WEBVTT - Damon Albarn

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<v Speaker 1>Pushkin. Over the course of a thirty five year career,

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<v Speaker 1>Damon Auburn has reached international fame with two very different groups.

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<v Speaker 1>In nineteen eighty eight, Damon created the rock band Blur

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<v Speaker 1>with four friends in his native London. Blur started out

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<v Speaker 1>as what Damon calls a classic art school band, but

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<v Speaker 1>they quickly morphed into one of the seminal groups of

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<v Speaker 1>the nineties britpop explosion, along with their former rivals Oasis.

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<v Speaker 1>After a series of successful albums with Blur, Damon started

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<v Speaker 1>Gorillas in nineteen ninety eight with cartoonist Jamie Hewlett. Dubbed

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<v Speaker 1>is the world's first virtual group, the Gorilla's rotating lineup

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<v Speaker 1>includes collaborations with De La Soul, Stevie Nicks, Bobby Womack,

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<v Speaker 1>and Lou Reed. The band's influences are as diverse as

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<v Speaker 1>electronic music, hip hop, and world music, and over the

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<v Speaker 1>last twenty five years, Gorillas has been wildly successful, selling

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<v Speaker 1>over thirty million albums worldwide. Despite having found such success,

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<v Speaker 1>Damon's never stopped exploring his artistic potential. He's written in

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<v Speaker 1>an opera, released solo and side projects, and recently he

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<v Speaker 1>reunited with Blur to release the band's latest album, called

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<v Speaker 1>The Ballad of Darren. On today's episode, Lea Rose talks

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<v Speaker 1>to Damon Albarn about what it's like for Blur to

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<v Speaker 1>headline music festivals in twenty twenty three. Damon also reveals

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<v Speaker 1>how Gorillas are about to undergo a major paradigm shift,

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<v Speaker 1>and he explains how, according to family lore, John Lennon

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<v Speaker 1>and Yoko Ono first met at his dad's art gallery

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<v Speaker 1>in London. This is broken record liner notes for the

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<v Speaker 1>digital age.

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<v Speaker 2>I'm justin Mitchman.

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<v Speaker 1>Here's Lea Rose with Damon Albarn.

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<v Speaker 3>Let's talk Blur. Okay, so it looks like you've been

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<v Speaker 3>on a you all have been doing a little run

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<v Speaker 3>of shows in Europe. How has it been being back

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<v Speaker 3>on stage with everybody?

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<v Speaker 2>Oh, it's great. Yeah. We did three four small gigs

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<v Speaker 2>in England and then we went over to Spain and

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<v Speaker 2>did the Primavera gigs. First one was Pastime. I mean,

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<v Speaker 2>the only problem problematic thing is that if you're headlining

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<v Speaker 2>you go on at two am, which are our age

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<v Speaker 2>is almost unthinkable, but we can just about do it. Yeah,

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<v Speaker 2>And then the next date was in Madrid and it

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<v Speaker 2>was the first time they were ever doing it and

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<v Speaker 2>the weather was so bad that they had to cancel

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<v Speaker 2>our concert at two am, so we managed to find

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<v Speaker 2>a smallish club called labry Vieira about two thousand people

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<v Speaker 2>and two thousand of the forty thousand managed to see us.

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<v Speaker 2>So it was quite quite a magical evening really, considering

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<v Speaker 2>what a tumultuous afternoon it had been.

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<v Speaker 3>You know, what was the energy like in the club?

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<v Speaker 2>Yeah, it was fantastic. Threw myself around with Wild Abandon.

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<v Speaker 3>Very nice. How has it been for the other guys

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<v Speaker 3>in the bank? So, I know, you've been consistently touring

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<v Speaker 3>for the most part since the last Blur album, has it?

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<v Speaker 2>I thought you were going to say, you've been consistently

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<v Speaker 2>tearing it up.

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<v Speaker 3>Been thrashing, tearing the club up.

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<v Speaker 2>Yeah, consistently yeah, yeah, Well, I mean everyone's been doing

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<v Speaker 2>their own thing. Grahamson and lot of concerts, but not

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<v Speaker 2>maybe of that size. Alex has his own festival, so

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<v Speaker 2>he even he knows everything about about what a festival is,

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<v Speaker 2>you know, the complete DNA of a festival. Dave's been

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<v Speaker 2>doing everything humanly possible and also got his own little

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<v Speaker 2>band out as well, So everyone's been super busy that's great. Yeah,

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<v Speaker 2>But it's necessary, isn't it. Otherwise it just feels like,

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<v Speaker 2>I don't know this. This is supposed to be old

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<v Speaker 2>for ends sort of finding each other latterly and trying

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<v Speaker 2>to express that in a sort of, you know, vibrant

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<v Speaker 2>and honest way.

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<v Speaker 3>Have you learned anything new about the old friends and

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<v Speaker 3>the process of recording the new album?

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<v Speaker 2>Well, they're a lot more grown up, all of them,

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<v Speaker 2>a lot more maybe resilient than maybe they were twenty

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<v Speaker 2>years ago emotionally and physically. Yeah, I think there's a

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<v Speaker 2>huge amount of necessary growing up that's gone on for

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<v Speaker 2>all of us.

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<v Speaker 3>Are the band dynamics? Do they feel exactly the same

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<v Speaker 3>as they used to, you know, way back when, or

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<v Speaker 3>have things sort of changed just like on a more

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<v Speaker 3>like interpersonal level, things.

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<v Speaker 2>Have changed a bit, but essentially so exactly the same dynamic.

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<v Speaker 3>That's so cool. It's so nice to have that.

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<v Speaker 2>Yeah, really, it is really nice. It is really nice.

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<v Speaker 2>But but I suppose the fact that we haven't kind

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<v Speaker 2>of chased it much in the last twenty years means that,

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<v Speaker 2>you know, there's there's still that possibility for something to

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<v Speaker 2>surprise us, you know, And I mean this whole thing

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<v Speaker 2>initially started off with a conversation about Okay, it's probably

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<v Speaker 2>time we sang those songs again, with no real destination.

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<v Speaker 2>And then when I was in the States in the autumn,

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<v Speaker 2>I mean, I always take a studio on tour anyway,

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<v Speaker 2>and I just thought, well, I'm just going to write songs.

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<v Speaker 2>It's kind of interesting being here in all these mad

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<v Speaker 2>cities and everything that you know that you carry on

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<v Speaker 2>the road with you and the experiences you have, and

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<v Speaker 2>I thought, maybe that's quite a nice sometimes it's quite

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<v Speaker 2>a nice place to write about something else, you know,

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<v Speaker 2>And so I just wrote lost songs. I didn't tell anyone.

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<v Speaker 2>Then in the new year, I said to all of them,

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<v Speaker 2>I said, just can I invite you down to the studio,

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<v Speaker 2>I just like play some stuff suit you think And

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<v Speaker 2>I said, look, I think I've written an album. There's

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<v Speaker 2>twenty songs. You choose the ones you want to record,

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<v Speaker 2>and that's really It was as simple as that. They

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<v Speaker 2>were like into it, and it felt, I suppose of

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<v Speaker 2>that moment, I was kind of, you know, I was

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<v Speaker 2>still kind of a bit nervous about letting all that

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<v Speaker 2>material go without knowing where it was going to go.

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<v Speaker 2>But it went pretty much exactly where I hoped it would,

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<v Speaker 2>and yeah, I didn't take us more than six weeks

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<v Speaker 2>to do the whole thing.

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<v Speaker 3>It's amazing.

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<v Speaker 2>But the most amazing thing about that was that that

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<v Speaker 2>seemed to sort of inform the momentum of everything and

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<v Speaker 2>the fact that we already had this sort of totemic

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<v Speaker 2>Wembley gig. It's sort of everyone was like, oh, well,

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<v Speaker 2>where we should get the record out in time for

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<v Speaker 2>that as well, or at least least proximity to it.

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<v Speaker 2>So something a process that that latterly, to be honest,

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<v Speaker 2>has just become so sort of slow for me, you know,

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<v Speaker 2>like having to wait a year sometimes to put a

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<v Speaker 2>record out. She's just so that's happened a few times.

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<v Speaker 2>So this was literally we we finished it and then

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<v Speaker 2>it was like, oh shit, we need to rehearse for

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<v Speaker 2>these concerts, and now we're here and I haven't and

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<v Speaker 2>we're putting another single out next week and then an album,

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<v Speaker 2>and that's it's just nice to know that that nothing

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<v Speaker 2>existed in January apart from the songs I suppose, so.

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<v Speaker 3>The gig existed first and then the album came yes,

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<v Speaker 3>So it's sort of like a Beatles, get back, let

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<v Speaker 3>it be situation.

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<v Speaker 2>It's exactly like that, and it's.

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<v Speaker 3>Just why did you get back right now?

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<v Speaker 2>I mean, this is inevitable, isn't it. That's sort of

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<v Speaker 2>for some reason because we come from this island. We're

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<v Speaker 2>always going. But but I mean, this is the annoying

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<v Speaker 2>thing about the Beasts is that they kind of sort

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<v Speaker 2>of they created every kind of sort of trope that

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<v Speaker 2>you throw up pop music really you know, not invented,

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<v Speaker 2>but they seem to embody so many and you know,

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<v Speaker 2>the the idea of mass hysteria, although it happened previously

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<v Speaker 2>with Elvis, I don't think it ever happened for a band.

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<v Speaker 2>The idea of the independence that are banned when it's

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<v Speaker 2>a good one kind of offers its its audience. You know.

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<v Speaker 2>They know that these these individuals have come up together

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<v Speaker 2>and that they share very similar kind of sort of beliefs,

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<v Speaker 2>you know, and passions, and that like you know, there's

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<v Speaker 2>no need to have since they were kids. So it's

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<v Speaker 2>just it's so important really that bands exist. And I

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<v Speaker 2>suppose I feel like, I don't know, I feel like

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<v Speaker 2>it was a bit more excitement about guitar music again

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<v Speaker 2>at the moment, and that can't be a bad thing

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<v Speaker 2>because it got so sterile. I mean, you know, for me,

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<v Speaker 2>really the last great guitar band would have been the

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<v Speaker 2>Artic Monkeys. I don't really know if there's anything as

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<v Speaker 2>good as that since. I mean, but but now there's

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<v Speaker 2>bands who look got a huge amount of potential, and

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<v Speaker 2>it's really it's kind of dismantled itself guitar music, and

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<v Speaker 2>it's kind of putting itself back together again in a

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<v Speaker 2>different form, you know, you get you've got some fantastic

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<v Speaker 2>new kind of sort of mutations of the the genus

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<v Speaker 2>of it.

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<v Speaker 3>Yeah, what are some that you're thinking of when you

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<v Speaker 3>say there's new there's some new bands out there that

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<v Speaker 3>are bringing back aut our music.

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<v Speaker 2>Well, I really, I really like I really like a

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<v Speaker 2>band like Wooloo. They seem to be really cool. There's

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<v Speaker 2>one that I picked up on somewhere in the American countryside,

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<v Speaker 2>but I like, I can't remember his name. That's narrowing

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<v Speaker 2>it down, isn't it.

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<v Speaker 3>American countryside? Okay?

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<v Speaker 2>Yeah, in the American countryside, the great the great American

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<v Speaker 2>country side. Yeah, it's a collective of I don't know,

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<v Speaker 2>it's sort of just felt like exactly what a young

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<v Speaker 2>band should sound like. Lots of there are lots of them,

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<v Speaker 2>and you've got bands like Yard Acts who are here.

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<v Speaker 2>It seemed to be getting better and better, and obviously

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<v Speaker 2>not that they're new, but I still see them as

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<v Speaker 2>kind of emerging bands like Sleaford Mods, you know, brilliant.

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<v Speaker 2>So it's and lots of great language being used again,

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<v Speaker 2>you know, not the generic rock shit. I hate that. Yeah,

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<v Speaker 2>I hate that. I like I like poets and guitars,

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<v Speaker 2>you know, it's like that's what always inspired inspired me.

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<v Speaker 3>I was curious about your relationship to the Beatles because

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<v Speaker 3>you came up you were sort of the generation after

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<v Speaker 3>the Beatles, and we've had a lot of artists on

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<v Speaker 3>this show who talk about, you know, someone like Ozzy

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<v Speaker 3>Osbourne when he heard the Beatles, it was like it

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<v Speaker 3>went from black and white to color, so you.

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<v Speaker 2>Being and then back and then back to black permanently.

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<v Speaker 3>He brought it back to book.

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<v Speaker 2>Yeah. I'm not sure where the color comes in really

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<v Speaker 2>with Ozzy Osborne, but I mean, yeah, you know.

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<v Speaker 3>So they still put out albums while you were alive young,

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<v Speaker 3>but you.

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<v Speaker 2>Were alive well yeah, yeah, yeah, yeah.

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<v Speaker 3>Growing up when you were finding your own music. What

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<v Speaker 3>role did the Beatles play with you and your friends? Like,

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<v Speaker 3>were you guys into the Beatles?

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<v Speaker 2>Well, the first thing I knew about the Beatles really

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<v Speaker 2>was that my parents lived in the same mansion block

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<v Speaker 2>in Emperor's Gate back in the very early sixties as them.

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<v Speaker 2>And then what's my next connection and the other thing

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<v Speaker 2>within my family kind of sort of folklore, is that

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<v Speaker 2>my dad had a gallery in just off Carnoby Street

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<v Speaker 2>and he put on the exhibition where Yoko Ono had

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<v Speaker 2>the ladder and John Lennon climbed up a ladder to

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<v Speaker 2>read the word yes or whatever. It was, so kind

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<v Speaker 2>of he kind of got them together. That was their

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<v Speaker 2>first meeting, really, yeah, I mean office, it's it's not.

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<v Speaker 3>I've been dying to know how those two met watching

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<v Speaker 3>Get Back.

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<v Speaker 2>Yeah, they met in he came to see her art

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<v Speaker 2>show at my dad's gallery.

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<v Speaker 3>Was she like a popular artist at the time.

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<v Speaker 2>I mean underground, yeah, but very cool cool yeah, so

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<v Speaker 2>so so that was I kind of knew more about that.

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<v Speaker 2>And I also I used to love lucim the Sky

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<v Speaker 2>of Diamonds because I got given it, but I didn't

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<v Speaker 2>know that it was a Beatles song. I thought it

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<v Speaker 2>was Elson John's song. Oh, but then and then I did,

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<v Speaker 2>and obviously I did discover the Beatles, and like, you know,

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<v Speaker 2>then then it becomes an obsession until you've kind of

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<v Speaker 2>you've listened to everything and kind of assimilated the whole thing.

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<v Speaker 2>But then you know, like other amazing things came into

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<v Speaker 2>my life, you know. But I mean, it was one

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<v Speaker 2>of the very early influences. Obviously very cool.

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<v Speaker 3>I've seen your your house describe the house you grew

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<v Speaker 3>up in described as bohemia, and I know what that

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<v Speaker 3>means in America, but what does that mean in London?

0:13:14.516 --> 0:13:17.156
<v Speaker 2>I did till I was nine. I lived in London

0:13:17.196 --> 0:13:19.636
<v Speaker 2>when I moved to the to the Essex countryside. But

0:13:19.756 --> 0:13:21.916
<v Speaker 2>he mean, I suppose in the sense that my dad's

0:13:21.956 --> 0:13:27.836
<v Speaker 2>and my dad was like very into latterly into art education.

0:13:27.996 --> 0:13:32.676
<v Speaker 2>My mum's always been an artist, painter and creates installations

0:13:32.756 --> 0:13:36.956
<v Speaker 2>and everything really just everything is and yeah, I've got lots,

0:13:37.076 --> 0:13:40.116
<v Speaker 2>just lots of artists in my family, which is pretty normal.

0:13:41.196 --> 0:13:43.116
<v Speaker 3>Yeah, so it wasn't. I mean, I don't know. I

0:13:43.156 --> 0:13:46.076
<v Speaker 3>guess I picture sort of just like people sitting around

0:13:46.076 --> 0:13:48.956
<v Speaker 3>on pillows and smoking hookahs and yeah, that.

0:13:49.036 --> 0:13:50.596
<v Speaker 2>Sort of thing. I mean, it was a bit like

0:13:50.636 --> 0:13:53.396
<v Speaker 2>that in the late sixties, me and my dad's. Amongst

0:13:53.396 --> 0:13:58.196
<v Speaker 2>the many things he did, he created happenings and psychedelic

0:13:58.236 --> 0:14:02.276
<v Speaker 2>buildings in weird places. In fact, once he kind of

0:14:02.316 --> 0:14:05.356
<v Speaker 2>worked with a soft machine and they did a concert

0:14:05.396 --> 0:14:09.716
<v Speaker 2>in the south of France and be a really good

0:14:09.716 --> 0:14:13.156
<v Speaker 2>idea to go out the night before because it was

0:14:13.396 --> 0:14:15.876
<v Speaker 2>on a beach. He went out into the bay and

0:14:15.916 --> 0:14:21.116
<v Speaker 2>it doused the whole bay in Petrol, and then when

0:14:21.156 --> 0:14:24.316
<v Speaker 2>they came on that evening, he lit it. So they

0:14:24.316 --> 0:14:26.996
<v Speaker 2>had this amazing, very dangerous but no one would ever

0:14:27.076 --> 0:14:29.556
<v Speaker 2>let you do that now, but that Hey, it was

0:14:29.596 --> 0:14:32.356
<v Speaker 2>the sixties. I mean, but you know, I just heard

0:14:32.396 --> 0:14:36.716
<v Speaker 2>all of this through, you know, just the thing that

0:14:36.756 --> 0:14:39.196
<v Speaker 2>all families have, which are like these stories you know

0:14:39.516 --> 0:14:41.516
<v Speaker 2>that you want to hear again and again and again.

0:14:42.156 --> 0:14:43.316
<v Speaker 3>Totally the family law.

0:14:43.516 --> 0:14:45.316
<v Speaker 2>Yeah, he's at the family law exactly.

0:14:46.036 --> 0:14:47.716
<v Speaker 3>I don't know if you went through like an early

0:14:47.996 --> 0:14:52.316
<v Speaker 3>experimentation drug phase when you're a teenager or whatever, But

0:14:52.356 --> 0:14:54.356
<v Speaker 3>were they cool with that, like, could you talk to

0:14:54.396 --> 0:14:55.716
<v Speaker 3>them about Oh.

0:14:55.596 --> 0:14:59.716
<v Speaker 2>Yeah, my parents were always very good with all my yeah,

0:14:59.716 --> 0:15:03.036
<v Speaker 2>my dalliances, you know, I didn't necessarily think I was

0:15:03.076 --> 0:15:06.836
<v Speaker 2>being very responsible sometimes, but I mean they were never

0:15:06.916 --> 0:15:07.876
<v Speaker 2>judgmental ever.

0:15:08.796 --> 0:15:12.716
<v Speaker 3>Yeah, I read that your primary school burnt down like

0:15:12.796 --> 0:15:13.876
<v Speaker 3>seven or eight times.

0:15:14.156 --> 0:15:15.716
<v Speaker 2>Yeah, that's true.

0:15:15.756 --> 0:15:17.356
<v Speaker 3>Why what is that about.

0:15:17.516 --> 0:15:20.316
<v Speaker 2>Well, it turned out that our form teacher was a

0:15:20.316 --> 0:15:24.396
<v Speaker 2>complete psychopath. But the sad thing is that the school

0:15:24.396 --> 0:15:28.116
<v Speaker 2>care segue, the school caretaker was blamed initially, and he

0:15:28.196 --> 0:15:31.356
<v Speaker 2>had a heart stack because he was so distressed that

0:15:32.076 --> 0:15:34.596
<v Speaker 2>anyone could think he'd do anything like that. But it

0:15:34.676 --> 0:15:37.316
<v Speaker 2>kept happening and it really disrupted two years of my

0:15:37.436 --> 0:15:41.236
<v Speaker 2>education like terribly. And then in the end it turned

0:15:41.236 --> 0:15:44.516
<v Speaker 2>out it was our teacher who'd been burning the school down. Yeah.

0:15:45.196 --> 0:15:47.996
<v Speaker 3>Was it big fires or was it just like little yeah?

0:15:48.076 --> 0:15:52.516
<v Speaker 2>Yeah, well, like classrooms and stuff on them. Once we'd

0:15:52.556 --> 0:15:55.716
<v Speaker 2>done his whole projects of raising all these hamsters, and

0:15:55.756 --> 0:15:57.836
<v Speaker 2>then he burnt the hamsters as well, which you know,

0:15:59.236 --> 0:16:00.476
<v Speaker 2>it was not nice.

0:16:00.596 --> 0:16:02.236
<v Speaker 3>It's like serial killer stuff.

0:16:02.036 --> 0:16:04.836
<v Speaker 2>Yes, I mean yeah, I mean sort of. Essex in

0:16:04.836 --> 0:16:08.636
<v Speaker 2>the nineteen eighties was a fairly errant place, to be fair.

0:16:10.116 --> 0:16:12.396
<v Speaker 1>We're taking a quick break and then coming back with

0:16:12.436 --> 0:16:19.756
<v Speaker 1>more from Leo Rose and Damon Albarn. We're back with

0:16:19.836 --> 0:16:22.436
<v Speaker 1>more from Damon Albarne and Lio Rose.

0:16:23.036 --> 0:16:25.116
<v Speaker 3>As a kid, like what was how did you find music?

0:16:25.156 --> 0:16:26.956
<v Speaker 3>What was the first music that you felt was like

0:16:27.676 --> 0:16:28.556
<v Speaker 3>really spoke to you.

0:16:28.956 --> 0:16:33.796
<v Speaker 2>Oh, I was more family law. I had a harmonic

0:16:33.836 --> 0:16:37.276
<v Speaker 2>hererap that was in my cot which I used to play.

0:16:38.316 --> 0:16:41.796
<v Speaker 2>I've always always been interested in music. Yeah. I went

0:16:41.876 --> 0:16:47.836
<v Speaker 2>through quite conventional musical education, classical, and then I just

0:16:47.876 --> 0:16:52.636
<v Speaker 2>sort of with Graham, discovered other kinds of ways of

0:16:52.676 --> 0:16:55.436
<v Speaker 2>playing music, you know, and here I am.

0:16:55.476 --> 0:16:59.036
<v Speaker 3>Now what were you guys into music wise? Were you

0:16:59.036 --> 0:17:01.676
<v Speaker 3>into punk or were you like what was a new wave?

0:17:01.756 --> 0:17:02.196
<v Speaker 3>What was there?

0:17:02.316 --> 0:17:06.316
<v Speaker 2>Yeah, well, I mean a lot of our early stuff

0:17:06.396 --> 0:17:10.036
<v Speaker 2>is comes directly from Thursday Night on Top of the Pops. No,

0:17:10.196 --> 0:17:14.796
<v Speaker 2>it's a national obsession with the youth. Really, it felt

0:17:14.836 --> 0:17:19.116
<v Speaker 2>like that where I lived. That was my connection with everything,

0:17:19.196 --> 0:17:23.316
<v Speaker 2>you know, Top of the Pops, clothes, music, hairstyles.

0:17:23.956 --> 0:17:25.756
<v Speaker 3>How much did you guys think about the way that

0:17:25.796 --> 0:17:28.356
<v Speaker 3>you looked, like the aesthetic look of Blur when you

0:17:28.396 --> 0:17:30.996
<v Speaker 3>first started. Was there are a lot of thought put into

0:17:31.036 --> 0:17:33.156
<v Speaker 3>the haircuts and the clothes.

0:17:34.516 --> 0:17:36.756
<v Speaker 2>It was a lot of thought put into making it

0:17:36.756 --> 0:17:39.956
<v Speaker 2>not look like there's a lot of thought put into it. Yeah,

0:17:40.516 --> 0:17:44.316
<v Speaker 2>it was just a classic art school band really yeah,

0:17:44.756 --> 0:17:52.916
<v Speaker 2>slightly foppish, slightly foppish, slightly disheveled, but kind of you know, cool. Yeah.

0:17:52.916 --> 0:17:54.076
<v Speaker 3>But the hair was always good.

0:17:54.236 --> 0:17:55.836
<v Speaker 2>Yeah, we had good hair. We had good hair.

0:17:56.156 --> 0:17:58.356
<v Speaker 3>Like it looks dishovel, but yeah, yeah.

0:17:58.156 --> 0:18:01.076
<v Speaker 2>I mean remarkably, we've still pretty much all got our hair,

0:18:01.396 --> 0:18:07.796
<v Speaker 2>which is honestly, that's quite the thing. Fifty five is

0:18:07.876 --> 0:18:12.676
<v Speaker 2>definitely not something to take for granted. For sure, you

0:18:12.716 --> 0:18:13.756
<v Speaker 2>know it's true.

0:18:14.316 --> 0:18:16.476
<v Speaker 3>But yeah, I've always wondered that because you always look cool,

0:18:16.596 --> 0:18:18.636
<v Speaker 3>and it's like, how much thought, I'm just curious, how

0:18:18.796 --> 0:18:21.596
<v Speaker 3>still you look cool your cool outfits. You obviously make

0:18:21.636 --> 0:18:23.116
<v Speaker 3>cool choices with what you wear.

0:18:23.516 --> 0:18:25.916
<v Speaker 2>Oh, I mean, I mean you know, we we were

0:18:25.996 --> 0:18:28.876
<v Speaker 2>in second hand shops from day one. I mean it's

0:18:29.396 --> 0:18:32.396
<v Speaker 2>it's one of our great joy especially Graham and I

0:18:32.476 --> 0:18:34.716
<v Speaker 2>you know, we just love shopping for old clothes.

0:18:35.516 --> 0:18:37.436
<v Speaker 3>Yeah, but still you have to be good at it,

0:18:37.476 --> 0:18:40.316
<v Speaker 3>like someone on you two three thousand, like always looks cool.

0:18:40.356 --> 0:18:42.956
<v Speaker 3>Oh yeah, you could walk into the same shop and no, of.

0:18:42.876 --> 0:18:45.876
<v Speaker 2>Course, but it's like it's like everything practice makes perfect,

0:18:45.956 --> 0:18:48.956
<v Speaker 2>you know, It's like all those things that you tried

0:18:48.996 --> 0:18:51.796
<v Speaker 2>on that really didn't work, but you put down and

0:18:51.876 --> 0:18:53.796
<v Speaker 2>I bought a lot of stuff that I was convinced

0:18:53.996 --> 0:18:58.756
<v Speaker 2>was a major statement in fashion that when I got home,

0:18:58.796 --> 0:19:02.076
<v Speaker 2>it's like, and these days I have I mean my

0:19:02.196 --> 0:19:06.236
<v Speaker 2>daughter because she's at London School of Fashion, very serious,

0:19:06.596 --> 0:19:10.996
<v Speaker 2>very very serious about everything. To that, I mean, I

0:19:10.996 --> 0:19:13.036
<v Speaker 2>can't get with anything anymore, you know what I mean.

0:19:14.636 --> 0:19:17.556
<v Speaker 2>I have to really be my top a game every

0:19:17.636 --> 0:19:21.196
<v Speaker 2>day otherwise she will call me out.

0:19:22.236 --> 0:19:23.436
<v Speaker 3>So does she like your style?

0:19:24.076 --> 0:19:25.836
<v Speaker 2>Well? I think, I mean I'm a dad, do you

0:19:25.836 --> 0:19:27.596
<v Speaker 2>know what I mean? I can't. Yeah, I mean, I'm

0:19:27.636 --> 0:19:31.036
<v Speaker 2>never going to be have as much trip as other people,

0:19:31.156 --> 0:19:34.636
<v Speaker 2>but you know, yeah.

0:19:34.956 --> 0:19:37.236
<v Speaker 3>Do you remember I was reading about your first Blurs

0:19:37.316 --> 0:19:39.956
<v Speaker 3>first tour in America and it sounds like it was

0:19:40.396 --> 0:19:42.916
<v Speaker 3>a bit of a disaster. I don't know if that's accurate,

0:19:42.996 --> 0:19:45.356
<v Speaker 3>but do you remember first going on the road and

0:19:45.756 --> 0:19:47.356
<v Speaker 3>playing shows in the States.

0:19:47.676 --> 0:19:50.596
<v Speaker 2>They weren't all a disaster, but we did play quite

0:19:50.596 --> 0:19:54.836
<v Speaker 2>a lot of kind of sort of Midwest towns where

0:19:55.356 --> 0:19:57.756
<v Speaker 2>no one had an idea who we were at all,

0:19:58.716 --> 0:20:02.796
<v Speaker 2>you know, which is part of I mean, looking back,

0:20:02.836 --> 0:20:06.356
<v Speaker 2>it's an incredibly important part of our development, and I

0:20:06.396 --> 0:20:08.556
<v Speaker 2>mean of recently, especially with Grid, as I spent so

0:20:08.636 --> 0:20:11.196
<v Speaker 2>much time in America. I've done a lot of playing

0:20:11.236 --> 0:20:14.676
<v Speaker 2>in America, so I feel I feel very comfortable and

0:20:14.676 --> 0:20:18.396
<v Speaker 2>at home in America these days. Yeah, ironically, I feel

0:20:18.476 --> 0:20:21.076
<v Speaker 2>very home in America these days. I've even got my

0:20:21.116 --> 0:20:21.876
<v Speaker 2>Hala hat on.

0:20:22.596 --> 0:20:24.796
<v Speaker 3>I know it seems like you like that hat.

0:20:24.836 --> 0:20:29.236
<v Speaker 2>I'm I know it right, I've literally I can't get

0:20:29.316 --> 0:20:31.956
<v Speaker 2>rid of the fucking hat. I love it?

0:20:31.996 --> 0:20:34.116
<v Speaker 3>Is it just the same hat every time, the.

0:20:34.036 --> 0:20:37.156
<v Speaker 2>Same hat I dropped. I've bought so many hats since

0:20:37.196 --> 0:20:40.996
<v Speaker 2>I got this hat, and nothing, nothing kicks like this hat.

0:20:41.116 --> 0:20:43.596
<v Speaker 2>But it's totally the wrong hat for Blurd. I shouldn't

0:20:43.596 --> 0:20:45.796
<v Speaker 2>be wearing a hat like this. I should be wearing

0:20:45.956 --> 0:20:47.516
<v Speaker 2>I shouldn't be wearing a hat. I mean, I don't

0:20:47.516 --> 0:20:49.756
<v Speaker 2>wear a hat on stage obviously, but and all the

0:20:49.756 --> 0:20:52.276
<v Speaker 2>clothes that I kind of sort of you know, the

0:20:52.316 --> 0:20:55.596
<v Speaker 2>whole look that I've got. Yeah, but I've thought about anything.

0:20:55.796 --> 0:20:57.876
<v Speaker 2>It's just ruined when I put this hat on. So

0:20:57.916 --> 0:21:00.316
<v Speaker 2>I can't really wear the hat. I shouldn't really be

0:21:00.316 --> 0:21:03.676
<v Speaker 2>wearing the hats in this podcast, But I just I

0:21:03.716 --> 0:21:06.916
<v Speaker 2>can't help it. But you but you're right, I literally,

0:21:07.276 --> 0:21:09.516
<v Speaker 2>I mean, I haven't washed it either since I've had it,

0:21:09.556 --> 0:21:12.996
<v Speaker 2>and it was about thirty years old when I bought it. Really,

0:21:13.356 --> 0:21:15.836
<v Speaker 2>this is a truly loved hat.

0:21:16.436 --> 0:21:18.516
<v Speaker 3>Yeah, it's a cool hat. It's gotten broken in over

0:21:18.556 --> 0:21:21.036
<v Speaker 3>the years. I've watched a lot of your videos. Yeah,

0:21:21.076 --> 0:21:24.116
<v Speaker 3>and in the beginning it was a little bit more stiff. Yeah,

0:21:24.236 --> 0:21:25.556
<v Speaker 3>I saw you had it at Coachella.

0:21:25.756 --> 0:21:27.356
<v Speaker 2>What you're trying to say about my hat?

0:21:28.916 --> 0:21:30.716
<v Speaker 3>It's a good thing. It's like a nice pair of

0:21:30.756 --> 0:21:31.356
<v Speaker 3>leather shoes.

0:21:31.476 --> 0:21:34.436
<v Speaker 2>It is. It is. But I mean, the only other

0:21:34.516 --> 0:21:36.516
<v Speaker 2>kind of hats that I really feel comfortable and have

0:21:36.636 --> 0:21:40.756
<v Speaker 2>been like old Fisherman's beanie hats, you know, like those

0:21:40.756 --> 0:21:42.756
<v Speaker 2>are cool. Yeah, but I can't wear them in the summer.

0:21:43.076 --> 0:21:46.756
<v Speaker 2>Too hot, too hot. Nothing else I've got. I found

0:21:46.796 --> 0:21:49.196
<v Speaker 2>some nice old deer stalkers that I might be able

0:21:49.236 --> 0:21:51.796
<v Speaker 2>to get away with, but it's been so hot. Really,

0:21:51.836 --> 0:21:53.236
<v Speaker 2>this is the only hat I can wear.

0:21:53.236 --> 0:21:56.716
<v Speaker 3>It seems like I don't know if this is true,

0:21:56.836 --> 0:22:02.436
<v Speaker 3>But was Gorilla's the first project where the music really

0:22:02.476 --> 0:22:05.076
<v Speaker 3>super resonated with Americans?

0:22:05.636 --> 0:22:08.716
<v Speaker 2>Well, no song Too was, but no one knew who

0:22:08.756 --> 0:22:13.516
<v Speaker 2>made too. It's just that you be just woo who song. Yeah,

0:22:13.676 --> 0:22:16.836
<v Speaker 2>they're probably probably people who listened to Bisco. No, they

0:22:16.836 --> 0:22:18.596
<v Speaker 2>didn't do that, did they. You know what I mean?

0:22:18.676 --> 0:22:24.036
<v Speaker 2>It's so sort of detached from us. Yeah, but yes,

0:22:24.076 --> 0:22:25.756
<v Speaker 2>that's our biggest song by far.

0:22:26.276 --> 0:22:29.836
<v Speaker 3>Obviously, after you make a song, too, do you want

0:22:29.876 --> 0:22:33.596
<v Speaker 3>to incorporate a little woohoo or something similar in every you.

0:22:33.596 --> 0:22:35.676
<v Speaker 2>Want to make You definitely want to make a song free.

0:22:35.916 --> 0:22:38.236
<v Speaker 2>But it's quite it's hard. It's harder than you think.

0:22:40.156 --> 0:22:43.116
<v Speaker 3>It seems very difficult. But I don't know. I just

0:22:43.156 --> 0:22:45.036
<v Speaker 3>feel like I would be tempted if you get something

0:22:45.076 --> 0:22:46.076
<v Speaker 3>that really sticks.

0:22:46.316 --> 0:22:49.716
<v Speaker 2>Yeah, well I've had a few, but you know, but then,

0:22:49.876 --> 0:22:53.916
<v Speaker 2>as Frank Sinatra said, I've had too few to mention. Yeah,

0:22:54.996 --> 0:22:57.836
<v Speaker 2>that's really poor. It's a really really really really poor Joe.

0:22:57.836 --> 0:23:02.796
<v Speaker 2>It's poor Joe. Apologize. It always goes wrong when I

0:23:02.836 --> 0:23:03.716
<v Speaker 2>try and be amusing.

0:23:05.356 --> 0:23:08.596
<v Speaker 3>Have you ever tried to analyze what works in America

0:23:08.676 --> 0:23:12.116
<v Speaker 3>versus it works in the UK or in Europe? Is

0:23:12.156 --> 0:23:14.356
<v Speaker 3>that something that you even think of when you're making music?

0:23:14.476 --> 0:23:16.196
<v Speaker 2>Or you just oh, I don't I don't think about

0:23:16.316 --> 0:23:19.116
<v Speaker 2>I don't think about it. I just you know, you

0:23:19.236 --> 0:23:21.956
<v Speaker 2>make and then you just wait.

0:23:22.676 --> 0:23:25.236
<v Speaker 3>Do you care or are you just making to make?

0:23:26.596 --> 0:23:28.676
<v Speaker 2>I'm existing to make.

0:23:29.476 --> 0:23:32.076
<v Speaker 3>It must be so nice to have such a clear passion.

0:23:32.796 --> 0:23:36.436
<v Speaker 2>Yes, I mean it's I mean, it's a condition, isn't it.

0:23:36.996 --> 0:23:39.396
<v Speaker 2>You know I've got I have some these days. It

0:23:39.436 --> 0:23:43.436
<v Speaker 2>would be be on a spectrum somewhere. You know, he's

0:23:43.476 --> 0:23:46.076
<v Speaker 2>got a name. I'm sure, I just haven't chosen to

0:23:46.076 --> 0:23:49.396
<v Speaker 2>go down that path to be analyzed.

0:23:50.516 --> 0:23:53.556
<v Speaker 3>Is it near constant? Is it something you can always

0:23:53.636 --> 0:23:56.236
<v Speaker 3>rely on or does it ever leave you the ability

0:23:56.276 --> 0:23:57.156
<v Speaker 3>to make new songs?

0:23:57.236 --> 0:24:00.636
<v Speaker 2>Well, it's like yoga. I do try and do yoga

0:24:00.676 --> 0:24:03.036
<v Speaker 2>every day, and I try to write every day. I

0:24:03.516 --> 0:24:07.196
<v Speaker 2>get up basically in the morning unless you can be

0:24:07.316 --> 0:24:09.996
<v Speaker 2>disciplined enough to do it in the evening, which I can't.

0:24:10.596 --> 0:24:13.676
<v Speaker 3>Are you working on any new Gorilla's music.

0:24:14.316 --> 0:24:16.636
<v Speaker 2>I've done a few tunes. I'm doing an opera at

0:24:16.636 --> 0:24:22.756
<v Speaker 2>the moment about using Geta's fragment. He wrote of the

0:24:22.796 --> 0:24:27.116
<v Speaker 2>Magic Flute, Part two, which is fascinating, very cool. You've

0:24:27.116 --> 0:24:30.916
<v Speaker 2>heard of the Magic Flute, Mozart's Magic Well, Gertzer, who's

0:24:30.916 --> 0:24:34.316
<v Speaker 2>the contemporary of Mozart, wrote part two of that, like

0:24:34.556 --> 0:24:38.756
<v Speaker 2>you know the sequel, but it never got put to music. Okay,

0:24:38.956 --> 0:24:45.316
<v Speaker 2>so it's this this legendary lost thing. Yeah, it's really interesting.

0:24:45.316 --> 0:24:47.196
<v Speaker 2>I mean, I don't know very cool what I'm doing.

0:24:47.276 --> 0:24:49.236
<v Speaker 2>I've never really known what I'm doing in that world

0:24:49.276 --> 0:24:51.916
<v Speaker 2>at all. I'm a complete and that's a idiot.

0:24:52.596 --> 0:24:55.036
<v Speaker 3>But you were trained with in music theory and everything.

0:24:55.116 --> 0:24:58.156
<v Speaker 2>Yeah, I can, Yeah, I mean, I you know, I can.

0:24:58.876 --> 0:25:00.716
<v Speaker 2>I don't know whether it's any good put it that way,

0:25:01.356 --> 0:25:05.036
<v Speaker 2>you know, whereas with songs I'm kind of more confident about.

0:25:05.676 --> 0:25:08.756
<v Speaker 3>Yeah. Okay, so New Gorillas. You're working on New Gorillas

0:25:08.796 --> 0:25:09.076
<v Speaker 3>a bit.

0:25:09.196 --> 0:25:11.156
<v Speaker 2>Yeah, we're going to do We're going to do something.

0:25:11.636 --> 0:25:14.876
<v Speaker 2>It's going to be a not as dramatic as a

0:25:14.956 --> 0:25:19.916
<v Speaker 2>quantum ship, a paradigm be a paradigm shift would just

0:25:19.956 --> 0:25:25.916
<v Speaker 2>be very different. No cartoons, yeah, but just an entirely

0:25:25.916 --> 0:25:30.036
<v Speaker 2>different approach to everything, to the to the band, to everything.

0:25:30.156 --> 0:25:32.956
<v Speaker 2>We're just a point where we're going to change.

0:25:33.636 --> 0:25:36.356
<v Speaker 3>Why. Why does it feel like it's.

0:25:36.236 --> 0:25:39.196
<v Speaker 2>Time because it was always just Jamie and I. So

0:25:39.476 --> 0:25:43.236
<v Speaker 2>you know, really, although it's a very big thing now,

0:25:43.916 --> 0:25:48.236
<v Speaker 2>it's still in essences to people. So if we decide

0:25:48.836 --> 0:25:52.876
<v Speaker 2>between us that we want to do something unrecognizable then

0:25:52.996 --> 0:25:53.396
<v Speaker 2>we will.

0:25:54.796 --> 0:25:55.476
<v Speaker 3>That's exciting.

0:25:55.676 --> 0:25:59.116
<v Speaker 2>Yeah, yeah, I mean you need that, don't you two, Yeah,

0:25:59.196 --> 0:26:01.116
<v Speaker 2>for it to keep to stay alive.

0:26:01.756 --> 0:26:05.316
<v Speaker 3>Really definitely, that's cool. So when abouts do you think

0:26:05.396 --> 0:26:06.956
<v Speaker 3>that will start surfacing?

0:26:07.596 --> 0:26:11.556
<v Speaker 2>Well, I will keep writing, but until I've kind of

0:26:11.556 --> 0:26:15.316
<v Speaker 2>written the opera, I can't really do anything much else

0:26:15.356 --> 0:26:18.076
<v Speaker 2>of than that. But you know, you know, I might

0:26:18.076 --> 0:26:21.516
<v Speaker 2>write it really quickly. It's got to be next autumn anyway,

0:26:21.596 --> 0:26:24.876
<v Speaker 2>So before that, I'll be working on Guerrillas.

0:26:26.156 --> 0:26:28.516
<v Speaker 1>We're gonna pause for one last quick break and then

0:26:28.556 --> 0:26:35.756
<v Speaker 1>come back with Leo Rose and Damon Albarn. We're back

0:26:35.756 --> 0:26:37.956
<v Speaker 1>with Leo Rose and Damon Albarn.

0:26:38.956 --> 0:26:42.396
<v Speaker 3>What's the significance of the album title.

0:26:42.916 --> 0:26:47.116
<v Speaker 2>Ballads of Darren. Well, Darren's a very very old friend

0:26:47.156 --> 0:26:50.076
<v Speaker 2>of everyone in the band. He's been kind of sort

0:26:50.116 --> 0:26:56.356
<v Speaker 2>of there in various reincarnations since almost day one. And

0:26:56.396 --> 0:26:59.356
<v Speaker 2>we have this group of very close friends who work

0:26:59.436 --> 0:27:03.356
<v Speaker 2>with us, and I've always worked with us, and he's

0:27:03.396 --> 0:27:06.116
<v Speaker 2>one of them, so therefore he represents all of us.

0:27:06.156 --> 0:27:10.596
<v Speaker 2>So the ballot of Darren is Darren is this moment

0:27:10.996 --> 0:27:12.316
<v Speaker 2>the every man? You know?

0:27:13.276 --> 0:27:16.196
<v Speaker 3>Did he go through something significant recently?

0:27:16.596 --> 0:27:19.236
<v Speaker 2>Well, I mean we've all been through significant things, you know.

0:27:20.436 --> 0:27:24.276
<v Speaker 2>I mean obviously, as I write with songs, it's probably

0:27:24.716 --> 0:27:27.316
<v Speaker 2>I've probably been through some significant things as well. But

0:27:27.836 --> 0:27:30.956
<v Speaker 2>you know, I mean, I am a I am a

0:27:30.996 --> 0:27:33.236
<v Speaker 2>certified sad fifty five year old.

0:27:33.996 --> 0:27:35.476
<v Speaker 3>I hear you. I feel sad too.

0:27:35.716 --> 0:27:38.836
<v Speaker 2>Yeah, it's fine, it happens. I mean, I'm not I'm

0:27:38.876 --> 0:27:40.196
<v Speaker 2>not afraid of sadness, you know.

0:27:40.996 --> 0:27:44.556
<v Speaker 3>Yeah, but you're productive. You're a productive fifty five year old.

0:27:45.076 --> 0:27:47.556
<v Speaker 2>I'm a very productive saddow.

0:27:47.796 --> 0:27:52.116
<v Speaker 3>Yeah, yeah, that's right. So this album, when I first

0:27:52.156 --> 0:27:54.436
<v Speaker 3>started listening to it, it feels like it needs like,

0:27:54.716 --> 0:27:56.676
<v Speaker 3>you know, like a pair of shoes. Sometimes you need

0:27:57.196 --> 0:28:00.316
<v Speaker 3>a break in period. Yeah, this album just there's no

0:28:00.436 --> 0:28:03.636
<v Speaker 3>break in period. It immediately sounds good.

0:28:03.876 --> 0:28:04.356
<v Speaker 2>Oh good.

0:28:04.676 --> 0:28:08.116
<v Speaker 3>I got in there really easy. I woke up yesterday

0:28:08.156 --> 0:28:10.756
<v Speaker 3>singing the Narcissist. It was just it was there. It's

0:28:10.796 --> 0:28:15.596
<v Speaker 3>in my consciousness. Do you have any sort of tricks

0:28:16.276 --> 0:28:18.676
<v Speaker 3>or little formulas that you've developed at this point for

0:28:18.796 --> 0:28:21.036
<v Speaker 3>making something just go down easy?

0:28:22.196 --> 0:28:25.796
<v Speaker 2>Well? What was the song in My Fair Lady, A

0:28:25.796 --> 0:28:27.916
<v Speaker 2>little bit of Sugar helps the Medicine go down?

0:28:28.396 --> 0:28:29.916
<v Speaker 3>Would the sugar come in the melody?

0:28:30.916 --> 0:28:33.916
<v Speaker 2>I don't know I mean, it's certainly not in the lyrics.

0:28:34.636 --> 0:28:37.956
<v Speaker 2>The lyrics are rarely uplifting. But I suppose it's that

0:28:38.036 --> 0:28:42.476
<v Speaker 2>juxtaposition with the music that creates you know, it's the

0:28:42.516 --> 0:28:46.716
<v Speaker 2>classic ram It's the end of the world kind of thing,

0:28:46.836 --> 0:28:49.196
<v Speaker 2>isn't it? You know what I mean? Where you are singing,

0:28:50.516 --> 0:28:54.436
<v Speaker 2>it's like Spike Milligan. You're probably not familiar with him.

0:28:54.436 --> 0:28:58.996
<v Speaker 2>He's a brilliant comedian writer. And on his gravestone he

0:28:59.076 --> 0:29:02.316
<v Speaker 2>had inscribed he had inscribed, I told you I wasn't

0:29:02.316 --> 0:29:03.396
<v Speaker 2>feeling well.

0:29:05.036 --> 0:29:05.556
<v Speaker 3>That's good.

0:29:08.156 --> 0:29:10.436
<v Speaker 2>You know. What I mean is that that is in

0:29:10.676 --> 0:29:13.436
<v Speaker 2>the joy and sadness of life. It's kind of, you know,

0:29:14.236 --> 0:29:18.556
<v Speaker 2>that final victory that makes people laugh. And yet I

0:29:18.596 --> 0:29:20.276
<v Speaker 2>suppose in a way that's kind of sort of the

0:29:20.396 --> 0:29:24.596
<v Speaker 2>essence of melancholy, you know, it's that sort of realization

0:29:24.876 --> 0:29:27.876
<v Speaker 2>that you are both living and living your best and

0:29:27.996 --> 0:29:29.196
<v Speaker 2>dying your best life.

0:29:30.716 --> 0:29:34.276
<v Speaker 3>Is there like an overall emotional framework to the album

0:29:34.796 --> 0:29:36.236
<v Speaker 3>or how would you describe the vibe?

0:29:36.676 --> 0:29:39.996
<v Speaker 2>I think once they catch you, certain songs will play

0:29:40.036 --> 0:29:43.116
<v Speaker 2>with your emotions quite heavily, you know, songs like the

0:29:43.116 --> 0:29:47.156
<v Speaker 2>Everglades I think will smap people around the face at

0:29:47.156 --> 0:29:48.076
<v Speaker 2>one point.

0:29:48.676 --> 0:29:48.956
<v Speaker 3>M h.

0:29:49.556 --> 0:29:51.196
<v Speaker 2>I mean, so it's got that it's in there, but

0:29:51.236 --> 0:29:54.036
<v Speaker 2>it doesn't it's not going to scare anyone away, you

0:29:54.076 --> 0:29:56.236
<v Speaker 2>know what I mean. I don't think, but I mean,

0:29:56.556 --> 0:29:58.276
<v Speaker 2>I can't talk about me at work. I just all

0:29:58.316 --> 0:30:00.236
<v Speaker 2>I can do is make it and then sing it.

0:30:01.436 --> 0:30:04.436
<v Speaker 3>Do you ever have any trepidation about putting about writing

0:30:04.516 --> 0:30:08.596
<v Speaker 3>vulnerable lyrics or exposing a part of your experience?

0:30:09.356 --> 0:30:11.716
<v Speaker 2>I suppose, I mean, I suppose in many ways this

0:30:11.876 --> 0:30:17.396
<v Speaker 2>is my vulnerable. But I think vulnerability is by singing

0:30:17.436 --> 0:30:22.876
<v Speaker 2>about it, You're you're somehow kind of easing it. You know,

0:30:22.956 --> 0:30:29.196
<v Speaker 2>You're the vulnerability is diminished by your ability to express.

0:30:28.756 --> 0:30:34.276
<v Speaker 3>It through writing songs. Does it help you understand your

0:30:34.316 --> 0:30:38.796
<v Speaker 3>emotions or is it just a way to talk about

0:30:38.796 --> 0:30:40.396
<v Speaker 3>it and share emotions?

0:30:40.796 --> 0:30:44.716
<v Speaker 2>Yeah, but I don't make it all about myself strictly.

0:30:44.756 --> 0:30:47.676
<v Speaker 2>It's kind of use. I use where where I'm at

0:30:47.676 --> 0:30:49.596
<v Speaker 2>in my life and how I feel as a kind

0:30:49.636 --> 0:30:53.556
<v Speaker 2>of tool to talk about other things. Sometimes. You know,

0:30:53.676 --> 0:30:55.916
<v Speaker 2>it's that, you know, there's quite a lot of politics

0:30:55.956 --> 0:31:00.276
<v Speaker 2>on the record as well. I mean politics, not affiliated,

0:31:00.356 --> 0:31:03.396
<v Speaker 2>not not not pastes and politics. But you know what

0:31:03.436 --> 0:31:08.236
<v Speaker 2>I mean, So I can Russian strings, say that there's

0:31:08.876 --> 0:31:11.876
<v Speaker 2>the strings attached to all of us. You know that

0:31:11.916 --> 0:31:16.916
<v Speaker 2>we're all complicit, and therefore, you know, what are we doing?

0:31:17.916 --> 0:31:21.356
<v Speaker 3>How did the narcissists come about? How did that song

0:31:21.796 --> 0:31:22.276
<v Speaker 3>come to be?

0:31:22.916 --> 0:31:24.876
<v Speaker 2>Well? I think I think it's kind of sort of

0:31:25.556 --> 0:31:32.276
<v Speaker 2>maybe is kind of came about from my belief that

0:31:32.316 --> 0:31:36.276
<v Speaker 2>we're living in the most narcissistic age of epoch of

0:31:36.356 --> 0:31:40.316
<v Speaker 2>man's man. Basically, I don't know if you can get

0:31:40.316 --> 0:31:45.316
<v Speaker 2>any more narcissistic than the years now, m M, they

0:31:45.356 --> 0:31:49.396
<v Speaker 2>are now or whatever we are, you know, collectively, we're

0:31:50.116 --> 0:31:50.916
<v Speaker 2>living through this.

0:31:51.956 --> 0:31:54.516
<v Speaker 3>Do you talk about that with your daughter, since she's,

0:31:54.956 --> 0:31:57.316
<v Speaker 3>you know, at a young age where this just feels normal.

0:31:57.396 --> 0:32:01.996
<v Speaker 2>Yeah, she's she thinks, you know, like understandably that. I mean,

0:32:02.036 --> 0:32:04.316
<v Speaker 2>she's called me a boomer on a couple of occasions,

0:32:04.316 --> 0:32:05.836
<v Speaker 2>which I'm sure is not a good thing.

0:32:06.356 --> 0:32:07.116
<v Speaker 3>Are you a boomer?

0:32:07.396 --> 0:32:10.756
<v Speaker 2>I don't think so, aren't you just I really have

0:32:10.836 --> 0:32:14.236
<v Speaker 2>no idea what I am, but boomer is surely before me.

0:32:14.316 --> 0:32:15.276
<v Speaker 2>I can't be a boomer.

0:32:15.956 --> 0:32:17.436
<v Speaker 3>No, I don't think you're a boomer. I think you're

0:32:17.476 --> 0:32:17.916
<v Speaker 3>gen X.

0:32:18.436 --> 0:32:20.636
<v Speaker 2>But I think she's been doubly rude by calling me

0:32:20.676 --> 0:32:24.836
<v Speaker 2>a boomer. I think it's intentionally. I mean I deserve it,

0:32:24.916 --> 0:32:30.316
<v Speaker 2>so it's fine. No, No, I just think by the

0:32:30.396 --> 0:32:32.716
<v Speaker 2>very nature of the way we go about our business

0:32:32.756 --> 0:32:35.076
<v Speaker 2>and where we communicate with each other, and our ability

0:32:35.116 --> 0:32:38.596
<v Speaker 2>to send pictures of ourselves, and our ability to distort

0:32:38.636 --> 0:32:44.956
<v Speaker 2>those pictures, to filter those pictures, to create narrative through

0:32:44.996 --> 0:32:48.756
<v Speaker 2>those pictures of ourselves and our expressions, we are in

0:32:48.796 --> 0:32:51.076
<v Speaker 2>love with the image of ourselves, which is in the

0:32:51.196 --> 0:32:55.236
<v Speaker 2>essence of the original story of Narcissus. And we do

0:32:55.316 --> 0:32:58.796
<v Speaker 2>live in an echo chamber, which is another key component

0:32:58.876 --> 0:33:02.516
<v Speaker 2>of the original, not the echo chamber, but echo being

0:33:03.076 --> 0:33:07.316
<v Speaker 2>the counterpoint to Narcissus that he couldn't hear, he couldn't see,

0:33:07.396 --> 0:33:13.516
<v Speaker 2>he couldn't kind of externalize any empathy for anyone who's

0:33:13.636 --> 0:33:15.836
<v Speaker 2>just about himself and his image.

0:33:16.836 --> 0:33:20.116
<v Speaker 3>Do you feel that when you're playing in you know,

0:33:20.156 --> 0:33:22.196
<v Speaker 3>in different countries all over the world, like if you're

0:33:22.236 --> 0:33:24.636
<v Speaker 3>going over to Molly or you're playing somewhere in Africa,

0:33:24.716 --> 0:33:27.836
<v Speaker 3>do you feel that same force there? Or is that

0:33:27.916 --> 0:33:30.396
<v Speaker 3>a total eskill?

0:33:31.076 --> 0:33:33.356
<v Speaker 2>I mean, not as much as it used to be,

0:33:33.356 --> 0:33:37.716
<v Speaker 2>because the world's changed and everyone is everyone everywhere anyone's

0:33:37.756 --> 0:33:41.756
<v Speaker 2>got phone is in on it, aren't they in one

0:33:41.796 --> 0:33:45.876
<v Speaker 2>form or another. So that reason I don't have a phone.

0:33:46.316 --> 0:33:47.556
<v Speaker 3>You have an iPad, right.

0:33:47.676 --> 0:33:49.836
<v Speaker 2>I do have an iPad, but you know it's just

0:33:49.916 --> 0:33:52.396
<v Speaker 2>not the same thing. You can't whip out the iPad,

0:33:52.476 --> 0:33:54.036
<v Speaker 2>you know, it's quite it's a sort of it's an

0:33:54.036 --> 0:33:57.436
<v Speaker 2>event getting an iPad to take a photograph. It's not

0:33:57.676 --> 0:34:01.676
<v Speaker 2>very boome exactly. You can't do it one hand. It's impossible.

0:34:01.716 --> 0:34:04.036
<v Speaker 2>You have to have two hands. And the whole point

0:34:04.316 --> 0:34:08.076
<v Speaker 2>is this mediacy A boom they go. That was where

0:34:08.116 --> 0:34:10.476
<v Speaker 2>I started. But really the song is about a story

0:34:10.636 --> 0:34:14.596
<v Speaker 2>of my own kind of you know, from being a

0:34:14.676 --> 0:34:19.836
<v Speaker 2>kid in my bedroom looking in the mirror and using

0:34:19.876 --> 0:34:24.356
<v Speaker 2>an old Strobe light that my dad had given me,

0:34:24.476 --> 0:34:29.636
<v Speaker 2>which he'd used in the Ufo Club with Pink Floyd

0:34:29.716 --> 0:34:30.956
<v Speaker 2>back in the early sixties.

0:34:31.796 --> 0:34:32.956
<v Speaker 3>What's the Ufo Club.

0:34:33.276 --> 0:34:37.836
<v Speaker 2>It was a very famous club where Pink Floyd started.

0:34:38.236 --> 0:34:40.956
<v Speaker 2>It's like a cool place in the early sixties where

0:34:40.956 --> 0:34:44.036
<v Speaker 2>people played. And he had the strobe light and he

0:34:44.116 --> 0:34:46.756
<v Speaker 2>gave me this strobe light. So I had my sympthesizer

0:34:47.396 --> 0:34:51.356
<v Speaker 2>a mirror strobe light, and I'd switched off my bedroom light,

0:34:51.676 --> 0:34:54.076
<v Speaker 2>so I'd be in the dark just with the stroke flickering.

0:34:54.436 --> 0:34:59.476
<v Speaker 2>I put on whatever record I wanted to transport myself to,

0:35:00.156 --> 0:35:05.316
<v Speaker 2>and you know, so that was my kind of weird narcissism,

0:35:06.436 --> 0:35:10.076
<v Speaker 2>and then I'd just sort of trace the the journey

0:35:10.076 --> 0:35:12.476
<v Speaker 2>really of the band during that song.

0:35:13.196 --> 0:35:15.436
<v Speaker 3>That's so cool. So would you kind of just like

0:35:15.476 --> 0:35:18.636
<v Speaker 3>watch yourself in the mirror and practice, yeah, dance moves

0:35:18.636 --> 0:35:19.236
<v Speaker 3>and things like that.

0:35:19.316 --> 0:35:22.236
<v Speaker 2>Yeah, but in strobe all the time. I don't know

0:35:22.236 --> 0:35:24.476
<v Speaker 2>if anyone would ever be allowed to have something quite

0:35:24.516 --> 0:35:27.756
<v Speaker 2>so mind my I mean, you know, I really didn't

0:35:27.796 --> 0:35:30.916
<v Speaker 2>need any any other drugs when having a strobe like that.

0:35:31.836 --> 0:35:34.236
<v Speaker 2>I had. It had a dial, so you could go

0:35:34.276 --> 0:35:36.716
<v Speaker 2>from very slow to very fast.

0:35:37.596 --> 0:35:40.596
<v Speaker 3>Very cool. Do you feel when you write songs that

0:35:40.716 --> 0:35:42.956
<v Speaker 3>a lot of it is inspired from when you were

0:35:42.956 --> 0:35:44.716
<v Speaker 3>a kid and when you were a teenager, Like, does

0:35:44.796 --> 0:35:46.716
<v Speaker 3>everything feel like it comes from that? Well?

0:35:47.316 --> 0:35:49.796
<v Speaker 2>No, not really, I mean it just comes it comes

0:35:49.836 --> 0:35:54.316
<v Speaker 2>from the portable well I carry around with myself.

0:35:55.116 --> 0:35:57.636
<v Speaker 3>So there's still things today that are inspiring. Oh yeah,

0:35:57.636 --> 0:35:58.356
<v Speaker 3>I mean new music.

0:35:58.356 --> 0:36:01.596
<v Speaker 2>It's not oh, one hundred percent. This whole record is

0:36:01.716 --> 0:36:05.676
<v Speaker 2>completely kind of informed by how I feel about what's

0:36:05.676 --> 0:36:08.356
<v Speaker 2>happening now in my life, in everyone's lives.

0:36:08.276 --> 0:36:09.996
<v Speaker 3>Have you ever thought about it if you didn't do this,

0:36:10.156 --> 0:36:12.396
<v Speaker 3>what you would be interested in doing? What you feel

0:36:12.396 --> 0:36:13.436
<v Speaker 3>like you'd be really good at.

0:36:14.196 --> 0:36:16.396
<v Speaker 2>I honestly don't think I'll be good at anything else.

0:36:17.036 --> 0:36:19.116
<v Speaker 2>I mean I do sometimes think it's like, how would

0:36:19.156 --> 0:36:21.756
<v Speaker 2>I have been? How would I have fared in like

0:36:22.476 --> 0:36:28.516
<v Speaker 2>an early Viking community? Yeah, because I went once to

0:36:29.036 --> 0:36:33.036
<v Speaker 2>a beach where they have five stones outside of Rekavik

0:36:34.276 --> 0:36:37.356
<v Speaker 2>in Iceland, and these stones have been this for a

0:36:37.476 --> 0:36:41.996
<v Speaker 2>thousand years and basically depending on which stone you could

0:36:42.036 --> 0:36:46.036
<v Speaker 2>lift and take to the shoreline, you were allocated a

0:36:46.156 --> 0:36:48.036
<v Speaker 2>job within the community.

0:36:48.596 --> 0:36:48.956
<v Speaker 3>Wow.

0:36:49.356 --> 0:36:52.676
<v Speaker 2>And I couldn't lift the heaviest stone, which was the

0:36:52.676 --> 0:36:56.396
<v Speaker 2>one reserved for people who traveled, so I wasn't going

0:36:56.436 --> 0:36:59.996
<v Speaker 2>to be doing any traveling. People who rode basically you know,

0:37:00.076 --> 0:37:02.956
<v Speaker 2>they had this, But I was able to pick up

0:37:02.956 --> 0:37:05.196
<v Speaker 2>the one before that, So I suppose i'd have been

0:37:06.076 --> 0:37:08.276
<v Speaker 2>I would have worked and worked the land maybe and

0:37:08.476 --> 0:37:13.476
<v Speaker 2>hopefully you know, being able to write and play music

0:37:13.516 --> 0:37:13.996
<v Speaker 2>and sing.

0:37:14.956 --> 0:37:17.556
<v Speaker 3>When you sit down to play with somebody new, do

0:37:17.556 --> 0:37:19.756
<v Speaker 3>you ever feel that you have to impress that person?

0:37:20.076 --> 0:37:22.196
<v Speaker 3>Are you nervous, Like, what's the feeling in you?

0:37:22.756 --> 0:37:25.516
<v Speaker 2>Ah? I mean you want them to feel comfortable and

0:37:25.556 --> 0:37:28.956
<v Speaker 2>have a sense that you know, you're not completely incompetent. Yeah,

0:37:28.996 --> 0:37:32.236
<v Speaker 2>but I mean really it's about it's about a shared

0:37:32.636 --> 0:37:35.356
<v Speaker 2>sort of experience, isn't it. And you know, I think

0:37:35.876 --> 0:37:40.756
<v Speaker 2>all writers and singers in my world, the good ones

0:37:40.916 --> 0:37:45.716
<v Speaker 2>understand the sort of the aspect of connecting with the spirit,

0:37:47.116 --> 0:37:49.716
<v Speaker 2>and so that's that's the main objective. Really, if you

0:37:49.756 --> 0:37:53.876
<v Speaker 2>can call on the spirit, then whatever you make will

0:37:53.956 --> 0:37:57.516
<v Speaker 2>have some kind of value to it.

0:37:57.556 --> 0:38:00.556
<v Speaker 3>Is there any way to encourage the spirit?

0:38:01.276 --> 0:38:05.636
<v Speaker 2>Yeah? Many ways, many ways really. I mean sometimes people

0:38:05.716 --> 0:38:08.396
<v Speaker 2>like to have a drink. Sometimes like people like smoke weed.

0:38:09.236 --> 0:38:12.516
<v Speaker 2>Sometimes people just like a cup of tea. But I

0:38:12.516 --> 0:38:16.076
<v Speaker 2>think it's just about that being sensed and sensitive enough

0:38:16.116 --> 0:38:18.996
<v Speaker 2>to each other that you can kind of pick up

0:38:18.996 --> 0:38:21.756
<v Speaker 2>on them whatever vibration is being made.

0:38:22.516 --> 0:38:25.156
<v Speaker 3>Yeah, Speaking of people you've worked with, is there anybody

0:38:25.516 --> 0:38:29.076
<v Speaker 3>who's just collaboration wise you've started to play with where

0:38:29.116 --> 0:38:31.156
<v Speaker 3>it's just an instant click.

0:38:31.676 --> 0:38:36.996
<v Speaker 2>Yeah, I mean luckily, Well, I mean, okay, someone like

0:38:37.036 --> 0:38:38.996
<v Speaker 2>Bobby Woman. As soon as you sit down with a

0:38:38.996 --> 0:38:42.236
<v Speaker 2>piano with Bobby Womak. He just has to sing one note,

0:38:42.276 --> 0:38:44.356
<v Speaker 2>and yeah, it's incredible.

0:38:45.436 --> 0:38:51.436
<v Speaker 3>I saw that some of your fans on Instagram or commenting,

0:38:51.476 --> 0:38:53.556
<v Speaker 3>and they're saying they wanted you to slow down and

0:38:53.556 --> 0:38:55.996
<v Speaker 3>take care of yourself and get some rest.

0:38:56.196 --> 0:38:59.036
<v Speaker 2>Well, I've just had four days off, So there you go.

0:39:01.076 --> 0:39:03.556
<v Speaker 3>Are you? Are you in constant perpetual motion?

0:39:04.636 --> 0:39:08.436
<v Speaker 2>Yes, you know I say about rolling stones, but I'm

0:39:08.436 --> 0:39:11.756
<v Speaker 2>happy at some I understand by the sheer law law

0:39:11.836 --> 0:39:16.556
<v Speaker 2>of physics and gravity. I will I will eventually stop,

0:39:16.996 --> 0:39:19.796
<v Speaker 2>and you know, and I'll be more than happy to

0:39:19.916 --> 0:39:24.476
<v Speaker 2>be completely disappear in the moss.

0:39:25.156 --> 0:39:27.396
<v Speaker 3>Is that what you want to do? Disappear in the mass.

0:39:27.356 --> 0:39:31.516
<v Speaker 2>Life sounds like quite a nice environment to sleep.

0:39:31.636 --> 0:39:35.236
<v Speaker 3>Eternally, it seems like the album is a bit of

0:39:35.316 --> 0:39:38.716
<v Speaker 3>a maybe a comment on morality.

0:39:39.276 --> 0:39:42.156
<v Speaker 2>Yeah, I suppose that's there. It's kind of as a

0:39:42.156 --> 0:39:45.876
<v Speaker 2>lot of questions post within the record. Yeah, I don't

0:39:45.876 --> 0:39:48.596
<v Speaker 2>think it's judgmental. I really am really not in a

0:39:48.596 --> 0:39:51.396
<v Speaker 2>position to judge anyone. As I say, instant Charles Square,

0:39:51.436 --> 0:39:54.196
<v Speaker 2>it's how fucked up. But I'm not the first to

0:39:54.236 --> 0:39:57.196
<v Speaker 2>do it. So that's my kind of my one of

0:39:57.236 --> 0:40:00.196
<v Speaker 2>my opening gambits really, do you.

0:40:00.156 --> 0:40:03.396
<v Speaker 3>Pay attention to reviews about what critics are writing about

0:40:03.436 --> 0:40:03.916
<v Speaker 3>the work?

0:40:05.156 --> 0:40:09.596
<v Speaker 2>Well, if I was disingenuous, i'd say no, of course,

0:40:09.956 --> 0:40:12.076
<v Speaker 2>of course I do. I mean I'm always interested. But

0:40:12.156 --> 0:40:15.516
<v Speaker 2>I mean there's a kind of sort of there's like

0:40:15.556 --> 0:40:20.676
<v Speaker 2>a slightly mad moment when the record is out there

0:40:21.556 --> 0:40:23.596
<v Speaker 2>and you sort of get some start to get some

0:40:23.636 --> 0:40:26.676
<v Speaker 2>feedback where you know, I mean I pick up on

0:40:26.756 --> 0:40:29.316
<v Speaker 2>it a bit, I'm not obsessed by it. And then

0:40:29.356 --> 0:40:31.516
<v Speaker 2>it's and then and then that's it. It's finished as

0:40:31.676 --> 0:40:34.596
<v Speaker 2>I don't care anymore. You know, it usually lasts a

0:40:34.636 --> 0:40:37.196
<v Speaker 2>few days, but it's definitely a madness.

0:40:38.196 --> 0:40:39.716
<v Speaker 3>Does it bring you down or.

0:40:40.236 --> 0:40:44.156
<v Speaker 2>What when people don't like it? I suppose if everyone

0:40:44.276 --> 0:40:46.516
<v Speaker 2>didn't like something that I put a lot of work into,

0:40:46.596 --> 0:40:49.516
<v Speaker 2>it might be a bit sort of I might, I

0:40:49.596 --> 0:40:52.996
<v Speaker 2>might kind of feel a bit low. But I mean

0:40:53.156 --> 0:40:54.876
<v Speaker 2>it's never like that, really, But.

0:40:54.796 --> 0:40:56.996
<v Speaker 3>It's so nice that you have the experience of going

0:40:56.996 --> 0:40:59.036
<v Speaker 3>out and playing for people because you get to see

0:40:59.076 --> 0:41:00.236
<v Speaker 3>the effect on people.

0:41:00.476 --> 0:41:02.836
<v Speaker 2>Well we see that, and that's the wonderful thing about

0:41:03.196 --> 0:41:07.996
<v Speaker 2>finishing something and playing it almost simultaneously. You really, you know,

0:41:08.076 --> 0:41:11.676
<v Speaker 2>while you're still and the sort of under its spell.

0:41:11.876 --> 0:41:13.396
<v Speaker 2>You can cast that on other people.

0:41:13.996 --> 0:41:17.236
<v Speaker 3>Yeah, it must just be so great. It feels so good. Exhilarius,

0:41:17.236 --> 0:41:17.636
<v Speaker 3>it's great.

0:41:17.796 --> 0:41:20.636
<v Speaker 2>So it's a good feeling for sure.

0:41:20.956 --> 0:41:23.156
<v Speaker 3>Has your crowds changed a lot.

0:41:23.916 --> 0:41:26.996
<v Speaker 2>Yeah, I mean there's sort of there's people from our

0:41:27.076 --> 0:41:29.556
<v Speaker 2>generation and people from this generation there.

0:41:30.476 --> 0:41:32.476
<v Speaker 3>But the Gorilla's audience is really young.

0:41:33.076 --> 0:41:35.716
<v Speaker 2>Yeah, really young. I mean sometime, I mean it's just crazy.

0:41:35.756 --> 0:41:37.676
<v Speaker 2>Sometimes I kind of go into the audience and I

0:41:37.716 --> 0:41:40.276
<v Speaker 2>go quite deep into the audience and sort of in

0:41:40.316 --> 0:41:42.836
<v Speaker 2>the middle of the moshpit almost it's like a five

0:41:42.916 --> 0:41:47.556
<v Speaker 2>year old with headphones on. It's amazing. It's wonderful. I mean,

0:41:48.116 --> 0:41:51.156
<v Speaker 2>just just the most wonderful audiences. Yeah. I've had some

0:41:51.356 --> 0:41:54.676
<v Speaker 2>most beautiful experiences playing live in America with Griers.

0:41:54.956 --> 0:41:57.396
<v Speaker 3>Yeah, you're The Coachella set was so good. I streamed

0:41:57.436 --> 0:41:58.116
<v Speaker 3>it this year.

0:41:59.036 --> 0:42:01.356
<v Speaker 2>Yeah. It's a wonderful band.

0:42:01.476 --> 0:42:03.796
<v Speaker 3>So you know, it felt very joyous.

0:42:04.316 --> 0:42:06.676
<v Speaker 2>Yeah, it is. It generally is.

0:42:07.316 --> 0:42:08.716
<v Speaker 3>Yeah, thank you so much for doing this.

0:42:09.636 --> 0:42:12.036
<v Speaker 2>Thank you very much, Tiers. Thanks for taking the sign

0:42:12.116 --> 0:42:12.676
<v Speaker 2>to talk to me.

0:42:15.756 --> 0:42:19.036
<v Speaker 1>Thanks Damon Auburn for talking to Leah Rose about Blur's

0:42:19.076 --> 0:42:23.076
<v Speaker 1>new album, The Ballad of Daring You can hear that record,

0:42:23.196 --> 0:42:25.996
<v Speaker 1>along with all of your favorite songs from Blur, Gorillas,

0:42:26.036 --> 0:42:29.236
<v Speaker 1>and Damon Auburn's various solo works on the playlist at

0:42:29.236 --> 0:42:32.796
<v Speaker 1>broken record podcast dot com. You can subscribe to our

0:42:32.836 --> 0:42:36.796
<v Speaker 1>YouTube channel at YouTube dot com slash broken Record Podcast,

0:42:36.916 --> 0:42:40.356
<v Speaker 1>where you can find all of our new episodes. Broken

0:42:40.396 --> 0:42:43.556
<v Speaker 1>Record is produced with help from Lea Rose, Jason Gambrel,

0:42:43.876 --> 0:42:48.956
<v Speaker 1>Vent Taliday, Nisha Venkat, Jordan McMillan, and Eric Sandler. Our

0:42:49.076 --> 0:42:53.316
<v Speaker 1>editor is Sophie Crane. Broken Record is a production of

0:42:53.396 --> 0:42:56.556
<v Speaker 1>Pushkin Industries. If you love this show and others from Pushkin,

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<v Speaker 1>consider subscribing to Pushkin Plus. Pushkin Plus is a podcast

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0:43:05.356 --> 0:43:08.836
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0:43:12.996 --> 0:43:15.396
<v Speaker 1>like the show, remember to share, rate, and review us

0:43:15.476 --> 0:43:18.596
<v Speaker 1>on your podcast staff. Our theme is Expecting the Beats.

0:43:19.156 --> 0:43:20.116
<v Speaker 2>I'm justin Richmond.