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Young Knives - Interview with Henry Dartnall - Episode #40 · The Uncharted Sounds Podcast

• 0:22
  Speaker 1: Welcome everybody to this episode of the Uncharted Sounds podcast.
• 0:26
  Speaker 1: It's me Martin. I'm joined by my good mate Noel.
• 0:29
  Speaker 1: How are you no?
• 0:30
  Speaker 2: Very good?
• 0:30
  Speaker 1: Mite, very good, excellent. Before we start get into the
• 0:33
  Speaker 1: detail of this episode, what have you been listening to
• 0:36
  Speaker 1: over the last week or so?
• 0:38
  Speaker 2: I've actually gone back in time to the eighties and
• 0:41
  Speaker 2: listening to the first album by the orchestral Maneuvers in
• 0:44
  Speaker 2: the Dark orm D. Now i'd tell you what I've
• 0:47
  Speaker 2: got your how great it is. All the songs on
• 0:49
  Speaker 2: there are fantastic. You got messages, Red Frayme, White Light
• 0:53
  Speaker 2: and of course Electricity, Oh yeah, great stuff. What about yourself?
• 0:57
  Speaker 1: Yeah, brilliant. That was one of the first singles I
• 0:59
  Speaker 1: ever bought, actually Electricity. Yes. So for me, I've been
• 1:02
  Speaker 1: listening to The Damned. That's not an obscure one, no,
• 1:08
  Speaker 1: But the album I've been listening to actually is their
• 1:11
  Speaker 1: twenty eighteen album Evil Spirits. This was an album that
• 1:16
  Speaker 1: they got Tony Visconti to produce it. They did all
• 1:20
  Speaker 1: the demos and then went and recorded it really really
• 1:22
  Speaker 1: quickly over a couple of weeks I think in New York.
• 1:26
  Speaker 1: And of course The Damned have just celebrated their fiftieth
• 1:29
  Speaker 1: anniversary at Wembley Arena. But yes, Evil Spirits. He's one
• 1:33
  Speaker 1: of those those damned albums that has got some absolutely
• 1:36
  Speaker 1: great songs on it, Standing on the Edge of Tomorrow
• 1:39
  Speaker 1: being one of them, which I think they released as
• 1:41
  Speaker 1: like a single's incredible.
• 1:43
  Speaker 2: I actually just met Captain Sensible after a gig, had
• 1:46
  Speaker 2: a good chat with him. Yeah, and I remember saying
• 1:49
  Speaker 2: to him he had a solo single called Croydon. I
• 1:52
  Speaker 2: love that single and saying how much I liked it.
• 1:56
  Speaker 2: He talks about it for ages, about how he was
• 1:58
  Speaker 2: influenced by as the stuff, and yeah, it's good. It's
• 2:00
  Speaker 2: a nice, nice bloke.
• 2:02
  Speaker 1: Okay, that sounds that sounds great.
• 2:04
  Speaker 2: All right.
• 2:04
  Speaker 1: No, So who are we talking about today on the
• 2:07
  Speaker 1: podcast though?
• 2:08
  Speaker 2: So today we're talking about the Young Knives.
• 2:29
  Speaker 3: They don't work out.
• 2:30
  Speaker 4: So time with my dance the day be Gone, I'm
• 2:38
  Speaker 4: I'm gone, I'm far fun, I was fine, I was farn.
• 2:54
  Speaker 3: Tame forever.
• 2:58
  Speaker 5: General leave that.
• 3:10
  Speaker 3: Big up The.
• 3:18
  Speaker 6: Winter Sun.
• 3:21
  Speaker 3: Winter Sun.
• 3:22
  Speaker 2: They were formed in Oxford in the early two thousands,
• 3:39
  Speaker 2: although they actually came from a Leicestershire town called Ashby
• 3:42
  Speaker 2: Jelazoosh before they all moved to Oxford together. Now they're
• 3:45
  Speaker 2: acclaimed for their witty, in versity comics, geeky and sometimes
• 3:50
  Speaker 2: surreal songwriting and observation is of mundane life and their
• 3:54
  Speaker 2: first album in two thousand and six, Voices of Animals
• 3:57
  Speaker 2: and Animals and Men, reached number twenty one in the
• 4:00
  Speaker 2: UK album's chart was actually their nominated for the Mercury
• 4:03
  Speaker 2: Prize for the Best Album, Best the UK Album. Right
• 4:06
  Speaker 2: this year twenty twenty six, they're going to be touring
• 4:09
  Speaker 2: the twentieth anniversary of that album later in the year.
• 4:12
  Speaker 1: Okay, that's interesting because I know very little about this band.
• 4:16
  Speaker 1: This is a genuine learning experience. So who were they?
• 4:20
  Speaker 5: Who?
• 4:20
  Speaker 1: You know, what were the band members?
• 4:22
  Speaker 2: So the members were basically two brothers, Henry and Thomas Darnell.
• 4:26
  Speaker 2: Henry and the vocals and guitar Thomas who played the bass.
• 4:30
  Speaker 2: They had the stage name House of Lords, which is unusual.
• 4:34
  Speaker 2: We say, we'll ask perhaps acts ask Henry about that
• 4:36
  Speaker 2: later because we're talking to Henry later. And they were
• 4:39
  Speaker 2: with another of their mates who was in the band,
• 4:41
  Speaker 2: who was Ollie or Oliver Askew, who played drums and
• 4:44
  Speaker 2: backing vocals and he was in the band for quite
• 4:46
  Speaker 2: a few years. So we'll be chatting to Henry later.
• 4:49
  Speaker 2: As I said, so.
• 4:50
  Speaker 1: When were they around then?
• 4:51
  Speaker 7: What was there?
• 4:51
  Speaker 1: You know, what sort of period are we talking about.
• 4:53
  Speaker 2: I can't give an exact day, but in the sort
• 4:55
  Speaker 2: of nineteen nineties when they're at school in Ashley Dolla Zoos,
• 4:59
  Speaker 2: they kind of got together. I think Henry had originally
• 5:01
  Speaker 2: met Ollie, became mates and started playing music together. They
• 5:06
  Speaker 2: then got Henry involved and got him to play bass
• 5:09
  Speaker 2: as well with along with another guitarists, and they played
• 5:12
  Speaker 2: a few gigs and for once of a better name,
• 5:14
  Speaker 2: they called themselves Simple Pastorial Existence. Then at school they
• 5:19
  Speaker 2: used to meet up in some holidays and carry on
• 5:21
  Speaker 2: sort of jamming together and doing a bit of music.
• 5:23
  Speaker 2: And at that stage I believe they started to learn
• 5:25
  Speaker 2: about recording music, and I think Henry Till quite an
• 5:28
  Speaker 2: interesting in that the whole aspect of trying to get
• 5:30
  Speaker 2: some tracks down. Then after college, the three of them, Henry,
• 5:35
  Speaker 2: Tom and Olly, all three of them decided to move
• 5:37
  Speaker 2: to Oxford. They moved into a villagionear Oxford, and what
• 5:40
  Speaker 2: they did they had jobs and they balanced working with
• 5:43
  Speaker 2: developing their music career and they started to play gigs
• 5:46
  Speaker 2: under the name Pony Club and started to get supports,
• 5:49
  Speaker 2: supports shots slots around Oxford. Really that was kind of
• 5:52
  Speaker 2: like early nineties up to the early two thousands, but
• 5:55
  Speaker 2: then in two thousand and two they really got a
• 5:57
  Speaker 2: break because they played a successful set and Oxfordshire festival
• 6:02
  Speaker 2: called Truckfest. Back in the day, back in two thousand
• 6:05
  Speaker 2: and two, they would have been the only band. We
• 6:07
  Speaker 2: would have heard of a few people on but never
• 6:09
  Speaker 2: heard of them. But now it's grown and evolved and
• 6:13
  Speaker 2: this year twenty twenty six, there are loads of bands
• 6:16
  Speaker 2: on that we've heard of. There's bands like the One Bats,
• 6:18
  Speaker 2: the Primal Scream, COIs, Chiefs, Libertines and loads more so
• 6:24
  Speaker 2: it's quite a big festival now actually it's really growing.
• 6:26
  Speaker 2: But that gave them a real drew attention to them,
• 6:29
  Speaker 2: should we say, And as a result of that, a
• 6:32
  Speaker 2: local record label in Oxford called Shifty Disco approached them
• 6:36
  Speaker 2: to make a mini LP. Those started buy some music
• 6:39
  Speaker 2: enthusiastics in the late nineties and one of their initiatives
• 6:43
  Speaker 2: was the fifty Disco Singles Club and basically had subscribers
• 6:46
  Speaker 2: and every month they've sent out a single to all
• 6:49
  Speaker 2: the subscribers or whatever band they've got, you know, they
• 6:52
  Speaker 2: wanted to promote and they send it out to them.
• 6:54
  Speaker 2: So it's like a quite a nice little thing actually.
• 6:57
  Speaker 2: So when they went to record the album, the mini album,
• 7:00
  Speaker 2: and they were going to put it out, it came
• 7:03
  Speaker 2: to light they're just up the road from Oxford is
• 7:05
  Speaker 2: a place in north Amptyshire called Bista, and there was
• 7:08
  Speaker 2: a band there already called Poonly Club. So they were like, oh,
• 7:12
  Speaker 2: we can't really use that name. So they had to
• 7:14
  Speaker 2: come over the name really quickly, and that's where the
• 7:17
  Speaker 2: name The Young Knives was born. Now I don't know
• 7:20
  Speaker 2: what that means, so I think we can ask Henry
• 7:22
  Speaker 2: about it and how quickly they had to make that decision.
• 7:25
  Speaker 2: So the many album was entitled The Young Knives Are Dead,
• 7:29
  Speaker 2: with the lead track walking on the Autobarn.
• 7:44
  Speaker 6: Walking darl Knights.
• 7:46
  Speaker 5: Yeah, but Monday.
• 7:51
  Speaker 8: The Bar don't wear think it's funny walking darn Nights
• 7:59
  Speaker 8: to get a sire, I can't done.
• 8:04
  Speaker 1: Advice gives it by guess.
• 8:10
  Speaker 7: What now?
• 8:39
  Speaker 2: What if? Did Disco? Their early releases often got played
• 8:42
  Speaker 2: by John Peel. I'm not sure if any of theirs,
• 8:44
  Speaker 2: any of the young nisters did and we can ask
• 8:46
  Speaker 2: any if he knows about it, but certainly Peel never
• 8:50
  Speaker 2: gave them a pill session or did they ever appeal
• 8:52
  Speaker 2: in the infestive fifty But so a lot of bands
• 8:55
  Speaker 2: that we spoke to them. As you know, we've got
• 8:57
  Speaker 2: a bit of a boost from the John Peel support,
• 8:59
  Speaker 2: but He's guys didn't. Two thousand and three they released
• 9:02
  Speaker 2: an EP called the Rollerskater EP, and then we're moving
• 9:05
  Speaker 2: on now to two thousand and five. They weren't a
• 9:09
  Speaker 2: TV competition on Channel four called Road to V and
• 9:14
  Speaker 2: he gave them the right to open to the opening
• 9:16
  Speaker 2: slot at the Channel for stage at the V Festival
• 9:19
  Speaker 2: that year. Road to V ran for several years from
• 9:22
  Speaker 2: the early to two thousands, and some of the other
• 9:25
  Speaker 2: winners included the ten Thousand Things, the Holloways and Bombay
• 9:28
  Speaker 2: Bicycle Club. But of course the festival or Virgin Music
• 9:32
  Speaker 2: Festival as we know that around from ninety six to
• 9:35
  Speaker 2: two thousand and seven always into sits Chelmsford and Stafford,
• 9:39
  Speaker 2: and I've been to both of them. Actually, In fact,
• 9:41
  Speaker 2: I remember seeing Old play in mid afternoon in Chelmsford
• 9:44
  Speaker 2: and it was so windy it actually blew the sound
• 9:47
  Speaker 2: away if you could believe he couldn't quite catch it
• 9:49
  Speaker 2: because the wind was taken away. The noise incredible, Yeah,
• 9:53
  Speaker 2: And the idea for the festival actually evolved from an
• 9:57
  Speaker 2: idea from Jarvis Cocker a fault. They said he would
• 10:00
  Speaker 2: like to play two outdoor venues, two days in a row,
• 10:03
  Speaker 2: and Polp did that and then he evolved into this
• 10:05
  Speaker 2: whole Niga festival. That's where it came about. After some
• 10:09
  Speaker 2: years playing successful support slots to bands like Hot Hot
• 10:12
  Speaker 2: Heat and the Future Heads in Oxford, they were signed
• 10:16
  Speaker 2: to Transgressive Records.
• 10:18
  Speaker 1: Interesting you say about the Future Heads, because I've got
• 10:20
  Speaker 1: a few things by them, and I'm sure they did
• 10:23
  Speaker 1: a cover of the Cape Bush song Sounds of Love. Yeah,
• 10:28
  Speaker 1: great song, great yeah, really good version of it.
• 10:31
  Speaker 7: Yeah.
• 10:32
  Speaker 2: So talking about Transgressive Records, they were formed by two
• 10:35
  Speaker 2: guys who meted a block Party GI in two thousand
• 10:38
  Speaker 2: and four, another great band, block Party, and their debut
• 10:42
  Speaker 2: release was another great song, It's a one Am by
• 10:45
  Speaker 2: the Subways. And they also released Actually the Last Word,
• 10:49
  Speaker 2: the twenty twenty twenty one Mercury Prize winning album, which
• 10:53
  Speaker 2: was by Arlo Parks. So you know, does some good
• 10:57
  Speaker 2: stuff there. Back to the Young Knives. So their firstually
• 11:00
  Speaker 2: the label was called Funky Music, Make My Heart Beat
• 11:03
  Speaker 2: Fast eb which was a sellout success and a debut
• 11:07
  Speaker 2: single had a typical, typically abstract lyrics. As you're hearing
• 11:11
  Speaker 2: a lot of the tracks we played there quite you
• 11:13
  Speaker 2: could say, bad scientists. Sometimes quite abstract, eccentric, but uh
• 11:18
  Speaker 2: back with a kind of a good tune. So this
• 11:20
  Speaker 2: one was called The Decision.
• 11:36
  Speaker 3: I wore the Blue Dream.
• 11:38
  Speaker 1: I wore the blue and the dream. I lost the
• 11:40
  Speaker 1: lab the scene, it's not the word you've been seen.
• 11:43
  Speaker 3: That Sayson was mine, but that season was mine. A
• 11:47
  Speaker 3: difficult child. I want some difficult child. I was abstract
• 11:51
  Speaker 3: from that.
• 11:52
  Speaker 5: I'm playing the child.
• 11:54
  Speaker 9: That de Saison was mine, That Sayson was mine, That
• 11:58
  Speaker 9: Sayson was mine, the seasons.
• 12:02
  Speaker 10: The far.
• 12:06
  Speaker 5: Sundays there is. They say, you.
• 12:14
  Speaker 3: Want Saz againz Prince of Wales.
• 12:25
  Speaker 11: I'm the Prince of Wales, and if all else fowls.
• 12:28
  Speaker 1: I am that Prince of Wales.
• 12:30
  Speaker 5: That Sezon smine. Listen to Serson smine, I.
• 12:35
  Speaker 3: Am your honor.
• 12:40
  Speaker 2: Now. They were fans of the band The Gang of Four,
• 12:43
  Speaker 2: and they actually persuaded Andy Gill, a member of the
• 12:46
  Speaker 2: Gang of four to actually produce the album and he
• 12:49
  Speaker 2: didn't trouble the charts until he was released later and
• 12:52
  Speaker 2: it did well. I'll tell you about that, okay.
• 12:55
  Speaker 1: I can hear that influence actually in that song.
• 13:00
  Speaker 2: Yeah. So moving forward to two thousand and six, they
• 13:03
  Speaker 2: began a national uh. They began to get national coverage
• 13:06
  Speaker 2: upon the release of the single here Comes the Rumor
• 13:08
  Speaker 2: Mill earlier in the year and that region of the
• 13:11
  Speaker 2: thirty six in the UK Singles Chart. They got significant
• 13:14
  Speaker 2: airplay on MTV too and of the video channels.
• 13:41
  Speaker 5: Spreading rumors.
• 14:14
  Speaker 10: It.
• 14:29
  Speaker 2: So the band completed a lengthy tour in two thousand
• 14:32
  Speaker 2: and six. The UK tour was where I saw them
• 14:34
  Speaker 2: in a soundhouse in Northampton, Ashley, and they also appeared
• 14:37
  Speaker 2: live on Lady with Jules Holland. So then in July
• 14:40
  Speaker 2: they released on a single from the upcoming album about
• 14:43
  Speaker 2: an ill fatod introduction to his girlfriend's parents called She's
• 14:47
  Speaker 2: Attracted To And in August they released another single from
• 14:50
  Speaker 2: the album called Weekends and Bleak Days. In that reagion
• 14:53
  Speaker 2: of a thirty six in the chart, Hot Sommer.
• 15:13
  Speaker 9: What a Bama Me and I they can go tell
• 15:18
  Speaker 9: holistic game to a Rona, stop talking to my leader.
• 15:28
  Speaker 6: Summer people, what's a leader?
• 15:32
  Speaker 9: Brian Disday, He's Ali for real.
• 15:38
  Speaker 6: Live for the reason.
• 15:40
  Speaker 3: The reason is start to amaze.
• 15:45
  Speaker 9: Hold on for weekends up, big days of business and pain.
• 15:52
  Speaker 10: Hot summer hot hot summer, hot summer, what hot summer?
• 15:59
  Speaker 2: What time? So in September of two thousand and six,
• 16:06
  Speaker 2: they released their first proper album, Voyages of Animals and Men,
• 16:10
  Speaker 2: and that reached number twenty one in the UK Album
• 16:12
  Speaker 2: chart and the BBC reviewed it and they said, the
• 16:16
  Speaker 2: Young Knives feel like a breath of fresh air. Definitely geeky,
• 16:20
  Speaker 2: wonderfully weird and witty. There's a huge amount to love
• 16:24
  Speaker 2: on his debut album. So that's a great review there.
• 16:27
  Speaker 1: It must be. It must have had something because obviously
• 16:30
  Speaker 1: they're doing their twentieth anniversary or aren't they, So yeah,
• 16:35
  Speaker 1: celebrate that.
• 16:36
  Speaker 2: I mean, for me, I love the album. You know,
• 16:39
  Speaker 2: I play a lot. So they re released The Decision,
• 16:42
  Speaker 2: which we played earlier in November, and he reached them
• 16:45
  Speaker 2: sixty in the UK Single chart. So moving forward to
• 16:48
  Speaker 2: the next year, two thousand and seven, after getting mainStreet attention,
• 16:52
  Speaker 2: they received a Mercury nomination. So the Mercury prize is
• 16:56
  Speaker 2: a prize actually for the album rather than the artist,
• 16:58
  Speaker 2: but obviously the artistffectively is getting their reward because it's
• 17:02
  Speaker 2: about their album. And it's been ruled in every year
• 17:05
  Speaker 2: from Action of the United Kingdom and Ireland. It started
• 17:07
  Speaker 2: in ninety two as long as turned into the Britain Awards,
• 17:10
  Speaker 2: and the previous winners included Prival Screen, Franz Ferdinand, most
• 17:14
  Speaker 2: recently in twenty twenty five Sam Fender. The year The
• 17:17
  Speaker 2: Young Knives were nominated. They were nominated against other arty
• 17:21
  Speaker 2: massive artists actually the albums by them, which included The
• 17:25
  Speaker 2: Arctic Monkeys and Amy Winehouse. I mean, you know some
• 17:28
  Speaker 2: company to be in, isn't there? And the winners are
• 17:31
  Speaker 2: actually the Clacksons with Myths of the Near Future, which
• 17:34
  Speaker 2: I think is a fantastic album, very good. That Later
• 17:38
  Speaker 2: that year they released their first new material with the
• 17:40
  Speaker 2: single Terra Firma.
• 18:02
  Speaker 10: I think Addesday Mansday about Night as Guard sound within
• 18:24
  Speaker 10: that Guard that same.
• 18:33
  Speaker 3: Last Terra Terrift.
• 18:52
  Speaker 2: Now. The second album, super Abundance, was released in March
• 18:56
  Speaker 2: two thousand and eight. It has been described as being
• 19:00
  Speaker 2: and would be building on their reputations for Savvy Joy
• 19:03
  Speaker 2: All dissections of the descent of civilization, which is a
• 19:06
  Speaker 2: great way, wouldn't it.
• 19:07
  Speaker 1: I have no idea what those words mean.
• 19:09
  Speaker 2: Now, well, they'll usually make Those songs are quite often
• 19:12
  Speaker 2: about comments from mundane life and how mundane things are
• 19:15
  Speaker 2: and how things are bad, you know. And we'll talk
• 19:18
  Speaker 2: later with Henry about love Brough suicide. One of his
• 19:21
  Speaker 2: songish I think probably always you know, quite neatly intelli
• 19:25
  Speaker 2: description there. It entered the charts at number twenty eight
• 19:28
  Speaker 2: and features a snappy tune called fit for You.
• 19:46
  Speaker 9: Home Home is weather houses rosen, loads of houses, roans
• 19:55
  Speaker 9: that carry on ho keeps you moving fullwards.
• 20:06
  Speaker 3: I think you're walking forever.
• 20:13
  Speaker 6: Side gidd.
• 20:20
  Speaker 9: Desire this world for you, not fit for you, fit
• 20:31
  Speaker 9: for you, not fit for you, You're you're walking without speaking.
• 20:45
  Speaker 2: On one single from the album called Turntail, they were
• 20:48
  Speaker 2: the first band since the nineteen seventies to record from
• 20:52
  Speaker 2: their first take straight to final.
• 20:55
  Speaker 1: That's interesting you say that because I've I bought a
• 20:59
  Speaker 1: record store day album by John ot Way and Wild
• 21:02
  Speaker 1: Willie Barrett. Think it was their debut album, and they
• 21:05
  Speaker 1: had done they'd re recorded it straight to vinyl as well.
• 21:09
  Speaker 2: Okay, so two thousand and eight. As well as doing
• 21:12
  Speaker 2: loads of UK gigs, they played some significant other days
• 21:15
  Speaker 2: just to mention, so they headlined the festival in Hong
• 21:18
  Speaker 2: Kong and played two kikiS in China. They supported the
• 21:22
  Speaker 2: Kaiser Chiefs at their homecoming gig at ellen Roade with
• 21:24
  Speaker 2: loads of other artists, and they played at the Mercury
• 21:27
  Speaker 2: Lounge on the Lower East Side in New York City,
• 21:30
  Speaker 2: which is like a pretty cool venue, isn't it.
• 21:32
  Speaker 9: So.
• 21:33
  Speaker 2: The third album, Ornaments from the Silver Arcade, was released
• 21:36
  Speaker 2: in twenty eleven. In twenty thirteen, through a Kickstarter campaign,
• 21:40
  Speaker 2: they crowdfunded their fourth album, six Octave, that was described
• 21:44
  Speaker 2: by Drowned in Sound as a shift towards the more
• 21:48
  Speaker 2: experimental and disquieting sound while retaining their core eccentric character.
• 21:54
  Speaker 2: For sure, I'd say these albums moved the band in
• 21:57
  Speaker 2: the direction of being bolder, edgier and more and after
• 22:02
  Speaker 2: more years only actually left in twenty fifteen and the
• 22:05
  Speaker 2: band went quiet for a few years, had a bit
• 22:07
  Speaker 2: of a hiatus. But yeah, those two albums, they've definitely
• 22:10
  Speaker 2: got more experimentally.
• 22:11
  Speaker 1: That seems to be that word experimental seems to be
• 22:14
  Speaker 1: something that crops up a few times in the way
• 22:17
  Speaker 1: that their music is described.
• 22:20
  Speaker 2: It saw them moving in the more mature direction. Whereas
• 22:23
  Speaker 2: the first album had lots of tracks that could potentially
• 22:26
  Speaker 2: be singles, these are more serious albums with tracks that
• 22:29
  Speaker 2: grow the more you play them, in my opinion, a
• 22:32
  Speaker 2: bit like Adventures in Hi Fi by ram So. After
• 22:36
  Speaker 2: the hiatus, the two brothers came back Henry and Tom.
• 22:39
  Speaker 2: They released a single called Red Cherries in twenty nineteen,
• 22:41
  Speaker 2: and in twenty twenty they released the fifth album, Barbarians,
• 22:45
  Speaker 2: but again labeled and experimental by some, but for me,
• 22:48
  Speaker 2: another really strong album. One reviewer describes it as having
• 22:53
  Speaker 2: an intense and often disorientating attack on the senses, so
• 22:58
  Speaker 2: it explored deep, dark themes of human nature. Certainly that
• 23:02
  Speaker 2: album is one now Who's a grower that takes time
• 23:05
  Speaker 2: to grow if you like. And in twenty twenty four
• 23:08
  Speaker 2: there is a rather good single called Dissolution.
• 23:16
  Speaker 5: Oh dear, did you see the main sign up?
• 23:20
  Speaker 9: They all look so confused, But I suppose it isn't
• 23:24
  Speaker 9: entirely their polity. I'll explain. I must object to the
• 23:29
  Speaker 9: conversing wisdom and the monisocial system champion in the dvidual funds,
• 23:34
  Speaker 9: existence of time got just projections of an ego in
• 23:38
  Speaker 9: rejection and in this dream as real as it seems,
• 23:41
  Speaker 9: the scarce as.
• 23:42
  Speaker 3: He fallacy makes up that they of forcing our heads?
• 23:45
  Speaker 3: Are we better after?
• 23:47
  Speaker 9: You'll see it so much better? And when you band
• 23:48
  Speaker 9: it's past the future?
• 24:01
  Speaker 6: Why are we.
• 24:02
  Speaker 1: Still playing up with him?
• 24:04
  Speaker 9: Isn't it obvious they're the worst roommates ever?
• 24:08
  Speaker 2: So after another five years they released thela of the
• 24:10
  Speaker 2: album Landfill Now for Me after Vsions of Animals and Men.
• 24:15
  Speaker 2: It's my second favorite album by them, actually, I think
• 24:18
  Speaker 2: it's it's got back to some really great stuff and
• 24:23
  Speaker 2: less much more easy to listen to. My I feel
• 24:25
  Speaker 2: goods Mad gave it five stars. One reviewer describes it
• 24:29
  Speaker 2: as a bizarre im a call quizzical and as philosophical
• 24:34
  Speaker 2: as a modern day Socrates working part time as a
• 24:37
  Speaker 2: London cabby. It's quite funny.
• 24:39
  Speaker 1: Great description.
• 24:41
  Speaker 2: Yeah, so they've still got the kind of like the
• 24:43
  Speaker 2: eccentric stuff going on. There's what. There's some great songs
• 24:46
  Speaker 2: in there, including Ugly Houses and the single Cause and Effect.
• 24:50
  Speaker 2: So that's here, that's the band.
• 24:51
  Speaker 1: Okay, so we're going to have a chat with Henry now,
• 24:54
  Speaker 1: So let's do that Henry, Welcome to the podcast.
• 24:57
  Speaker 12: Thanks for having me pleasure to be here.
• 24:59
  Speaker 1: So I guess we kick off with you know, are
• 25:03
  Speaker 1: you looking forward to the anniversary of doing some concerts
• 25:06
  Speaker 1: around voices of animals and men?
• 25:08
  Speaker 12: Not much not a joke, Yeah, of course, yeah. I
• 25:12
  Speaker 12: think we always said that sort of in the past.
• 25:15
  Speaker 12: We've been a bit residant to revisit stuff that we've done.
• 25:20
  Speaker 12: You know, we're always pushing forward slightly, so there's definitely
• 25:23
  Speaker 12: we don't want to be a retro act because the
• 25:26
  Speaker 12: past has gone and it is dead and no more,
• 25:30
  Speaker 12: and therefore we should be living in the present a
• 25:32
  Speaker 12: bit more. But I think it's all about having a
• 25:36
  Speaker 12: bit fun. So it's a good record, so I enjoy
• 25:40
  Speaker 12: it now I can. It's a at a certain distance.
• 25:43
  Speaker 12: I like how straightforward it is to play, so that's
• 25:46
  Speaker 12: quite good. It's like, there's there's not much going on
• 25:49
  Speaker 12: there in apart from guitar, drums and bass, so it'll
• 25:52
  Speaker 12: be fun to go out and just do that. And
• 25:55
  Speaker 12: I think at this point we could probably bring something
• 25:59
  Speaker 12: to it that we perhaps wasn't there. You know, I
• 26:02
  Speaker 12: think we're more skilled as a players, and I don't
• 26:05
  Speaker 12: mean them. I don't know if that's really a real
• 26:07
  Speaker 12: thing to say, but we're definitely are aware of the
• 26:11
  Speaker 12: stage a lot more when we're playing on stage. I
• 26:13
  Speaker 12: think we were just a bit blind and we just
• 26:15
  Speaker 12: used to go mad, which I think has its own thing.
• 26:18
  Speaker 12: And I'm not sort of suggesting we're sort of more
• 26:20
  Speaker 12: reserve now, but it's just I think we just know
• 26:23
  Speaker 12: how to do it a lot. Like it's much more
• 26:27
  Speaker 12: fun now than it used to be. It used to
• 26:29
  Speaker 12: be quite stressful when we were younger. There's a lot
• 26:32
  Speaker 12: of expectation and all that kind of business, and it
• 26:34
  Speaker 12: was quite tiring because we were doing it all the time.
• 26:36
  Speaker 12: So I think we often weren't giving our best and
• 26:39
  Speaker 12: now it's just we do all this sort of thing.
• 26:42
  Speaker 12: It's a it's a real joy to be out on
• 26:45
  Speaker 12: stage and with a with a room full of people.
• 26:47
  Speaker 12: It's a lot more interactive than it ever used to be.
• 26:50
  Speaker 12: I think, you know, we appreciate an audience a lot
• 26:53
  Speaker 12: more than our younger egotistical selves. So, uh yeah, I
• 26:58
  Speaker 12: think it's I think it's going to bit We'll see,
• 27:00
  Speaker 12: we'll see whether it's an enjoyment. I think I find
• 27:03
  Speaker 12: with touring generally, it's sort of not. It's like it
• 27:06
  Speaker 12: cancels itself out the joy and the and the pain.
• 27:10
  Speaker 12: It's like quite a lot of things in life where
• 27:12
  Speaker 12: they sort of equal each other. It's it's quite painful touring,
• 27:18
  Speaker 12: it's quite uncomfortable touring, but it's also incredibly joyful touring.
• 27:22
  Speaker 12: So it's like a it's a definite, definite mixed bag,
• 27:26
  Speaker 12: but I'm up for it one hundred percent.
• 27:28
  Speaker 1: What do you like looking back?
• 27:30
  Speaker 7: Are you?
• 27:30
  Speaker 1: Are you? Do you mind looking back? Or you're looking forward?
• 27:34
  Speaker 1: Sort of personally? What's neither.
• 27:37
  Speaker 9: Neither?
• 27:38
  Speaker 12: If I can help it, I don't that. Yeah, I
• 27:40
  Speaker 12: think I think there's a there's a lot far too much.
• 27:43
  Speaker 12: You know, you can look back and feel sad about
• 27:46
  Speaker 12: the things you've lost, which is a form of pain
• 27:48
  Speaker 12: and fear, and you can look forward and worry about
• 27:51
  Speaker 12: the things that you're going to get in the future
• 27:52
  Speaker 12: and how it's all going to turn out, which is
• 27:54
  Speaker 12: also similar. So I don't tend to worry about where
• 27:59
  Speaker 12: things have gone or where things are going. With the
• 28:02
  Speaker 12: music stuff, I think it's which is what I mean
• 28:04
  Speaker 12: kind of by that, we enjoy it a lot more.
• 28:07
  Speaker 12: There's a lot of like I think young bands maybe
• 28:11
  Speaker 12: it's a lot of bands, and maybe it's all bands,
• 28:13
  Speaker 12: but you know, you've put your vying for positions on
• 28:16
  Speaker 12: festival bills and you're looking at and thinking why didn't
• 28:20
  Speaker 12: we get that? Why are they above us on the bill?
• 28:22
  Speaker 12: And there's a lot of people talking about that around
• 28:26
  Speaker 12: you as well, because you're in the music industry and
• 28:29
  Speaker 12: everybody's trying to maximize the potential of a band, which
• 28:34
  Speaker 12: is a great thing in one sense, but in another
• 28:37
  Speaker 12: sense it's quite confusing and distorting, you know, because you
• 28:42
  Speaker 12: think about success in very worldly terms. You get convinced
• 28:46
  Speaker 12: that there's this kind of you know, playlist on radio
• 28:49
  Speaker 12: and all that kind of stuff. So I don't look
• 28:54
  Speaker 12: back on it with any sort of It was completely
• 28:59
  Speaker 12: worth going through through the whole thing to get to
• 29:01
  Speaker 12: where we where we are now, you know, it's a
• 29:04
  Speaker 12: part of the whole. And say the word journey for
• 29:07
  Speaker 12: want of a better word, where you go through the
• 29:10
  Speaker 12: mill of all of that stuff only to realize what's
• 29:13
  Speaker 12: a bit more important. You know, it's such a nonsen.
• 29:16
  Speaker 12: There's so much noise and nonsense when you're teetering on
• 29:20
  Speaker 12: the brink of fame and success again. Words that need
• 29:26
  Speaker 12: redefining a little bit, you know, but we're obsessed with it.
• 29:29
  Speaker 12: So I yeah, it's it's it was a great education,
• 29:33
  Speaker 12: put it that way.
• 29:34
  Speaker 1: Okay, So looking back, he said, yeah, well, did you
• 29:38
  Speaker 1: have any early influences then as part of that, you know,
• 29:41
  Speaker 1: when you first started out in music.
• 29:43
  Speaker 12: Musically or just generally, Yeah, yeah, I guess so. I think.
• 29:48
  Speaker 12: I mean, we grew up in a fairly rural sort
• 29:52
  Speaker 12: of provincial area where I don't think you you ever
• 29:58
  Speaker 12: had the idea that I I wouldn't know where to
• 30:00
  Speaker 12: start about being in a full time band, and I
• 30:03
  Speaker 12: didn't know anybody that was It all just seemed to
• 30:06
  Speaker 12: be everybody's you know, you'd go and play in the
• 30:08
  Speaker 12: pub and all that kind of stuff. And then I
• 30:10
  Speaker 12: think a few things came out that made me realize
• 30:14
  Speaker 12: that maybe it was possible, things like Supergrass. When Supergrass
• 30:19
  Speaker 12: came out, I mean, they're pretty much the same age
• 30:21
  Speaker 12: as us, you know, but they came out so young.
• 30:23
  Speaker 12: They were so young seventeen eighteen when they were first
• 30:26
  Speaker 12: putting music out, and I thought, hang on, this is
• 30:30
  Speaker 12: it's entirely sort of possible for a young, a young
• 30:35
  Speaker 12: band to just you know, to break through I didn't
• 30:38
  Speaker 12: quite know what it meant, but they were quite an
• 30:40
  Speaker 12: influence and I really, I really like one that turned
• 30:43
  Speaker 12: Mike because when you're at school, you tend to just
• 30:45
  Speaker 12: listen to what everybody else is telling you to listen to.
• 30:48
  Speaker 12: And I found the band Pavement when I was about eighteen,
• 30:52
  Speaker 12: I think, and I thought it was hilarious because it
• 30:55
  Speaker 12: was just so I'd never heard anything quite so all
• 30:58
  Speaker 12: over the place but a logic at the same time,
• 31:02
  Speaker 12: and that I think. I was quite also quite obsessed
• 31:05
  Speaker 12: with Americana as a youngster, watching a lot of American
• 31:09
  Speaker 12: TV and stuff, so I didn't tend to be that
• 31:12
  Speaker 12: influenced by stuff that was going on in the UK.
• 31:16
  Speaker 12: I liked the kind of what's the word. I like
• 31:20
  Speaker 12: the kind of the feeling of it being from somewhere else,
• 31:23
  Speaker 12: you know, So I really Pavement was probably my first obsession,
• 31:29
  Speaker 12: or one of my early obsessions that sort of stuck
• 31:32
  Speaker 12: with me because they kept making music and it made
• 31:35
  Speaker 12: me think that I could do it because it wasn't
• 31:37
  Speaker 12: particularly bothered about musical It felt like it wasn't particularly
• 31:42
  Speaker 12: bothered about sort of hi fi musical ability and you know,
• 31:46
  Speaker 12: showmanship and all that. It was a lot more scruffy
• 31:50
  Speaker 12: and a lot more like a fun thing to do.
• 31:53
  Speaker 12: So me and my brother both found that very inspirational.
• 31:56
  Speaker 2: I think, yeah, I saw some guys who were really
• 31:58
  Speaker 2: into them. I don't really know them, so go and
• 32:00
  Speaker 2: check them out out of this actually so yeah, yeah,
• 32:02
  Speaker 2: interesting stuff. So going right back in the day Islander,
• 32:05
  Speaker 2: but dial right back to tell us about meeting Olie
• 32:09
  Speaker 2: at the school at Abbey School, I think it was
• 32:10
  Speaker 2: in Ashbvie Lazus and the early bands that you were in.
• 32:13
  Speaker 12: Yeah, well I was in a few bands.
• 32:15
  Speaker 2: I think.
• 32:15
  Speaker 12: I never did music at school, but the music room
• 32:18
  Speaker 12: was a cool place to hang out, so I sort
• 32:20
  Speaker 12: of went and started to get influenced by the people
• 32:23
  Speaker 12: that were there. Joined a couple of little bands, and
• 32:27
  Speaker 12: Ollie was he was drumming. I didn't really know him,
• 32:31
  Speaker 12: but he drummed in a band and we were on
• 32:34
  Speaker 12: like an old day when I watched his band. I
• 32:37
  Speaker 12: think his band were called slag if I remember, I
• 32:41
  Speaker 12: can't remember which one one of those it was all
• 32:44
  Speaker 12: it was a great It was one of those brilliant
• 32:45
  Speaker 12: photocopied sort of posters that someone had made. I mean,
• 32:48
  Speaker 12: there were some cool kids at that school that were
• 32:49
  Speaker 12: into all these bands like Unsane and Bastard Kestral and
• 32:53
  Speaker 12: all these kind of like really underground, these sort of
• 32:55
  Speaker 12: sounding bands, and they knew how to like this idea
• 32:59
  Speaker 12: of making sort of zines, and you know, there was
• 33:02
  Speaker 12: a bit of that, and I was not really in
• 33:04
  Speaker 12: with them, but I watched him play, and I think
• 33:07
  Speaker 12: I just I met him through a friend and we
• 33:10
  Speaker 12: were in a band together for a couple for a bit.
• 33:13
  Speaker 12: And Ollie had His dad was a GP, so they
• 33:17
  Speaker 12: lived in a big house in an old farmhouse, so
• 33:20
  Speaker 12: he had access to resources, which was he had a
• 33:25
  Speaker 12: drum kit, which was pretty amazing from anybody's point of view,
• 33:30
  Speaker 12: and they had the room to set it up and
• 33:31
  Speaker 12: you could play it and no one cared. They had
• 33:34
  Speaker 12: a room upstairs in the loft had a full sized
• 33:36
  Speaker 12: snooker table and a and the drum kit set up.
• 33:40
  Speaker 12: And his dad was quite into music, so his dad
• 33:41
  Speaker 12: had a guitar amp and a guitar and I just
• 33:45
  Speaker 12: basically used to borrow it and we used to just
• 33:46
  Speaker 12: mess about and I just liked going there. I lived
• 33:49
  Speaker 12: in quite My parents' house was quite small and sort
• 33:53
  Speaker 12: of you know, there wasn't any you couldn't really make
• 33:56
  Speaker 12: a lot of noise in it. So I kind of
• 33:57
  Speaker 12: liked to get on my bike and cycle to Ashby
• 34:00
  Speaker 12: and just hang out at his house at the weekend
• 34:03
  Speaker 12: because his parents were a bit more bohemian and allowed
• 34:06
  Speaker 12: all sorts of you know, you could go and make
• 34:08
  Speaker 12: yourself food in the kitchen and it didn't matter. And
• 34:10
  Speaker 12: you know, smoke weed. That was one of the things
• 34:13
  Speaker 12: that definitely a little bit of that, and mused. I
• 34:19
  Speaker 12: was quite obsessed with making stupid films as well, So
• 34:22
  Speaker 12: me and tom My brother had we'd made because we
• 34:26
  Speaker 12: were so bored in a little village, we'd made a
• 34:28
  Speaker 12: lot of films. So it kind of we make stupid
• 34:31
  Speaker 12: story lines up and I kind of we sort of
• 34:34
  Speaker 12: made the music with this idea that we would be
• 34:37
  Speaker 12: making little films to go along with it, just dicking
• 34:42
  Speaker 12: around in that's at Ollie's house right on the farmland
• 34:45
  Speaker 12: around it and stuff and so yeah, and he was
• 34:48
  Speaker 12: just a good laugh as well, I mean that was
• 34:50
  Speaker 12: the main thing. He was very cool, always look cool.
• 34:54
  Speaker 12: Got me into this idea of buying kind of nineteen
• 34:56
  Speaker 12: seventy clothes from charity shops and dressing up in them,
• 34:59
  Speaker 12: and we'd go into Ashby Center, which was quite a
• 35:02
  Speaker 12: mix of working class and middle class, kind of you know,
• 35:04
  Speaker 12: a good melting pot. Yeah, you'd get people really hated
• 35:09
  Speaker 12: what we looked like. We'd put on iemakeup and wear
• 35:11
  Speaker 12: flares and go into town and be proper pretentious and
• 35:15
  Speaker 12: you know, then get drunk and go home, walk home
• 35:17
  Speaker 12: and play music. So it was a really sort of
• 35:19
  Speaker 12: formative time, as you can imagine. So, but I don't
• 35:23
  Speaker 12: remember a lot of what we did. There's some filmic,
• 35:29
  Speaker 12: there's some definitely video, some old vhs evidence of it,
• 35:32
  Speaker 12: but it was mainly just messing around and enjoying each
• 35:34
  Speaker 12: other's company and not being particularly serious about music. And
• 35:37
  Speaker 12: I think it was later when we moved to We
• 35:42
  Speaker 12: all got jobs after college, and I think it was
• 35:46
  Speaker 12: just assumed that's what you did, you know. And then
• 35:48
  Speaker 12: I moved to I was living up near Chester and
• 35:52
  Speaker 12: I didn't know anybody, and we kind of just decided
• 35:54
  Speaker 12: that we wanted to move somewhere a bit more central.
• 35:56
  Speaker 12: So I thought, well, maybe Oxford would be quite cool.
• 35:59
  Speaker 12: It's like literally just a pin in the map, because
• 36:01
  Speaker 12: there were bands there, like the new bands that were
• 36:03
  Speaker 12: coming out like supergrass from Radioheads and stuff, and I
• 36:05
  Speaker 12: thought it would be a cool place to go. So
• 36:07
  Speaker 12: we just sort of found a house and moved in together.
• 36:11
  Speaker 12: And then that was the point at which I think
• 36:13
  Speaker 12: I thought we went and saw a load there was
• 36:15
  Speaker 12: a scene, and we went and saw a load of
• 36:17
  Speaker 12: bands on the scene, and there was it seemed overwhelming,
• 36:22
  Speaker 12: but actually when you went to see these bands, most
• 36:24
  Speaker 12: of them were terrible, and I thought, I think, actually,
• 36:28
  Speaker 12: we've got a shot of getting gigs here because not
• 36:32
  Speaker 12: being pretentious or anything, but I think we're better than
• 36:35
  Speaker 12: a lot of the bands that are on or at
• 36:37
  Speaker 12: least on par with, so we could do something here.
• 36:39
  Speaker 12: And that's when it all sort of got a bit
• 36:41
  Speaker 12: more ambitious.
• 36:41
  Speaker 2: I think interesting. So I'm just wondering how that conversation went,
• 36:45
  Speaker 2: because obviously had to gather get Tom and Olie on
• 36:48
  Speaker 2: board or you all lived together in the same house,
• 36:50
  Speaker 2: did you that's it?
• 36:51
  Speaker 12: Yeah, yeah, yeah, yeah.
• 36:53
  Speaker 2: It was like a bit of a debate about it,
• 36:55
  Speaker 2: should we really do this or not? Was out of
• 36:56
  Speaker 2: a persuasion to happen or no?
• 36:59
  Speaker 12: I think we both me and Oli had both gone
• 37:01
  Speaker 12: into the world of work and realized it sucked thatss,
• 37:04
  Speaker 12: you know what I mean.
• 37:05
  Speaker 7: It was like this is.
• 37:08
  Speaker 12: You know, you drop out, you finished college with no
• 37:10
  Speaker 12: idea what you're going to do. I mean literally went
• 37:12
  Speaker 12: to university because it was kind of just the given,
• 37:15
  Speaker 12: sort of the path of least resistance. If you could
• 37:18
  Speaker 12: get the grades, just do it.
• 37:20
  Speaker 2: You know.
• 37:20
  Speaker 12: We were on grants. Then that loans came in, but
• 37:24
  Speaker 12: they weren't massive, and it was just a place to go.
• 37:28
  Speaker 12: And but I went to college and didn't meet anybody
• 37:31
  Speaker 12: to play music with. I've got a job and thought,
• 37:32
  Speaker 12: this is, how can I spend this much time doing
• 37:35
  Speaker 12: something I don't care about? So and Oli did the same,
• 37:38
  Speaker 12: and I think at that point we were miles away.
• 37:40
  Speaker 12: He was in Canterbury and I was in Wrexham or
• 37:42
  Speaker 12: something near Chester, and we just were like, let's engine it.
• 37:47
  Speaker 12: That was when we had to engineer getting back together,
• 37:50
  Speaker 12: because we realized that it was actually what we'd been
• 37:54
  Speaker 12: doing was something that maybe we could make something out of.
• 37:58
  Speaker 12: And then I think and I said, let's I told
• 38:00
  Speaker 12: my brother was a year after us or something or
• 38:03
  Speaker 12: two years after us, and so we had to wait
• 38:05
  Speaker 12: for him to graduate and then he I think I
• 38:09
  Speaker 12: remember him my Mum said to me, Old Thomas has
• 38:12
  Speaker 12: said that he's gonna I've convinced him to like come
• 38:16
  Speaker 12: down to Oxford to give the band a go, but
• 38:20
  Speaker 12: he doesn't feel like it's probably going to work. But
• 38:24
  Speaker 12: you know, it's a house to move to, so he'll
• 38:26
  Speaker 12: come and do it anyway, just to go through. I
• 38:28
  Speaker 12: think it was quite cynical about the idea, but it
• 38:31
  Speaker 12: was I don't even think we were thinking famous. I
• 38:33
  Speaker 12: don't think we were thinking successful act. I think we
• 38:36
  Speaker 12: were just thinking maybe we could make it, like make
• 38:40
  Speaker 12: a living out of it or something. I don't know.
• 38:42
  Speaker 12: I don't maybe I don't even think we planned it.
• 38:44
  Speaker 12: I don't remember planning it, but we definitely took it
• 38:47
  Speaker 12: very seriously and it was definitely it was certainly something
• 38:50
  Speaker 12: that most of our free time was involved with. We
• 38:53
  Speaker 12: living together meant that we just went down the village
• 38:56
  Speaker 12: hall and rehearsed and and it was all about bringing
• 39:01
  Speaker 12: something that you could coming up with, something you could
• 39:04
  Speaker 12: take to the rehearsal space that would entertain your friends,
• 39:09
  Speaker 12: you know what I.
• 39:09
  Speaker 1: Mean, Yeah, yeah, yeah, how quickly then when you were
• 39:13
  Speaker 1: in that in that for those first iterations, because I
• 39:16
  Speaker 1: think you were called Pony Club at the beginning. How
• 39:19
  Speaker 1: quickly did you have to then? Did that change to
• 39:21
  Speaker 1: the Young Knives.
• 39:23
  Speaker 12: When we first got to Oxford or I can't really remember,
• 39:27
  Speaker 12: ninety nine, we were moved in together, I think, and
• 39:30
  Speaker 12: I think a couple of a year or so, we
• 39:33
  Speaker 12: tried to get some It was very closed. It was
• 39:35
  Speaker 12: closed system. It was quite hard to get into. So
• 39:39
  Speaker 12: we did a couple of grappy supports. We did got
• 39:42
  Speaker 12: like Demo Dumper. We still the local zine called night Shift,
• 39:45
  Speaker 12: which still runs, which is a great boon to Oxfordshire
• 39:48
  Speaker 12: having and are still a music scene that comes out
• 39:51
  Speaker 12: every month. We got Demo Dumper first couple of times.
• 39:54
  Speaker 12: I mean we were literally making up how to record
• 39:56
  Speaker 12: stuff with the first computers and all that kind of
• 39:59
  Speaker 12: stuf stuff and a four track recorder, and so we
• 40:03
  Speaker 12: got like, you know, we weren't having a lot of fun.
• 40:05
  Speaker 12: And then they reviewed one set of demos that we
• 40:09
  Speaker 12: did that they said were really good. We got Demo
• 40:11
  Speaker 12: of the Month or something, and this guy from the
• 40:15
  Speaker 12: local record label called Shifty Disco, this guy called Mac
• 40:18
  Speaker 12: who did the sound in Oxford, phoned me. He was
• 40:21
  Speaker 12: quite a cantankriss, grumpy, old man and he's now even
• 40:24
  Speaker 12: grumpy and more cantan cross older man, and he said, yeah,
• 40:29
  Speaker 12: we thought it was all right, Yeah, there's something there.
• 40:31
  Speaker 12: You're pretty good. You can't call yourself pony Club, though,
• 40:33
  Speaker 12: because there's a girl band from Bista called pony Club,
• 40:35
  Speaker 12: so we immediately tried to change. We just sort of
• 40:38
  Speaker 12: changed it on the basis of that someone telling us
• 40:40
  Speaker 12: that we couldn't be called that, which is a bit crap. Really,
• 40:43
  Speaker 12: we should have just said, fuck it, we're going to
• 40:45
  Speaker 12: be better, going to be better than that band pony Club.
• 40:48
  Speaker 12: But we changed it to whatever. We had a you know,
• 40:52
  Speaker 12: that horrible process of coming up with a new name,
• 40:56
  Speaker 12: but it still took ages. We got an ep in
• 40:58
  Speaker 12: Oxford released into two thousand and two, and then that
• 41:02
  Speaker 12: all went flat. So there was another three or four
• 41:05
  Speaker 12: years of just trying to book gigs for ourselves and
• 41:08
  Speaker 12: driving ourselves around. Three or four years. It feels like
• 41:11
  Speaker 12: an eternity when you're in your early twenties. So yeah,
• 41:14
  Speaker 12: it took quite a while for anything to happen, But
• 41:16
  Speaker 12: then it could have not happened at all us both,
• 41:19
  Speaker 12: so that's you know a couple of years of messing
• 41:22
  Speaker 12: it was a good learning ground.
• 41:24
  Speaker 2: So the actual name young Knives, How did you come
• 41:27
  Speaker 2: up with that?
• 41:29
  Speaker 12: Just literally just going just you know, going through books
• 41:31
  Speaker 12: and stuff, trying to find stuff. We had a book,
• 41:34
  Speaker 12: some medieval poetry book that had some article, some poem
• 41:40
  Speaker 12: about young Knaves. I think we missed. Literally we just
• 41:44
  Speaker 12: had a list of names. And when you're asked to
• 41:48
  Speaker 12: be creative like that on this because you need to
• 41:51
  Speaker 12: quickly come up with new stuff, it's a terrible it's
• 41:54
  Speaker 12: a terrible way to do it. I still to this
• 41:57
  Speaker 12: day regret the name just as is meaningless. Almost wish.
• 42:03
  Speaker 12: I wish we'd come up with something better than that.
• 42:05
  Speaker 12: And I liked it because it reminded me of the
• 42:08
  Speaker 12: film Young Guns. But it was like a you know, mickey,
• 42:11
  Speaker 12: you know, a silly version of it. But yeah, I could,
• 42:15
  Speaker 12: I could have changed it a million times, and we
• 42:17
  Speaker 12: still use it for some reason. Some god. No, we
• 42:21
  Speaker 12: debated it endlessly. Should we just should we just scrap
• 42:24
  Speaker 12: this and just do something new? And you think, well,
• 42:26
  Speaker 12: there's no point, doesn't matter, you're going to come up
• 42:28
  Speaker 12: with another band name. What does it matter. It's still
• 42:30
  Speaker 12: me and my brother doing it. So it feels like
• 42:33
  Speaker 12: I quite like the continuity, and it's fun. I think
• 42:37
  Speaker 12: it's fun to just do like you know, we could
• 42:40
  Speaker 12: have done loads of other projects people tend to just
• 42:42
  Speaker 12: disband bands and but for us, it's so meaningless anyway
• 42:47
  Speaker 12: that you might as well just keep calling it the
• 42:49
  Speaker 12: same thing. I mean, we've never been really stuck to
• 42:52
  Speaker 12: one concept of what it is, but it's a thing
• 42:55
  Speaker 12: that people can sort of understand, and I think that's
• 42:58
  Speaker 12: almost like what people expect from us is to what
• 43:02
  Speaker 12: they're going to do next, rather than it needs to
• 43:05
  Speaker 12: be another Young Nives record that needs to sound like
• 43:07
  Speaker 12: the first album. But it feels like it's a fun
• 43:10
  Speaker 12: thing to just give it a name that's the same,
• 43:12
  Speaker 12: but use it to could do completely different things. I mean,
• 43:16
  Speaker 12: might as well use our names, Henry and Thomas exactly.
• 43:20
  Speaker 2: So talking about Thomas, I know obviously had originally for
• 43:23
  Speaker 2: a long spime I think, had the nickname the House
• 43:25
  Speaker 2: of Lords, and I've read there were different explanations or
• 43:29
  Speaker 2: theories as to why that was. This is one I
• 43:31
  Speaker 2: particularly like, but what what is the truth?
• 43:34
  Speaker 12: Oh, it's that he's the grumpy second Chamber. Yeah yeah,
• 43:37
  Speaker 12: yeah it is, Yeah, yeah, yeah, it's that that Ollie
• 43:41
  Speaker 12: came up with it. We were doing some demo idea
• 43:45
  Speaker 12: that we had. I think it was just a cover
• 43:48
  Speaker 12: for a demo that we were sending out to, you know,
• 43:50
  Speaker 12: Steve Lamack and all those kind of things, and we
• 43:53
  Speaker 12: liked it, but we thought we better wait. He said,
• 43:55
  Speaker 12: I think we'd better wait till the House of Lords
• 43:57
  Speaker 12: gets home before we send it out. And I was like,
• 44:00
  Speaker 12: that's a good one. Quite like that, I should use it.
• 44:04
  Speaker 2: I thought.
• 44:05
  Speaker 12: Everything he does still go through by that name in
• 44:09
  Speaker 12: the band as well, because it's such a good name,
• 44:11
  Speaker 12: isn't it Why I drop it? I mean, I don't
• 44:13
  Speaker 12: call I don't call him it, but he's down as
• 44:15
  Speaker 12: it in my phone.
• 44:16
  Speaker 2: Oh right, okay, I like that. So you talked about
• 44:19
  Speaker 2: two thousand and two. Tell us about the truck Fest
• 44:22
  Speaker 2: and the experience of that.
• 44:23
  Speaker 12: I can't remember how many times we played it. The
• 44:26
  Speaker 12: only reason I can remember that we have is that
• 44:28
  Speaker 12: I've got photographs of it. I don't really have a
• 44:31
  Speaker 12: great memory for things like that. I know it was fun.
• 44:34
  Speaker 12: I mean truck Fest was a bit more of a local, little,
• 44:39
  Speaker 12: you know, tiny tent festival. There was actually of the
• 44:41
  Speaker 12: stage was actually on a truck and I live about
• 44:45
  Speaker 12: three miles from that site now here as well. Really
• 44:47
  Speaker 12: I'm really close to it. Yeah, but it's it was
• 44:53
  Speaker 12: a fun night out or what I was thinking about
• 44:54
  Speaker 12: this other day, because we had a conversation with like
• 44:57
  Speaker 12: we could try and remember my sister crowds for the
• 45:00
  Speaker 12: first time at truck Fest, and she's quite a sensible
• 45:03
  Speaker 12: grown up now, but it was we were trying to
• 45:05
  Speaker 12: remember who it was that was playing the headline set
• 45:08
  Speaker 12: a truck and we realized it was eighties Matchbox Bline
• 45:11
  Speaker 12: Disaster and they were They were incredible. It was amazing. Yeah,
• 45:17
  Speaker 12: pretty horrible camping and probably getting drunken all sorts of things,
• 45:22
  Speaker 12: and the Rotary Club were there definitely with a stall.
• 45:26
  Speaker 12: It was very it's a very strange little glocal festival.
• 45:29
  Speaker 12: But yeah, as to play, I think we were very
• 45:33
  Speaker 12: What I do remember from the photos is that we
• 45:35
  Speaker 12: were all quite overweight and incredibly full of energy, so
• 45:40
  Speaker 12: that it was just every time we played something like that,
• 45:43
  Speaker 12: I do end up doing walking on my hands and
• 45:45
  Speaker 12: jumping off things and act just drenched in sweat in
• 45:49
  Speaker 12: a kind of tweed suit or a brown suit of
• 45:52
  Speaker 12: some description, so always very very red in the face
• 45:56
  Speaker 12: and sort of with glistening foreheads.
• 45:58
  Speaker 2: I can imagine that with a tweets, So it's not
• 46:01
  Speaker 2: it's hot.
• 46:19
  Speaker 13: If you had a crystal you aren't locked. I know,
• 46:30
  Speaker 13: you might just cuts your plans of life.
• 46:37
  Speaker 6: Yeah, follow money, name, follow my name.
• 46:45
  Speaker 5: My name.
• 46:51
  Speaker 6: Hooray A rights is over. We can stay.
• 47:08
  Speaker 2: So the tweets through that image. Was that a conscious choice,
• 47:11
  Speaker 2: almost like a kickback to push back on the lights
• 47:13
  Speaker 2: of Johnny Borrell and you know, Pete Tockerty and those
• 47:16
  Speaker 2: kind of like you know, black clad kind of indie boys.
• 47:19
  Speaker 2: That was that a conscious choice to do that.
• 47:22
  Speaker 12: I think it just stemmed out of where we were dressing,
• 47:26
  Speaker 12: from charity shops for fun because it was an affordable
• 47:29
  Speaker 12: way to look different and we were quite in aura
• 47:33
  Speaker 12: of obviously Jarvis cocker there was a big thing of
• 47:36
  Speaker 12: that kind of slightly naff, slightly kitch look, and ours
• 47:41
  Speaker 12: just went in a slightly less what's the word, sort
• 47:46
  Speaker 12: of elegant direction. And I think tweed was never tweed
• 47:51
  Speaker 12: was something that got picked up by somebody in marketing
• 47:55
  Speaker 12: or somebody in the press. Pr We didn't wear a
• 48:00
  Speaker 12: lot of tweed. It was more like crap old gray
• 48:02
  Speaker 12: business suits and shit eighties ties. I did have a
• 48:07
  Speaker 12: tweed jacket, and to be honest, it became a bit
• 48:10
  Speaker 12: of a thing. It was a bit of a I
• 48:11
  Speaker 12: didn't it became so much of a thing that it
• 48:15
  Speaker 12: was immediately I'm like, as soon as something sticks, I'm
• 48:18
  Speaker 12: my intuition is to rebel against it, because it felt like,
• 48:25
  Speaker 12: actually the image was almost more important than the music,
• 48:30
  Speaker 12: which I think was probably you know, it was a
• 48:32
  Speaker 12: bit of a problem for as a problem it was
• 48:35
  Speaker 12: how it was supposed to happen, but it it didn't.
• 48:38
  Speaker 12: It didn't feel great, and we were immediately like, right,
• 48:41
  Speaker 12: that goes out the window, you know, But then what
• 48:44
  Speaker 12: do we do?
• 48:45
  Speaker 2: Yeah, no, I get that. I was going to ask
• 48:47
  Speaker 2: you about the road to V the competition because I
• 48:49
  Speaker 2: know obviously you want that to obviously to play at
• 48:52
  Speaker 2: the V Open, the V Festival, But what what was
• 48:55
  Speaker 2: even the process for that with the judges was voting?
• 48:58
  Speaker 2: I mean, how many bands were you were against? Tell
• 49:00
  Speaker 2: us A bit about it rod.
• 49:02
  Speaker 12: To me was we didn't even get on it to
• 49:04
  Speaker 12: begin with, and we only got on it because somebody
• 49:06
  Speaker 12: dropped out. I don't think they were very keen on
• 49:08
  Speaker 12: us because we weren't. Perhaps we're just too joky or whatever,
• 49:11
  Speaker 12: we're a bit silly, or they didn't understand what it
• 49:13
  Speaker 12: is that we were, which is probably the story of
• 49:15
  Speaker 12: our career. And then someone dropped out and are we
• 49:19
  Speaker 12: Basically we signed up with a manager who was the
• 49:22
  Speaker 12: drummer's girlfriend, but that she had actually started a serious
• 49:26
  Speaker 12: management firm with a friend of ours, and this was
• 49:29
  Speaker 12: when things they started to put us up for stuff
• 49:31
  Speaker 12: and things rather than just trying to get gigs on
• 49:34
  Speaker 12: our own in Oxford. So they put us up for it,
• 49:37
  Speaker 12: and I remember, I do remember her calling me and
• 49:39
  Speaker 12: say someone's dropped out, so you've got it and you've
• 49:42
  Speaker 12: got to go and film it or whatever, and we
• 49:44
  Speaker 12: just thought, oh, well, we'll do it. I think that
• 49:47
  Speaker 12: it was entirely rigged. That's my sort of intuition was
• 49:53
  Speaker 12: that it was rigged, and that the production crew liked
• 49:56
  Speaker 12: us right because we were nice and we weren't. We weren't.
• 50:00
  Speaker 12: We were completely self depreciating. And I've got a feeling
• 50:04
  Speaker 12: that at that point, it was back in the date
• 50:07
  Speaker 12: before the kind of telephone, TV, telephone, what were they
• 50:10
  Speaker 12: There was a kind of a scandal, wasn't there where
• 50:13
  Speaker 12: people were sanding up and it was charging money, and
• 50:15
  Speaker 12: then that those votes weren't actually happening. I can't remember where,
• 50:20
  Speaker 12: I can't remember what that was, but anyway, it was
• 50:22
  Speaker 12: before that, and I've got a feeling it was basically
• 50:25
  Speaker 12: part of that. I don't want to I don't want
• 50:27
  Speaker 12: to call cast dispersions because I don't know for a fact,
• 50:30
  Speaker 12: but they were bands that there, that there was an
• 50:34
  Speaker 12: early iteration iteration I probably I don't know if I
• 50:36
  Speaker 12: know if I mentioned, but of a band that do
• 50:38
  Speaker 12: reasonably well, who are more of a rock act, but
• 50:42
  Speaker 12: that they were called something different, and they were they
• 50:44
  Speaker 12: were there and they looked a part, you know, skinny,
• 50:47
  Speaker 12: and they brought loads of fans in a bus. You know,
• 50:50
  Speaker 12: it was a proper they'd gone to town. I mean,
• 50:53
  Speaker 12: they tried really hard, but they were so pretentious in
• 50:56
  Speaker 12: the interview, and I remember watching it back and the
• 50:59
  Speaker 12: question that I think did it was someone that one
• 51:02
  Speaker 12: of the questions that we got asked was why do
• 51:04
  Speaker 12: you think you should win? And our answer we were
• 51:08
  Speaker 12: the only ones that said, I don't. There's absolutely no
• 51:11
  Speaker 12: reason why we should win this. We're no better or
• 51:16
  Speaker 12: no worse than anybody else.
• 51:18
  Speaker 2: On this.
• 51:18
  Speaker 12: You know, I think we just gave a fairly honest answer,
• 51:21
  Speaker 12: whereas whereas everybody else gave really ambitious we're this, we're that,
• 51:27
  Speaker 12: And it's not a very attractive thing for a band
• 51:29
  Speaker 12: to say how good they are or anyone. And I think,
• 51:34
  Speaker 12: I don't know, just it felt like the right answer,
• 51:37
  Speaker 12: and that my feeling is that I said that and
• 51:41
  Speaker 12: then they were like, yeah, let them have it. That's
• 51:45
  Speaker 12: how they're hilarious really from that, and I think probably
• 51:50
  Speaker 12: it did do us a huge solid you know, I mean,
• 51:54
  Speaker 12: what a jump. Definitely, definitely. I don't know if it
• 51:57
  Speaker 12: did because things were already moving in terms of I
• 52:01
  Speaker 12: think we'd already talked transgressive and stuff before. But it
• 52:05
  Speaker 12: certainly was on everyone's radar because back back when people
• 52:08
  Speaker 12: watched four channels of television and there was a bit
• 52:11
  Speaker 12: more of a kind of a you know, central attention
• 52:14
  Speaker 12: for things like that.
• 52:15
  Speaker 1: I was good ask about the transgressive deal. Actually, I mean,
• 52:18
  Speaker 1: how easy was that to sign? Was that fairly straightforward
• 52:21
  Speaker 1: for you?
• 52:22
  Speaker 12: I don't know, can't remember. I'm so good at information.
• 52:28
  Speaker 12: They were sort of a singles club at the time.
• 52:30
  Speaker 12: I think my manager, our manager knew that they were
• 52:34
  Speaker 12: in talks with a major record label. I think maybe
• 52:37
  Speaker 12: he saw that that might be a potential. Like we'd
• 52:39
  Speaker 12: signed to them, they'd obviously got some funding for an
• 52:42
  Speaker 12: album from somewhere, and maybe they already knew because they
• 52:45
  Speaker 12: were only doing singles up to that point. They were enthusiastic.
• 52:48
  Speaker 12: They came to see us in Oxford. They traveled to
• 52:50
  Speaker 12: Oxford to watch a show that we did at the
• 52:52
  Speaker 12: week Sheef in Oxford, and they enjoyed it, and they
• 52:55
  Speaker 12: were all They were probably about seventeen eighteen, I don't
• 52:58
  Speaker 12: know something. They were very young that time. It was
• 53:01
  Speaker 12: quite easy to sign because I was on you know,
• 53:04
  Speaker 12: you go with people who look like they're going to
• 53:06
  Speaker 12: support you. I think that's a general rule in life.
• 53:10
  Speaker 12: They seemed genuinely interested, And why do you know what's
• 53:14
  Speaker 12: going to happen.
• 53:14
  Speaker 2: I don't.
• 53:15
  Speaker 12: No one knows what's going to happen.
• 53:16
  Speaker 13: Really.
• 53:16
  Speaker 12: You can spend the whole time planning as much as possible,
• 53:19
  Speaker 12: but I'm a bit of a I just like to
• 53:21
  Speaker 12: just crack on with it, and so we were. It
• 53:23
  Speaker 12: was pretty straightforward. Yeah, from from not having a record
• 53:28
  Speaker 12: deal to having a record deal. Yeah, it was a
• 53:31
  Speaker 12: pretty easy decision sign it all away? Where do I sign?
• 53:34
  Speaker 12: Let's get star Hide?
• 53:36
  Speaker 2: So I know that John Peele used to play a
• 53:38
  Speaker 2: lot of the transgressive singles. Do you remember that if
• 53:41
  Speaker 2: he played any of your stuff?
• 53:43
  Speaker 12: No, I don't think you did. I think he It
• 53:45
  Speaker 12: was around that time. It was basically around that time.
• 53:49
  Speaker 12: It was about at the end of his life. Just
• 53:51
  Speaker 12: as we released something I think the EP came out,
• 53:57
  Speaker 12: someone reported back to me that he'd heard it and
• 53:59
  Speaker 12: he really liked something off it, and then he died.
• 54:05
  Speaker 2: Yeah, okay, I was so changing the subject then. So
• 54:08
  Speaker 2: when I'm back are you live in Spain now? But
• 54:10
  Speaker 2: when I go back to the u K. My my
• 54:13
  Speaker 2: mum lives in East League, So I go back to
• 54:14
  Speaker 2: Loveborough quite yeah. Yeah, So I was going to ask
• 54:17
  Speaker 2: you the song Lufborough Suicide, which I love. By the way,
• 54:21
  Speaker 2: is it actually a comment on lovebro I was a comment,
• 54:23
  Speaker 2: just a story about the character in the song, I.
• 54:57
  Speaker 6: Drinking singing.
• 55:19
  Speaker 5: I want to do it on the tennis courts.
• 55:23
  Speaker 7: I want to do it while I'm playing sports.
• 55:25
  Speaker 3: So then you can make sport of this moment.
• 55:33
  Speaker 9: Where I find myself traveling, when I find myself a
• 55:38
  Speaker 9: therapy believe them.
• 55:41
  Speaker 5: Just see, well, it just can't.
• 55:48
  Speaker 3: Get any fighting. You should loot the s S S.
• 55:54
  Speaker 5: You're definitely gonna do the ship.
• 56:01
  Speaker 12: Yeah, it's more of a it's just that it was
• 56:04
  Speaker 12: it was the local town, so it to me it
• 56:07
  Speaker 12: was personal to write a song that was based there.
• 56:10
  Speaker 12: And the character was inspired by a friend of mine
• 56:14
  Speaker 12: who had my best mate when I was younger. He'd
• 56:18
  Speaker 12: basically had kind of let's say, drug induced psychosis older
• 56:23
  Speaker 12: when he got to about eighteen nineteen and he's now
• 56:27
  Speaker 12: setting now sadly passed on last year. But I just
• 56:32
  Speaker 12: sort of felt like that kind of like oppression of
• 56:36
  Speaker 12: somebody where we all went away, you know, and he
• 56:38
  Speaker 12: stayed there and all his friends left him, and I
• 56:44
  Speaker 12: just sort of and then you sort of like knock
• 56:46
  Speaker 12: about in this place that we were all desperate to
• 56:49
  Speaker 12: get away from. Nothing particularly against Loughborough. I mean, to me,
• 56:53
  Speaker 12: Luffer was the big smoke from where I lived. But yeah,
• 56:57
  Speaker 12: so it was just set there really and how the
• 57:00
  Speaker 12: you know, I could name check bits of it in
• 57:03
  Speaker 12: the song, like the Karelian, which is the bell tower
• 57:06
  Speaker 12: in the middle of the park there, you know, So
• 57:08
  Speaker 12: that seemed like a good place to commit suicide, so
• 57:11
  Speaker 12: it sort of had to be set there.
• 57:13
  Speaker 2: Yeah, interesting stuff, interesting stuff. So how do you get
• 57:18
  Speaker 2: nominated for a Mercury Prize and how did you find out?
• 57:21
  Speaker 12: How do you get nominated prize? Well, you just have
• 57:26
  Speaker 12: to be shit hot. I mean, you have to be
• 57:31
  Speaker 12: in the right place at the right time. Accidentally, I
• 57:34
  Speaker 12: guess you have to have things on your side. Depends
• 57:37
  Speaker 12: on what you think the outcome is going to be
• 57:39
  Speaker 12: as well. I mean I they had to trick us.
• 57:42
  Speaker 12: They the management team had to trick us, or they
• 57:44
  Speaker 12: felt like they had to trick us to go to
• 57:46
  Speaker 12: the announcements. We were recording the second album in Glasgow
• 57:51
  Speaker 12: and we were told we were being booked flights to
• 57:55
  Speaker 12: fly to London, so glamorous in it, but not told
• 57:59
  Speaker 12: what it was all about out And because I'm not
• 58:02
  Speaker 12: aware of anything that really goes on in the news
• 58:05
  Speaker 12: or modern culture and never was, I didn't know that
• 58:09
  Speaker 12: that's what was about to happen. So we were and
• 58:12
  Speaker 12: my mate text me as we were walking to the
• 58:15
  Speaker 12: wherever the hotel it is, that they announce it and
• 58:17
  Speaker 12: so door congratulations dude, And I was like, for what
• 58:21
  Speaker 12: because I hadn't heard yet, Because they knew that they
• 58:24
  Speaker 12: had to not tell us because that I would say,
• 58:27
  Speaker 12: fuck that, not going to that what prizes for who's
• 58:31
  Speaker 12: the best at music? Nope, I really, really, really really
• 58:35
  Speaker 12: hated all that nonsense. I don't hate it so much
• 58:40
  Speaker 12: now because I can sort of see it with a
• 58:42
  Speaker 12: level head, but I really didn't. It just sucked. All
• 58:46
  Speaker 12: of that kind of stuff sucked. I hated all of
• 58:49
  Speaker 12: the industry stuff. Everyone hanging out with each other saying
• 58:54
  Speaker 12: how great everybody was. And you know, you know that
• 58:57
  Speaker 12: you're not there because you've written a great song or
• 59:00
  Speaker 12: whatever it is. You know that you're there because you
• 59:03
  Speaker 12: are there is a moment happening, and somebody's put you
• 59:07
  Speaker 12: forward because they think it would be fun or whatever.
• 59:10
  Speaker 12: But it's just it's rigged again. It's rigged, really culturally
• 59:15
  Speaker 12: rigged for one reason or another. So but it was fine,
• 59:19
  Speaker 12: you know, I mean, of course we were. We did
• 59:21
  Speaker 12: also realize that it had a great impact on us
• 59:25
  Speaker 12: being able to continue doing what we loved. So you
• 59:27
  Speaker 12: can't be too cynical about it. It's just you wish
• 59:30
  Speaker 12: it wasn't like that.
• 59:31
  Speaker 2: No, I get that. Talking about the second now with Superabundance,
• 59:35
  Speaker 2: the track to entail. I read that you recorded it
• 59:38
  Speaker 2: straight to vinyl.
• 59:39
  Speaker 12: We did do a recording of it straight to vinyl,
• 59:42
  Speaker 12: not the one that's on the record. That's that's a
• 59:44
  Speaker 12: multi layered, multi tracked orchestral you know, huge production, one
• 59:49
  Speaker 12: of the biggest productions.
• 59:51
  Speaker 7: Yeah, these are my hands.
• 1:00:39
  Speaker 5: These are brick walls.
• 1:00:41
  Speaker 2: Man can't break down break walls.
• 1:00:43
  Speaker 5: Man can't break down break walls. These are my hands.
• 1:00:47
  Speaker 5: These are break walls. Man can't break down break walls.
• 1:00:50
  Speaker 5: Man can't break down breakwalls. Where are the spoils? Where
• 1:01:10
  Speaker 5: are the jutes? I've been worked to the phone. I've
• 1:01:13
  Speaker 5: been worked off my feet, head in my hands, hands
• 1:01:18
  Speaker 5: in the soil.
• 1:01:19
  Speaker 9: I've been cheated and stripped off my perfect Drea treat Where.
• 1:01:23
  Speaker 5: Our says on this ship were our says.
• 1:01:25
  Speaker 3: On this ship, this ship seeing.
• 1:01:30
  Speaker 5: We are not reached sure, We have not reached as.
• 1:01:33
  Speaker 6: Sure reached a sure.
• 1:01:43
  Speaker 1: Talking of superabundance. Then, were you under any pressure to
• 1:01:47
  Speaker 1: following the success of the of the Animals and Men album.
• 1:01:50
  Speaker 12: No, because I think we were. We were already recording
• 1:01:53
  Speaker 12: it by the time that the success. So like I said,
• 1:01:55
  Speaker 12: we were in the middle of recording it when we
• 1:01:58
  Speaker 12: got nominated for the Mercury. I guess there was some
• 1:02:01
  Speaker 12: pressure it got the pressure got worse. At that point.
• 1:02:05
  Speaker 12: We were just sort of free to do whatever we fancied,
• 1:02:07
  Speaker 12: and it was quite liberating for the second album. But
• 1:02:10
  Speaker 12: Steve Lamack did once say to me we went to
• 1:02:12
  Speaker 12: the pub after doing what's it called one of his
• 1:02:16
  Speaker 12: that quiz not quiz, the voting thing that you know,
• 1:02:19
  Speaker 12: where you vote on songs. He used to run a
• 1:02:21
  Speaker 12: thing like that, but it's called Jukebox Jury, that kind
• 1:02:24
  Speaker 12: of thing, that's it, And he said, why didn't you
• 1:02:27
  Speaker 12: spend longer on it and make it better? Because it
• 1:02:29
  Speaker 12: got a crap He got to have five out of
• 1:02:31
  Speaker 12: five in five out of ten inn enemy and he
• 1:02:34
  Speaker 12: obviously bought the review and thought, yeah, that's true.
• 1:02:38
  Speaker 2: So I was like, what do you mean.
• 1:02:39
  Speaker 12: I felt brilliant, but you know, maybe too many songs
• 1:02:43
  Speaker 12: on it. I think probably it wasn't as concise as
• 1:02:45
  Speaker 12: it should have been. But there was no pressure. I
• 1:02:47
  Speaker 12: didn't feel the pressure at that point. And it was
• 1:02:50
  Speaker 12: later that we felt the pressure when people stopped buying
• 1:02:54
  Speaker 12: records and so margins were a lot tighter very quickly
• 1:02:59
  Speaker 12: after that. Two thousand in an eight period it became
• 1:03:01
  Speaker 12: a bit of a and you know, you were fully
• 1:03:03
  Speaker 12: involved then and fully in your mind, was fully indoctrinated
• 1:03:06
  Speaker 12: into this kind of like climbing the ladder, nonsense about
• 1:03:11
  Speaker 12: you know, where bands go and how you get to
• 1:03:13
  Speaker 12: the next level, and yeah, it may make you feel
• 1:03:17
  Speaker 12: that was quite sickening after that, just just a generally
• 1:03:20
  Speaker 12: not a very nice feeling, a kind of a general
• 1:03:23
  Speaker 12: background malaise to making music, which meant that at a
• 1:03:27
  Speaker 12: certain point we had to kind of re take, retake
• 1:03:30
  Speaker 12: the reins from from being told what to do and
• 1:03:35
  Speaker 12: get rid of everybody so told us what to do
• 1:03:37
  Speaker 12: and just do it on our own terms. And I
• 1:03:39
  Speaker 12: would say that just we were you were talking about
• 1:03:42
  Speaker 12: if there was pressure to write the second album and
• 1:03:46
  Speaker 12: how like, you know, if people met expecting from us,
• 1:03:50
  Speaker 12: and that we were feeling that kind of I was
• 1:03:54
  Speaker 12: trying to say, like kind of like you had to
• 1:03:55
  Speaker 12: perform a little bit. Well, luckily in modern day you
• 1:04:00
  Speaker 12: can actually do quite a lot of your own and
• 1:04:03
  Speaker 12: control it yourself quite a lot more, which is a
• 1:04:06
  Speaker 12: you know, even though we might all complain about the
• 1:04:08
  Speaker 12: AI and you know, the new internet culture, we've really
• 1:04:13
  Speaker 12: sort of like found a direction with it. That's kept
• 1:04:16
  Speaker 12: us afloat and kept us actually enjoying music in the
• 1:04:18
  Speaker 12: modern day, an age that wasn't there, you know, back
• 1:04:22
  Speaker 12: in the day where you were just relying on record
• 1:04:24
  Speaker 12: labels and people to manage us to push you into things.
• 1:04:27
  Speaker 12: You can do us so much more of it yourself.
• 1:04:29
  Speaker 12: That's just my little aside.
• 1:04:31
  Speaker 2: So your music has definitely evolved. So I was going
• 1:04:33
  Speaker 2: to ask them, there are points where you got a
• 1:04:35
  Speaker 2: little bit experimental, I'd say, and things like the children
• 1:04:38
  Speaker 2: chanting on the record. Yeah, is that almost to challenge
• 1:04:42
  Speaker 2: the listeners a little bit, you know, be a bit
• 1:04:43
  Speaker 2: a bit prevocative to.
• 1:04:44
  Speaker 12: Think, possibly, but most of it, hopefully is that. I mean,
• 1:04:48
  Speaker 12: when we first got dropped from our major record label,
• 1:04:51
  Speaker 12: we tried to make a record. Our manager at the
• 1:04:56
  Speaker 12: time was like, you've got to buy your freedom, was
• 1:04:59
  Speaker 12: the line. And I kind of believed that for a second,
• 1:05:03
  Speaker 12: and we thought it would be a fun experiment to
• 1:05:05
  Speaker 12: just try and write something that's kind of like a
• 1:05:08
  Speaker 12: bit more let's say poppy or something. Let's just see
• 1:05:12
  Speaker 12: if we can do it. You know, a lot of
• 1:05:13
  Speaker 12: bands try it. The Cure. I always thought of the
• 1:05:15
  Speaker 12: Cure and thought they could do both, so why don't
• 1:05:18
  Speaker 12: we just try it? And it was a bit of
• 1:05:21
  Speaker 12: a damp squib, and I thought, nah, we just need
• 1:05:24
  Speaker 12: there's a there's a I read Stewart Lee's book about
• 1:05:27
  Speaker 12: him nearly quitting comedy and then realizing that he had
• 1:05:30
  Speaker 12: like someone made of his said to him, you only
• 1:05:32
  Speaker 12: need four thousand people to support your career and you
• 1:05:34
  Speaker 12: can do whatever you like. And I thought, yeah, actually
• 1:05:39
  Speaker 12: that's I think there's something in that. You know, we
• 1:05:43
  Speaker 12: do whatever we want. So we kind of sacked our
• 1:05:45
  Speaker 12: manager again because I said to him, you're not going
• 1:05:47
  Speaker 12: to like the record we're going to write. You're not
• 1:05:49
  Speaker 12: gonna like it, but we do. Whenever, we'd just go
• 1:05:52
  Speaker 12: and do something crazy because there should be an audience
• 1:05:54
  Speaker 12: for it. And I didn't worry too much about kind
• 1:05:58
  Speaker 12: of I thought it's going to really annoy people, and
• 1:06:01
  Speaker 12: it didn't really really annoy people. Some people it really annoyed,
• 1:06:04
  Speaker 12: and some people that really inspired, and you just get
• 1:06:06
  Speaker 12: a new audience as you go along. And now I'm
• 1:06:08
  Speaker 12: not worried about it either way. I was kind of
• 1:06:10
  Speaker 12: like pushing away at things a little bit. Then when
• 1:06:12
  Speaker 12: we did Syck Octave or whatever, Force record, pushing away
• 1:06:16
  Speaker 12: at it, and then I thought, we let's go as
• 1:06:18
  Speaker 12: how experimental can we get? You know, how much fun
• 1:06:22
  Speaker 12: can we have with it? But I never want to
• 1:06:23
  Speaker 12: lose sight of tunes and melody, and it should still
• 1:06:28
  Speaker 12: be for me, instant and engaging. I like music. That's
• 1:06:32
  Speaker 12: that's so it doesn't matter if it's gnarly or weird,
• 1:06:36
  Speaker 12: as long as it grabs you and excites you. But
• 1:06:41
  Speaker 12: that's just for me personally as a listener. One person's
• 1:06:44
  Speaker 12: exciting list and it's another person's dirge. So yeah, we've
• 1:06:49
  Speaker 12: always done We've always tried to just do whatever it
• 1:06:53
  Speaker 12: comes comes up. I think I'm a lot more like
• 1:06:56
  Speaker 12: whatever seems to be coming out when I put my
• 1:06:59
  Speaker 12: hands on the guitar is and if I can mold
• 1:07:04
  Speaker 12: it into something, I think, yeah, that's something I've not
• 1:07:06
  Speaker 12: That's like I'm always making music for the gap I
• 1:07:09
  Speaker 12: hear in the music. I can't find it anywhere, so
• 1:07:12
  Speaker 12: I think, what could I need to fill that gap
• 1:07:14
  Speaker 12: so that I've got that thing to listen to, And
• 1:07:16
  Speaker 12: of course I write it and never listen to it
• 1:07:19
  Speaker 12: again because it's me.
• 1:07:20
  Speaker 2: So moving a little bit. That's about the experience of
• 1:07:23
  Speaker 2: playing in China.
• 1:07:24
  Speaker 12: In China, that was good.
• 1:07:26
  Speaker 3: That was like.
• 1:07:26
  Speaker 12: We had a mate who used to be in a
• 1:07:28
  Speaker 12: band here in Oxford who I think had his dad
• 1:07:32
  Speaker 12: was English and his mom was Chinese or something, so
• 1:07:34
  Speaker 12: he'd move back to Hong Kong and he started this
• 1:07:37
  Speaker 12: festival called Clock and Flap, which is now quite a
• 1:07:39
  Speaker 12: big festival, but it was a tiny He was about
• 1:07:41
  Speaker 12: two thousand people at the time, and he said, do
• 1:07:45
  Speaker 12: you want to come and do it the opening one.
• 1:07:47
  Speaker 12: We've got a little production company, a little promotions company,
• 1:07:51
  Speaker 12: and we're going to try and do some gigs actually
• 1:07:53
  Speaker 12: in mainland on China as well. So we just went
• 1:07:56
  Speaker 12: and tried it. And we were doing the same size
• 1:07:58
  Speaker 12: venues that oased were build to play and you know,
• 1:08:01
  Speaker 12: no one had there was no sort of you felt
• 1:08:05
  Speaker 12: completely out of the culture. Actually, I think we did
• 1:08:08
  Speaker 12: something that was for ray bands, Like we did a
• 1:08:11
  Speaker 12: corporate thing that we thought, oh, that'll be okay because
• 1:08:14
  Speaker 12: no one in the UK will ever hear about it,
• 1:08:16
  Speaker 12: and we were right and it got us the flights there.
• 1:08:18
  Speaker 12: So on the back of that we did all these
• 1:08:21
  Speaker 12: this festival and a bunch of gigs went to Shanghai
• 1:08:24
  Speaker 12: and Beijing, and somewhere else that's name. But yeah, played
• 1:08:28
  Speaker 12: these little sort of impromptu gigs and you know, and
• 1:08:33
  Speaker 12: you'd be to the journalism. I remember that someone interviewing
• 1:08:36
  Speaker 12: us for a magazine and something they said, so do
• 1:08:38
  Speaker 12: you like the Beatles, which was kind of like the
• 1:08:41
  Speaker 12: point of reference, you know, Western music. But I mean
• 1:08:45
  Speaker 12: an amazing experience. So yeah, And I don't think it's
• 1:08:47
  Speaker 12: it's probably probably not like that anymore. It's probably everybody
• 1:08:51
  Speaker 12: knows who everybody is.
• 1:08:52
  Speaker 2: I don't know, interesting stuff. So when Olie left in
• 1:08:55
  Speaker 2: twenty fifteen, I guess I mean also seen more writtent videos.
• 1:08:59
  Speaker 2: You've got a band behind you, So did you just
• 1:09:01
  Speaker 2: replace him as a drummer or just get sort of
• 1:09:04
  Speaker 2: back in guys in or totally replaceable?
• 1:09:07
  Speaker 12: Yeah, I mean it's just he didn't really bring much
• 1:09:09
  Speaker 12: to the band anyway. And I'm joking we were.
• 1:09:13
  Speaker 2: Do you know what?
• 1:09:13
  Speaker 12: We had a bit. There was a bit of a gap.
• 1:09:15
  Speaker 12: It all coincided to with having little kids as well.
• 1:09:18
  Speaker 12: So having kids, obviously they were little to begin with,
• 1:09:21
  Speaker 12: and it meant that we just I don't know, I
• 1:09:24
  Speaker 12: continued to write, but it wasn't We didn't have any
• 1:09:27
  Speaker 12: way of putting it out. When we did Sick Octave,
• 1:09:30
  Speaker 12: we'd sort of gone cap in hand to a few
• 1:09:32
  Speaker 12: places to get the money to do it, because that's
• 1:09:35
  Speaker 12: what you did. And then we were waiting with Barbarians
• 1:09:38
  Speaker 12: that album, so Ollie had gone and I was just like,
• 1:09:42
  Speaker 12: we'd actually had a guy come and stand in for us.
• 1:09:46
  Speaker 12: We've gone and we went and played the twenty thirteen
• 1:09:48
  Speaker 12: Winter Olympics, and Ollie couldn't get the time off work
• 1:09:52
  Speaker 12: to go and do it. Like you're being asked to
• 1:09:55
  Speaker 12: represent your company, your country, your boss should definitely get
• 1:10:00
  Speaker 12: view the four days off that we need to go
• 1:10:02
  Speaker 12: and do it, but he didn't. So we had to
• 1:10:04
  Speaker 12: take a stand in drummer. And this guy called Mike
• 1:10:07
  Speaker 12: who had met Uh. He plays for super He plays
• 1:10:10
  Speaker 12: for Supergrass, lead singer, he plays in his band. But
• 1:10:16
  Speaker 12: he played with a guy called Ollie Ralph who we
• 1:10:18
  Speaker 12: knew back then, who came on tour with us. So
• 1:10:21
  Speaker 12: I knew him from a tour we'd done for Sick
• 1:10:23
  Speaker 12: Octave and the Ralph Band, that's what they were called,
• 1:10:26
  Speaker 12: and he just he was a sort of drama for hire.
• 1:10:29
  Speaker 12: So we got him in and he was great and
• 1:10:30
  Speaker 12: very quick and a very professional guy. So after Ollie left,
• 1:10:34
  Speaker 12: we said we'll just do some stuff with him, and
• 1:10:37
  Speaker 12: but there was a massive gap. We were just waiting
• 1:10:39
  Speaker 12: again for like our new manager to find some way
• 1:10:43
  Speaker 12: of releasing it, which just took forever, and we were
• 1:10:46
  Speaker 12: making it all completely ourselves again. We weren't even getting
• 1:10:49
  Speaker 12: someone to mix it. It was the first time we
• 1:10:50
  Speaker 12: did it all ourselves. There was no rush, to be honest,
• 1:10:53
  Speaker 12: there was no rush. So that's what it took seven
• 1:10:56
  Speaker 12: years between the two records.
• 1:10:58
  Speaker 2: Brilliant. So that's your favorite songs play live? Don't know?
• 1:11:03
  Speaker 10: I know.
• 1:11:04
  Speaker 12: I like there's a track on a Landfill called no
• 1:11:06
  Speaker 12: Sound where I play the bass, So I really like
• 1:11:08
  Speaker 12: that because it's just a change from the pace. And
• 1:11:12
  Speaker 12: I also really like playing Barbarians, the track off Barbarians,
• 1:11:16
  Speaker 12: because it's just I know it's going to get loud,
• 1:11:20
  Speaker 12: and I know that the way that we've put together
• 1:11:22
  Speaker 12: that is so different from our three piece band stuff
• 1:11:25
  Speaker 12: that it just is it shakes the run because there's
• 1:11:28
  Speaker 12: a you know, it just feels like just a real
• 1:11:30
  Speaker 12: big moment. But then I still really like playing stuff
• 1:11:33
  Speaker 12: off the first album. I really like Tremblings of Trails
• 1:11:36
  Speaker 12: off the first album, because it's a really laid back
• 1:11:39
  Speaker 12: it's just a quite serious to me. It's like it
• 1:11:42
  Speaker 12: breaks away from the sort of chirpy, cheeky, chappy sort
• 1:11:45
  Speaker 12: of two thousands indie. It's just a song. It's just
• 1:11:48
  Speaker 12: a good song, I think, one that I enjoy listening to,
• 1:11:52
  Speaker 12: so I enjoy that. But you know they're all good.
• 1:11:54
  Speaker 12: Terra Firma, that's a good live one. It's an absolute
• 1:11:57
  Speaker 12: piece of piss to play, so you can just go
• 1:12:00
  Speaker 12: wild because there's just nothing to it. It's just sort
• 1:12:03
  Speaker 12: of like simple guitar. I like going back to those
• 1:12:06
  Speaker 12: early ones because that's so easy. And you know, we've
• 1:12:09
  Speaker 12: on the last record. On Landfall, there's a track called
• 1:12:11
  Speaker 12: Ugly House, which is written in seven to four and
• 1:12:14
  Speaker 12: changes to six to four and you know, changes time signatures.
• 1:12:18
  Speaker 12: That's hard to play and make sound good. You have
• 1:12:20
  Speaker 12: to concentrate on what you're doing to make it not
• 1:12:23
  Speaker 12: sound like all over the place. Go back and play
• 1:12:26
  Speaker 12: weekends and bleak days and I don't even have to
• 1:12:28
  Speaker 12: think about this. This is like she's attracted to. I
• 1:12:32
  Speaker 12: don't even have to play it right. I can just
• 1:12:35
  Speaker 12: Tom can play the dirt and I can just just
• 1:12:39
  Speaker 12: jump around. I've got a magician's microphone, so like one
• 1:12:42
  Speaker 12: of those things you just put the mic on a
• 1:12:44
  Speaker 12: collar around your neck.
• 1:12:46
  Speaker 7: Oh yeah, it.
• 1:12:46
  Speaker 12: Doesn't really work. And my guitar's gone wireless. I've got
• 1:12:49
  Speaker 12: a wireless thing for it. So basically at that point,
• 1:12:52
  Speaker 12: I'm just smashing the strings with my hand and screaming
• 1:12:55
  Speaker 12: into a microphone and jumping into the audience. So there's
• 1:12:58
  Speaker 12: a bit something to be found in all of them.
• 1:13:00
  Speaker 12: You know, those moments should be sort of like Mayhem,
• 1:13:04
  Speaker 12: and then there's some like, you know, nice moments that
• 1:13:06
  Speaker 12: where you can sing it properly. I mean we did
• 1:13:08
  Speaker 12: there's a piano track on Landfill called a Memory of Venom,
• 1:13:13
  Speaker 12: which House wrote, which to me, that's completely different. We
• 1:13:19
  Speaker 12: did the first song on the encore as that, and
• 1:13:22
  Speaker 12: it's like you've just had like do she's attracted to?
• 1:13:25
  Speaker 2: Or no?
• 1:13:25
  Speaker 10: What?
• 1:13:25
  Speaker 12: Something loud at the end.
• 1:13:26
  Speaker 2: I can't what it was.
• 1:13:27
  Speaker 12: And then we come back on and we do just
• 1:13:30
  Speaker 12: you know, I played the piano, which I've never done
• 1:13:32
  Speaker 12: on stage before, and he sings. He's got a good voice,
• 1:13:36
  Speaker 12: so I get to rest and it's just another I
• 1:13:39
  Speaker 12: like those sort of moments where you can just do
• 1:13:42
  Speaker 12: something unexpected. It's always about doing the unexpected. I think
• 1:13:45
  Speaker 12: I like to I like pranks as well. It's like
• 1:13:48
  Speaker 12: you're always pranking the audience and you think they think
• 1:13:52
  Speaker 12: they're all laughing, and then you talk about death or something,
• 1:13:54
  Speaker 12: you know what I mean.
• 1:13:57
  Speaker 1: Good game? All right, look, thank you, thank you for
• 1:14:01
  Speaker 1: your time. We do appreciate it. You know, bearing in
• 1:14:04
  Speaker 1: mind where you are now, is it is there something
• 1:14:08
  Speaker 1: that you look back on as a favorite memory so
• 1:14:10
  Speaker 1: far that that sort of stands out for you.
• 1:14:13
  Speaker 12: I think it was the decision at the point that
• 1:14:15
  Speaker 12: we got dropped, the feeling of like this is this
• 1:14:21
  Speaker 12: is like an opportunity. And I remember like people getting
• 1:14:25
  Speaker 12: dropped and just immediately disbanding, you know, thinking oh, well
• 1:14:29
  Speaker 12: that's that over. And I was like, these people cannot
• 1:14:32
  Speaker 12: define the music. Music. You can see it's going down
• 1:14:35
  Speaker 12: the shit or anyway you can see that it's falling
• 1:14:38
  Speaker 12: off the edge of a cliff in terms of like
• 1:14:40
  Speaker 12: how you monetize music. It's all changing. And I just thought,
• 1:14:44
  Speaker 12: what a brilliant time for us to get We've got
• 1:14:48
  Speaker 12: an audience. We've got It's not like we're not like
• 1:14:51
  Speaker 12: you know, Coldplay, but we've got an audience, so we're
• 1:14:55
  Speaker 12: so lucky we're in this position to and they also
• 1:14:58
  Speaker 12: know that we're all we're kind of a produce and
• 1:15:01
  Speaker 12: we'll do something crazy if we give an half a chance,
• 1:15:05
  Speaker 12: something that will surprise people, because what's otherwise, what's the point.
• 1:15:09
  Speaker 2: And this is the moment.
• 1:15:10
  Speaker 12: We went to had a meeting in the pub. Ollie
• 1:15:12
  Speaker 12: was quite. Ollie was a bit like, I don't know
• 1:15:13
  Speaker 12: whether I want to do it anymore. And we went
• 1:15:17
  Speaker 12: to the pub and I basically convince. I talked to him, man,
• 1:15:19
  Speaker 12: and he went, it's very convinced. It's very You've done
• 1:15:22
  Speaker 12: a very good job of convincing me. I was like,
• 1:15:24
  Speaker 12: fucking man, we can do whatever we want. We can
• 1:15:26
  Speaker 12: do whatever we want and it might not work, but
• 1:15:30
  Speaker 12: I think it's going to be better. You know, we
• 1:15:32
  Speaker 12: can be noisy and dirty and messy, and that's what
• 1:15:36
  Speaker 12: people want from music. And actually we're freer now to
• 1:15:40
  Speaker 12: make mistakes or maybe make some breakthroughs than we were
• 1:15:45
  Speaker 12: when we were having other people tell us which were
• 1:15:47
  Speaker 12: our good songs. You know, that was just so boring
• 1:15:51
  Speaker 12: and so demoralizing, Like we knew. On album too, we
• 1:15:54
  Speaker 12: had a song that we've written called up All Night
• 1:15:56
  Speaker 12: that we hated. Straight away we thought, oh that we
• 1:15:59
  Speaker 12: don't not hated, but we don't. This sounds like that,
• 1:16:04
  Speaker 12: you know, one of those indie bands, and it just
• 1:16:07
  Speaker 12: sounds like that, and we perhaps maybe we shouldn't play
• 1:16:10
  Speaker 12: it to the record label.
• 1:16:12
  Speaker 7: And we were right.
• 1:16:13
  Speaker 12: They were like single one, that one that's gonna be
• 1:16:16
  Speaker 12: the one.
• 1:16:31
  Speaker 3: I can't fast.
• 1:16:34
  Speaker 5: To the nice.
• 1:16:38
  Speaker 11: Look at them around thin that everything would be fine
• 1:16:43
  Speaker 11: at least I smell nice?
• 1:16:45
  Speaker 6: So can I am wryly? What's the point?
• 1:16:52
  Speaker 5: What's the point?
• 1:16:53
  Speaker 3: What's the point?
• 1:16:54
  Speaker 5: What's the point?
• 1:16:56
  Speaker 3: Because everybody looks fab and been wasting a star.
• 1:17:02
  Speaker 11: Everybody it's so down wild, it's the phrase is so
• 1:17:17
  Speaker 11: well the last blanch jurist and fun it's a managous man.
• 1:17:28
  Speaker 9: Well, what's the point, what's the point? What's the point?
• 1:17:36
  Speaker 12: And of course lots of people love it, and I
• 1:17:38
  Speaker 12: don't hate the song, but why why is somebody else?
• 1:17:42
  Speaker 12: Why does somebody else get to make that decision about music?
• 1:17:45
  Speaker 12: And I think, thank god the music industry is going
• 1:17:48
  Speaker 12: down the pan. It just shows you it's all just
• 1:17:51
  Speaker 12: make believe, you know, and that actually all right, we
• 1:17:54
  Speaker 12: might not all be loaded, but who cares, you know.
• 1:17:56
  Speaker 12: I mean, you know, we've just saw that. We've just
• 1:17:59
  Speaker 12: seen that thing about Geese having the marketing campaign that
• 1:18:03
  Speaker 12: was like, you know, another way of like bots or
• 1:18:06
  Speaker 12: wherever it is to kind of like create viral moments.
• 1:18:09
  Speaker 12: And of course all that's going to happen, But then
• 1:18:11
  Speaker 12: you've got to be in wonder what you've got to
• 1:18:14
  Speaker 12: That's when you get people involved in the music industry
• 1:18:16
  Speaker 12: were not making music who are just thinking how can
• 1:18:20
  Speaker 12: we match? It doesn't say anything about the band. It
• 1:18:22
  Speaker 12: just is where someone's got hold of it and said, uh,
• 1:18:26
  Speaker 12: this is the current, this is the way that we
• 1:18:27
  Speaker 12: can make this band potentially a lot more famous. And
• 1:18:32
  Speaker 12: that's when the distortions come in. Unless you're very very
• 1:18:36
  Speaker 12: single minded about it and see it for what it is,
• 1:18:40
  Speaker 12: you could get wrapped up in it. I don't think
• 1:18:42
  Speaker 12: they are particularly I think it's just someone's done a
• 1:18:45
  Speaker 12: great job on the marketing front and it's probably a
• 1:18:48
  Speaker 12: little bit underhand. But then marketing there are techniques, right,
• 1:18:53
  Speaker 12: I mean, we all know that there are techniques, and
• 1:18:55
  Speaker 12: the Internet is full of it. I mean, it just
• 1:18:57
  Speaker 12: it's all about playing on our psychology and we do
• 1:19:00
  Speaker 12: a little bit on a very small scale. We run
• 1:19:02
  Speaker 12: our own shop and we will run our own metaads,
• 1:19:05
  Speaker 12: and we've learned how to do it because I knew
• 1:19:08
  Speaker 12: there was something in the music industry they didn't know
• 1:19:10
  Speaker 12: how to do. But if you think of it just
• 1:19:12
  Speaker 12: as a tool, we're not trying to convince anybody in
• 1:19:16
  Speaker 12: the world that we're good. We're just trying to find
• 1:19:18
  Speaker 12: the people that already are going to like it and
• 1:19:21
  Speaker 12: expose them to it. And everyone can do it. So
• 1:19:24
  Speaker 12: there is a little element where you know, Joe Bloggs,
• 1:19:27
  Speaker 12: who's you know, starting his career at nineteen with a
• 1:19:30
  Speaker 12: guitar and him can get his music to people, and
• 1:19:34
  Speaker 12: however terrible we might think it is, somebody, there is
• 1:19:37
  Speaker 12: an audience for it, which is a great message to
• 1:19:40
  Speaker 12: anybody who's trying to make music. There is an audience
• 1:19:43
  Speaker 12: for it. You know, you just got to find them
• 1:19:46
  Speaker 12: and it'll all change in a minute.
• 1:19:47
  Speaker 3: Anyway.
• 1:19:47
  Speaker 12: I mean all this, you know, I don't really like
• 1:19:50
  Speaker 12: the tech giants. That's not my favorite thing, but that's
• 1:19:53
  Speaker 12: how everybody seems to be interacting with the world. So yeah,
• 1:19:57
  Speaker 12: but that moment, sorry, I went off on a bit
• 1:19:59
  Speaker 12: of a Ronnie Corbett tangent there, but that bit of that,
• 1:20:02
  Speaker 12: that moment where we were in the pub and I
• 1:20:04
  Speaker 12: convict one, I convinced Dollie to come and do a
• 1:20:07
  Speaker 12: mad album and that we were going to just build
• 1:20:10
  Speaker 12: our own instruments and do whatever and record it all ourselves.
• 1:20:13
  Speaker 12: But the feeling of like this is great, this is
• 1:20:16
  Speaker 12: a perfect thing to have happened. Not going to worry
• 1:20:19
  Speaker 12: about it for a moment.
• 1:20:20
  Speaker 2: All right.
• 1:20:20
  Speaker 12: We might going to have to go and get part
• 1:20:22
  Speaker 12: time jobs and anything, but that is not failure, because
• 1:20:25
  Speaker 12: failure is your own how you define it. It's your
• 1:20:28
  Speaker 12: own interpretation of events to say whether you've fulfailed and succeeded.
• 1:20:33
  Speaker 12: And actually, I want to be a figurehead that was
• 1:20:36
  Speaker 12: if it was anything there would that would be the
• 1:20:38
  Speaker 12: message that I would want to give anybody making music.
• 1:20:42
  Speaker 12: You know, you could be in your seventies, in your
• 1:20:45
  Speaker 12: eighties and trying to do it if you were feeling
• 1:20:48
  Speaker 12: like you wanted to do it. There is a way
• 1:20:51
  Speaker 12: that you can make music now. And I think it's
• 1:20:54
  Speaker 12: I think it's a really positive message that you know
• 1:20:57
  Speaker 12: that feeling inside that you can do some of it,
• 1:20:59
  Speaker 12: you can do itself. Fantastic, all right, Henry.
• 1:21:02
  Speaker 1: That is a wonderful way to finish on as a
• 1:21:06
  Speaker 1: so the tangent worked.
• 1:21:08
  Speaker 2: Thank you so much, Thank you, thank.
• 1:21:11
  Speaker 12: You, jeers all right to meet you, have a good day,
• 1:21:15
  Speaker 12: see you later.
• 1:21:15
  Speaker 1: Thanks a lot, you a clear you.
• 1:21:44
  Speaker 9: You just can't sum something like.
• 1:21:59
  Speaker 5: Mine laughing.
• 1:22:36
  Speaker 1: Well, thank you for listening to this episode of the podcast. Now,
• 1:22:39
  Speaker 1: as you know, we do our research from a variety
• 1:22:42
  Speaker 1: of sources, but if you want to add any more
• 1:22:44
  Speaker 1: detail for us, or even correct us on anything, then
• 1:22:47
  Speaker 1: please do get in touch with us. Where can they
• 1:22:49
  Speaker 1: get in touch with us now?
• 1:22:50
  Speaker 2: They can contact us on our email address, which is
• 1:22:53
  Speaker 2: Uncharted Sounds Podcast at gmail dot com.
• 1:22:57
  Speaker 1: And of course you can also get in touch with
• 1:22:59
  Speaker 1: us on our face book group, the Uncharted Sounds Group,
• 1:23:02
  Speaker 1: as well as our Facebook page, the Uncharted Sounds Page,
• 1:23:05
  Speaker 1: and of course you can also contact us on our
• 1:23:07
  Speaker 1: website www dot unchartedshsounds dot co dot uk.
• 1:23:13
  Speaker 2: And once again thanks to crash Land for writing the
• 1:23:16
  Speaker 2: theme tune specifically for our podcast.
• 1:23:19
  Speaker 1: Thanks everybody for listening.
• 1:23:20
  Speaker 2: Thank you,