Latest / You Call That Radio? / 'You Can't Just Shut off the Internet' w/ Slime City

Transcript

'You Can't Just Shut off the Internet' w/ Slime City · You Call That Radio?

• 0:00
  Speaker A: You call that radio?
• 0:02
  Speaker B: As you call that radio? Season four is episode 14, I think. I think is. And today we're going to speak to Slime City. I knew them back in the day as a band called we are the Physics, back when we used to rehearse in the same studio at Dixon Street Studios, just next to St. Inux Square. And it was a good chat about their upcoming gig at Stereo. We talk about their career and Michael's new book about how to be a failed musician. Great to catch up with him and discuss everything from the MySpace era to modern day.
• 0:48
  Speaker C: And.
• 0:49
  Speaker B: Yeah, great interview coming up, slime City in a little minute. But first, there has been a little bit of controversy surrounding Oasis tickets and Ticketmaster and Live Nation. So we're going to do that first. So a wee 14 minutes as Oasis responds to the fans after the Ticketmaster saga, and then we'll go straight to interview. So if you just want to go to interview, fast forward 50 minutes, but if you'd like to hear my thoughts on Ticketmaster, then do nothing, just chill. Yo, this is Charlie Tuna from Jurassic five live and direct here in Glasgow, Scotland. And you call that radio? Call that radio? This is the news Oasis finally responds to, the Ticketmaster scandal that took some of the shiiih off the reunion tour announcement.
• 1:49
  Speaker C: You call that radio? Three, two, one.
• 1:55
  Speaker B: So just to be. Let's just catch up on what's been happening. If you've been on the moon and you didn't hear, Oasis have announced a reunion tour next summer. They're going a Edinburgh, Dublin, Manchester, London and places like that. Probably more european dates and american dates to follow as well.
• 2:18
  Speaker C: But the.
• 2:20
  Speaker B: Yeah, the scandal is, I miss this because I was at Lindisfarne festival, I applied for the ballot tickets, but I was actually on stage in a farm. So I've not checked. I've not checked because I might be gutted if I find out that I was on the ballot, because people on the ballot managed to get tickets, understand, for the advertised price, because basically what happened was the ticket announcement came out that it was going to be 75 quid for Seaton and 150 quid for standing, and in the year 2024 for a stadium gig of this popularity, this demand. Yeah, I was actually thinking, that's not bad. That's pretty good going. And they also made an announcement about how they're going to clamp down and ticket toes, because they're going to use. They're not going to let anyone resell it. So, always good until Saturday morning, when everybody tries to buy a ticket and the advertised 75 quid and 150 quid was wrong, because after getting a message that you're 950,284th in the queue, you wait for hours only to find an error message, which I can imagine would be very frustrating if you've queued that long. Others were, I was going to say fortunate. They didn't get. They didn't get their own message, but in a lot of ways, they were less fortunate because they got through to find that. That it was actually going to be 370 quid for standing. So how did this happen? Why has it been advertised 150 and then it cost you 370? It's because of Ticketmasters new dynamic pricing, which means if something's in demand, the price goes up and if something's not in demand, the price goes down. Although I haven't seen much evidence of the price ever going down. Everyone's raging, everyone's absolutely raging, because it seems like the way they're getting rid of the ticket to is by becoming the ticket touts themselves. So it has been used before. I've heard a few people saying that, Bruce Springsteen and a few others, but I don't think the fact that other people have used dynamic pricing as an excuse, a waste of. Been silent all week. There's been no tweeting going on, there's no one's been talking about it, but they finally responded over here. So, yeah, what is happening? Well, the quote is, prior meetings between promoters, Ticketmaster and the band's management resulted in a positive ticket sales strategy, which would be a fair experience for fans, including dynamic ticketing. And there's messaging saying, I mean, that is obviously sales chat. That's like an evil spin doctor. That's like something that a Tory spin doctor would write a. But they do go on to say that it's not their decision, it's between the managers, the promoters, and they had nothing to do it, which I can actually believe. I can believe that. I'm sure the conversation was, how much money can we get? Give us as much money as we can. I don't think that no one, Liam, would have been in the conversations when they asked, do you want dynamic pricing? But, you know, if you are going to be the voice of the people, the voice of the working class, maybe they should have came to some sort of arrangement that. I mean, I suppose they could have. They've maybe said, I'm sticking up for Oasis here for a second. They could have said, right, we want. This is how much money we're getting and you're going to charge 75 150. That sounds fair. We'll agree to that. But we still probably getting paid a fee regardless of the ticket sales. So I'm trying to sneak up. I'm trying to play devil's advocate that they didn't know. I mean, no one, Liam, I'm going to be in these board meetings. They've. They've agreed to something. It's Ticketmaster. I think we really need to focus on. But because this is such massive tour and everybody's talking about it, then maybe the positive that can come from this is that this will not be allowed to happen again. Dynamic pricing exists in other facets of culture, namely ladbrokes and paddy power and all the bookies, because if so much people start putting money on a horse, then the price of the horse goes down, etcetera, etcetera. It's similar. Not the same, but it's similar. I think charging 370 quid for a ticket is outrageous. And it's Ticketmaster. They need to be taken to task here. Ticketmaster are in cahoots with Live Nation. Live Nation and Ticketmaster basically run the entire music industry now. So a consumer watchdog has launched an investigation. The competition and Markets Authority said its investigation would include how so called dynamic pricing may have been used. Image scrutinize may have breached consumer protection law. So those guys are onto. The ASA weighs up 783. I'm not sure who the ESA is. It's real state. The coty prices must not mislead. It doesn't regulate the price of tickets themselves, just the way they're trading practices of businesses under the jurisdiction of trading standards or potentially the Competition and Markets Authority. Such brains in itself is not illegal and is a common practice where Ticketmaster owner live nation is under investigation for its monopoly of live music. It's been used by Bruce Springsteen, Harry Styles, coldplay, various k pop acts. I have never seen. Well, I've never. I've never engaged in ticket surge prices and I've never heard anyone complain about it before. I know it exists.
• 10:00
  Speaker C: So.
• 10:01
  Speaker B: And then there was a European. European Commission or something, dynamic pricing to be examined by the European Commission. So the European Commission and I think spokesman for the European Commission confirmed that it's working on a fitness check of EU consumer law on digital fairness, which it plans to adopt this autumn. So it's kind of a fitness check, but that's the EU. And because of Brexit, we're not in the EU anymore. We're not in the EU. So another Brexit bonus there. Innitile. If the EU, the European Commission or whatever decides to ban dynamic pricing. Look, it's talking about it won't affect people in the UK because we voted for Brexit and we still haven't had one benefit yet. All I've really noticed is the prices of things going up, less fresh food, longer queues. It's almost that Brexit may have been a bad idea. There is a blue passport, I hear. I hear that if you apply for a passport now, you'll get a blue passport. This made in France. A good old british passport that's made in France. So I think regardless of what the trading standards, live nation, Ticketmaster, they've got too much money. They will just pay a fine. I don't see it going anywhere. Unless the backlash from this means that big artists like your coldplays and your Harry Styles and your Bruce Springsteen's and your kpop guys, Andrew wastes to say, wait, okay, from now on, we will not do surge pricing anymore. If all the big names get such a backlash from doing this, then it's just going to be too much bad pr to do it. And that's the only way it's going to stop, because they can afford the fines, they can afford to bribe people, allegedly. There's nothing actually illegal about surge pricing. The reason I think there might be a case to answer here is the fact that if it had been advertised as it's 370 quid a ticket, then nobody, well, some people would have, but the majority of normal working class, middle class people wouldn't have been able to afford that, so they would have said no. But the situation is you're getting people to go on Internet with their credit card, thinking that they're buying four tickets for 150 each. You're queuing for 3 hours, you maybe had an error signal, went back to the start of the queue, and then you're there, you've got your old DA or your son or whoever your friends that are in work crossing their fingers, waiting for you to do it, and you've got a few minutes to decide whether you're going to go ahead, proceed to checkout. And as a result, people, it's a good day for the credit card companies because a lot of people who weren't planning on using the credit card will have used their credit card. And you can't say, oh, we didn't know it been demand. Ticketmaster can't say, oh, we didn't know it'd be in demand. Everyone knew it was going to be in demand. So let's just stop bullshitting and just say it's going to be 370 quid because this is going to be in demand. Just charge what you want, you're going to charge anyway. This backlash will stop other artists wanting to go down this road, because every time anyone uses this kind of surge pricing, dynamic pricing, in demand pricing, however you want to call it, if people just stand up and refuse to pay it and tweet, complain and moan about it, what? You've been moaning all week about Oasis tickets, something will happen because people will stop buying the tickets. Ticketmaster will stop trying to get away with this kind of greed and the audacity to say, we're clamping down on ticket toes, when the biggest ticket company in the world is officially the new ticket touts in town. I would rather give to a real ticket to who's actually just bumping me, saying, yeah, I paid 150 quid and I'm charging you 400 quid. You've got money, you're desperate, and I'm gonna bump you. That's fine. That's a good old fashioned ticket toe. It's a tale as old as time. But for the actual company talking about how we are gonna stamp out ticket toes by being the ticket toe, that's absolute madness. So I fuck Ticketmaster, fuck live nation, fuck search pricing, all that stuff. It's. It's got to stop, man. Everything's too expensive, man. Everything is too expensive. Onions are too expensive. I just think a lot of people bought tickets without planning ahead, without booking their holidays from work, without checking the diary with other half and going, oh, shit, I'm in holiday that week. I think people just got excited and bought the tickets anyway. So I think. I think on normally, we'd get at face value, but because of sales pricing, if you spent 350 quid and you kind of go, you'll be wanting your 350 quid back. So sales pricing has actually fucked it for genuine ticket sellers, not ticket to just people that can't go anywhere and want to sell at face value, because face value is now going to be about 350 quid on average. That's a disgrace, man. Yeah, we need, we need, we need to stop this. We need to ban this. We need ban this filth. Ban this. Ban it. Ban it. Stop letting live nation take the piss. Stop letting the ticket master take the piss. It's outrageous. Give some money to the grassroots venues, man. Every single week, there's a new grassroots venue getting shut down. There's local pubs getting shut down because people are spending money on this rather than you could go for 400 quid. That's 40 local gigs. You could go or go to 20 and get yourself a couple of pints. But it just goes to show, Oasis are still one of, if not the biggest band in the world. And this is the first time. This is the first time that we ever had this conversation. We knew dynamic pricing existed, we knew it was shite, but nobody noticed until now. So let's hopefully they get. They hopefully Ticketmaster gets into trouble for this one and they don't do it again. Anyway, this is the news on. You call that radio, you call that.
• 17:05
  Speaker C: Radio as you call that radio. We are live with Slime City. It's Wednesday night, my computer's not working, so I have switched to the mexican laptop and the mexican microphone, I believe, to Michael of Slime City. How you doing, mate?
• 17:37
  Speaker A: Good, man. How are you? How's the technical issues?
• 17:41
  Speaker C: Yeah, everything seems to be going all right.
• 17:44
  Speaker A: Well, good.
• 17:45
  Speaker C: Could be better. Could be better. We have had some technical issues for the last week and I don't really know this one. Seems like it's my computer's fault. But last week, obviously we. Last week, but we bumped you for.
• 17:57
  Speaker A: Republican and that's completely understandable. How did that go?
• 18:01
  Speaker C: Not very well. Not very well. We had the first time ever, streamyard just didn't work. So we had an issue with Streamyard, whereby it just didn't work at all. Streamyard have apologized. They messaged me saying it was their fault and they've given me two months free streamyard as a way of saying sorry. And I have apologized to saffron. But, yeah, the iconic legend that is suffering from Republica. If you're watching this, I'm a big fan, I'm very sorry, and I'm so. I'm sorry if you had to hear me swearing at a computer when things weren't working, because I believe that she could hear me, but I couldn't hear her. So sorry about that. Bye. We've got Michael Slimside on the show tonight. As you can see, this amazing flyer. Do not worry, we've not transported you back to the 2008. It's stereo Glasgow, the 20 November. You're taking over stereo with fight milk and misty occupier. And I suppose the first question is, is it dynamic pricing? Are you using dynamic pricing for that?
• 19:12
  Speaker A: Absolutely. That's the future, isn't it? So, yeah, it's twelve pound right now, but if anyone buys a ticket that's going up as the night goes on, we're going to be at 200 a ticket. No, it's probably not even worth twelve pounds. So the fact that anybody's willing to pay that is a good thing. So yeah, no dynamic.
• 19:28
  Speaker C: I'll link in the comments for anyone who's on YouTube you might be watching. If you're watching Facebook or Twitch or Twitter, just jump on YouTube instead. It's better over there and you get the link to the game. And I miss the occupier or legends I remember from back in the MySpace.
• 19:43
  Speaker A: Here, I thought, I think that's how you met them. We used to play with them in our old band and but Missy occupied actually gave slime city our first gig. Glasgow. It was theme the Twistettes and us the first time city gig, I think it was in sleazys. So it's just great to have them back.
• 20:04
  Speaker C: Amazing. The Twistetts are also playing this Saturday at block. They were supposed to be playing broadcast, but there was a flooding. There's been a flooding in broadcast. I think it's been a few gigs affected by that. So now the twisteds have moved their gig to block, uh, with Pete Bentham and the dinner ladies from Liverpool. And I think there's going to be an all day festival at the the govern footbridge, a new bridge in Glasgow from Partook to Govan. Have you heard the news?
• 20:32
  Speaker A: No idea. Never heard this? No.
• 20:35
  Speaker C: Well, I think the fact there's a Colin Sain from Colin Muslim Dijon five commenting comment. I'm waiting, I'm waiting till I hit 17 pound 50.
• 20:45
  Speaker A: 1715. Tonight, tonight only. Back to twelve tomorrow.
• 20:48
  Speaker C: Back to twelve tomorrow. And so Colin actually, and actually no Colin from the same era as I remember you guys use were called we are the physics and we used to rehearse at the same place, which is Dixon Street Studios street. Like everything that's been turned into.
• 21:04
  Speaker A: Is that a hotel or is it a hotel? And see when. I don't know if you remember this, in one of the rooms there was a big safe, like an old bank safe in the 1930s. You remember this and don't know what was inside it. You couldn't move it, you couldn't open it. It was just there just watching you like an immovable beast in the corner. And when they knocked on that building, I think it was Michael Drum who plays drums in the band. He was walking past the rubble and in the middle of the rubble he just seen this big safe just sitting there. It can be destroyed even by a demolition team. It's still there. No idea what was inside it. Xlr cables, probably have no idea. But yeah, the safe could not be destroyed. The studio collapsed to the ground, the safe remained.
• 21:51
  Speaker C: I heard that it's early demos of where the physics and gyro babies are stolen.
• 21:56
  Speaker A: Get it destroyed, then.
• 21:59
  Speaker C: And the safe. And the safe is safe and safe.
• 22:03
  Speaker B: So why was it?
• 22:04
  Speaker C: Why? Um. Because I don't. I've not a proper chubby since we had the physics stop. I mean, I've been. I've seen you online, I've been enjoying your. Your posts on Facebook and your MySpace posts ever since, but I don't have a proper chat. I've seen you, I've seen Slim set, you play live and stuff, but, you know, you were probably taken away by your security, rushed into a weight in limos or whatever, but I'm loving the slim city stuff. But what was the reason? What was the end of the other physics? And how did Slim City start, I'm just curious, from one benefit?
• 22:35
  Speaker A: Well, I mean, the physics was good, but we were. We guys, like, when we started that, and we had these. This idea of what the manifesto of the band was going to be, what sort of songs we'd write, and then we kept doing that. And it was really good. It was successful for a while. You know, we were. We were touring around, we're playing different countries, we were supporting big bands, and it was good and it was fun, but there's no money in it, as I'm sure everybody who's in a band knows, there's no money. So we were struggling to pay a rent, we were struggling to record. Took us, like, three years to get another album out after the first one had name on it. He really toured it. So we were really kind of dragging ourselves up and down the country, and it was. We had lost that kind of wee spark. You know, when you have that spark to start with, when you start your band and you're. This is great. This is the best thing I've ever done. And it lost the spark, and we trapped ourselves in that manifesto of what sort of songs we have today and why they've all got to be this way. And it got really boring, and it got. There was no joy in it for us anymore. So it was just a kind of. I think I wasn't having a very good lifetime at that point. And it just kind of ended. It kind of fell apart. We stopped in, like, 2013, and then we did a final gig in 2015 in a forest where they burnt a huge wicker chicken at the end of it. So we just kind of. And I'm talking to myself here. I don't know if you're there. I'm just looking at a sparse room and a zebra print chair. But it's a beautiful, beautiful little backdrop there, which quite, I mean, that is quite a sparse backdrop compared to. I look like I'm in a fucking streamless bedroom. A. Can I swear? Am I allowed to swear in this podcast? Sorry, don't have your earphones on there. I'm allowed to swear.
• 24:29
  Speaker C: Yeah, yeah, you can swear, right, right.
• 24:31
  Speaker A: I was just lying.
• 24:32
  Speaker C: I'm still listening. Continue. But I can actually hear you. I just realized this as I moved to laptop. I have to put my laptop on charge, which I've done. I have done that now.
• 24:43
  Speaker A: Well, it was a fantastic story and you missed it.
• 24:47
  Speaker C: Well, I'll be waiting to watch the repeat on YouTube, so I might fall for that. I think what I'll do is I'm actually going to play. I was at lined up a dial up in it. It's the purest thing on it since we've got this MySpace background and since there might be some people who watch the show who aren't familiar with your work. So can we talk about development on that as a pure sentiment?
• 25:10
  Speaker A: You might talk about it.
• 25:12
  Speaker C: Yeah, I want you to introduce it.
• 25:15
  Speaker A: Here it is. Here's a song by slime city called dial up Internet is the purest Internet. And it's about dial up Internet being the purest Internet.
• 25:23
  Speaker C: And I agree. I put a poll, if you're watching on YouTube, you're watching on Twitter, Twitch, Facebook and anything like you want to go into YouTube because we're having a live and interactive poll that you can join. So the question is, dial up Internet, is it the purest Internet? Yes or no?
• 25:45
  Speaker B: Okay. It's marked from the future and we're just interrupting here because we're going to play dial up Internet is the purest Internet by Slam City. But due to some copyright issues, I'm not going to risk it because we got demonetized by YouTube by playing slime city songs. And I think Spotify is even stricter with that stuff. So we're just going to pretend that we listen to the song and go back to the interview. And you know, normally other people would maybe throw an advert in there, but we don't have adverts on you call out radio. We've just got a Patreon. So if you like the show, you can support it@patreon.com. forward slash youcallthatradio. Thank you to everybody who already does. Now let's go back to the interview.
• 26:32
  Speaker A: Me listening to my 8 million voice for three minutes having a wank in the mirror. It was horrible.
• 26:37
  Speaker C: Do you know, do you not like listening to your own voice? No.
• 26:40
  Speaker A: Do you?
• 26:41
  Speaker C: I don't mind it really. I don't mind. I don't mind listening to singing, rapping, spoken word, anything that's been written.
• 26:50
  Speaker A: Right.
• 26:51
  Speaker C: So, like, if I listen to a song, I can divorce myself from the fact that it may be a shake song. I think I need validation that if a song was shit or my vocal sounded shit, I thought that meant I was shit. But then somewhere along the way, and I'm like, oh, no, that's just a shake song. It needs mix better, or it needs something, or it's just a shake song. And it's. No, it's not my fault.
• 27:14
  Speaker A: So you don't claim from yourself onto the mix?
• 27:19
  Speaker C: Yeah, just. Well, I can't listen to the podcast, but I can't listen to any interviews I do. That's too close.
• 27:26
  Speaker A: I get you. Is that because you've not scripted it or you've not. You're not reciting something? It's not performance.
• 27:33
  Speaker C: It's too close to what I may be as a person, and that's terrifying, but. And obviously the only way you get better is to say to listen back and what you're doing. But I think if I listened back, it would just really destroy my confidence. There'd just be no show.
• 27:50
  Speaker A: Yeah, 100%.
• 27:51
  Speaker C: I was hoping that we better practice and just get better and without doing it, but, yeah, I don't. I don't mind listening back to. So I was actually quite like listening to a demo or I just figured out how to fix it, but yeah, definitely not the way my voice in a podcast saying so. Yeah, but hopefully other people do. I don't know.
• 28:12
  Speaker A: That's the hope. That's all you can hope for because I'm not too moan trumpet. So somebody else got.
• 28:19
  Speaker C: Let's talk about the purest Internet was, um, was the MySpace era was at the peak of Internet for musicians.
• 28:26
  Speaker A: I think they can. I would say so, but that's because I'm from that year. That's what I found relative success. But I think the kind of point of the song isn't so much about dial up Internet itself being the purest Internet. It's just as a case of at that point, you could log off, right? You could switch the Internet off, and now you can't. Now you're constantly on it, and even when you're not online, you're online, you're doing something. You're getting followed, you're getting tracked or doing. You're getting bombarded with adverts. So I think by calling it the purest thing is the most unaffected Internet we could have. Right? It was just. You logged on, you did whatever you need to do, then you fucked off. And I think you just. You don't get that option anymore. You can't log off.
• 29:07
  Speaker C: It used to be a thing. You'd go to the Internet.
• 29:09
  Speaker A: Yeah, you go on the Internet.
• 29:11
  Speaker C: You don't watch a film, watch a tv show. What was a tv show running about that time? But you pick a show.
• 29:20
  Speaker B: A dvd maybe. Maybe.
• 29:21
  Speaker C: Maybe watch the Sopranos on DVD. Or will it go onto MySpace? And I think in the MySpace era, I would just spam my shit band because we were terrible at that time. I mean, we were. But by spamming, learning to spam on MySpace meant that we got good numbers, which I would just assume that the numbers were good, but obviously the majority of people would be listening. That's terrible. Well, we at that point, we went up a sing star, make an acoustic guitar. So we would write about five to ten new songs a week.
• 30:01
  Speaker A: Really?
• 30:03
  Speaker C: Yeah, and it was just. The two of us was writing them. It was just a two years. And we just upload, like, you're talking like one take. You know. We pride ourselves on the fact that it was freestyle. It was one take. I mean, it wasn't really. It was freestyle in the sense that I had some lyrics written down and a guitarist would play a riff for the first time. So we were quite proud of how shaped we were. And then we sold it. You know, people said we sold it by getting, you know, drums and recording.
• 30:30
  Speaker A: Quite right. How dare you? How dare you use equipment?
• 30:34
  Speaker C: Yeah, so we used equipment for a couple of small albums. Anyway, that's what you told. That one was actually produced. Well, if people thought that was a.
• 30:42
  Speaker B: Cell, but if you're actually at the very beginning.
• 30:44
  Speaker C: We sold it by not. It was the first time we'd ever heard the song. And that was the purest versions of our songs because they'd never been rehearsed before.
• 30:53
  Speaker A: Right.
• 30:54
  Speaker C: So that was pure. And the Internet was. I mean, the time. We seem really old talking this stuff, but it's quite interesting because it was like the Internet that exist, obviously. I mean, existed when I was even in school, but every shade. Nobody used it until MySpace.
• 31:12
  Speaker B: I remember, like, going to a couple.
• 31:13
  Speaker C: Of gigs and I wasn't really involved in music, but I was going to a gig and someone would pass me a card with her MySpace on it. And I was like, Internet. Hey, Internet. And then in between that, and then obviously limewire, which, you know, I use legitimately for between that, I was like, wow, this is incredible. You can. In fact, I've just went, I just switched an ipod three weeks ago.
• 31:44
  Speaker A: Switched to an ipod.
• 31:45
  Speaker C: To an ipod.
• 31:46
  Speaker A: What we. What were you on before?
• 31:49
  Speaker C: I was just, I've just been on Spotify on. I've got Spotify premium and. But I've been kind of like creating this best base new music playlist. So I cannot go deep diving into new music that comes up and it feels like a bit of a job. I'm always skipping a song, I'm always.
• 32:05
  Speaker B: Adding a sort of playlist.
• 32:06
  Speaker C: And I never, just didn't get to enjoy it. So I've been so date week one, I lost my body. Run my phone, run out body, and I walked home listening to Tom Waits album I'd never heard before. And it was amazing. And it was about reading a wee bit. And I was like, this ipod is the purest form of music. And I think I was through that own an ipod the first time around. So it was just like, it just felt good. And then the following week, last Saturday, I got, I got water damage and I broke it.
• 32:37
  Speaker A: What kind of ipod is it?
• 32:40
  Speaker C: 6Th generation.
• 32:42
  Speaker A: Can you get another?
• 32:44
  Speaker C: I've got another.
• 32:45
  Speaker A: There you go. I mean, I like that because it's limited choice. And the thing about streaming is you can listen to everything at any point, in any order. And if you don't like it, there's another one. An ipod you can skip easily, you know, like, you couldn't do that as easily on a cassette, right? A cd. I was a nightmare to walk a bit with a cd, but I quite like choice paralysis. I get quite regularly, so I end up listening to the same thing because there's too much choice. There's too much, too many things to choose for you. So if I have limited choice and I say I've got these two, two albums to listen to, I'll listen to listening to those albums. And I think that's where a lot of that kind of streaming stuff loses me, because I don't have to listen to albums. I can listen to something else if I get bored of the album or if I fancy something else halfway through the album, or I think another song, which sometimes happens to me, and so it forces you to actually listen to stuff. And I think that's a good thing. For musicians, maybe. No, for a consumer. But I'm guessing nannies have made music for consumers. We've made music to make a music, right. So, yeah, I think it's a good thing. I think there is a pure element to that.
• 33:55
  Speaker C: Absolutely. That's just what I'm thinking. It's like there's all these albums that, you know, the end of the year, I'm with my top ten albums of the year, of new albums, and really probably only a few of them I've listened to on repeat. Multiple.
• 34:11
  Speaker A: Multiple, really? When I was a wee guy, I listened to the same album, like, hundreds of times.
• 34:16
  Speaker C: You had to. It was.
• 34:17
  Speaker A: When was there really expensive? I was like, I think that recently, I remember I got like ten or ten or something or 15 quid for my birthday one year and I was like, all right, I'm going to get into tune and get some cds. I could get one cd, if that, and it had to be like an old cd because there was nothing new I could get for that price. That was it. And that was it. I had to listen to that one album for a year, basically. So you had to pirate music. You had to get cds and mixtapes and stuff off your pals because there was no way here music, otherwise you'd be stuck with one album for a year and with.
• 34:53
  Speaker C: With the wig. So because I've only got 20 c albums on my ipod right now, you're not going to use it all up like, oh, I don't know, like that. I'm just going to skip one another album. You've got to learn to love the album or give the album a chance, because you've only got 20 albums.
• 35:09
  Speaker A: But some albums are shite. Some albums are shape bands or artists don't really need 14 songs. Two is fine. That's all right. You don't need to have 14 songs. And there's a kind of weird marketing thing where we got to have 14 of your songs. Who's writing 14 brilliant songs? Hardly anybody. You're writing maybe four or five really great songs, then a bunch of stuff is alright, or experimental or stuff that might not have as much appeal as the other stuff. And I think it really just depends what type of artist you are. And I think forcing every artist to have an album is a really weird. Archaic. Archaic, is that the word? Archaic kind of thing? In this. Kind of. In this modern era where we're still forcing artists to drop 14 tracks when they don't really need these listening to them?
• 36:01
  Speaker C: What do you think? This not. I've noticed that some people just aren't bothering my albums or when I speak to younger people, we had them, like, for example, age of 47, it's an upcoming artist. And I was like, so you get a plans for the. An album? Because he's been dropping singles for a while and he's like, no, not until he's ready and he's got the thing. I thought that was quite mature and for a young artist, but also, it may just be that young people are just as interested. You just want to go on that.
• 36:31
  Speaker A: Playlist, you wanna have that Disney have the same. And I feel like albums were a marketing pool for labels. They weren't really. I don't think artists really wanted to make albums when they first started. You know, it was a kind of, here's a compilation of our songs, so we can sell it for an accelerated price or whatever. But it was the same with Slime City. Like we said, we're never doing an album. We're just doing singles. We're just gonna release singles. We're gonna put a single and then do a tour for every single. And that's what we'll do. We'll do like four singles, five singles a year, we'll do five tours. And then we kept going with that. We kept releasing singles. And every kind of gig we'd do, or every kind of tour was a wee event. You know, we had a single. Here's a single you can listen to. Here's we can extra chotch key things you can get with it. But then we did them, then Covid hit and we couldn't gig, so we didn't have. So we had this bunch of songs, we were writing a bunch of new songs and those old songs were just going to go missing. Right. So we were like, let's. Let's do an album. So that's the only reason there is a slimes album is because of COVID.
• 37:34
  Speaker C: There would be no album without lockdown.
• 37:36
  Speaker A: Yeah, we wouldn't have done it. We just kept releasing singles.
• 37:40
  Speaker C: See, that was. That's an example of. I've had a few pants in things, like, just like, making it and to stay relevant, you know, I watched the. The youtubers, you know, the music industry moguls, the self styled ones, and these things. Look, forget. Forget about the albums. You just want to stay in the conversation and release a single. Every.
• 38:03
  Speaker B: In fact, when would you say how?
• 38:06
  Speaker C: In an ideal world. So say, for example, you've got an unlimited back, you've got a bunch of songs, unlimited, bunch of twins you can very pleased with. What would you say the peak amount of release ratio would be?
• 38:21
  Speaker A: What would you do that. I mean, that kind of money and.
• 38:24
  Speaker C: Fans as well, which was fans, great. You want to drop a lunch party with a single, so you don't want to over you don't rip the asset. Too many Glasgow gigs.
• 38:39
  Speaker A: I think that's a kind of. This is where I fall down in the music industry, is that kind of planning, organizational aspect, logistics. When's the best time to do something? When's not, for me, the best time for me, release a song. And I'm guessing everyone in my band feels the same is when you've written that song, because that's the best you'll feel about that song. And then when you play it and play it and play it and record it and play it, every time you do it, you feel a little worse about that song because it's lost the kind of spark and freshness that made it exciting to you. If nothing was like fans were going to turn up, I had the money to do whatever I liked. I would just release a song as soon as the song's done, because that's when it's at its best. It can get refined and it can get actually better technically as you perform it and record it and think about it. But just see that when you've written that song, it's came at your heat and it's there. There's a thing that's the best I feel about a song. And for me, I think that's the best time to release it.
• 39:39
  Speaker C: Probably that it's not been technically defined. There's still a magic about it. Yeah, that's exactly concentrate.
• 39:46
  Speaker A: You're still thinking about it and it's probably technically. You listen to that record and you be like, oh, God, that sucks. But it is that that has the kind of. The vibe. The thing that the X Factor is, they say the thing that makes it spark is in that, and it's the best. You know, when you go to record or something like that, they call it demo itis, because you're just so obsessed with the demo you made. You're like, how come it doesn't have the same vibe? And it's no cause of the sound, it's because you're dee in it again. And it's that kind of thing. It loses a bit of spark. And that's what I used to quite like about slimes. And not that. I don't know, it's just a different vibe, but we would just write songs and then put them out and I like that.
• 40:27
  Speaker C: And is there a celebration on the 20 November for any song in particular?
• 40:35
  Speaker A: No.
• 40:37
  Speaker C: Well, we've got.
• 40:37
  Speaker A: We've been. We've been tutoring a bunch of new songs, so we were playing empty audiences who had either heard us before or hadn't heard us before and seen what ones they liked. So a couple of them will be just for us to practice them again in front of an audience. But what we tend to do when we play Glasgow is play a song from our album called Glasgow is a shite hole. And we don't play anywhere else except Glasgow, because it's fine. It's like Glasgow in Glasgow. But if you're out. If I'm playing Glasgow as a shithole in London and somebody's agreeing with me, I'm like, right. No, no, no, you can. We can say that. You can. So we only date in Glasgow, so I think we'll probably put that one. And we get a lot of people asking for that one. Don't know why. So it's a very glaswegian thing you do, is like, why don't you slag your own city off? I mean, I don't think it is really a song that slags off Glasgow at its core. The title probably is misleading, but, yeah, that's one that we do only in Glasgow. And there's a couple of things we're doing at the show that's making it special. So one, we've got fight milk and miss the occupier playing, having that lineup like that brilliant fight milker from London, they hardly ever come up to Scotland, so it's great to have them. And we're doing things. So I don't know how. How much you remember about us playing, but we have this shoe that we.
• 41:58
  Speaker C: Bring out my mouth, that is on my notes to ask you about. Like, I don't really remember the shoe when I was watching these live, but I've been keeping track of the shoe raffle. Right, yeah, I seen you saw in Vic Galloway show. In fact, we can maybe do that. Sure. Should we just do that first, or would you like them to just go to PC? Because I've just got it with your Twitter page.
• 42:25
  Speaker A: Aye. Well, the shoes are kinda. It's like a wee synthesizer we've built inside a businessman's shoe. And halfway through the set, we usually pull the shoe out and have a little solo on the shoe, and that's effectively it. But it's become, you know, it's kind of overshadowing us a little bit. A lot of people like the shoe more than like us, which is understandable, but the shoes get lore. It's got its own universe. It's like a fucking Marvel character. I had a Twitter account at one point. I don't know who made that.
• 42:59
  Speaker C: So things like that, like mankind having shockle.
• 43:05
  Speaker A: Yeah. Yeah. Well, it's kind of. It's. Yeah. Look at it and see what you think.
• 43:11
  Speaker C: Let's have a look at people that don't know. And, you know, I'm aware of the shoe and from this as well. So hopefully BBC, this is fair rights.
• 43:20
  Speaker B: Usage, but I don't think there is fair rights usage and the BBC's nature. So we're just going to go back to the interview with Slime City.
• 43:34
  Speaker C: I had to google what an aisle it is. Can you explain to the audience what an islet is?
• 43:38
  Speaker A: I don't know. Michael guitar came out with that. I guess that's the little holes you put the laces in. Is that what an eye was?
• 43:44
  Speaker C: I wasn't sure. I thought it was like the. When I go to islets, it came up with a studs almost is the best way I can describe it.
• 43:53
  Speaker A: He said islet. I just went with it. I don't know what it is.
• 44:00
  Speaker C: Do you know, I've actually got a shoe story from Lindisfarne festival.
• 44:04
  Speaker A: Really?
• 44:05
  Speaker C: I don't know if you're already doing this, but the puppet beans, what they do is they have everyone to put their shoes in the air for a song. So I think maybe you could maybe steal that idea and I'm sure they wouldn't mind. They're good guys. Shout out to the whippet beans. Jordy scar rock hip hop fun, fun band. And they had every shoes in the air. And after a few drinks, I was just copying that through the techno tents and stuff.
• 44:34
  Speaker A: Just because I.
• 44:35
  Speaker C: Quite sore because I've been walking for so long. I hadn't slept for a long time and I was been walking my shoes. So it was good to feel my sock on the. On this. On the cold, soft grass and also feel like I was, you know, the way the record would maybe describe someone as a reveler at a festival.
• 44:54
  Speaker A: Right.
• 44:55
  Speaker C: 40,000 revelers. You know, it doesn't really happen in normal. We don't. We don't. We don't say, oh, we had a good revel last night, but it's a good newspaper word that they use, revelers. And I feel.
• 45:10
  Speaker B: I feel like for the first time.
• 45:11
  Speaker C: I felt like a reveler because I put my shoe in the air and people were copying me and putting their shoe in there. So maybe you could.
• 45:19
  Speaker A: Well, this happens. This has actually happened. There are gigs where people have started holding their shoes up in the air and the shoes became a kind of mascot, which, like it or not, seems to be here to stay.
• 45:33
  Speaker C: The shoe is important. And is the shoe getting it? Is the shoe getting writing credits? The show up? Is the shoe appearing on. On releases?
• 45:41
  Speaker A: The shoe is on our album, but we just don't say what song it's in. You'll hear it if you're listening for it. But, yeah, it doesn't deserve fuck all. We made it and it's a Frankenstein's monster, right? So it's like, we made this shoe and we made a bunch of shoes because we. We decided to give a shoe away. And at one point we were all playing a shoe. That was the shoe, the shoe raffle. And it was very controversial because somebody won it and they didn't claim it. So we started a kind of online beef with this guy called Brian and we had to give it to another Brian in London. But then it wasn't the real shoe. We still got the real shoe. It was a shoe club. So there's a bunch of stuff like that. I mean, what the fuck am I talking about?
• 46:27
  Speaker C: It's a shupla cone. Sounds like a good antidepressant or something. Tiger is saying, love it. Colin Sime's got a question for you. He says, what's your favorite k? 57K or 28k?
• 46:42
  Speaker A: What? 56k, actually.
• 46:49
  Speaker C: So I got assigned to last night from Glasgow. Is that right?
• 46:54
  Speaker A: They release manufacturer records and put them out. Yep.
• 46:59
  Speaker C: So there's some good people on there, bass, who have been on the show before. He played loads of gigs with bass. They're amazing.
• 47:04
  Speaker A: Yeah, we go way back with. They gave. We are the physics. Their first gig in London. So been friends with bis since, like, way back, mid two thousands.
• 47:17
  Speaker C: Absolute legends. And we've had them this on the show before. We've had the Cosby Rough Riders, we've had them on the show before as well. I remember the first time they came. Well, their first time running when they played team the park. And so my understanding is last night from Glasgow is as you sign up as a member for the year and then you get free gig tickets or discounts from. How does it work exactly?
• 47:43
  Speaker A: I believe it's a subscription service. So it relies on folks trusting the curation of the label. Right. So the folks who run the label put a bunch of records, a certain amount of records per year. If you sign up for various tiers on the label, you get a certain amount of records per year, so it really is just about what your taste is. But there's aspects of the label where they do past night from Glasgow, which is these re releases that have come out and they're finally getting released on vinyl, that kind of thing. So it's not all new releases, it really is just a real mixed bag of artists and genres, but interesting collective, really great idea. And folks really, really enjoy it. They like getting the mix of records from the label.
• 48:38
  Speaker C: Yeah. Because I've noticed been some big names that have re released classic albums and stuff like that, which is great to see. And. Yeah, and so I was going to actually ask you. Yeah, true or false, you wore a snip dog t shirt ironically.
• 48:54
  Speaker A: I knew you were going to fucking bring this up. Right, yeah, false. Right. Because it wasn't Snoop Dogg, it was Wu Tang. Let's get that straight. And it was a Wu tang t shirt. And you. I remember you pulled me up for it. You didn't pull me up for it. You went, oh, you like Wu Tang? And I was like, no, it's kind of ironic. And I was like, what did I just call that? Ironic? And I'm like, sorry, you'll forget about that 20 years later or something. You're like, oh, did you wear my t shirt?
• 49:21
  Speaker C: No.
• 49:22
  Speaker A: I want to explain the irony aspect of that. That was back then that I got it. So this was when. Remember when Primark started releasing t shirts with bands and stuff and brands on it? It was kind of new back then. You would get Ramon, Steve, Nirvana, and then there was a Wu Tang one and I was like, you get a Wu Tang t shirt in primark? And then somebody bought me it as a joke for my birthday, because why are you getting a prima. Why are you getting a Wu Tang t shirt from Primark? And then I was wearing it and the irony aspect was you can get these t shirts. T shirts and primark, which I think is quite an interesting thing, right? Because it's just a kind of, you know, all these kind of culturally important brands get reduced to just a sellable jumble sale.
• 50:09
  Speaker C: Yeah, Primark, Tenerife. I was at a Canary island anyway, and I went and got badge like notorious b I g. But I got my. I got my bag. T shirt. Yeah. I just remember they've been snoop Dogg for some reason. I think Snoop Dogg. I think either way, it means Wu Tang clan must have been playing in Glasgow that night, because I thought you were gonna be waiting there. Oh, you could.
• 50:32
  Speaker A: That would have been a coincidence if that had happened? Yeah, it's like, you know, like, I'm not into that kind of stuff where, you know, you're wearing a t shirt and somebody's like, well, yeah, name five bands. Name five records by that artist. I hate that kind of cultural gatekeeping stuff. I kind of like to piss people off by going, I don't know any of these songs. I kind of enjoy that kind of antagonistic thing. That kind of. You need to earn it. It's kind of like, show me your papers. Prove that you can be wearing this five quid t shirt from primark. I kind of like that aspect. And I always think of, like, bands like, you know, like Chumbawumba, where they were essentially like an anarcho punk band, but then they had a huge hit and people think of them as being the I get knocked down drinking songband. And that's completely undermining. The subtext of that song doesn't belong to Chumbawamba anymore. It belongs to people. And I kind of. That's the kind of people could buy a chumbawumba t shirt in premark if it existed, because they liked the design and because they know them from that song. And that's legitimate. That's fine. And this is a really long winded way of me saying, me defending why I was wearing a wood tang t shirt.
• 51:43
  Speaker C: Wait, it's fine. Interesting what you just said there, as I noticed.
• 51:49
  Speaker A: Oh, you've cut off.
• 51:54
  Speaker C: Yeah, we can. One of the memes were going about last week, which is quite funny.
• 51:58
  Speaker B: I'm not.
• 51:59
  Speaker C: I'm not offended by the gamer, but it was like, imagine getting it was now being 45 year old missing out on Oasis tickets to a lassie called Sheila from Stoke, 19 year old who just wants to hear. Wonderful. And obviously, I can imagine the pure Oasis hardcore fans would be disappointed, but at the same time, there is this snobbery was going about where people were like, oh, no, how can you, like, enjoy the music if you're under 25 and it's like between 14 and 18? I was going to parks and, I mean, I was more passionate, if anything, about music and the idea that you can't enjoy something unless you're an expert in it. Yep, pretty weird. And so, yeah, I thought it was interesting that people are like. And it's like you said that same thing as well with the band name. Three albums from that band. Do you need to be able to learn through? You might just like the t shirt. You may like a few songs. Yeah, I was in Mexico. There was a couple of the barracks market was like a rock metal bars. It was crazy. And there was a lot of t shirts there from bands. And I couldn't. You know, those bands I really like with the cramps. But I felt because of this gatekeeping, I didn't buy the cramps t shirt. Now I regret it because I love the cramps. But I was.
• 53:26
  Speaker A: What was. What was what? We escaped. What was the gatekeeping aspect you were afraid of that someone would ask you, name five, record the albums.
• 53:34
  Speaker C: But, you know, I could have just learned that because I like the crumbs annoys me.
• 53:40
  Speaker A: It's no the school. If you don't have to prove yourself wherever you want, get it through whatever makes sense.
• 53:47
  Speaker C: If somebody wants to buy a gyro babies t shirt, a gyro babies gig, and they only. And if ever, and that's the first time they've heard this, I'm not going to say, yeah, keep that tenor in your pocket. You don't know about the MySpace days.
• 54:01
  Speaker A: They're buying a few. They're supporting you. Buying a primark. Is they the same as buying it straight after? Ramon's right.
• 54:08
  Speaker C: This is Mexico supporting the cartel. What about Jules Holland? True or false? You hate Jules Holland.
• 54:20
  Speaker A: I don't. False, but no, I don't hate Jules Holland. Obviously. That song's a kind of tongue in cheek. It's not about Jules Holland. It's about what Jules Holland represents.
• 54:35
  Speaker C: Right.
• 54:35
  Speaker A: And that's the kind of inaccessible mainstream music. Ways of visibility for working class bands. You know, the gentrification of pop music. Unable to get to afford a. To become at the level where you can get on Jules Holland. And that's the only way anybody's ever going to see you on mainstream television. Right? So it's about that. It's not about Jules Holland himself. But having toured that record a lot, I've heard a lot of stories about Jules Holland that I won't repeat. So, lovely man, as far as you know.
• 55:09
  Speaker C: Well, from what I heard, he's an ass. But that's. That is no fair either, because sometimes people annoy people.
• 55:19
  Speaker A: Yep.
• 55:20
  Speaker C: It's like, you know, you try to be nice to everyone. But if. Even when you're a zealous celebrity and you're playing a gig, you've got to talk to a million people. Sometimes you're just like, I need to go and have a cigarette or something. And somebody could go, what a fucking cheeky blast.
• 55:35
  Speaker A: Oh, yeah, I. You don't know. I'm quite a shy person in general. And I'm always really wary about not coming across as being arrogant or like I'm ignoring people. Kind of aloof. So I try and go the other way. And I think by mistake I'm just being a prick because I'm trying not to be aloof. And I think I just trying so hard not to offend or somebody to leave with a bad taste in their mouth. And that worries me so much that I just. I would rather just hide a. Then speak to people.
• 56:08
  Speaker C: Well, I was a. I did that talking to somebody. I'm not gonna say the name, but it's a band I went to school.
• 56:14
  Speaker A: Say the name.
• 56:15
  Speaker C: Say the name. John Langen. Actually, fuck it. John Langen. John Langenban. How it's going. And I caught. It was big on stage and I just to do the opposite of a lift and I was about wasted. I just started talking and you start Madwe. I was going to say not trauma dump was another word. A Madwe dump. It was just like, have a good gig, you know, loving the tunes, blah, blah, blah. And it gave that look, as you know, have a good nightmare.
• 56:46
  Speaker A: Yeah.
• 56:46
  Speaker C: And that was a big part of my fear on Monday when I was like, that's such a good weekend. You know, we are looking for all the bad things that you make. There's nothing. I actually had a really good time of not getting it too thick, although that may be coming back. But the time was like, wow, that was actually a good weekend. I'm just a wee bit dehydrated. And then I remember the look that have a good nightmare look. I was like, shit, I did do John. Well, John's alright, I'm sure. I was going to actually send John a message, but he'll be like, yeah, no, you were just mad. It's okay. I get it. I get it.
• 57:20
  Speaker B: Oh, my God.
• 57:21
  Speaker C: You apologize for being mad.
• 57:23
  Speaker A: This is a. This is a you thing and it's a me thing as well. You beat yourself up for minuscule things you may have said or the vibe you've given off when probably most people don't even notice it or you hope that that's the only thing I cling to after a kind of altercation like that is that maybe they just don't remember that, so it's fine.
• 57:46
  Speaker C: Well, generally people don't give a shit.
• 57:47
  Speaker A: No, no.
• 57:49
  Speaker C: I mean, yeah, that's a positive and a negative. Obviously we don't care. Let's be jokes, Holland and just a little bit of song. Then I want to finish up the one what I wanted to play before. Even so, this is about the gentrification. We'll go for the album version. I recommend we get copyright strict, but.
• 58:08
  Speaker B: We did get copyright stricken on the YouTube version of the interview, which you can check out@YouTube.com. forward slash. You call that radio? I really like slam cities music and I think you will too. But you can do it in your own time. Check out on YouTube or Spotify or wherever. Or Bandcamp. Slamcity dot bandcamp.com. but yeah, we're not going to risk it for the Spotify. We don't get banned for Spotify, so we're just not playing any music. Just imagine you've heard a really good song and we will go back to the interview with Slime City. Remember to support the show@patreon.com.
• 58:48
  Speaker C: Forward slash youcallthatradio less jules, more top of the box. Slim City live on Youkohart radio. Unless you're listening to this in the replay or on the audio podcast, then yeah, go and check it out. You have great videos on, on the YouTube and what, couple of quick fire questions. What is, who's your one band? Who's your biggest influence that you'd like to support?
• 59:20
  Speaker A: Cardiacs is probably my most influential band, but they're about, I don't know how much you know about cardiacs, but if you ever listen to cardiacs, they ruin music because you think, I can never. I could never. And that, so for a long time, you're just like, I'll never write a song that's like that, ever. And you just cannot. And it took me a long time. You realize, of course I can, because I'm not Tim Smith from cardiacs who writes those songs. And it's only Tim Smith that can write that. And that's why they're so special.
• 59:54
  Speaker C: Well, that's him. What album would you recommend? Because I obviously I've heard of them, but I actually know nothing. But I've got the ipod, so this is the beauty of it. Just take on their Spotify, listen to one song, but now I'm going to be stuck.
• 1:00:06
  Speaker A: I would recommend sing to God.
• 1:00:09
  Speaker B: Sing to God.
• 1:00:11
  Speaker C: Okay, well, that is, that is download legally and cardiacs. And what about new bands? Which, um, you know, it doesn't, it doesn't need to be Glasgow, but just. Is there any new bands? You're like, yeah, smash a lot of them.
• 1:00:29
  Speaker A: And we, you know, touring about, you'll be the same. You see a bunch of bands, you're like, I would never have come across this band if they just cross paths in this way. And so there's like fight milk, obviously. Fantastic band from London. Our friend Beth's band flinch is fantastic. They're doing amazing, amazing stuff at the minute. And there was a band from. From Edinburgh, from Kirkaldye called serious adults that we played with a bunch of times. And I loved. I loved them. I'm not sure they're doing anything live anymore, but it's been. It was great to see them. And you know, there's. I also love uh, there's a Glasgow band called Benjuice Love biting juice. I think if they split up or they're. They're on a hiatus or something.
• 1:01:13
  Speaker C: I've seen them play Carolyn Studios not long ago. It was like a week. I think it was maybe the Alabama three after party because it was quite late night. And I was uh. Yeah, I was. I kept on seeing them supporting people that I liked and yeah, lots of good things. But I seen them live, they were brilliant.
• 1:01:31
  Speaker A: Really enjoyed.
• 1:01:32
  Speaker C: I don't know if there's anything happening at the minute, but maybe we hiatus. Um, Stuart says like that last song and Jigsaw Tiger saying pro slams that are absolutely awesome live, so. And yes, if you want to see them live then look at that amazing MySpace flyer. It's stereo 20th November. 12 pounds. Get there before the in demand dynamic pricing takes control and you've got mystery occupier legends and female I'm not familiar with, but I'm sure are good. Traveling all the way for London for it as well. So that's my man. So what's next? Are you going. You got any more tours? You got any more releases coming up?
• 1:02:14
  Speaker A: We are. We're doing a. We're doing a new record. We're trying to record a new album, which is tough. We've got all the songs for it, but just trying to. I'm very tough to please these days is what I kind of what I want to sound like. I just don't know. And that's the problem. So we'll be doing that. Hopefully get that out next year. We're doing maybe a couple of gigs with our friends, desperate journalists who are banned from. From London and doing a few more gigs early next year. Like, I think we're going to do London and a few down in that way. Headliners don't know yet. I really should pay attention.
• 1:02:58
  Speaker C: Well basically it's just focusing on one gig. It's good to just focus on the next one. The next one's the best one. It's the 28 November. It's available on schedule. The link is in the comments. If you're watching on YouTube, I'll put it in the bio as well.
• 1:03:12
  Speaker A: Yeah, please do buy it, because we're doing this. We're just not going through any promoters. We're putting this on ourselves. It's quite a big one for us and we need to pay all the bands, so please make sure everybody can eat. If I come in to see us.
• 1:03:26
  Speaker C: I've got one last song I want to play to end the show, and that's you and everybody that you love will die when, when they die. Yeah. But obviously an optimistic message behind that. Yeah, tell us a little bit about that.
• 1:03:41
  Speaker A: I think it's an optimistic song. I think it was maybe Vic Gallery that called it the song of the summer, which thinks great, but then when we released it, nobody would play it just because of the title. But I think it's an optimistic song. You know, it's about realizing your mortality and that you need to just enjoy your life because you're going to die. It's inevitable. Don't sweat over some shit that does not matter.
• 1:04:10
  Speaker C: Oh, no. Before we do that. Before we do that. See, I've got. I'm actually with two computers, I've actually got notes up here. And the whole point is that, you know, you've been through a lot with the other physics and slim city. You could write a book about it and you have.
• 1:04:26
  Speaker A: It's almost like I have. What a coincidence. Yeah. I have written.
• 1:04:30
  Speaker C: It's called you're doing it wrong. My life is a field, international rock star and the best band you've never heard. So let's talk about that. Did that come out a lot?
• 1:04:42
  Speaker A: What was that?
• 1:04:42
  Speaker C: Sorry, was that a lockdown project? No.
• 1:04:47
  Speaker A: You know, everybody, I was. I found a bunch of videos. Videos. Video files on a hard drive. And it was just clips of we are the physics on tour. And I'd forgotten about it all, you know, like you commute or something like that. That wasn't. We weren't a huge band, but we were doing all right and we were touring about and it just went so fast and I'd forgotten about it. And I seen people in the video and I said I forgot about him. How did he exist? So I thought I put a wee story up online about it and people responded to it really well. So I'll put another one up about the time we played tea in the park, but they put us on at half eleven in the morning and it was named er on the me on like the big stage. I wasn't playing anybody. So I put that. And people really responded to that. I was like, you know what? I'll put another one up. And it's about the time we went on the BBC radio. We did a cover of Katy Perry's firework that we changed all the world. So it was just. Do you ever feel like a plastic bag over and over again? And people really responded to that and it got like hundreds and hundreds of views. And I thought maybe I could just put a bunch of these stories together. But no really about me. No really about we are the physics just about what it was like to tour about at that time in a band that didn't have any money. And there's hundreds of bands that are doing that. You're doing it because you love doing it. You're not doing it for the money. You're not doing it to be famous. You're doing it because I'm making music and people are paying to come and see and people want to hear it. And you're just touring it and touring it and touring it and you're not getting any bigger and you're not getting any money. And there's hunters of bands like that and that's. It's a kind of celebration of those job and bands that nave did remembers. But they existed and they mattered. For a brief moment. They mattered to themselves and they mattered to other people. And that's what the book's about. And it's just from a personal angle. This is how I felt about that.
• 1:06:34
  Speaker C: It's brilliant, man. I mean it's something that I've considered doing as well. Like I started, I think my other laptop I've got. It's the beginning of that, but.
• 1:06:44
  Speaker B: I don't know.
• 1:06:45
  Speaker C: But I think we. I think we're doing our last album next year.
• 1:06:48
  Speaker A: Right.
• 1:06:48
  Speaker C: So.
• 1:06:49
  Speaker A: Last one.
• 1:06:50
  Speaker C: So I've got an ending for it. So.
• 1:06:52
  Speaker A: Right.
• 1:06:53
  Speaker C: That's about putting a link to yours. So I'm really interested in reading your. Your taking it all. Because I can't wait. The. You know, that's why I think like the dead documentary was so good for, you know, the bride Johnstone massacre.
• 1:07:05
  Speaker A: Yeah.
• 1:07:06
  Speaker C: I don't think they particularly liked. I know the dandy Warhols didn't like it because the way it made them look.
• 1:07:11
  Speaker A: Right.
• 1:07:12
  Speaker C: What better made them famous? Because obviously I was a fan of both bands before. Yeah, documentary. I was quite early on there in my stoner era, reading enemy. Just. I was aware of them, but they became quite famous over them.
• 1:07:25
  Speaker A: Yeah.
• 1:07:26
  Speaker C: Even though it didn't come at a. They didn't come across well in their opinion. I just quite like the idea of, you know, something that's not got that one partridge style. Needless to say, I had the last laugh, you know.
• 1:07:39
  Speaker A: Yeah.
• 1:07:39
  Speaker C: I think there's a lot of beauty and failure.
• 1:07:41
  Speaker A: Well, I agree, and I think the book. This is what I'm hoping, anyway. It's not a better book. It's not all the industry let us down. The industry opened a lot of doors for us and we just didn't go through them. We were just like, I'm not interested in that. I remember our label at the time going, we can make you famous tomorrow. We were just like, nah, it's fine. We'll just keep doing this for a while. Just keep playing the 13th note. We were happy doing that. And then we just got pushed into a limelight. It was interesting and it was good and there was a lot of opportunities, but we failed because we were fucking idiots, not because the industry let us down. The industry tried to support us. And I think that's the beauty of the book, is it's about people who just aren't that interested in that part of it. That's not why you're in a bandaid. You're in a band because you like being with your pals. You like, play music to people that want to hear your music. You don't want to play the hydro. That's just knowing you, that's. No, I'm not interested.
• 1:08:33
  Speaker C: Yeah, it's weird that it was actually one of our drummers. He left. He let. One of the reasons I think he left the band was because he was like, we're getting. We're getting really good and we're only getting really good. We're getting tight, we're getting better. But he was talking about, you know, I think it was a Foo fighters gig or something, that Hamden, he said, we could be, you know, we could be going for that. And I'm like, no, no, you're way off here. This is not what we're doing here. And it's obviously, it's good. It'd be good to replicate what we have in Glasgow to more cities across Europe.
• 1:09:05
  Speaker A: That's exactly it.
• 1:09:07
  Speaker C: But still playing that kind of 200.
• 1:09:09
  Speaker A: To 800, that's exactly it. If you could keep that going and just be that sustainable forever or for however long you want to do it, that's the. For me, that's the ideal. Plenty. Like 200, 300 people as much as possible across. Across the planet.
• 1:09:24
  Speaker C: Yeah. And you just. You just pay your bills. And you just have good fun and you're not recognized. You can still get on with your life. Actually being successful is terrifying. That's what.
• 1:09:36
  Speaker A: Absolutely. And that was one of the things that really worried me about the physics. And it wasn't that we were getting famous, but people of a certain age or demographic would. Would recognize you. And it started to really kind of worry me because I've got that kind of. I don't want to be aloof to people. I don't want to be accidentally rude to people. But I was getting recognized in daft places like fucking boots when I was buying, like, stuff from my arse or something like that. And they're like, you'll be the physician, you've got a store ass. That's me. Things like that. I don't know. I didn't like it and I felt I started. No glute. I started you stay in the house. Because I didn't want. It's not like I was getting mobbed. I wasn't famous. It was near, like, hunters and hunters. But anytime if I went to a gig, somebody there probably had met me or had played with me or knew me and they were just being nice. They just liked my band, or they just knew me, but I was just getting so, no, I don't like it. I don't like it. So there's an element of self sabotage sometimes and just making sure you don't get to tell everywhere. People are actually stopping me and really being. And not that I don't like it. I like it now. I can deal with it now. I like it if people do talk to me about my own band, because I'm really, really self obsessed. So it's great. But then I was really panicking about it. I just didn't know what to do.
• 1:10:52
  Speaker C: Well, I think a slice of self sabotage can be healthy. Not too much again, but everything in moderation. Including moderation, of course. We'll put a link to the. To pre order the books when. So I see you can order for seven pounds, according to the website. And when does it drop? When does the book go?
• 1:11:08
  Speaker A: I think it's October. I'm going to say October. It's definitely autumn, so I don't know what months encapsulate autumn. Is it September to, like, November? December? I don't know. I should have really stayed in school, but. Yeah. So I don't know a particular date, but I would say October where it's. When it's actually printed to come out.
• 1:11:29
  Speaker C: Well, I'm really looking forward to reading the book, and I'm really looking forward to the gig in the November 20 eigth. Thank you very much for joining us today.
• 1:11:36
  Speaker A: Thanks so much, man.
• 1:11:37
  Speaker C: It's been a pleasure.