker 1>it now, and does kind of understand the whole idea,

0:24:04.040 --> 0:24:06.560
<v Speaker 1>you know, like gets that I'm going to release an

0:24:06.560 --> 0:24:08.800
<v Speaker 1>album and then I'm going to go on tour and

0:24:08.800 --> 0:24:11.119
<v Speaker 1>I'm going to play at festivals, and she's probably gonna

0:24:11.119 --> 0:24:13.280
<v Speaker 1>come and see some shows and et cetera, et cetera,

0:24:13.720 --> 0:24:15.919
<v Speaker 1>and that you know that it came out of me

0:24:16.040 --> 0:24:18.240
<v Speaker 1>being really into music as a kid and playing the

0:24:18.240 --> 0:24:19.320
<v Speaker 1>piano lots and this.

0:24:19.600 --> 0:24:22.000
<v Speaker 3>Gradually she kind of gets the whole picture to.

0:24:21.960 --> 0:24:26.800
<v Speaker 1>Some degree, well just surprisingly complete degree, probably because she's

0:24:26.840 --> 0:24:29.760
<v Speaker 1>so so commonplace in her life. There was a great

0:24:29.800 --> 0:24:32.359
<v Speaker 1>moment I can't remember the exact wording. But there was

0:24:32.400 --> 0:24:36.840
<v Speaker 1>a time when she was like describing you know, like, yeah,

0:24:37.119 --> 0:24:39.880
<v Speaker 1>what you know people end up with like a normal

0:24:40.000 --> 0:24:43.400
<v Speaker 1>job like musician or et cetera. We were like, hang

0:24:43.440 --> 0:24:46.280
<v Speaker 1>on a minute, Like the musician isn't really a normal

0:24:46.359 --> 0:24:48.399
<v Speaker 1>I mean it's fortunately there's lots of people to do it,

0:24:48.440 --> 0:24:50.159
<v Speaker 1>but it's not like what people think of as a

0:24:50.200 --> 0:24:53.480
<v Speaker 1>normal job. But she's so inside that world where obviously

0:24:53.480 --> 0:24:55.800
<v Speaker 1>I have lots of friends that are musicians as well. Yeah,

0:24:56.040 --> 0:24:58.480
<v Speaker 1>she really wanted to hear this album and gave it

0:24:58.520 --> 0:25:01.280
<v Speaker 1>a good, good listen and thought and she said to

0:25:01.280 --> 0:25:04.320
<v Speaker 1>me very seriously, like, Dad, I think Home is going

0:25:04.359 --> 0:25:06.920
<v Speaker 1>to be the most popular thing you've ever done.

0:25:06.800 --> 0:25:09.360
<v Speaker 3>Which is I was like, great that come from yeah,

0:25:09.359 --> 0:25:11.160
<v Speaker 3>having great approval.

0:25:11.359 --> 0:25:14.840
<v Speaker 1>Yeah, and she she plays piano. She comes down here

0:25:14.840 --> 0:25:17.720
<v Speaker 1>and plays these drums. Sometimes. One thing I'm cautious about,

0:25:18.320 --> 0:25:21.360
<v Speaker 1>and it's not where I come from at all, the

0:25:21.440 --> 0:25:24.600
<v Speaker 1>like kind of having music force, Like I love music,

0:25:24.640 --> 0:25:25.760
<v Speaker 1>so you've got to love music.

0:25:26.080 --> 0:25:26.520
<v Speaker 3>I don't.

0:25:26.680 --> 0:25:29.560
<v Speaker 1>It's I mean, it's everywhere, so if they want it,

0:25:29.640 --> 0:25:32.520
<v Speaker 1>they it's available to them. But I never had that

0:25:32.560 --> 0:25:34.320
<v Speaker 1>and I don't want that to be the way they

0:25:34.440 --> 0:25:35.040
<v Speaker 1>get into it.

0:25:35.040 --> 0:25:38.840
<v Speaker 2>It's like this little pushy dad socker coach thing, isn't

0:25:38.840 --> 0:25:41.800
<v Speaker 2>it just being like you will do this thing, like yeah,

0:25:41.840 --> 0:25:44.000
<v Speaker 2>you kind of am good to maybe resist that.

0:25:44.080 --> 0:25:45.720
<v Speaker 3>Totally back to whatever they get to do.

0:25:45.960 --> 0:25:53.080
<v Speaker 2>Absolutely, Yeah, I mean we talked a bit about some

0:25:53.160 --> 0:25:56.480
<v Speaker 2>of the loss unfortunately that went into the making of

0:25:56.520 --> 0:25:58.800
<v Speaker 2>this album. But obviously your second daughter was born during

0:25:58.840 --> 0:26:01.159
<v Speaker 2>the making of this record as well, I'll say, and

0:26:01.160 --> 0:26:03.679
<v Speaker 2>from what I've read, that was quite an eventful experience.

0:26:03.760 --> 0:26:07.639
<v Speaker 1>Yeah, so that was another sudden development in a different

0:26:07.720 --> 0:26:10.800
<v Speaker 1>kind of way. She was born on the Caledonian Road,

0:26:10.840 --> 0:26:14.200
<v Speaker 1>I mean literally onto the onto the road we were.

0:26:14.440 --> 0:26:17.080
<v Speaker 1>We don't have a car, so we were headed towards

0:26:17.720 --> 0:26:23.840
<v Speaker 1>hospital in Houston, uh and my wife was in labor

0:26:23.880 --> 0:26:27.040
<v Speaker 1>and it was like we'd made a plan that to

0:26:27.080 --> 0:26:29.320
<v Speaker 1>have a dula like this woman who's a midwife at

0:26:29.320 --> 0:26:30.840
<v Speaker 1>a hospital, but then she was going to come and

0:26:31.960 --> 0:26:34.480
<v Speaker 1>assist us, but also drive us to the hospital. That

0:26:34.560 --> 0:26:38.199
<v Speaker 1>was a key part of the plan. And because like

0:26:38.280 --> 0:26:42.639
<v Speaker 1>otherwise you're in a taxi and that's even crazier. So

0:26:42.960 --> 0:26:44.800
<v Speaker 1>and then I was like texting her during the day

0:26:44.880 --> 0:26:48.240
<v Speaker 1>being like I think, you know, it's like things are

0:26:48.440 --> 0:26:50.880
<v Speaker 1>picking up here, you know, when she was at work

0:26:50.880 --> 0:26:54.840
<v Speaker 1>at the at a hospital, a different hospital, when do

0:26:54.840 --> 0:26:56.960
<v Speaker 1>you think you can get here? And by the time

0:26:57.040 --> 0:26:59.720
<v Speaker 1>she did get here after work, because it can take

0:26:59.720 --> 0:27:02.200
<v Speaker 1>a long time. By the time she got here, she looked,

0:27:02.240 --> 0:27:04.600
<v Speaker 1>took one look at my wife and like just her

0:27:04.680 --> 0:27:07.240
<v Speaker 1>face like fell and she was like, We've got to

0:27:07.280 --> 0:27:10.879
<v Speaker 1>get in the car right now. That was a crazy scene.

0:27:12.080 --> 0:27:15.800
<v Speaker 1>You know, for one thing, just as a woman in

0:27:15.920 --> 0:27:19.199
<v Speaker 1>full labor getting into a car is not an easy

0:27:19.400 --> 0:27:23.359
<v Speaker 1>feat or a comfortable thing at all. Then you know,

0:27:23.760 --> 0:27:26.280
<v Speaker 1>like driving, getting stuck in traffic. You know, it's London,

0:27:27.160 --> 0:27:29.359
<v Speaker 1>you can get stuck in it's a spot because some

0:27:29.440 --> 0:27:32.199
<v Speaker 1>lorries pulling out or whatever. And by the time we

0:27:32.240 --> 0:27:34.359
<v Speaker 1>got we were we were close. We almost made it

0:27:34.400 --> 0:27:36.560
<v Speaker 1>for the record. But then at some point on the

0:27:36.560 --> 0:27:40.880
<v Speaker 1>Caledonian Road, my wife was just like, this is happening

0:27:40.960 --> 0:27:45.160
<v Speaker 1>right now, pull over the car and the woman, the midwife,

0:27:46.000 --> 0:27:49.800
<v Speaker 1>ran around, opened the door. The baby was born. Our

0:27:49.920 --> 0:27:52.439
<v Speaker 1>daughter was born. Like that second, you know, there was

0:27:52.480 --> 0:27:55.280
<v Speaker 1>no waiting around. And then thirty seconds later we were

0:27:55.280 --> 0:27:58.959
<v Speaker 1>all laughing and crying sitting there. There were people, you know,

0:27:59.160 --> 0:28:02.239
<v Speaker 1>just people all around and nobody really noticed that this

0:28:02.359 --> 0:28:04.400
<v Speaker 1>was happening. It's a weird one of those things where

0:28:04.440 --> 0:28:07.239
<v Speaker 1>people are you're in an urban environment, but people are

0:28:07.240 --> 0:28:10.440
<v Speaker 1>so focused on their own thing they it's crazy, really

0:28:10.480 --> 0:28:11.080
<v Speaker 1>crazy moment.

0:28:11.119 --> 0:28:13.360
<v Speaker 2>I suppose one of the nice things about that, as

0:28:13.520 --> 0:28:16.000
<v Speaker 2>no doubt stress but as it was at points a

0:28:16.000 --> 0:28:17.920
<v Speaker 2>lot of people, most people wouldn't really get the opportunity

0:28:17.920 --> 0:28:20.320
<v Speaker 2>to go back to the place where they were born.

0:28:20.560 --> 0:28:22.280
<v Speaker 2>Yet your daughter's going to have a life where you

0:28:22.320 --> 0:28:24.320
<v Speaker 2>can go back to the exact spot.

0:28:24.040 --> 0:28:26.720
<v Speaker 1>Which, yeah, it's pretty cool actually, Like we do go

0:28:27.040 --> 0:28:29.040
<v Speaker 1>past there on the bus or in a taxi or

0:28:29.080 --> 0:28:31.960
<v Speaker 1>whatever and say, hey, live that's where you were born.

0:28:32.040 --> 0:28:35.840
<v Speaker 1>You know, yeah, that's that is an interesting and it'll

0:28:35.880 --> 0:28:37.800
<v Speaker 1>it's the same for us. You know, that spot will

0:28:37.840 --> 0:28:40.760
<v Speaker 1>never be the same as well. Again we've we lived

0:28:40.800 --> 0:28:43.840
<v Speaker 1>on Caledonian Road actually for several years, so it seems

0:28:43.880 --> 0:28:47.400
<v Speaker 1>like an appropriate place for it, I mean, aside from

0:28:47.400 --> 0:28:49.640
<v Speaker 1>a hospital, which would have been another appropriate place for

0:28:49.680 --> 0:28:50.040
<v Speaker 1>it to happen.

0:28:50.160 --> 0:28:53.360
<v Speaker 2>Presumably the title suddenly is reference to these things that

0:28:53.400 --> 0:28:55.880
<v Speaker 2>have come along in life without any warning.

0:28:55.720 --> 0:28:56.840
<v Speaker 3>That is what it refers to.

0:28:57.120 --> 0:28:59.840
<v Speaker 1>But I have a weird kind of backwards way of

0:29:00.080 --> 0:29:03.040
<v Speaker 1>arriving at it and the meaning behind it, because it

0:29:03.120 --> 0:29:06.880
<v Speaker 1>was this daughter that was born in a car or

0:29:06.960 --> 0:29:10.960
<v Speaker 1>on the road, that had just added this word to

0:29:11.000 --> 0:29:14.880
<v Speaker 1>her vocabulary. She was about to turn three, and everything

0:29:14.960 --> 0:29:17.880
<v Speaker 1>was suddenly this suddenly and actually actually those were two

0:29:17.880 --> 0:29:21.160
<v Speaker 1>words at the time, Actually this, suddenly that. And I

0:29:21.320 --> 0:29:23.400
<v Speaker 1>was desperate to find a title, you know, this is

0:29:23.520 --> 0:29:27.000
<v Speaker 1>I hate finding album titles, song titles. And it was

0:29:27.040 --> 0:29:30.760
<v Speaker 1>like past the deadline of when the record, the record's done,

0:29:30.800 --> 0:29:33.400
<v Speaker 1>everything's done, and I don't have a very good picture

0:29:33.480 --> 0:29:36.480
<v Speaker 1>or perspective necessarily on exactly what it was all about,

0:29:36.520 --> 0:29:38.760
<v Speaker 1>because it's such a blur trying to get it all

0:29:38.760 --> 0:29:41.640
<v Speaker 1>finished and stuff. And my wife spotted her saying this

0:29:41.680 --> 0:29:43.960
<v Speaker 1>word over and over again, said what about that suddenly?

0:29:44.640 --> 0:29:47.800
<v Speaker 1>And I thought of it, and I think my wife

0:29:47.800 --> 0:29:52.720
<v Speaker 1>thought of it in respect in reference to the kind

0:29:52.720 --> 0:29:55.360
<v Speaker 1>of sudden musical changes in the music, because there's quite

0:29:55.360 --> 0:29:57.720
<v Speaker 1>a lot of those, you know, there's those moments.

0:29:58.320 --> 0:30:00.360
<v Speaker 3>I thought, oh, yeah, maybe that's sense.

0:30:00.400 --> 0:30:02.840
<v Speaker 1>And then I would play the album to friends of

0:30:02.840 --> 0:30:06.560
<v Speaker 1>mine and they would use the words suddenly to describe

0:30:06.560 --> 0:30:08.800
<v Speaker 1>the music, and I was like, Okay, maybe it makes sense.

0:30:09.040 --> 0:30:11.920
<v Speaker 1>And then it was when I was press person that

0:30:12.840 --> 0:30:14.680
<v Speaker 1>was writing up the press for release, was like, tell

0:30:14.680 --> 0:30:18.240
<v Speaker 1>me something about like the circumstance of making this album,

0:30:18.280 --> 0:30:20.240
<v Speaker 1>what your life has been like, all that stuff. I

0:30:20.280 --> 0:30:24.360
<v Speaker 1>started writing it all out and realized, like, this is

0:30:24.480 --> 0:30:26.840
<v Speaker 1>how I was. I was really blind to that fact

0:30:26.840 --> 0:30:28.960
<v Speaker 1>that the shape of my life is being changed by

0:30:29.040 --> 0:30:31.280
<v Speaker 1>these sudden things. And that's what all these songs are about.

0:30:31.280 --> 0:30:34.920
<v Speaker 1>They're all about these things. So it's funny how appropriate

0:30:34.960 --> 0:30:37.880
<v Speaker 1>it is given that I know it has come up

0:30:37.920 --> 0:30:41.560
<v Speaker 1>with by a toddler or yeah, it's just it's weird

0:30:41.600 --> 0:30:44.640
<v Speaker 1>the way it seems so inevitable now, like it couldn't

0:30:44.640 --> 0:30:48.280
<v Speaker 1>have been called anything else. But and yet I didn't

0:30:48.320 --> 0:30:51.200
<v Speaker 1>have the forethought or the perspective to be able to

0:30:51.200 --> 0:30:52.440
<v Speaker 1>see that myself at the time.

0:30:52.680 --> 0:30:55.240
<v Speaker 2>Continuing on the sort of theme of family, there's a

0:30:55.280 --> 0:30:57.760
<v Speaker 2>sample of your mother on the album, isn't there? Can

0:30:57.800 --> 0:30:59.280
<v Speaker 2>you tell me about that? Where did that come from?

0:30:59.360 --> 0:31:02.000
<v Speaker 1>So that came from My parents are English and they

0:31:02.040 --> 0:31:05.400
<v Speaker 1>moved over to Canada. My dad's in academics. We got

0:31:05.400 --> 0:31:08.120
<v Speaker 1>a job at university over there, and before I was

0:31:08.160 --> 0:31:13.160
<v Speaker 1>born and my mom's parents were still here, so she

0:31:13.320 --> 0:31:16.600
<v Speaker 1>would make these tapes, you know, cassette tapes. This was

0:31:16.800 --> 0:31:20.520
<v Speaker 1>the late seventies, early eighties, that she would record of

0:31:20.600 --> 0:31:24.760
<v Speaker 1>us doing stuff. You know, I don't know, her reading

0:31:24.760 --> 0:31:28.000
<v Speaker 1>to us, my older sister's reading something they had written

0:31:28.040 --> 0:31:31.280
<v Speaker 1>at school, or playing something that they learned on the piano,

0:31:31.480 --> 0:31:33.440
<v Speaker 1>or et cetera, et cetera, that kind of stuff, or

0:31:33.480 --> 0:31:36.640
<v Speaker 1>even just her talking describing what we'd been doing as

0:31:36.640 --> 0:31:39.720
<v Speaker 1>a family, like a kind of letter, but an audio letter.

0:31:39.800 --> 0:31:42.920
<v Speaker 1>And there's a whole bunch of these tapes that spend

0:31:43.320 --> 0:31:47.520
<v Speaker 1>a probably a decade. But then probably things got too

0:31:47.560 --> 0:31:51.160
<v Speaker 1>busy or you know, I don't know, for whatever reason.

0:31:51.200 --> 0:31:53.240
<v Speaker 1>We weren't little kids anymore, so it didn't make sense

0:31:53.240 --> 0:31:56.840
<v Speaker 1>to do these that she would send back to her parents,

0:31:57.440 --> 0:32:01.440
<v Speaker 1>and I kind of knew they existed, but then we

0:32:01.520 --> 0:32:06.360
<v Speaker 1>got them back when my grandparents passed away, you know, inevitably,

0:32:07.160 --> 0:32:11.280
<v Speaker 1>and I was like, well, I can nobody else has

0:32:11.280 --> 0:32:14.680
<v Speaker 1>a tape recorder, tape deck I can record.

0:32:15.040 --> 0:32:15.960
<v Speaker 3>We should have these, you.

0:32:15.920 --> 0:32:18.960
<v Speaker 2>Know, this is like a great piece of family history. Yeah,

0:32:19.080 --> 0:32:23.080
<v Speaker 2>lovely thing to be able to keepe. Absolutely, and it's you.

0:32:23.000 --> 0:32:26.040
<v Speaker 1>Know, there was unlike my daughter's life where every moment

0:32:26.080 --> 0:32:28.320
<v Speaker 1>is documented and record in some way. There's not that

0:32:28.440 --> 0:32:33.840
<v Speaker 1>much of my childhood recorded in sound or video. I

0:32:34.000 --> 0:32:36.960
<v Speaker 1>digitized all this scented around, but also just like listen

0:32:37.000 --> 0:32:39.720
<v Speaker 1>to it because it was fascinating to hear this, the

0:32:39.800 --> 0:32:42.720
<v Speaker 1>kind of reality of what life sounded like then versus

0:32:42.800 --> 0:32:46.520
<v Speaker 1>our kind of remembered remembrances of our childhood. And then

0:32:46.920 --> 0:32:49.479
<v Speaker 1>it occurred to me, you know this album, this is

0:32:49.560 --> 0:32:54.320
<v Speaker 1>what the themes about family and were so en mashed

0:32:54.320 --> 0:32:56.959
<v Speaker 1>in the music that I thought there should be some

0:32:57.080 --> 0:32:58.760
<v Speaker 1>part of this on here. And I found this part

0:32:58.760 --> 0:33:02.200
<v Speaker 1>of my mom singing she's saying to my sister, who's

0:33:02.600 --> 0:33:04.240
<v Speaker 1>this is before I was born, when my sister was

0:33:04.240 --> 0:33:07.240
<v Speaker 1>like a two year toddler, two year old, and I

0:33:07.480 --> 0:33:10.080
<v Speaker 1>just found a spot to find it to place it

0:33:10.120 --> 0:33:10.600
<v Speaker 1>on the album.

0:33:10.720 --> 0:33:12.800
<v Speaker 2>It just seems so apt given all the stuff that

0:33:12.800 --> 0:33:15.360
<v Speaker 2>we've talked about that that's included on there. You mentioned

0:33:15.360 --> 0:33:19.520
<v Speaker 2>it earlier earlier on about your daughter's passion for sustainability,

0:33:19.560 --> 0:33:21.720
<v Speaker 2>for environmental issues, and the fact that you know, like

0:33:21.760 --> 0:33:26.120
<v Speaker 2>you say, we're the younger generations, people younger than yourself

0:33:26.440 --> 0:33:30.800
<v Speaker 2>and myself, they're having to be incredibly active in that respect.

0:33:30.840 --> 0:33:33.840
<v Speaker 2>Because you know of our generation's lack of action. Do

0:33:33.880 --> 0:33:37.440
<v Speaker 2>you think a lot about the issue of sustainability and

0:33:37.560 --> 0:33:39.480
<v Speaker 2>how does that kind of work in parallel to you

0:33:39.640 --> 0:33:41.880
<v Speaker 2>just you your job and your lifestyle and things like that.

0:33:42.080 --> 0:33:43.720
<v Speaker 1>Yeah, so, I mean it is something that I think

0:33:43.760 --> 0:33:46.520
<v Speaker 1>about a lot, and actually so i've and it's something

0:33:46.520 --> 0:33:48.960
<v Speaker 1>that comes up in discussions with musician friends of mine

0:33:49.000 --> 0:33:51.800
<v Speaker 1>all the time. There's a lot of travel and flying around,

0:33:51.880 --> 0:33:55.000
<v Speaker 1>and festivals have a huge footprint and et cetera, and

0:33:55.480 --> 0:33:58.840
<v Speaker 1>there's I feel like there really is a great desire

0:33:59.160 --> 0:34:04.000
<v Speaker 1>amongst musicians and in the music industry to be sustainable,

0:34:04.040 --> 0:34:06.600
<v Speaker 1>be better, but people are kind of like paralyzed by

0:34:06.640 --> 0:34:08.759
<v Speaker 1>not knowing what to do. All of us are kind

0:34:08.760 --> 0:34:10.759
<v Speaker 1>of none of us are outside of this problem, you know.

0:34:10.840 --> 0:34:13.680
<v Speaker 1>So it's very hard to feel like you can make

0:34:13.719 --> 0:34:16.840
<v Speaker 1>a statement when you're compromised yourself. And that's definitely a

0:34:16.840 --> 0:34:20.040
<v Speaker 1>way that I feel. I feel like, how can I

0:34:20.080 --> 0:34:22.839
<v Speaker 1>say we should do this when people are like, yeah,

0:34:22.960 --> 0:34:27.399
<v Speaker 1>get on another plane to another festival. So but this time,

0:34:27.440 --> 0:34:30.759
<v Speaker 1>I've I mean, it's critical to the degree where we

0:34:30.840 --> 0:34:35.799
<v Speaker 1>have to put that aside and act anyway. So there

0:34:35.800 --> 0:34:38.160
<v Speaker 1>are a number of things that I've done for this

0:34:38.239 --> 0:34:41.759
<v Speaker 1>record and the tour. We've been offsetting our travels for

0:34:41.880 --> 0:34:44.839
<v Speaker 1>a decade now, the tour, but this time we're going

0:34:44.880 --> 0:34:49.480
<v Speaker 1>to We got Julie's Bicycle is a really good nonprofit

0:34:49.560 --> 0:34:54.239
<v Speaker 1>that does kind of audits and stuff for businesses, I

0:34:54.239 --> 0:34:57.520
<v Speaker 1>think in general, but maybe particularly creative industries and stuff,

0:34:57.560 --> 0:35:00.520
<v Speaker 1>and they did discussed with us the best things we

0:35:00.520 --> 0:35:03.600
<v Speaker 1>can do regarding the tour aside, you know, offsetting obviously

0:35:03.640 --> 0:35:05.360
<v Speaker 1>we're going to offset the whole tour and everything, but

0:35:05.719 --> 0:35:08.600
<v Speaker 1>minimizing the footprint of various things, and then also within

0:35:09.160 --> 0:35:12.800
<v Speaker 1>to do with the production of the record, manufacturing the

0:35:13.840 --> 0:35:16.239
<v Speaker 1>physical copies in such a way that it has the

0:35:16.320 --> 0:35:17.000
<v Speaker 1>least impact.

0:35:17.040 --> 0:35:18.400
<v Speaker 3>The CD comes.

0:35:18.120 --> 0:35:25.279
<v Speaker 1>In entirely cardboard packaging using recycled paper and FSC certified materials,

0:35:25.560 --> 0:35:27.640
<v Speaker 1>which is something that the labels that I'm working with

0:35:27.719 --> 0:35:31.640
<v Speaker 1>already do. Offsetting the entire footprint of the production of

0:35:31.719 --> 0:35:34.280
<v Speaker 1>the music, and also of the streaming.

0:35:34.320 --> 0:35:36.919
<v Speaker 3>There's a good book that's just actually.

0:35:36.600 --> 0:35:39.600
<v Speaker 1>Been released that I haven't had an advanced copy of

0:35:40.160 --> 0:35:43.759
<v Speaker 1>about the footprint of streaming and how it's significant. It's

0:35:44.239 --> 0:35:47.040
<v Speaker 1>not like, oh now there's now people listen to it

0:35:47.040 --> 0:35:49.400
<v Speaker 1>in the ether, and that doesn't create any problem. So

0:35:49.800 --> 0:35:52.040
<v Speaker 1>it's something to be aware of, and I'm going to continue,

0:35:52.960 --> 0:35:56.839
<v Speaker 1>as the album's listen to, to continue offsetting that. It's

0:35:56.840 --> 0:35:58.719
<v Speaker 1>something I think about all the time. I think, and

0:35:58.760 --> 0:36:01.160
<v Speaker 1>I hope we will see I mean, but it's still

0:36:01.200 --> 0:36:03.600
<v Speaker 1>super problematic. Like I say, I don't feel like I

0:36:03.680 --> 0:36:06.760
<v Speaker 1>have a good answer or a complete answer in any way.

0:36:07.320 --> 0:36:08.360
<v Speaker 3>Everywhere I turn.

0:36:08.239 --> 0:36:10.840
<v Speaker 1>I'm talking to musicians that are thinking about this and

0:36:10.840 --> 0:36:13.600
<v Speaker 1>trying to do things that is different from five years ago.

0:36:13.680 --> 0:36:14.960
<v Speaker 2>Tell me a little bit about how you feel that

0:36:14.960 --> 0:36:16.200
<v Speaker 2>that's changed the last few years.

0:36:16.239 --> 0:36:18.480
<v Speaker 1>There's a change in that for sure. That's definitely the

0:36:18.520 --> 0:36:20.719
<v Speaker 1>sense I get. I would say the thing that really

0:36:20.800 --> 0:36:22.719
<v Speaker 1>changed it for me and gave me the sense of

0:36:23.680 --> 0:36:27.200
<v Speaker 1>that I needed to make that decision personally and stop

0:36:27.400 --> 0:36:29.759
<v Speaker 1>worrying about being a hypocrite when we're all to some

0:36:29.880 --> 0:36:33.680
<v Speaker 1>degrees hypocrites. But I realized that the kind of touring

0:36:33.680 --> 0:36:36.279
<v Speaker 1>footprint is larger than I mean, we're you know, we're

0:36:36.320 --> 0:36:39.480
<v Speaker 1>currently that's what we do. We calculate every aspect of

0:36:39.480 --> 0:36:41.520
<v Speaker 1>it so that we can offset it. So I'm acutely

0:36:41.520 --> 0:36:44.719
<v Speaker 1>aware of exactly the consequences of this is an interesting thing.

0:36:44.760 --> 0:36:47.080
<v Speaker 1>I can say this actually with Julie's bicycle. We did

0:36:47.120 --> 0:36:49.319
<v Speaker 1>an audit of our UK tour and I was like,

0:36:49.480 --> 0:36:52.960
<v Speaker 1>it's the UK trains everywhere. We can just travel on trains.

0:36:53.520 --> 0:36:55.960
<v Speaker 1>The lighting and stuff will have to go in a truck,

0:36:56.000 --> 0:36:58.919
<v Speaker 1>but we can go in a train and then stay

0:36:58.920 --> 0:37:03.880
<v Speaker 1>in hotels and instead of going into tour bus. And

0:37:03.920 --> 0:37:06.680
<v Speaker 1>we did the worked out the numbers for it, and

0:37:06.760 --> 0:37:11.600
<v Speaker 1>actually the cost of even we share hotel rooms, two

0:37:11.600 --> 0:37:13.560
<v Speaker 1>of us to hotel rooms, so is to kind of

0:37:13.560 --> 0:37:18.280
<v Speaker 1>minimize our impact. But even so with like four hotel

0:37:18.360 --> 0:37:21.200
<v Speaker 1>rooms or whatever it would be a night, their footprint.

0:37:21.280 --> 0:37:23.040
<v Speaker 1>You know, think about what you do in a hotel room.

0:37:23.080 --> 0:37:24.960
<v Speaker 1>You could turn the heat up and like all the

0:37:25.040 --> 0:37:27.239
<v Speaker 1>laundry gets washed every day and et cetera, et cetera,

0:37:27.239 --> 0:37:31.120
<v Speaker 1>et cetera. Yeah, you're not thinking in the same way

0:37:31.120 --> 0:37:33.240
<v Speaker 1>that you are at home, or yeah, it's somebody else's

0:37:33.239 --> 0:37:36.880
<v Speaker 1>problem kind of thing. And we realized surprisingly because on

0:37:36.920 --> 0:37:38.960
<v Speaker 1>a tour bus we don't get hotel rooms. We just

0:37:39.120 --> 0:37:41.360
<v Speaker 1>stay in the tour bus and we use the shower

0:37:41.360 --> 0:37:44.560
<v Speaker 1>in the venue, and we're you know, the footprint of

0:37:44.600 --> 0:37:47.680
<v Speaker 1>those two modes of doing the UK tour were virtually identical,

0:37:48.040 --> 0:37:50.520
<v Speaker 1>which was totally a surprise to me. I mean, this

0:37:50.600 --> 0:37:52.360
<v Speaker 1>is a big thing for me, is that we must

0:37:52.400 --> 0:37:55.960
<v Speaker 1>be like evidence led, because I don't want it to

0:37:56.000 --> 0:37:59.480
<v Speaker 1>appear like I'm doing this to be worthier, holier than

0:37:59.480 --> 0:38:01.520
<v Speaker 1>now this is about. This is a situation where the

0:38:01.560 --> 0:38:06.279
<v Speaker 1>important thing is that we are minimizing some physical thing,

0:38:06.320 --> 0:38:09.439
<v Speaker 1>which is the amount of greenhouse gases emitted, and that

0:38:09.440 --> 0:38:12.000
<v Speaker 1>that's we need to be evidence led in doing that.

0:38:12.600 --> 0:38:15.680
<v Speaker 1>One of the things that really like turned up the

0:38:16.440 --> 0:38:21.600
<v Speaker 1>metaphorical temperature to use an unfortunately relevant metaphor is this

0:38:21.640 --> 0:38:25.560
<v Speaker 1>book called The Uninhabitable Earth by Yeah so David wall

0:38:25.560 --> 0:38:28.680
<v Speaker 1>as wells Yeah, which is just devastating. I mean, like

0:38:28.760 --> 0:38:31.440
<v Speaker 1>it's a crushing book to read. And for those listening

0:38:31.440 --> 0:38:35.160
<v Speaker 1>you haven't read it. It's like, you know, it's very sober.

0:38:35.280 --> 0:38:39.480
<v Speaker 1>And he wasn't even kind of an evangelical environmental activist.

0:38:39.560 --> 0:38:42.919
<v Speaker 1>He came to this quite recently, and he just goes

0:38:42.960 --> 0:38:46.120
<v Speaker 1>through and assembles all the kind of you know, very

0:38:46.719 --> 0:38:51.760
<v Speaker 1>non contentious mainstream evidence about if the temperature global temperature

0:38:51.840 --> 0:38:56.120
<v Speaker 1>raises two degrees in the next forty years, these are

0:38:56.120 --> 0:38:59.319
<v Speaker 1>the things that will happen, and then you know, it

0:38:59.320 --> 0:39:02.160
<v Speaker 1>doesn't stop in another forty years, that'll gone up another

0:39:02.560 --> 0:39:05.600
<v Speaker 1>degree or two. And he goes through all the scenarios

0:39:06.120 --> 0:39:09.440
<v Speaker 1>and it's just mind boggling. I mean, it's so devastating,

0:39:09.480 --> 0:39:14.320
<v Speaker 1>you know, like agricultural decline, like massive sea level And

0:39:14.600 --> 0:39:17.680
<v Speaker 1>it also dispels the myth that this is a problem

0:39:17.719 --> 0:39:20.040
<v Speaker 1>that's happening somewhere else. I think that's the big thing too,

0:39:20.120 --> 0:39:22.320
<v Speaker 1>is that people are like, ah, yeah, this is happening

0:39:22.360 --> 0:39:25.480
<v Speaker 1>to like somebody I don't know on the other side

0:39:25.480 --> 0:39:27.560
<v Speaker 1>of the world wherevers you read this book and you

0:39:27.640 --> 0:39:29.400
<v Speaker 1>realize that is not the case at all.

0:39:29.560 --> 0:39:32.640
<v Speaker 2>You can't not read it and not feel compelled to

0:39:32.719 --> 0:39:36.320
<v Speaker 2>take personal action. I think, like the first thirty five pages,

0:39:36.600 --> 0:39:39.920
<v Speaker 2>the introduction as it were, also does it quite a

0:39:39.960 --> 0:39:43.680
<v Speaker 2>thin interesting job of explaining how the climate crisis hasn't

0:39:44.360 --> 0:39:46.279
<v Speaker 2>been addressed to the degree that it needs to be

0:39:46.840 --> 0:39:49.080
<v Speaker 2>so far because of the fact that it feels so

0:39:49.800 --> 0:39:53.080
<v Speaker 2>enormous that people can't basically get their head around it.

0:39:53.200 --> 0:39:55.360
<v Speaker 2>Those conversations that you've had with people behind the scenes.

0:39:55.360 --> 0:39:56.799
<v Speaker 2>Does it feel like now there's like a kind of

0:39:56.800 --> 0:39:59.439
<v Speaker 2>swell of conversation happening, and do you think people will

0:39:59.680 --> 0:40:01.799
<v Speaker 2>be in I used to get together and work a

0:40:01.840 --> 0:40:03.479
<v Speaker 2>path through it. You kind of see it, you feel

0:40:03.520 --> 0:40:04.480
<v Speaker 2>quite positive about that.

0:40:04.560 --> 0:40:06.680
<v Speaker 1>There's times that I feel positive and there's times I

0:40:06.680 --> 0:40:09.839
<v Speaker 1>feel defeated and by the whole thing. Yeah, I think

0:40:09.880 --> 0:40:12.920
<v Speaker 1>there will see. You know, I have friends in the

0:40:13.000 --> 0:40:17.000
<v Speaker 1>music industry who are working on doing really big projects

0:40:17.080 --> 0:40:19.200
<v Speaker 1>and things that will hopefully come to fruition in the

0:40:19.239 --> 0:40:22.680
<v Speaker 1>next few years, like raising huge amounts of money because

0:40:22.920 --> 0:40:26.640
<v Speaker 1>we need, like it's all very well to stop DJ

0:40:26.960 --> 0:40:30.439
<v Speaker 1>x Y and Z taking private jets that contributes, there's

0:40:30.440 --> 0:40:34.000
<v Speaker 1>no question, but we need like big systemic changes in

0:40:34.040 --> 0:40:37.759
<v Speaker 1>our society. We you know, inevidently, like we definitely do

0:40:37.880 --> 0:40:41.080
<v Speaker 1>need to see those things happen. And so it's good

0:40:41.080 --> 0:40:43.920
<v Speaker 1>to see people who have a lot, you know, the

0:40:44.000 --> 0:40:47.799
<v Speaker 1>music industry when united can like mobilize in a really

0:40:47.800 --> 0:40:50.480
<v Speaker 1>big way. And I'm starting to see it's all very

0:40:50.480 --> 0:40:53.120
<v Speaker 1>well us off setting our tours and whatever. Sure, but

0:40:53.560 --> 0:40:56.880
<v Speaker 1>there needs to be people with bigger, bolder ideas, and

0:40:56.920 --> 0:40:59.520
<v Speaker 1>I'm starting to see those things happen, and hopefully that's

0:40:59.560 --> 0:41:02.560
<v Speaker 1>something that you can like, you know, sign on to

0:41:02.719 --> 0:41:06.040
<v Speaker 1>and join join up with and contribute to in some way.

0:41:06.080 --> 0:41:09.239
<v Speaker 1>But in the last two years even there's being a

0:41:09.280 --> 0:41:13.600
<v Speaker 1>real change in mentality about about the scale of the

0:41:13.600 --> 0:41:15.760
<v Speaker 1>problem and about how crucial it is that we address

0:41:15.800 --> 0:41:16.120
<v Speaker 1>it now.

0:41:16.320 --> 0:41:18.360
<v Speaker 2>I'm interested to know. We talked a bit about suddenly

0:41:18.400 --> 0:41:20.560
<v Speaker 2>the record. We've talked about your kind of passions and

0:41:20.560 --> 0:41:23.279
<v Speaker 2>your interests and your family and everything else. We touched

0:41:23.360 --> 0:41:25.399
<v Speaker 2>upon where we're talking about you taking the kit down

0:41:25.480 --> 0:41:28.480
<v Speaker 2>to Oxfam and the records down to Oxfam. That almost

0:41:28.480 --> 0:41:32.120
<v Speaker 2>sort of passing of your experience. You're passing of your knowledge.

0:41:32.120 --> 0:41:33.759
<v Speaker 2>You know, you've been making music for a long time.

0:41:33.840 --> 0:41:36.200
<v Speaker 2>You're clearly still kind of learning yourself every day with

0:41:36.560 --> 0:41:39.319
<v Speaker 2>your with your art, your technique and everything else. But

0:41:39.360 --> 0:41:43.040
<v Speaker 2>what about passing on your skills? Do you feel a

0:41:43.080 --> 0:41:46.480
<v Speaker 2>sort of duty to other producers you meet young producers,

0:41:46.560 --> 0:41:49.640
<v Speaker 2>other people that are in the kind of industry so

0:41:49.680 --> 0:41:52.080
<v Speaker 2>to speak, that you just sort of want to be like, Hey,

0:41:52.080 --> 0:41:54.680
<v Speaker 2>I've spent a long time learning about all this stuff,

0:41:54.680 --> 0:41:56.840
<v Speaker 2>Like I can help you by giving you some knowledge

0:41:56.920 --> 0:42:00.120
<v Speaker 2>or some well quite literally give you some equipment in

0:42:00.200 --> 0:42:02.480
<v Speaker 2>some cases. Yeah, yeah, how important is that to you?

0:42:02.760 --> 0:42:06.279
<v Speaker 1>Very important? And it's really relevant right now. Actually, I mean,

0:42:06.440 --> 0:42:10.560
<v Speaker 1>it's kind of reflective of the fact that Kieran was

0:42:10.560 --> 0:42:12.719
<v Speaker 1>that person for me. He helped me get my music

0:42:12.760 --> 0:42:15.279
<v Speaker 1>signed in the first place, and he's always been that

0:42:15.800 --> 0:42:17.839
<v Speaker 1>kind of sounding board and feedback. And then I look

0:42:17.920 --> 0:42:20.680
<v Speaker 1>around in his life and he does that for so

0:42:20.760 --> 0:42:23.719
<v Speaker 1>many people that people in our little world of electronic

0:42:23.760 --> 0:42:25.680
<v Speaker 1>music aren't aware of the number of people that are

0:42:26.160 --> 0:42:27.040
<v Speaker 1>asking Kieran.

0:42:26.880 --> 0:42:28.400
<v Speaker 3>Hey, would you mind listening to this and tell me

0:42:28.400 --> 0:42:29.560
<v Speaker 3>what you think? And et cetera, et.

0:42:29.480 --> 0:42:33.879
<v Speaker 1>Cetera, people starting out, people very well established. And I've

0:42:33.920 --> 0:42:37.000
<v Speaker 1>realized like I've been a beneficiary of that, and not

0:42:37.080 --> 0:42:39.120
<v Speaker 1>just from Kieren, but I've had lots of good kind

0:42:39.160 --> 0:42:44.160
<v Speaker 1>of mentoring in the music world about anything music, but

0:42:44.200 --> 0:42:46.160
<v Speaker 1>also like the practical things of how to do this

0:42:46.239 --> 0:42:47.799
<v Speaker 1>and that, and so I do.

0:42:47.960 --> 0:42:50.040
<v Speaker 3>There are like a bunch of.

0:42:50.239 --> 0:42:54.160
<v Speaker 1>People that I do that same thing for, and I

0:42:54.239 --> 0:42:57.480
<v Speaker 1>feel very you know, happy to be able to be

0:42:58.080 --> 0:43:00.600
<v Speaker 1>that they ask me and are interested in my opinion.

0:43:00.760 --> 0:43:05.239
<v Speaker 1>But on another level, this is something that is in

0:43:05.320 --> 0:43:07.439
<v Speaker 1>the is kind of in the works, are bubbling along

0:43:07.440 --> 0:43:10.360
<v Speaker 1>and hopefully will be manifested sometimes soon, but it's very

0:43:10.680 --> 0:43:14.279
<v Speaker 1>somewhat hypothetical at this point. But I just DJ'ed at

0:43:14.680 --> 0:43:18.640
<v Speaker 1>Cosmic Slop, which is this club that's run out of

0:43:18.719 --> 0:43:22.640
<v Speaker 1>a charity called MAP in Leeds and it's this friend

0:43:22.640 --> 0:43:27.960
<v Speaker 1>of mine, Cosmic to Tom Smith runs this incredible charity

0:43:28.480 --> 0:43:34.040
<v Speaker 1>that deals is set up to teach creative skills to children,

0:43:34.360 --> 0:43:38.879
<v Speaker 1>kids teenagers who are excluded from mainstream education. And he's

0:43:39.480 --> 0:43:42.680
<v Speaker 1>been running this for ten years incredibly, and it's all

0:43:42.719 --> 0:43:46.680
<v Speaker 1>and he's also like an incredible high fi sound system

0:43:46.920 --> 0:43:50.920
<v Speaker 1>not so, He's built like this unbelievable club with the

0:43:50.960 --> 0:43:54.080
<v Speaker 1>greatest possible sound you can imagine, for like one hundred

0:43:54.120 --> 0:43:57.640
<v Speaker 1>and fifty two hundred people and never announces who's playing.

0:43:57.760 --> 0:44:00.880
<v Speaker 1>Sometimes it's just him and the other person who runs it,

0:44:01.680 --> 0:44:05.280
<v Speaker 1>or sometimes it's you know me or Sam floating points,

0:44:05.360 --> 0:44:09.640
<v Speaker 1>Kieran whoever. Various people have done it, and that funds

0:44:09.719 --> 0:44:13.919
<v Speaker 1>the whole model for this program, which is amazing. He's

0:44:13.960 --> 0:44:17.120
<v Speaker 1>managed to buy this building that was a bigger fundraising

0:44:17.239 --> 0:44:19.880
<v Speaker 1>raising drive, but he's built bought this huge building that

0:44:20.000 --> 0:44:23.600
<v Speaker 1>situated in and that is so inspiring to me. And

0:44:23.640 --> 0:44:26.560
<v Speaker 1>so I'm kind of interested to see if there are

0:44:26.600 --> 0:44:29.680
<v Speaker 1>ways that I can be more involved in things like that,

0:44:29.960 --> 0:44:32.520
<v Speaker 1>or you know, I guess I've come to realize that

0:44:32.640 --> 0:44:33.840
<v Speaker 1>just fundraising in general.

0:44:34.120 --> 0:44:37.520
<v Speaker 3>I don't know that I've done a couple.

0:44:37.360 --> 0:44:40.600
<v Speaker 1>Of gigs for Choose Love, Help Refugees and stuff like that.

0:44:40.719 --> 0:44:43.080
<v Speaker 1>This is a platform that I feel very fortunate to have.

0:44:43.719 --> 0:44:47.200
<v Speaker 1>And I hope this doesn't come across as like preachy,

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<v Speaker 1>fucking holier than now, But it's just I've got to

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<v Speaker 1>the place I always wanted to get to, and now

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<v Speaker 1>it's time to like turn around and see who I

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<v Speaker 1>can use this platform to help.

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<v Speaker 2>Anyway. Good Night,