Speaker 1: Pushkin.
Speaker 2: The British band Idols has released five albums in only
Speaker 2: seven years, starting with their critically acclaimed debut album Brutalism
Speaker 2: in twenty seventeen. The band's been growing steadily ever since,
Speaker 2: with their bombastic sound that brilliantly balances joy, chaos and
Speaker 2: an often critical take on the powers that be. The
Speaker 2: five piece band's lead singer, Joe Talbot, has always channeled
Speaker 2: his personal pain as well as his dissatisfaction with Britain's
Speaker 2: ruling class, into his songwriting. Mark Bowen, idols guitarist and producer,
Speaker 2: serves as Joe's primary musical partner in the band. They
Speaker 2: both bring a love of hip hop and old school
Speaker 2: soul and arm beat the mix, along with UK techno
Speaker 2: and house music. All of these influences can be heard
Speaker 2: on their latest album, Tank, a project produced by Mark Bowen,
Speaker 2: our friend Kenny Beats, and radiohead Nigel Godrich. On today's episode,
Speaker 2: I talked to Joe Talbot and Mark Bowen from the
Speaker 2: green room of The Tonight Show with Jimmy Fallon about
Speaker 2: their tumultuous creative partnership. They also explain how Mark helps
Speaker 2: temper Joe's sometimes passionate rage, and Joe breaks down why
Speaker 2: he'll forever despise England's monarchy. This is broken record liner
Speaker 2: notes for the digital Age.
Speaker 3: I'm justin Mitchman.
Speaker 2: Here's my conversation with Joe Talbot and Mark Bowen of Idols.
Speaker 3: Thank you for doing.
Speaker 1: This, Thank youth for having us.
Speaker 3: No man, I mean, you.
Speaker 2: Guys are backstage at Jimmy Fallon right now. I don't
Speaker 2: know how you guys keep it together. I can hardly
Speaker 2: do one thing in a day. You guys must be
Speaker 2: doing you know, a million things.
Speaker 1: It's crazy.
Speaker 4: I mean it comes to a sense of gratitude like
Speaker 4: we've been fucking fifteen years ago, Like Crappy sound Engine is.
Speaker 4: We give us shit form turning up early.
Speaker 1: Do you know what I mean?
Speaker 4: When we're working fifty sixty weeks and then we turn up,
Speaker 4: get paid fifty bucks for a show and some warm
Speaker 4: beers and then drive for four hours home to play
Speaker 4: to ten people. But we knew the value of that,
Speaker 4: we knew the experience, and we knew how special the
Speaker 4: learning curve was. So when we're here and we're given opportunities,
Speaker 4: we take them because that's fucking gift. When you have
Speaker 4: a platform, whether you're lucky or not. And there's a
Speaker 4: lot of entitled people in our industry. But when your
Speaker 4: gifted a platform, that is a beautiful opportunity to challenge
Speaker 4: yourself and give the audience back the energy they've given
Speaker 4: you by being present and fucking vital and full of
Speaker 4: life because you only get one and it's magic.
Speaker 2: Is it weird to see the audience get bigger and
Speaker 2: bigger and more like fans And.
Speaker 3: I mean, I don't know, it's got to be insane,
Speaker 3: but you get.
Speaker 1: What you build.
Speaker 4: Man, Like we a dialogue with our music that was
Speaker 4: a continual growth. You know, there's no surprises. We know
Speaker 4: what's happening, and we know what we've made, and we
Speaker 4: know what our audience is building. They've helped us from
Speaker 4: the start, so we've been carrying each other from twenty
Speaker 4: eleven and like, there's no surprises. You get what you
Speaker 4: work for.
Speaker 2: I love how self assured that answer is. You know
Speaker 2: what I mean that you guys kind of know what
Speaker 2: you put out there, and it really listening to the
Speaker 2: new record. You know, as the records have come out,
Speaker 2: it seems like you guys are pretty self contained. Like
Speaker 2: from the jump, you guys knew what you wanted to say,
Speaker 2: which you wanted to do, how you wanted to present it,
Speaker 2: even though I've seen the changes, Like every album sounds
Speaker 2: and feels very different. Every album is a really strong statement.
Speaker 1: Yeah, I mean that's.
Speaker 5: Definitely our biggest kind of moo as creators is the
Speaker 5: we're very much driven by our intent and our intentions
Speaker 5: you know, in the music, and then they kind of
Speaker 5: create with Joe's design and stuff like that. It's all
Speaker 5: very much there from the outset. It's not you know,
Speaker 5: about jamming and you know, exploring things in that way.
Speaker 5: It's about how do we represent what we're intending here.
Speaker 5: It's not you know, stumbling upon something. So yeah, it's
Speaker 5: a it's a big thing in this bland.
Speaker 1: You know.
Speaker 5: The title always comes first, the artwork of follow soon after,
Speaker 5: and then it's like conversations around that, and it's about
Speaker 5: kind of like Choo expressing what he meant when he
Speaker 5: gave that title, and then we talk all about that
Speaker 5: and talk kind of about maybe sometimes like what the
Speaker 5: song is going to be about or what the kind
Speaker 5: of music's going to be about.
Speaker 3: But you don't really have lyrics or music at that.
Speaker 5: We don't have distract. We don't have anything, it's all.
Speaker 5: It's all dealing in abstraction. And I think that I
Speaker 5: think that dealing in.
Speaker 6: The abstract is why we write the music first always
Speaker 6: because it's it's easy to translate the abstract into something abstract,
Speaker 6: and then it's about too translating that into into word.
Speaker 4: Yeah, I mean, the whole purpose of every album is,
Speaker 4: you know, life is abstract. There's there's no there's no
Speaker 4: actual rules. The whole point in philosophy, if you look
Speaker 4: at Plato's Republic, that's just creating structures that are imagined
Speaker 4: in order to understand the socio political like narrative that
Speaker 4: goes on and how people are dying to find purpose
Speaker 4: and meaning to move forward. And that's what art is.
Speaker 4: Art is the breach of existence. It allows you a
Speaker 4: sense of purpose and where you're at right there, and
Speaker 4: the more you understand your momentary purpose, the more you
Speaker 4: can move forward with vigor and understanding and more purpose.
Speaker 4: So every album is about the human condition and either
Speaker 4: how I'm affected by socioeconomic situations or relationships or whatever
Speaker 4: it is. I put that in, I document it, but
Speaker 4: that always comes from the present thing that's most of mind.
Speaker 4: I already know what the next album is going to
Speaker 4: be about and what it's called and with each one,
Speaker 4: and Bowen then takes my very small thing because I
Speaker 4: don't want to like overwhelm him his ship with my ego,
Speaker 4: because it's not just about my ego. It's about it's
Speaker 4: about some sort of landscape that we can make brilliant music.
Speaker 1: So I just go, well, this is the kind of
Speaker 1: thing I'm going to be talking about.
Speaker 4: But I don't have any lyrics and I won't force anything,
Speaker 4: but this is what I'm interested in thematically, and then
Speaker 4: he goes okay, and then he puts color to that,
Speaker 4: and he puts you know, some terror firma down.
Speaker 3: Some strong terror firm.
Speaker 4: Yeah, I believe, and then like and once it's all done,
Speaker 4: then then I sing on top. But it has to
Speaker 4: be done.
Speaker 2: Does the color that Mark comes up with in the
Speaker 2: rest of the band, does that help you sort of
Speaker 2: hone you in on what you want to talk about?
Speaker 4: Well, it's Bowing and I that writes some music. So
Speaker 4: it's kind of like just pushing, pulling together. Because he's
Speaker 4: a very philosophically and just emotional practice, very different to me.
Speaker 4: So between us we have this like really beautiful pushing
Speaker 4: pool creatively. That allows me a new perspective, like, you know,
Speaker 4: just saying I just wanted to smash the room up
Speaker 4: and I had to talk to Buying. I'd be like,
Speaker 4: what do I punch? And he's like, well, how about.
Speaker 1: You do this?
Speaker 4: And I'm like, oh, yeah, yeah, yeah, of course. You
Speaker 4: know he's my guy and like this because he's the
Speaker 4: opposite to me. So we understand that to create parameters
Speaker 4: within an album, it has to be outur boundaries. Create
Speaker 4: the boundaries, work within them, and you'll flourish.
Speaker 1: I mean, it's like it's also a strict if.
Speaker 4: I'm like, uh no, that's not joy as an act
Speaker 4: of resistance enough, no, no, no, no, no, it's not like that.
Speaker 1: So this is where I'm at, and that's a conversation.
Speaker 4: And I think that's why our music very much sounds
Speaker 4: like an insular entity is because we allow each other
Speaker 4: to breathe, all five of us, obviously the boys right
Speaker 4: shit as well. It's not just me and him, but
Speaker 4: it's mostly us. We allow all five of us to
Speaker 4: breathe within a parameter, but we have to have those parameters.
Speaker 4: That's the best way of creating something. I think creative
Speaker 4: thinking comes from problem solving and like it's good to
Speaker 4: have that, Like do whatever you want, but you can
Speaker 4: only use the color blue, and you're like, oh that's sick. Okay,
Speaker 4: where so do whatever you want. You're like, uh, okay.
Speaker 3: It's a little intimidating.
Speaker 4: Yeah, yeah, h it's just a little flat, Like what's
Speaker 4: the challenge in there? You like doing anything? That's how
Speaker 4: life works. Life doesn't go yeah, go ahead. We know
Speaker 4: how privilege we are, and we use to have privilege
Speaker 4: that there are people like the most brilliant and the
Speaker 4: most beautiful art comes from those voices that have a
Speaker 4: sense of tumultuous fire. They have to fight against something,
Speaker 4: whether it's oppression, depression, love, fucking civil wars, genocide, whatever
Speaker 4: it is. There's things under the like that's when the
Speaker 4: voices are most resent. I just think, Yeah, you set
Speaker 4: yourself the boundaries, and you set yourself the parameters to flourish. Obviously,
Speaker 4: like two different degrees. I'm not comparing myself to fucking
Speaker 4: Billie Holidays, you know what I mean. But I've been
Speaker 4: through some horrible shit and I'm allowing my traumas in
Speaker 4: in order to make a more brilliant picture.
Speaker 3: Mark, what's your sense of your guys's relationship? Is it similar?
Speaker 5: Yeah, I mean it's it's tumultuous, but that's good. That's
Speaker 5: that's where we get, you know, out of the rumble.
Speaker 5: You know, we start to move the earth around us,
Speaker 5: the water starts to flow, and I think that's it.
Speaker 5: It's like we're just so different creatively as well, and
Speaker 5: it's useful.
Speaker 1: And part as well.
Speaker 5: You know, you like, for two people that are so
Speaker 5: as individuals, so strong in their feelings about their creativity
Speaker 5: and about their about but it would it would almost
Speaker 5: suit us better to be auteurs and to be on
Speaker 5: our own, you know, just having people that are like
Speaker 5: yes around us, they all that happened, but it wouldn't.
Speaker 1: Have the same impact. It wouldn't work.
Speaker 5: It would be too self self serving and self immilating
Speaker 5: as well, because it's like, you know, Joe's approach needs
Speaker 5: my touch and my and my approach needs Joe's touch
Speaker 5: to become full, become complete, to become become resonant in
Speaker 5: that intention as well. I think that you know, you
Speaker 5: can have two down the line or to abstract to
Speaker 5: like you know, flourishy or or kind of a coming
Speaker 5: from a very different perspective. So I think I think
Speaker 5: it requires that for idols to be a thing.
Speaker 3: But probably more generally too.
Speaker 2: I mean, I think that's the in you know, the
Speaker 2: year twenty twenty four, it's like partnerships groups bands are
Speaker 2: rarer and rarer, but you kind of you look back
Speaker 2: over all of the best music came from on some
Speaker 2: level of partnership, you know, off the walls of solo record,
Speaker 2: but that's a partnership with him in Quincy, and yeah,
Speaker 2: there's always got to be something to sort of rein
Speaker 2: you in or something to play off of, you know.
Speaker 1: I think it's the playoff of.
Speaker 5: But I think it's also because like when you're creating art,
Speaker 5: you're creating something from your perspective to be observed from
Speaker 5: from a different perspective. So I guess it's useful at
Speaker 5: that at that point of creation for the art to
Speaker 5: them be informed by something from a different perspective, because
Speaker 5: it allies the best of a singularity. Because there is
Speaker 5: no singularity, there's no there's no truth.
Speaker 1: Yeah, I'm all for like that.
Speaker 4: There are there are things that are created like Nick
Speaker 4: Drake pink Man, that's just him on his I entirely.
Speaker 4: I mean maybe there's an engineer and a producer that,
Speaker 4: but I think you can get magic from anywhere. Some
Speaker 4: people are completely introverted. I think Baron and Aya, I'm
Speaker 4: definitely half half introvert extrovert, like I need time on
Speaker 4: my own to process, but we process very different. I
Speaker 4: think we just learned democratically, and you know, people forget
Speaker 4: democracies and the leaders. So like, you know, we're just
Speaker 4: we's taking it's a few albums, but now we're at
Speaker 4: a point.
Speaker 1: Where it's like, this is your two man, I'm just
Speaker 1: going to sing you crack on. I'm like, I'm fucking ready.
Speaker 1: This is beautiful, and that that's.
Speaker 5: A real thing as well that we've kind of learned
Speaker 5: as we've gone along as the idea of service. You know,
Speaker 5: we've learned more about kind of serving the song as
Speaker 5: we write, but also service to each other. You know,
Speaker 5: there's there's times where, especially when you're dealing with Joe's
Speaker 5: lyrics and his vocal approach, you know, sometimes it's not
Speaker 5: what I've been expecting or would have wanted, but you
Speaker 5: can see that there's something that you needed to get out,
Speaker 5: and it's like, actually, yeah, you're right, this doesn't need
Speaker 5: my two cents right now.
Speaker 4: And that happened with me with Gospel. It ended up
Speaker 4: getting cut and nothing to do with me piano. There
Speaker 4: was parts it was just short. I was unsure about
Speaker 4: the landscape because it's very you.
Speaker 1: It was you.
Speaker 2: Yeah, there was a different version of a Gospel the
Speaker 2: song on the new record.
Speaker 1: Well, I mean it's all there. It's all there.
Speaker 4: It's just like restructured a bit, as if there was
Speaker 4: something taken out.
Speaker 1: So it just happens once, but like that's it. It's
Speaker 1: not crazy.
Speaker 4: But I was just like, I felt how important it
Speaker 4: was to bow and how amazing it was. So I
Speaker 4: was just like, even though you know it got cut
Speaker 4: after your discussion with Nigel, right, it wasn't like my input,
Speaker 4: but I felt that.
Speaker 1: I was like, but I knew there's his. Also.
Speaker 5: The other thing was that whenever I showed it to you,
Speaker 5: you were like, oh, that's the verse and it's not.
Speaker 1: I didn't know what it was.
Speaker 5: The more big was the chorus in my head and
Speaker 5: whatever you said it was, I was like, that's not it,
Speaker 5: but then it has to be.
Speaker 1: It doesn't matter.
Speaker 5: It was the thing about Gospel I don't know if alright,
Speaker 5: it's just one big yeah.
Speaker 2: I'm glad you guys are sometimes confused by your song
Speaker 2: structures too, because I was about to bring that up
Speaker 2: about one of the new songs. I'm often I don't care,
Speaker 2: but if I listen back and trying to think, well,
Speaker 2: what's the verse, what's the chorus, what's the pre chorus, It's.
Speaker 3: Like, I don't actually, I don't know, like I have
Speaker 3: noub Yeah, I think.
Speaker 5: I think it's especially on this one, it was about, like,
Speaker 5: you know what, one of one of the biggest drivers
Speaker 5: that we've not actually spoken about that much actually and
Speaker 5: impress on this was like when we started out of
Speaker 5: this album, the things that we were listening to. Most
Speaker 5: of the things we were leaning on most was fifties
Speaker 5: and sexonties pop music and cool and that's really informant
Speaker 5: that you know, Roy is called Roy because I was
Speaker 5: trying to hep Roy Orbison song at the.
Speaker 3: Time, beautiful song Jesus Christ.
Speaker 4: I mean that was something that song is probably a
Speaker 4: perfect example of us too, like not compromising, what's the
Speaker 4: way colliding? So I had this chorus, it was like
Speaker 4: a Lee Moses chorus that I wanted to write for
Speaker 4: like two to three years.
Speaker 1: It's not the one. It's not the one.
Speaker 4: And Buying had this like the verse and the bridge,
Speaker 4: and the bridge was the chorus, and I was writing
Speaker 4: it with my friend like trying to write at home.
Speaker 4: It's the only thing I tried to write home, and
Speaker 4: I was like, everything I'm writing isn't the.
Speaker 1: Chorus, but it works and it's sick, and that's what's
Speaker 1: on the album.
Speaker 4: And then we were in the studio and we were
Speaker 4: packing down, the drugs were packed away. It was only me,
Speaker 4: Bowing and John in the studio with Nigel and Miko
Speaker 4: and like in London, and I was like, fuck, it's
Speaker 4: the Limoses chorus. And then I wrote the drum beat
Speaker 4: in what about a minute. I was like dagda and
Speaker 4: John was like, oh shit, okay okay. And then like
Speaker 4: I wrote all the films, got it down in like
Speaker 4: probably five minutes recorded.
Speaker 1: But I was like buying it, would you reckon? And
Speaker 1: we both were like for.
Speaker 4: Organ, I was like organ line four chords and then
Speaker 4: we both be almost exactly the same.
Speaker 1: I sang the same notes progressive and we.
Speaker 4: Were like that's it, that's the fucking one, and like
Speaker 4: you know, that it wrote itself in a minute, like
Speaker 4: it just and that's how fifties pop should be.
Speaker 1: That like soul, like sixties soul.
Speaker 4: It's like that ship was natural and like so it's
Speaker 4: called soul music because it's the most humane fucking element
Speaker 4: of music. It's like, well, of course that's it. It
Speaker 4: sounds easy to write because it's so fucking innate in
Speaker 4: the human condition to listen to what it's reading or
Speaker 4: Nina Simono fucking even like the Flamingos and shit like that.
Speaker 1: It just feels.
Speaker 4: It feels like you're being spoken to and you're heard,
Speaker 4: and when you feel heard, it just it feels like
Speaker 4: you're limb. And like that's what that's what I want
Speaker 4: from pop music. That's what I want from soul music.
Speaker 1: That's why you know you get all these I'll play
Speaker 1: my dad Frank Cosch.
Speaker 4: And Ivy and he's like, all right, I get it,
Speaker 4: I get you know you would.
Speaker 1: No one could be like, what's this ship?
Speaker 4: Yeah, and like you hear the soul, you know, it's
Speaker 4: so you feel the soul fuck everyone else, and like
Speaker 4: we were trying to connect that that's what we wanted
Speaker 4: when I said I want to make people dance.
Speaker 1: It's about the magic of music that you get when
Speaker 1: you allow it in.
Speaker 4: But you can only allow it in if the message
Speaker 4: is portrayed in a way that allows you to feel open,
Speaker 4: you know, And that's you know, the favor of the
Speaker 4: sun and the moon. If you just shine, you open
Speaker 4: that person up. If you blow hard and you get
Speaker 4: aggressive and you're trying to come on and just join
Speaker 4: us to say, it doesn't allow the sense of dialogue.
Speaker 4: So like it was all these things that we were
Speaker 4: practicing in that fifties pop thing was the first thing
Speaker 4: that really melded us together with purpose. And then next
Speaker 4: thing I know is writing fucking all sorts of shit.
Speaker 2: We're taking a break and then coming back with more
Speaker 2: of a conversation with Joe Talbott and Mark Bowen of Idols.
Speaker 2: We're back with Joan Mark of Idols. So Roy became
Speaker 2: like the kind of like the leadoff in a sense.
Speaker 2: That was the thing that kind of made it all
Speaker 2: come together.
Speaker 1: That was it.
Speaker 4: That was the only thing that we connected on all
Speaker 4: of us. Gotcha completing something that we're all like, that's it.
Speaker 4: Everything else was parts. We came to the studio in
Speaker 4: France with seventeen parts with like two or maybe three
Speaker 4: instruments song but like a verse and that's it.
Speaker 1: So we had we had we had an album too, right,
Speaker 1: we had nothing? Yeah, that was it.
Speaker 5: And that was when the idea of the fifty pop
Speaker 5: thing became slightly more abstract. It was more just about
Speaker 5: tone and that sense that the untenable thing that you
Speaker 5: can't really put a name too. And then it was
Speaker 5: about being playful with structure and playful with but I
Speaker 5: felt with like choosing your moments, like I think you know.
Speaker 5: Another big moment on the on the album was the
Speaker 5: instrumental end section of pop pop pop.
Speaker 3: I have that highlighted to ask you, like, what is
Speaker 3: the hook?
Speaker 2: It's like the sunbeams, some beams and the gold sugar
Speaker 2: part and then goes back to something what's going on here?
Speaker 3: Yeah?
Speaker 5: I mean it happens twice in really quick succession, then
Speaker 5: one time at the end, and then it's like that
Speaker 5: song was really kind of like very much for us.
Speaker 1: It was like it was so abstract the whole way through.
Speaker 4: I think, I mean it was it came from my
Speaker 4: idea I had. I had to beat in mind for
Speaker 4: quite a while again, and like it came from like
Speaker 4: UK garage and Mika Levi Mika Chew in the Shapes,
Speaker 4: which is like real grimy pot act that kind of
Speaker 4: crossed the line between sometimes grime, sometimes pot, sometimes indie,
Speaker 4: sometimes punk. Like they did whatever the fuck and it
Speaker 4: always sounded infectious, danceable, and I was like that. And
Speaker 4: there then MySpace what you call it, like the description
Speaker 4: genre description was pop pop pop oh sack because it
Speaker 4: was kind of like wre I came from. Yeah, yes,
Speaker 4: Like basically there was this reper the same garage at
Speaker 4: the time, which you know, everyone had the gun things.
Speaker 4: I didn't obviously think I'm talking about like that, like
Speaker 4: in the garage scene in Manchester, in London and Birmingham,
Speaker 4: you know, there was it was a real heavy gun
Speaker 4: crime in those areas and it was a very beautiful
Speaker 4: community of people that made something great out of serious
Speaker 4: deprivation at the time. There was also a lot of bullshit,
Speaker 4: you know, as it always with the racist media attaching
Speaker 4: gun crime to garage.
Speaker 1: It was like, but the gunfinger thing was a real thing.
Speaker 4: So I always thought it was kind of a reference
Speaker 4: to that because some of that ship the beats that
Speaker 4: used were kind of grime beats, anyway, fast forward, and
Speaker 4: I had this beat that kind of felt like because
Speaker 4: with the nature of sick beats, you change it from
Speaker 4: one twenty to one forty to one sixty to one eighty.
Speaker 4: You've just gone through techno, garage, house drum and bass,
Speaker 4: you know, and all those things. You put that beat
Speaker 4: on no matter what the speed was on that fucking dancel,
Speaker 4: and I wanted a beat that you can do that with.
Speaker 4: I mean, I'm guessing it's probably one fifteen or something
Speaker 4: one two three, one two three, okay, so yeah, it's
Speaker 4: technical beat, but it's got that kind of pushing Paul swing.
Speaker 4: So it's like this was in our head, wasn't it.
Speaker 4: And then like I started playing the thing, and then
Speaker 4: bon took over because I was playing this bass line
Speaker 4: on that an open bodied bass, she started feeding back
Speaker 4: like fuck on this pokea. So I was like, play
Speaker 4: that bassline with like this, and obviously I don't use
Speaker 4: feedback and ship that's busting. So he just finessed it.
Speaker 4: It sounded sick.
Speaker 1: It was that thing. It basically he was he was.
Speaker 5: He was playing it and you heard the the original
Speaker 5: note and then the feedback was creating the harmonic.
Speaker 1: But because it was a because there was a hollow body.
Speaker 5: You still had the original note in there as well,
Speaker 5: so it made this chord and I was like, oh,
Speaker 5: can you did you change the feedback home?
Speaker 4: And was like I could keep hitting this single now
Speaker 4: for so I read him and then we're like walking around.
Speaker 1: I was trying to find it. Was like, where's the
Speaker 1: next note in the secrets? Where? And where is? Where
Speaker 1: does it? We find it? And I was like, ah, ship,
Speaker 1: we got it, and we got the we got the sequence.
Speaker 4: In order, and then that was it and like we
Speaker 4: we fucking it didn't sound like but Bowen added the
Speaker 4: chords later on on the on the on the Prophet, which.
Speaker 1: For me finess.
Speaker 4: But like in between that and that, Kenny and I
Speaker 4: are in the studio next door to these guys.
Speaker 1: In Frank Kenny beats. Yeah. Boy.
Speaker 2: I texted him yesterday that this is my ship. I
Speaker 2: was like, yo, Roy, it's crazy, glad.
Speaker 1: You like it.
Speaker 3: I don't know if he worked on that one or not, but.
Speaker 4: Work everything, yeah, he said with us the whole son.
Speaker 4: So I was in there and I was like, I
Speaker 4: was like started going in hard. Kenny was like, nah,
Speaker 4: they say't that what are you doing I was like okay,
Speaker 4: and then he You know, Kenny's got this amazing way
Speaker 4: of just like he's very intuitive and he understands the
Speaker 4: person as a musician. So what I mean by that
Speaker 4: is any person can sing, but a musician understands how
Speaker 4: to create a dialect of you outwardly. So you have
Speaker 4: an internalized group of masks that are all you. They're
Speaker 4: all true, but they come in cadence, they come in intonation,
Speaker 4: they come in a timber, whatever it is tone.
Speaker 1: You can use that to.
Speaker 4: Truly portray your person who you really are, and like
Speaker 4: that comes from somewhere within that you lack. You have
Speaker 4: to have that openness with yourself and try new shit
Speaker 4: to you Like that is that's it. That was me
Speaker 4: when I was twelve, and that's how I want to
Speaker 4: sing on this tune. I listen, this song reminds me
Speaker 4: of the Cordetts and that was a time of innocence.
Speaker 4: I'm going to sing with that innocent twelve year old
Speaker 4: voice because that's what this song is and that's who
Speaker 4: I am on this song. But you Need One is
Speaker 4: incredible as Kenny pets, he puts you in there, he
Speaker 4: goes think about where you are right now.
Speaker 1: Think about who you are.
Speaker 4: Remember when you told me that thing six months ago
Speaker 4: about your mother that day and you said that thing
Speaker 4: that's you right now go and you'd be like, that's
Speaker 4: it brings out that thing and that's the voice, but
Speaker 4: that's the dimerstudy musician, and a karaoke thing is that
Speaker 4: you can easily.
Speaker 1: I was doing it the.
Speaker 4: Other day we covered the Warpman and I was I
Speaker 4: just basically was trying. It sounded like I was trying
Speaker 4: to sit like Hamilton Lighthouse. Obviously that guy's much better
Speaker 4: voice than me, and I reined in. But I know
Speaker 4: Kenny in my head like what you do it? And
Speaker 4: I was like, okay, what will Kenny do? You know,
Speaker 4: you have to find why you want to sing that
Speaker 4: song and then you portray that with your skill set.
Speaker 3: Right, that's great, I mean, that's beautiful.
Speaker 2: I mean back to the fifties and sixties point, it's like,
Speaker 2: how many times did artists do I mean they weren't covers,
Speaker 2: but like versions of things, and they weren't covers because
Speaker 2: they didn't just like ape whatever the I mean, sometimes
Speaker 2: they did, but a lot of the great you know,
Speaker 2: Aretha's respect per version versus Otises. It's like they're both beautiful,
Speaker 2: but Aretha clearly had a vision of herself for that song.
Speaker 2: You know, there wasn't just let's do what Otis did
Speaker 2: you know?
Speaker 4: It's also like if you go back to the early
Speaker 4: first UK and US top tens, there would be three
Speaker 4: versions of the same song in the top ten. Yeah
Speaker 4: that's fucking well, but that's it. Like good example, I
Speaker 4: thought that a Change Is Gonna Come was by Otis reading.
Speaker 4: I didn't realize it was Sam Cooked until like muchs later,
Speaker 4: and like I was like, does that mean in my
Speaker 4: head that Otis owns it? Because it's the one that
Speaker 4: I believe, But like the context of Sam Cook and
Speaker 4: the reason why I wrote it and the bravery it
Speaker 4: took for him to do.
Speaker 1: That, it's insane.
Speaker 4: Yeah, like if you put that in context of the
Speaker 4: pop machine then and how racist it was, the bravery
Speaker 4: is untouchable. But that I'm like this Besides, the point
Speaker 4: is virgin is the one because it's it's what I
Speaker 4: learned it to be, And like I think it's like
Speaker 4: if that's a sense of ownership, like if I own
Speaker 4: the Walkman's song and make it mine, because I mean it,
Speaker 4: it's not my writing, but if I mean it, then
Speaker 4: it's it's as beautiful.
Speaker 5: You know.
Speaker 1: I agree.
Speaker 2: I wish that way of thinking was a little more
Speaker 2: prevalent in music because it's like there, I mean, why
Speaker 2: not pull from other things, you know, like make a
Speaker 2: song yours like that kind of adding that kind of
Speaker 2: variety back in the music would help make it, in
Speaker 2: my view, more interesting.
Speaker 4: There's issues there, like if you like, I mean, how
Speaker 4: many writers did Harry Stele sound on that album? And
Speaker 4: you get credit on all of it? I don't know
Speaker 4: how much he wrote. I'm not criticizing the guy obviously,
Speaker 4: Like I'm not gonna lie. I like Harry Starles's music,
Speaker 4: but like obviously had lots of writers on that, and
Speaker 4: I don't know whether I want to know that or
Speaker 4: I don't think if I thought that Harry Steals wrote
Speaker 4: it all, I'd enjoy even more. Yeah, not all of it.
Speaker 4: I just like his singles. Some of them are really
Speaker 4: good pop songs. I think like knowing that an artist has.
Speaker 4: But like I think Frank Hoschsin is a great example.
Speaker 4: How many producers does does he work with? And it's
Speaker 4: still incredible to me? So I guess it's I don't know,
Speaker 4: it's a cut us as well. I think I just
Speaker 4: the less I know the better when it.
Speaker 1: Comes to that stuff. I think, you know, that's it.
Speaker 4: If you ignore all the bullshit and the noise around
Speaker 4: the song, it's a good song. Because one of the
Speaker 4: things I fucking hate that he's gatekeeping pricks in music
Speaker 4: to think that you're not allowed to like something because
Speaker 4: it's like in the pop machine or you know what
Speaker 4: I mean, Like, you know, I got no time for
Speaker 4: that ship. I think a good song is a good song.
Speaker 4: The less I know the better because I'm a judgmental prick.
Speaker 2: It's good to know about It's a good thing to
Speaker 2: know about yourself, you know, as you move through the world.
Speaker 1: I appreciate you three therapy man.
Speaker 5: But I mean, but that's it. The mystery is key,
Speaker 5: I think, especially since becoming musicians full time and as
Speaker 5: a producer, and you kind of look behind the wizard's
Speaker 5: curtain and it does dissolve away some of the mystery,
Speaker 5: and it's kind of really, I'm not as enthusiastic about
Speaker 5: other people's music anymore as I once was because I've
Speaker 5: lost some of the sense of mystery.
Speaker 2: Yeah, has it made making your music less fun in
Speaker 2: a way too, or no, no.
Speaker 1: No, not at all. That's the thing.
Speaker 5: It's not added to that experience because I've got more
Speaker 5: control to the chaos to happen. You know, we're not
Speaker 5: sat behind the producer who's in front of us and
Speaker 5: they're in charge of all this stuff and they're gatekeeping
Speaker 5: some of the information and some of the way we
Speaker 5: could go about stuff. No, I'm stood up there and
Speaker 5: I'm going now, or you know, let's do this like
Speaker 5: that was that was a big thing move on this
Speaker 5: album was about what we've done before in the past,
Speaker 5: and this isn't the negative things. Is just what happens
Speaker 5: with bands, especially when they don't know a lot of
Speaker 5: that about production is you bring the music, it guides
Speaker 5: the production, but it's you're never able to completely one
Speaker 5: hundred percent get what you were trying to guide because
Speaker 5: there's a confluence through the producer that go through. And
Speaker 5: what I wanted on this one was I wanted the
Speaker 5: production to inform the writing so that it was all unified.
Speaker 5: So that's why, you know, like on pop Up Up,
Speaker 5: we were just talking about one of the reasons that
Speaker 5: song is so successful in that achievement around the UK
Speaker 5: garage kind of like aspect of it is because it's
Speaker 5: on a tape loop, and because the tape loop, because
Speaker 5: you're only hearing four snares, ever those snares on repeat,
Speaker 5: it becomes a drum machine. It becomes that that thing
Speaker 5: that you can patch on to you know, what's coming
Speaker 5: up next to you, that repeated rhythm thing. But even
Speaker 5: further down the line, I mean it's like, yes, no,
Speaker 5: I can hear when that's happening in other people's music
Speaker 5: and you're like, you know, it's kind of like why
Speaker 5: is that so cool?
Speaker 1: And I know why it's so cool.
Speaker 5: That kind of removes some of the mystery, but it
Speaker 5: also kind of adds another.
Speaker 1: Tool to the expression.
Speaker 5: Yeah, whereas before we were like we got so close
Speaker 5: with that, but it's not it. Now we're like, we
Speaker 5: got it, we got it, We've got the thing we're set.
Speaker 1: At night to do.
Speaker 2: I imagine working with Nigel god Rich too, is like a
Speaker 2: big aid in that way, right, like in terms of
Speaker 2: creating a more organic process between the writing and the
Speaker 2: production and all that. Kenny, having Kenny, both Kenny and
Speaker 2: Nigel involved.
Speaker 1: Yeah, very much too.
Speaker 5: I'm like absolutely The cool thing about working with Nigel
Speaker 5: is that it's again coming back to that fifties and
Speaker 5: sixties pop stuff. There is nothing that Nigel god Pritz does.
Speaker 5: I mean, he likes to keep the mystery alive. He
Speaker 5: doesn't like talking about his process too much. But there
Speaker 5: is nothing that Nigel Godrich does that people weren't doing
Speaker 5: in the sixties.
Speaker 1: It's just a taste things tape.
Speaker 5: It's all these old crappy eyeboard stuff that's broken. It's
Speaker 5: all working around the restrictions of what you have to hand.
Speaker 5: That's what I love, and I think that that's very
Speaker 5: rare these days because we've all got access to everything. Yeah,
Speaker 5: you know, you've got splice, You've got like all your
Speaker 5: loop banks, you've got any kind of like process that
Speaker 5: you want to hand. You can just you know, download
Speaker 5: the vst you and a where you go. You've you've
Speaker 5: got any kind of processing that you want. And you're
Speaker 5: losing the restriction that creates creativity, and you're losing the
Speaker 5: restriction that allows you to relinquish some of the control
Speaker 5: because you're like, oh, this is the way that its
Speaker 5: signs going through this great you know, like and once
Speaker 5: once you get into certain places and you find that
Speaker 5: little patch, the little thing, you know, like a weaverb
Speaker 5: or something like that, that just that will inform the
Speaker 5: sign to the rest of the album. As long as
Speaker 5: there's a drum going there, something else in the background,
Speaker 5: the vocals splashing the rhyme, it'll feel like the album.
Speaker 1: So that was that was really cool. He challenged us
Speaker 1: all in the right way.
Speaker 4: I found it very difficult to start, but he was
Speaker 4: very patient and insightful. He was intent on making us
Speaker 4: as accomplished and brilliant as possible, and that meant being
Speaker 4: uncomfortable and challenged. And he is forthright in making the
Speaker 4: best of a song and an album as Kenny is,
Speaker 4: and he worked us and he worked as brilliantly, and
Speaker 4: I'm very fucking grateful that he allowed us the opportunity
Speaker 4: to make something great, because you know, it's like it's
Speaker 4: a steep learning curve keeping up with Nudge, Godrich and
Speaker 4: Kenny beats. Yeah, it's not that fucking around time. It's
Speaker 4: about learning, and I'm very grateful that they were all
Speaker 4: so willing to learn. I hope we can continue for
Speaker 4: at least one more album. If you're listening to Nodule
Speaker 4: I'm fucking coming for you, boy.
Speaker 2: I'm sure he loves to hear that. We're gonna pause
Speaker 2: for one last quick break and then come back with
Speaker 2: the rest of my conversation with Idols. We're back with
Speaker 2: the rest of my conversation with Joe Tarbott and Mark
Speaker 2: Bowen of Idols.
Speaker 3: Were you fucking around it? You really know? The next
Speaker 3: album is the name.
Speaker 4: I'm never fucking around No, I mean I am, but
Speaker 4: not like not with that stuff like that. Now I've
Speaker 4: got it, it's on.
Speaker 1: It's on lock Yeah, Okay, this is the latest he's
Speaker 1: done this.
Speaker 5: By the way, he's normally doing it when we're in
Speaker 5: the studio working on the album, and then it becomes
Speaker 5: all he talks about. It's normally when he's done his vocals,
Speaker 5: he's like, so, guys, ive got the book on your.
Speaker 1: Still drums recording on this song? You know?
Speaker 4: It's like yeah, but I mean and me and both
Speaker 4: talked about it two days ago over coffee in the morning,
Speaker 4: and I was like, I've got it.
Speaker 1: I've got a new title. I've got it, and sometimes
Speaker 1: it's not right now. The first the first one, like
Speaker 1: a Tomorrow, is going.
Speaker 4: To be called Meditations wasn't it, because that was about stoicism,
Speaker 4: and I realized I'm not patient enough to be a
Speaker 4: stoic raga punk something.
Speaker 1: So yeah, the King.
Speaker 4: It's a rough time to be saying fuck the King. Man,
Speaker 4: I don't no, no, no no, it's not no no, no,
Speaker 4: no no. There's a there's a separation, you see. You
Speaker 4: need to understand. And it's a good opportunity on the podcast,
Speaker 4: so you was to do that. There is a difference
Speaker 4: as a citizen of our country between the human being
Speaker 4: that is Charles who has cancer. There's nothing fucking brave
Speaker 4: or funny about celebrating someone else's demids with cancer. It's
Speaker 4: pathetic and stupid. But I will for despise the monarchy
Speaker 4: until it's abolished. There are people starving in our country
Speaker 4: and the poor have been blamed for shit that our
Speaker 4: government and the aristocracy have implemented, and our country is
Speaker 4: falling apart because of that, because of the greally one
Speaker 4: percent and the fucking horrid shit that they're getting away
Speaker 4: with on a daily basis, one of which is the monarchy.
Speaker 1: It needs to stop.
Speaker 4: And until that happens, I will say fuck the King
Speaker 4: with my eyes wide open. I know what I'm saying,
Speaker 4: and I fucking mean it. Fuck the king and everyone
Speaker 4: that reigns after it.
Speaker 3: It's not my place to speak on that. I just
Speaker 3: going to say I love the conviction.
Speaker 1: Yeah, as a human being, I want for better all.
Speaker 3: Ultimately, you seem consumed and driven by passion. You see
Speaker 3: a better way forward, a vision for something to be better,
Speaker 3: to be fair and just. It's not and I like that.
Speaker 4: You know there's a fine line in this while I'm
Speaker 4: exploring different tones and the produties to my message, because
Speaker 4: I understand I've come across as a sanctimonious prick, and
Speaker 4: the last thing I do is judge someone who I
Speaker 4: feel is making a loveless choice in a voting ballad,
Speaker 4: or a loveless choice when they're crossing a rod, or
Speaker 4: a loveless choice when they say something to someone online
Speaker 4: like I may judge their action, but I understand the
Speaker 4: person behind that bullshit is scared, frustrated, hungry, fucking exhausted,
Speaker 4: overworked all these things. And you know it's up to ask,
Speaker 4: as a purveyors of messages within the populace, to try
Speaker 4: and cut through the lines in order to create a
Speaker 4: sense of empathy and love in order to move forward
Speaker 4: with grace and power. That is, the people connecting on
Speaker 4: a human level.
Speaker 2: Were you a reader growing up? You have such a
Speaker 2: really beautiful way with words. You know, whether it's lyrics,
Speaker 2: whether it's speaking extemporaneously. You know how to wield the
Speaker 2: power of words.
Speaker 7: Man, you know, I think I'm got tired of breaking
Speaker 7: my knuckles. You needed another way to exp like that,
Speaker 7: And you really almost punched the wall in the other room.
Speaker 3: That that was me.
Speaker 4: I would never punch a wall. Yeah, I think my
Speaker 4: friend said it brilliantly once when I was younger. He
Speaker 4: was just like, there's nothing more stupid than losing a
Speaker 4: fight to an object. Yeah, it's like, yeah, you're never
Speaker 4: going away either.
Speaker 1: Now.
Speaker 4: What I meant was, I was very I was very frustrated,
Speaker 4: and when my frustrations come out outwardly, I understand that
Speaker 4: comes across quite aggressive. So I needed to cool off
Speaker 4: and then just process it with Bone because Bones very
Speaker 4: level headed and pragmatic when it comes to ship like that,
Speaker 4: and he's who I trust, So I go to him
Speaker 4: that I'm not punching anything, not anymore.
Speaker 5: It's often that kind of like that aggressive kind of
Speaker 5: angry approaches from a place of afters because you expect better.
Speaker 1: You hope, yeah, for more from the world.
Speaker 5: Do you hope for kindness, empathy and understand thing and
Speaker 5: people to be as passionate, as driven them as as
Speaker 5: wanting the best as you do, and then you get
Speaker 5: disappointed by that.
Speaker 4: But yeah, I mean the other thing is that I'm
Speaker 4: just like, you know, you've got to do it yourself.
Speaker 4: It doesn't get done right. That's that's what me and
Speaker 4: Marco will manage to slime.
Speaker 1: That's we're unnet stoicism as well.
Speaker 5: Yeah, you're slowly coming round to the basically Marcus school
Speaker 5: really is you are not Marcus really.
Speaker 2: Is making picture Joe as a as a stoic. I mean,
Speaker 2: maybe you know, borrow some tenants. It just doesn't really
Speaker 2: seem like you can wear that.
Speaker 5: Yeah, speaking as Marcus really is tattooed on his ribs,
Speaker 5: you are on the journey too.
Speaker 1: But I'm more, I'm more I'm Biggie Smalls. I got tired.
Speaker 3: If you see more two PACs recorded me than.
Speaker 1: That's true.
Speaker 4: That yeah, I'd say artistically, but I never got I
Speaker 4: never got on the two packs of music.
Speaker 1: To be fair, I appreciate it. Obviously I'm not fucking stupid,
Speaker 1: but I just I just love the flow.
Speaker 3: The flow a bit off all day, all day.
Speaker 1: Anyway, So fucking.
Speaker 3: Fire hose like Park Man, like you just.
Speaker 2: It's like you watch park and abusing me like this
Speaker 2: motherfucker twenty two was like, it's like this guy was
Speaker 2: a fucking genius.
Speaker 3: It's kind of I'm not. I don't want to call
Speaker 3: you a genius to your face.
Speaker 1: Nor bad. I'm not fucking genius. But here's the thing,
Speaker 1: And I'll tell you what if you listen to his.
Speaker 4: Stunning, glorious, fucking parents and what they stood for, and
Speaker 4: and you know I came from that, I am. I
Speaker 4: am half my mother and half my father, and I
Speaker 4: owe a lot of that today, the moral stance. My
Speaker 4: father's an artist, my mom was a fucking powerhouse, and
Speaker 4: they were full of love and empathy and courage in
Speaker 4: different ways.
Speaker 1: And I'm a product of that.
Speaker 4: My dad was a socialist, is a socialist, and and
Speaker 4: my mom was a fucking beautiful dancer.
Speaker 1: And that that's where I come from.
Speaker 4: And I you know, you can see that to the
Speaker 4: beautiful things that he stood up for, you know, And
Speaker 4: the same as bot I see his parents in him.
Speaker 4: If you know how beautiful and wonderful his parents. His
Speaker 4: mother is a power, his father as the powers in
Speaker 4: different ways, and as a parent. Now I realized it's
Speaker 4: so fucking magic and important.
Speaker 1: That is.
Speaker 3: Yeah, you have a kid. We do, yeah, both of us,
Speaker 3: not together. You guys would make great parents. Are you
Speaker 3: kidding me? Like you guys like the perfect co parent insituation?
Speaker 5: No, no, no, no, no, it's like it's the thing
Speaker 5: about the difference between now. So it's okay whenever. It's like,
Speaker 5: you're creative, baby, but because we can cross each other's lines,
Speaker 5: but I think on parents and it's real tough when
Speaker 5: you cross each other's lines.
Speaker 3: Yeah, yeah, I do want to ask Joe the repetition.
Speaker 1: Yeah, in lyrics, it's really cool.
Speaker 2: I don't know if something you do consciously, if it's
Speaker 2: a float thing because you're in the biggie, if it's
Speaker 2: something to do with the meaning of the words, but
Speaker 2: like it comes up that Yeah.
Speaker 4: I like wordplay, poetry and obviously rap music, so I
Speaker 4: kind of grow up on airprop And is that thing
Speaker 4: about a vocal hook, you know, like a soundple hook
Speaker 4: or a vocal hook, you know, I just see certain
Speaker 4: things like a sledgehammer, if you want to force something
Speaker 4: home and make someone uncomfortable, or make something iconic, iconic
Speaker 4: meaning that if you see, if you squint, you see
Speaker 4: something blurred from a mile away, you know what it
Speaker 4: is because you've seen it before, you've heard it before.
Speaker 4: And I think, like, it's not necessarily my self as
Speaker 4: part of the song, but if you use repetition in
Speaker 4: a way like The Fall did it, there's a lot
Speaker 4: of postport that did it as well, and like, I
Speaker 4: just think it's word play and I think there's many
Speaker 4: ways you can you can be beautiful, and I think
Speaker 4: hip hop's the best example for that obviously.
Speaker 1: Like for me, repetition is one. It's like a tropro
Speaker 1: of us, like it's part of the Bibles is language,
Speaker 1: and on.
Speaker 5: This album, the more so I think in in its
Speaker 5: purest form of garden like samples. I think, like both
Speaker 5: of us, you know, your background is kind of hip
Speaker 5: hop and your influences, and I come like I listened
Speaker 5: to the loops of techno and hard Heus and stuff
Speaker 5: like that as a kid, and so it's all like
Speaker 5: you know, samples and actual repetition of sign and.
Speaker 1: I think on the on this album. We've always tried
Speaker 1: to do that.
Speaker 5: You know, We've done it very in a very post
Speaker 5: punk way, that kind of crowd rock way where you know,
Speaker 5: you've got that motoric B and the bass line and
Speaker 5: it's loop and rind and there's you know, pocket and
Speaker 5: feel kind of comes out of that.
Speaker 1: But like on on Tank, for the first time, we.
Speaker 5: Literally are using samples of our Yeah yeah, yeah, it's
Speaker 5: not all the played it's like, you know, the signed
Speaker 5: on Pop Up Pop. You know, we only got those
Speaker 5: frequencies once. We didn't run through the whole song.
Speaker 4: I'd say, you what, So when we're in the studio
Speaker 4: of Pop Pop Pop when I was in m Kenny, Yeah,
Speaker 4: we were trying to figure out chorus and I was like,
Speaker 4: I thought about a hip hop sample hook and I
Speaker 4: was like, this is our hip hop sample. I was like,
Speaker 4: I'll just sing it far away from the mic and
Speaker 4: distort it and it would just sound like an old sample.
Speaker 4: And he was like, fuck yeah, So I just did
Speaker 4: that some beams because it's based on a Roll Dark
Speaker 4: quote where he says that like basically shitty people and
Speaker 4: their ugly thoughts come out in their face and they
Speaker 4: look mean and they look like fucking horrible, not necessarily
Speaker 4: ugly people about and what he's saying is so like
Speaker 4: if you're a nasty prick, you can see it in
Speaker 4: your face. But he said that good people and people
Speaker 4: that have beautiful thoughts, it shines out of their flace
Speaker 4: like somebeams.
Speaker 1: And I just love I love that quote. And knowing
Speaker 1: what he was like, you thought he was a real cynic.
Speaker 4: He wrote, he's really kind of like Uncanny Chill, these
Speaker 4: books that are kind of a bit sinister for sick
Speaker 4: and empowering for children in like a wicked way. So
Speaker 4: I wanted to do that quote, so I chucked it
Speaker 4: in a sort of song spots for my kid. I
Speaker 4: wanted it to be like a steparate thing that's a
Speaker 4: sample and not to this song. It doesn't lyrically fit
Speaker 4: with what I was singing in the verses, but it
Speaker 4: fits in the theme of the song as a sample.
Speaker 3: That's cool. And that's what I love about too.
Speaker 2: It's like there's a lot of repetition, but there's also
Speaker 2: a lot of chaos in your songs, and so it's
Speaker 2: never like there's repetition so I know what's next, or
Speaker 2: there's repetition. So I've heard this before, and I think
Speaker 2: that's what makes you guys' music so listenable, you know,
Speaker 2: like just makes people want to go back and listen
Speaker 2: more and again. And you know, listening to Brutalism again recently,
Speaker 2: it was like there's new things I'm hearing in that,
Speaker 2: you know that I haven't listened to that in a
Speaker 2: couple of years, And I can't believe you guys have
Speaker 2: five albums in seven years.
Speaker 1: Yeah.
Speaker 4: Well, yeah, I mean we're very you know, we're privileged. Man,
Speaker 4: We're lucky. We've got we've got time and space and
Speaker 4: money to make beautiful ships. So we'll keep making it.
Speaker 1: Until we're hunger for it as well.
Speaker 4: Yeah, I mean obviously, Yeah, that's that's part of our
Speaker 4: that's part of our privilege. Yeah, it's not just about
Speaker 4: our circumstance and what we've been allowed. It's the fact
Speaker 4: that we get up in the morning and we've got
Speaker 4: shipped to do.
Speaker 5: Yeah, that's fucking a gift to me that if I
Speaker 5: got canceled like next week, I'd be like, well, let's
Speaker 5: get the studio.
Speaker 1: It's getting the studio.
Speaker 8: Yeah, this is what else is going to do, Like
Speaker 8: not not ship I mean Kenny's like that though as well,
Speaker 8: like like more so he's insane, Like it's worked like
Speaker 8: insane crazy, You'll be you'll be like working with stuff
Speaker 8: and his hest and chilling, and then like these other
Speaker 8: people will just turn up. It's like, yeah, just like
Speaker 8: my brillin has just like dumped everything it has, can
Speaker 8: you possibly have sparce.
Speaker 1: To do more? And he's just he just is, He's
Speaker 1: you know, he's gonna bring out the best in that
Speaker 1: person exactly. Yeah, yeah, yeah, yeah sick.
Speaker 2: I mean, I guess that's the thing about great producers,
Speaker 2: like how it split. Like I couldn't thought about like
Speaker 2: a father. I couldn't imagine splitting my time between like
Speaker 2: eight different families of kids.
Speaker 3: It's like, what the fuck? How do you? But people
Speaker 3: like Kenny have this beautiful.
Speaker 2: Gift of showing up being themselves in all these different
Speaker 2: ways with all these different people.
Speaker 5: And he shows up he's himself, but he's also like
Speaker 5: I've never know, I've never seen him not change your
Speaker 5: rip if he comes in the room, and he'll just
Speaker 5: like he does something profine to people. It's an energy,
Speaker 5: it's it's class.
Speaker 2: I appreciate talking to y'all and good luck on the performance.
Speaker 2: Tonight should be fun.
Speaker 1: Yeah fuck yeah, all right, much up later, guys.
Speaker 2: Thanks to Joe Talbot and Mark Bowen of Idols. They're
Speaker 2: talking about their creative push and pull and the recording
Speaker 2: of their latest album Tank. You can hear it along
Speaker 2: with our other favorite Idol songs on the playlist at
Speaker 2: broken Record podcast dot on. Subscribe to our YouTube channel
Speaker 2: at YouTube dot com slash broken record Podcast, where you
Speaker 2: can find all of our new episodes. You can follow
Speaker 2: us on Twitter at broken Record. Broken Record is produced
Speaker 2: and edited by Leah Rose, with marketing help from Eric
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Speaker 2: Kenny Beats. I'm justin Richmond,