Latest / HEAVY Music Interviews / Up In Neon Lights With VILLE VALO

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Up In Neon Lights With VILLE VALO · HEAVY Music Interviews

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With his distinguished baritone five octave kruner voice, Velvallo blends charisma and gothic alure
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both on stage and off. His effusion of Johnny Cash's presence, the Sisters
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of Mercy's vibe and Elvis's swagger, all wrapped up in the lyrical elegance of
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Lovecraft, Poe and Bokowski. As the mastermind behind him, he carved out
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a genre defying niche, bewitching the world with dark anthems and soul stirring ballads.
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Follow's evolution from the vampiric leader of him to the solo artist known today
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as VV is represented perfectly Ya Hymn's iconic heartagram logo, something Vallo gifted the
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world when he created it on his twentieth birthday. The truly iconic image perfectly
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captures the juxtaposition of the music with the heart repper its softer side, while
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the pentagram conveys the heavier, darker elements with VV. The hardagram has been
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updated to include two extra lines to form the monica VV at its center.
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From him iconic hardagram logo to his solo venture as Vvvolow's evolution is a testament
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to his artistic depth. His debut solo album, Neon Noir, was released
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in twenty twenty three, and it showcases his storytelling finesse, weaving tales of
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darkness and light. Falo has been taking VV to stages across the world and
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is hitting Ozzie Shaws. In mid March, I was given the privilege and
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the opportunity to have a chat with Phil about his upcoming Australian visit and even
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brought him up to speed on his Ossie slang. I'm ez and you're listening
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to the Heavy podcast, please stick around and enjoy my conversation with Phil Valo
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wack O. Hello, how are you sorry? Sorry for the wait,
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Super, I can't keep my mouth shut. That's that's totally okay. That
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is one fine with me. I actually have a funny story about you being
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late, because last time we spoke it was me that got us in trouble.
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That was over a year ago. So don't worry. I'm not going
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to make you try and remember me. But I'm I do remember. Yeah,
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that's lovely. I was very much conscious of making sure that we stay
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on track of time tonight so that I don't get us in trouble again with
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your management, because I'm pretty sure we got we went down a rabbit hole
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of talking about tarot and astrology and cryptid creatures and whatnot, and then next
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minute we were way off track of time. So but it was worth it.
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It was worth it, you know. So it takes what it takes,
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and you know, unfortunately, thankful enough, the time is not linear.
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But that's another rabbit hole. Yeah. I was going to say,
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do not even start me on that one, because I could talk for hours
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on things. Well, thank you so much for joining me on the Heavy
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Pod tonight. Anyway, Phil tonight, it's tonight for me. I imagine
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you're in a completely different time zone. All yeah, I'm a late bloomer,
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so it's it's still morning for us here in Finland. Well, good
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morning, thank you very much. But well, yeah, it's all good,
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it's all good. What does the day ahead look like for you?
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Then? Have you got like just a day full of press meetings or have
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you got some personal time like slotted away as well? I haven't walken up
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proper yet, so I think I'll do some reorganizing of the studio. I
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like preparing stuff, so whenever the news tells me to do, so I
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have the ability to start creating, you know, right at that very much.
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So I'm not just basically just recabling stuff and tuning my restringing my guitars
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and do that sort of stuff you do in the inter uh and uh and
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you know, keeps me close to the music but doesn't take my focus off
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the tour. So sure, yeah, all the all the nerdy musician stuff.
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Yeah, it's it's been interesting. Like probably like the only hobby I
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have, you know, next to music these days, it's probably electronics.
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I'm really bad at it, but I'm getting into it because there's a lot
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of stuff you need to be able to fix and liveing in a country such
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as Finland, there's not not a lot of good well not a lot of
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good, but not a lot of texts around you know who can take care
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of musical stuff. And there's lutt ears like great ones. But but so
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I've learned how to solder and do all that sort of stuff. So so
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it keeps me busy. That's awesome, though you like, having like an
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extra set of skills is just not I'm very very much one of these people
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that doesn't really like relying on other people so I kind of get how that
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would be. You know. Yeah, relying on other people can end in
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bitter disappointment a lot of the time. Well then it can be the best
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thing in life too. So it's a it's a it's a complicated it's a
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complicated balance sword, probably coming from a slightly bitter angle tonight because I've had
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just a really rough day and people have been the cause of all the problems.
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So but I must say I am really pleased to be ending it with
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a chat with you tonight, So so thank you for turning my shitty day.
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We try not to get on topics of I don't know, weird,
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weird and wonderful things, and we should be we should be right, keep
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it professional and I'll be good. I know. Well there's professional and then
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there's professional. So how long is a piece of strength at the end of
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it? Look, I feel like you and I could be a very bad
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combination because it's just all those philosophical, open ended things that we could just
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the rabbit holes, like you said before, that we could go down.
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Yeah. Well you know, you know, I'm not sure if if any
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of you my philosopher friends would call it that. Well, you are about
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to tour Australia, which is why I've got you on the line tonight.
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So I'll get to talking about that in a minute though, But the last
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time we did speak was when you were just on the cusp of releasing Neon
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Noir. So given that that was a year ago, I imagine that you've
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like really settled into those songs and you've you have been to touring fairly solidly.
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So how have the audiences taken to that solo material. It took a
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week bit we started to write when the album came out, and you could
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see in the audiences that they still had had the time to live with the
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songs and it was getting better by the day. But and I'm sure also
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that the audiences didn't know what to expect, you know, with whether it's
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going to be and we're going to play him songs, or whether we're not
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going to do that stuff, or whether it's going to be something completely new
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or or this nice transitional period musically speaking. But it's been going really really
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well. All in all. We played about one hundred and twenty shows last
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year, which is a lot for me. I've never been in a band
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like Iron Maiden, who do like two hundred and fifty shows for three years
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straight, so so so I never had the opportunity of doing anything that massive,
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so so this is this is really good. And also the fact that
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we played a lot of especially festival wise here and here in Europe, we
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played very different kinds of festivals to play metal festivals and morel so like mainstream
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pop things and everything in between. So that's a great way of as well
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seeing how the music resonates and what kind of people might might it might you
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know, ticle whose fancy is so so yeah, yeah, it's been,
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it's been. It's been exciting and it's still it's an ongoing journey. It's
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funny how time flies, you know, like, as you said, it's
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been a year or so, you're in a year in a week or all
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right that. Yeah, but yeah, it's I think it'll take me until
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early May, once we finished the tour to sort of realize what just happened.
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It feels like like a big long dive, you know, take all
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the breathic and mean then you're just diving deep. And I think in May
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I'm gonna sort of like see what's on the surface again. Yeah, sure,
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thing do you think playing those festivals has opened you up to even newer
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audiences and fresh fans. I suppose because you've got you've always had well for
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a long time now, you've had a very loyal fan base, So I
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guess there's a difference between your long term fans jumping on board with the new
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solo stuff and you know, collecting brand new faces along the way. Well,
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we've been really lucky that there has been both. It seems that the
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people who liked what him would do haven't abandoned the sh it, And then
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there's a lot of new people aboard, you know, and a lot of
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people, those younger people who didn't have the chance to see him play live.
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So it's been a good mispresson. And oddly enough, there have been
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people who know the new songs better than the old ones. Because I thought,
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for obvious reasons, that that I was in the band him for such
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a long time, we taught so much that that would be the sort of
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main attraction, those songs and the sort of like you know, the Golden
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Oldies, old and goldies sort of thing. Yeah, but no, it
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seems to be very well balanced, and there's a there's a new set of
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fresh you know, twenty year olds. I imagine that you've still got like
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something of an attachment to the hymn songs. But it must be nice as
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well to see that people are latching onto that newer stuff. Yeah, miscontinuation
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of what I've done in the past anyway, So it's it's not too far
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off. But I think that's probably for an older musicians such myself. I
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think that's probably the biggest challenge of the big, biggest thing you're worried about
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when an album is released. It's like when you go on tour and if
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people only you know so like enjoy the older material. Of course, you
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feel that you've failed to a certain extent, but you do understand the allure
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of older songs because people have to have had the time to live with them
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for a long time, and they might have become very special in some cases
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and so forth. So new music is always a bit of a challenge,
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Yeah, especially when those older songs have been sort of a part of people's
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formative years. There's a whole other attachment to them. Then. Thankfully enough,
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the formative years of globally speaking, they happen all the time, so
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there's always formative years for the new generators happening, So there's the chance for
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people to find out all sorts of music and that will influence and direct them
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and work work as the soundtrack of their lives, that they are very important
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part of their lives. Yeah, definitely, are there any songs that have
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performed better in a live sitting than you expected from like from the new catalog.
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I know that there can be quite a difference, like in the life
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within a song comparatively to the recorded version versus how it comes across a lot
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to arrangement was We've been trying to keep them quite close as well. With
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the hymn tracks. We haven't all of a sudden time joined Me in Death
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into a reggae version. Whatever it's it's very close to the probably closer than
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what him did back in the day to the to the album versions. And
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I think a lot of times with especially newer songs and being a vocalist,
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it takes a long time to get them select the muscles your vocal cords said
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in the right way. It takes usually years of singing. Like songs I
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joined Me in Death, I've sang thousands of times, so that feels like
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second nature, but some of the new ones still I'm still learning my way
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around them, especially when on tour and playing let's say, five gigs in
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a row and then traveling a day and then do another five gigs. So
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because your voice tends to not necessarily wear out, but it changes the time
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both changes and and and also if you can hit the high notes or the
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low notes or whatever as well. And so it's a it's stuff that you're
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not supposed to be thinking when when you're recording now, because then you're just
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following the sonics. You know, what sounds good to you at that point.
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Yeah, but then there's there those ugly truths that you'll find out later
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in life, you know, when when you when you hit the road.
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But well, it's been good. There's it's such a fine line too,
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isn't it. Sorry, it's just kind of off, But it's a fine
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line, isn't it to walk that walk that line between uh, portraying the
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emotion in a song and then technically pulling off. I'm a vocalist as well,
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so I understand that you know the technicalities of heating notes and pulling off
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a certain sound, but also keeping true to the emotion behind the lyrical content.
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Yeah, it's it is a complicated task, you know, I've struggle
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with that part of my life, but right, but yeah, it's I
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think I think it's been working good in a way that somethings like let's say,
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when love it that embraced from ninety seven, it still feels as current
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as it did, you know when singing it. It feels fresh, and
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it feels full of meaning to me, which is important. I guess that
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Yeah, that's great, Yeah, and full of meaning. That is not
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too far off from the Maybe my lexicon has changed a bit along the way,
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both musically and verbally. But but the emotional states I'm trying to you
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know, convey or portray that they're not too different or it's still about the
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wistfulness and the sort of beautiful sadness and solitude and and the catharsist that music
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can you know, help us go through get rid of some the sonic shower
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as we say, yeah, absolutely, And I think as well, like
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in terms of performing songs live, each audience is different, So I think
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often people think that our artists must get really sick of playing old material over
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and over and again. For years. But if you're in front of different
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people every time you perform who are responding differently, you're feeding that, you
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feed off them, and it's so easy to step back into that emotion with
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that song, you know, no matter how old the song is. Yeah,
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you're absolutely right. And then also the cool thing about the history of
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him is the fact that different albums were appreciated by different kinds of people in
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different areas of the world. So a like song like Johnny and Death was
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massive in Europe when it came out, and Better Light by Love was pretty
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big and certain scene scenes you know when that came out, and then in
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North America, Rip Out the Wings of a Butterfly I played a lot on
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MTV two or whatever it was at that time. And so it seems that
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there are different highlight it's when it comes to the older tracks as well,
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which is which is cool because it keeps us on our toes a bit and
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it doesn't it doesn't feel bay on generally night. Yeah, definitely. Okay,
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So what's what's the song you reckon? Was the the Aussie's favorite?
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Then we're going to put you right on the spot. Well it should,
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you know, No, if I remember a sound wave and especially the side
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shows with that. It was you know, we were surprised that there were
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so many people knowing what we actually did, you know, knowing the songs
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and stuff. I guess it's stuff from Love Metal that seemed to work really
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well, which I'm happy about because it's it's probably my Venus Doum and Love
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Metal it was probably my favorite. There's a bit More Left of His Sense,
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a bit more Sabbathy album, so so very Libell worked out great.
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Love Metal was my favorite. Oh cool cool, Yeah, well, thankfully
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enough, there is a favorite. But yeah, it's uh, if I
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remember correctly, it was, it was it's funny, like I mentioned,
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the song joined Me in Death and it's it was bit of a like a
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quite a big crossover here. It was number one in Germany and number one
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here in Finland, and we were all of a sudden, this you know,
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goth boy band doing all like teeny pop pops and stuff, which was
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weird. But it's for example, that's one of the songs that if people
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haven't really heard it and we'll play that at a metal festival, people kind
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of don't know how to react to it. Yeah, and it's still it's
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still like that, which is actually a cool thing. So you're able to
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to throw people off, not in a negative way, but sort of like
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out of their take them out of their musical comfort zone for a wee bit.
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And I think that ebb and flow and that sort of like sense of
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David Lynchy and otherness is important when it comes to music. Yeah, yeah,
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hell yeah definitely. So what about new material then? Can fans expect
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any new releases from you in the near future or are you thinking about starting
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anything new in the stage. I've been working on some ideas, but nothing's
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finished yet. And to be honest with you, I've always been really bad
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at writing well on tour because if for me, it's that's the only football
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point. You know, you wake up, stop figuring out the settle list,
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you get you know, I steam my suit, steam the you know,
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the creases off and the wrinkles off, and and and that takes all
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my focus and all my all my attention. And once the album the tour
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is over in May, I'll probably start working on music bit more proper and
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and to see where where it can take me, if if if it makes
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any sense, or if it doesn't it's you can't really force it. But
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as as I said earlier, it's when you create an environment where it is
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easy to be creative, it doesn't hurt. So so it's good to have
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your stuff around, get be sort of like create an inspiring atmosphere. And
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that's what I'm trying to do at the moment. And then then just wing
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it as I've always done, as you're supposed to be. Just follow the
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music and follow the spark, and follow the sound and let it take you
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wherever it might take you. The process is incredibly psychedelic and yet invigorating and
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yet interesting, and you know, it's a cool mixture. It's like that
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love and metal coming together. It's in both intellectual and spiritual and and and
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all that at least for me, and that keeps me afloat and helps me
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get out through the through the you know, through the pandemics, whatever it
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might be, the internal pandemics, yeah, yeah, and the boring adult
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responsibilities of life. What are those? Well, I tried to remain in
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denial about all of them. So it's not working out well for me.
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But anyway, here we are. When you come here in March, will
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the fans be getting a bigger dose of the solo material compared to the hymn
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stuff, or will you be you know, doing sort of a good mixture
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of both. What sort of can I expect from the live shows that are
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coming up? It'll be half and half. It's I think that balance works
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the best. It's it's fair for the audience, it's fair for me,
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and it's I've never enjoyed so artists just to play new stuff and then maybe
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finishing off or playing four old numbers or whatever we're doing. But we're doing
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the old and new back to back, so it's like zig zagging between the
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past and the present and and and it's worked out great like that, as
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as as it also breeds new life into the old songs, having you know,
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playing Joining Death after Neon Noir, and then it creates cool new tensions
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and new sort of like dramatic moments and the roller coasts. Yeah, indeed,
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And that's uh, that's that's how I like it anyway, And I
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think it's cool for the for people's well. So you don't have to know
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all the Human albums, or you don't have to know the the one on
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oliv the album to enjoy the evening, there's a there's enough all sorts of
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things going on. So so that's at least how it's looking like. I'm
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sure that that w was. I did the maths. And it's been ten
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years since you were in Australia, So is there anything in particular that you're
20:07
really looking forward to when you come back to visit again? Getting rid of
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the jed lag it's my first and foremost sort of like target. But it's
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been so special back in the day touring with you know, touring the sound
20:23
Way for example, because it's such a it was such a weird cookie left
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of the center and different sort of a festival as the bands had a lot
20:32
of time to spend with each other, get to know new people in the
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scene, have a few days off. We had great parties there, you
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know, Dennis and Disc Disc go until early week hours of the morning and
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and all that all that stuff. So so it's always been great in Australia.
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We only we only flew over that maybe three times before, but it's
20:56
it's not it's not been many times. So there's many new things to see
20:59
and the new faces to see hopefully in the audience as well. And yeah,
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it's just, you know, always to myself, it doesn't feel like
21:11
a full blown world tour if you're not you're not playing Australia, you know,
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it just feels that it needs to be part of it, so like
21:18
make it official and uh. And I'm really happy that we're able to organize
21:22
so that we can fly over and play those dates. So fingers crossed everything
21:26
goes well and I'm hoping. I'm hoping that everybody will stay healthy and safe
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and so forth and it'll be good. What about support bands? I did,
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I did do a little bit of delving and I couldn't really see who
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you've got on the bill with you when you come over here? Have you
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got locals jumping on? Or we don't even know? You know. It's
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because I was the one asking the question. I think when was it,
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like, you know, in the summer time when we're discussing this thing.
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And I'm sincerely hoping that we could bring Zetra over, the band from London.
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They're going to be orientoring with us in Europe right after Australia, and
22:07
it'd be great for them, I hope, and it'd be great for me
22:08
because I love their music and it's a great weird combo. They haven't played
22:11
Australia before, so fingers crossed that that might happen. Otherwise it might be
22:18
something local. I don't know yet, but I'm quite particular when come to
22:22
support acts. I never usually want the bands to sound like the main attraction,
22:26
if you want to call it that, like like we taught with we
22:30
taught the States in Europe about a year ago. We taught with Kayla Migla,
22:37
the female trio from Iceland that have this sort of new way you got
22:41
electronic thing to them, and it worked out so beautifully in tandem with the
22:45
music we play, as it shares similar sort of emotional center or backbone,
22:55
but the way we've approached down and music is very different, and I think
22:59
that that it says the mood in a great way, but it doesn't wear
23:03
the ears out for the listeners. If you have two bounds that sound exactly
23:06
the same, or three bounds, it's even worse. You're kind of like
23:08
you're already been there, done that before the you know, the main band
23:12
starts, So try to avoid that, try to play. And I think
23:15
it also detracts from those supports because if some like as an audience member,
23:22
for example, if I was standing there, and I'm less likely to get
23:26
into them if I feel like they're a cookie cutter of what is what I'm
23:30
there to actually see, whereas if I saw them outside of that setting,
23:36
I might be like, oh, this has got a hymn or a valow
23:38
kind of sound to it, and I like that. But if you're seeing
23:41
them all clumped together, yeah, it detracts from the uniqueness of those those
23:47
bands, and it's lots of it. Also with levels, like with the
23:49
with the overall overall volume of the evening, you know, I like the
23:53
iff. In my case, I like if the the the opening acts or
24:00
a bit more quiet that they're not as noisy. With Klea Mickle was great
24:03
because they didn't have guitars, so it was basically the first time the people
24:07
heard a male voice and guitars was during the opening song for ourselves, so
24:12
it felt great. And we told with the band called caspiing back in the
24:15
days with him and that band was instrumental, so like cold rock, and
24:19
it worked out beautifully because it set the mood in a great way, and
24:23
it was it was similar in emotion, but it was very dissimilar in other
24:29
ways, but people, you know, the audience were really appreciating the term,
24:33
how how it worked out. I think you can make an evening more
24:37
special by making you know, really trying to figure out a good set of
24:40
bands. It's not always about what's a good band, it's about bands that
24:45
fit together. So yeah, I completely understand where you're coming from. It's
24:51
yeah, yeah, you're setting a mood from the stand of the night you're
24:53
part of, and you're part of the mood as a as a in this
24:56
case, as the as the headliner as well. So it's a I think
25:00
what when you're trying to create is a is an event more or less an
25:06
evening with sort of as opposed to just three or three random man's playing they're
25:11
setting off their goal. Yeah, it's more about trying to, yeah,
25:15
trying to turn the venue into our into a bit more of an otherworldy experience,
25:21
especially when having shitty, bittersweet days, you know, like yourself today
25:26
seems you know, it's you need to you need to be taken out of
25:30
that real world, the realities of being a being an adult, responsibilities and
25:36
so forth for a little bit. I think that that's very important. I
25:38
agree. I was just about to say, being transported away from reality is
25:41
what what you pay money to go to a show for? One hundred percent?
25:45
Agree with that. Yeah, Well, since it's been a decade since
25:49
you were over here, I thought I just have a bit of fun with
25:52
you, and I thought we might see if you're brushed up on your Australian
25:59
lingo not go for it, I don't know, I'm okay the local linger
26:03
none none watching? Okay, Well, I'm gonna toss you right in the
26:07
deep end here then with if you'll indulge me in a little bit of a
26:10
quiz. Oh lord, yes, your face just now hilarious. So I'm
26:18
going to no cheating. You can phone a friend I oh, chuck you
26:25
some ossie slang terms and I'll see if you can tell me what what they
26:30
mean. So h The first one is what if if someone was to say
26:36
you were a dobbar? What would they What is a dobbar? Well it
26:41
sounds like a knob head. But so this is this is a problem being
26:45
a thing. You know that you come to a new country, you hear
26:47
worse like that, and you misinterpret everything by one hundred percent. So I'll
26:52
say it's an amazing head. Well, do you know what a dobba by
26:57
default really is? A knob head? But is it like a tattle tale
27:00
or some Yeah? Yeah, like no one likes to be told on your
27:06
heads? Are the sort of people that tell on people? So yeah,
27:08
you I'll give you that one. Yeah. If an ass he says that
27:15
they're going to the servo, where do you think they're headed? Would be
27:22
service station? I'm not quite sure? Yes, fair enough, you got
27:26
it? What does it mean to nick Off? To nick Off? I
27:33
would hear that in terms of, like, you know, all Off,
27:37
that's you know, gone away from you know, just yeah, That's that's
27:41
how how I would hear it. I'm going to nick Off. That's I'm
27:45
going to nick Off tomorrow. That's exactly it. Yep, go yeah,
27:51
to go away, to leave a situation. Yep, all right, you're
27:52
doing well. If someone says they're feeling crook, what does that mean crook?
27:59
Oh? There can be so many different things. Uh, the crook
28:07
it is an interesting one. It doesn't have anything to do with criminallygis,
28:11
that's for sure. I think that has to do with feeling under the weather.
28:15
Yes, oh, it does, Well, you got that one too,
28:18
Yeah, it short does? Jeez, you have downplayed you know what
28:23
you're doing here? If downplayed this? What does it mean if someone is
28:29
referred to as a dag? Dag? Oh? Man, well that could
28:34
be a way weird, sort of like intonation of the word doug as well.
28:38
So it's sus to say, but I thought of like a testosterone field
28:48
example of male toxicity. That that that's how dag sounds to me. But
28:52
if it's probably something completely different, dag, you should give me a hint.
29:00
How do I give it a hint? The word actually comes from the
29:06
ship that hangs off the end of a sheep, but that's actually not what
29:10
it like. That's not how we use it, though it is. If
29:12
someone's I can't give you a hint on that one, it's really basically I'm
29:18
going to just give it to you. I'm just going to tell you it's
29:22
someone who is being funny or humorous or being silly. If you if you're
29:26
mucking around, you're oh, give me a sentence. Okay, yeah,
29:32
sure, I got it, But it doesn't mean no. So if someone's
29:36
really funny, you might say, oh, he's such a dag. Hey.
29:40
The reason why I don't I didn't get that one is the fact that
29:41
we fins are not funny. This is this interview is going to be published,
29:51
just recorded only no video, so I can't like reiterate what you're dead
29:56
how deadpan? Your face just looked? All right, Let's keep rolling on.
30:03
What is a snag? Dagger snag? That sounds sounds like two cartoon
30:11
like a yeah, like the series after the Simpsons snag. I can,
30:17
I can, I can give you a hint on this one if you like.
30:19
It will sound like somebody being a drag or that, like dagger snag,
30:26
but snag well snag. Also, it sounds like a bit like a
30:32
kip. It sounds like it sounds like a uh, a little nap you
30:37
might take in the middle of the well, darling, I need to take
30:38
a little snag. You're quite cold. I can. I'll give you a
30:45
hint. It's some something you eat snag. I'm vegetarian, so maybe that's
30:52
the reason. Maybe that's the reason, you know, if it's not vegetarian.
30:56
I'm proud, proud to not know the words snag one hundred percent not
31:00
vegetarian. It is the word we used to describe as sausage snag. Well,
31:07
where does that come from? Snagg it? Yeah, what's the That
31:11
is a great question. I don't know. I'm just a stupid Australian that
31:17
just says it. You know, you go down to a small sausage is
31:19
nuky in Finnish, so snag is not actually that far. And actually if
31:25
we yeah, actually if we go to to like buy a donu, you
31:27
know, like a little shop in the middle of or stand for a fast
31:32
food somewhere, we call it snag auty. So it has the word snag
31:36
in it. It usually means when you're buying a hot dog off the street
31:38
or something. So I should have known this, But once again, I'm
31:42
proud of Sterians, so that that might have been the reason, and that
31:45
gives me the gives me this sort of right not to know this. I'm
31:51
going to have to look at the etymology of this word when I when I
31:53
get off this interview though, because maybe it was maybe a finished person came
31:57
over here and it just got it got shortened down to snag or the other
32:02
way around. Yeah. Maybe. Okay, So you've got a couple more
32:07
for you. What does RVO mean? What was that RVO spelled I I
32:14
r v O horrible. Harvo is actually a finished name. It's a it's
32:19
a it's a man's name. It's it's kind of all school. It's like
32:22
George or a Philip or something like that. No idea what that could be,
32:32
No idea. Horrible. It's a time of day, that's your hint.
32:39
I don't even have the slightest that it could be a M or p
32:43
M or whatever. But horrible. I never heard that it's afternoon. It's
32:49
just down short. It's like it's like in scaling or when when obvious it's
32:53
r V Yeah, it kind of doesn't make any sense, makes sense.
32:58
Horrible? Okay, man, you know that's that's a good one. That's
33:00
a good one. What do you like? They say, what do you?
33:02
What are you doing? The savo is what are you doing? Yeah?
33:07
Sure, if you chuck a sicky, what are you doing? Chuck?
33:12
I'm not sorry. If chucking is throwing it away or smoking it,
33:16
yeah, it's it's well technically it's throwing it away, but it's also you
33:21
are making it very apparent to me. How how weird? Because yeah,
33:27
because you could use it, and you could use can you chuck me a
33:29
cigarette or cigg or a fagot or whatever. Fag No, it's and it's
33:36
sick s I c K I E not. You were talking about what's a
33:42
Yeah, so if you chuck, oh, it's that sounds sick, but
33:47
uh, what could that be like asking a day of work because you're supposedly
33:54
underweather, but you actually have a you have a hangover? Yes, or
34:00
so sick as a day for being ill, you know, being sick.
34:02
That's one hundred percent what it is, right, Yeah, yeah, pretending
34:06
Yeah, get away from your responsibilities. Excellent, you know. Yeah,
34:09
there is some logic. No matter how thin the logic is, it can
34:14
be found. I got two more for you. What is an eski?
34:19
Esky? It sounds like eskimo, but you you're on the right track.
34:25
Could be corn, cone of ice cream or that could be ice in your
34:30
glass. We have eskimo. We have ice cream back in fill and called
34:35
eskimo. But now they're changing it because suppose it's not the it's not a
34:39
word you're supposed to be using these days anymore. So, so which I
34:44
completely understanding. Esky. You're on the right track. What it's cold?
34:46
It's something called it's a cooler. So that's cooler. Okay, yeah,
34:52
yeah, yeah, that makes all the sense in the world. Yeah,
34:53
you know, like a portable cooler you take, take two barbecues and stuff
34:57
you put your drinks in. That's an escy o man. Yeah. And
35:00
last one, sure, the last one is if I say that we're going
35:05
to do a Macca's run, where do you think we're going? Macca's run?
35:09
It as important Mcartney Mecca. Yeah, m A C C A mic
35:15
is run. But to me it just sounds like you're going bar hopping.
35:21
But uh, to be honest with you, no idea. You would probably
35:24
do a Maca's run after you go bar hopping. So is it like it
35:30
has something to do with eating then mm hmm. Again you probably don't eat.
35:36
I don't do McDonald's. If that's where it started from, Yeah,
35:39
it means you going. I remember those I remember when you're completely sourced aff
35:45
to a bar and you know, the sun is rising a bit bit and
35:49
it started to get light again, and then you, with your last ounce
35:52
of inner strength, you sort of like try to find an establishment where to
35:57
get a hamburger in the wee hours of the morning. I do I do
36:00
remember that crawl your way through the door indeed, And how do it taste
36:05
for a second? Yeah, yeah, you put me on the spot.
36:10
I know, I can see, I can see blood pressure has gone up.
36:14
It is I'm squirming. I do know what, though, I think
36:17
you're going to be just fine. I think that you will. You might
36:21
be confused for a second when you if you have any prolonged, any prolonged
36:27
conversations with Aussies over here, but I think you'll work it out as it
36:31
doesn't matter I do. We do have only the littlest amount of time left,
36:36
so I might have to to call it there. But we are really,
36:40
really really looking forward to having you back after ten long years. And
36:45
I believe your first show is beginning in Melbourne, which is my neck of
36:51
the woods, so we're excited that you'll be kicking it off down here with
36:54
us. Yeah. Yeah, we're playing Auckland a couple of days before and
37:00
that'll be interesting too. We've only visited New Zealand once before with him,
37:04
so so it'll be a lovely experience once again. And then we're well prepared
37:08
for you in Melbourne. Yeah. Dust the cobwebs often or in our case
37:15
in our dust them on all righty well, thank you so much for chatting
37:22
with me tonight and we can't wait to see you out here. Leasure once
37:24
again New Zealand and Australia, mark your calendars. Ville Vaalo will be gracing
37:35
the stages of Auckland's Power Station on Wednesday, March thirteenth, followed by a
37:40
performance at Melbourne's northkit Theater on Friday March fifteenth. Then catch him at Sydney's
37:46
Metro on Saturday March sixteenth and Brisbane's to Volley on Sunday March seventeenth. Tickets
37:53
are available now and it promises to be an unforgettable experience, so don't miss
37:58
your chance to witness the the Gothic magic that is Velvelo live in Concept.
38:04
You've been listening to the Heavy podcast, Thanks for joining me. Peace Out,