Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / FKA twigs

Transcript

FKA twigs · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin. F Gay Twigs is spent over a decade redefining
• 0:22
  Speaker 1: the boundaries of pop music through her innovative blend of
• 0:25
  Speaker 1: electronic production, experimental R and B, and striking visual art.
• 0:30
  Speaker 1: Her album's LP One and Magdalen earned widespread critical acclaim
• 0:33
  Speaker 1: establishing her as one of the most forward thinking voices
• 0:36
  Speaker 1: in contemporary music. Last year, she put out two albums.
• 0:40
  Speaker 1: In November, she released Usexua Afterglow, a companion to her
• 0:44
  Speaker 1: Grammy winning rave inspired album Sexua that she'd released earlier
• 0:48
  Speaker 1: in the year. Both of twigs new albums address identity, bodily, autonomy,
• 0:52
  Speaker 1: and resistance. On today's episode, just hours before she walked
• 0:56
  Speaker 1: on stage to pick up her first Grammy, I talked
• 0:59
  Speaker 1: to F Gay Twigs about her experiences growing up mixed
• 1:01
  Speaker 1: race in rural England and how going to Jamaican clubs
• 1:04
  Speaker 1: as a teenager inspired her dance forward twenty twenty two
• 1:07
  Speaker 1: mixtape capri So. She also explains why, despite being a
• 1:11
  Speaker 1: phenomenal dancer, she's not a fan of TikTok dances, and
• 1:15
  Speaker 1: breaks down the precise moment when all the forces align
• 1:18
  Speaker 1: at a rave that have brought her to the realization
• 1:20
  Speaker 1: that this is the most important moment in culture. This
• 1:26
  Speaker 1: is broken record, real musicians, real conversations. Here's my interview
• 1:36
  Speaker 1: with Fka Twiggs. Head over to YouTube dot com slash
• 1:39
  Speaker 1: Broken Record podcast to watch the interview.
• 1:43
  Speaker 2: My whole life is fucking moment. My whole life is
• 1:45
  Speaker 2: like back against the wool, Like that's when you're like
• 1:49
  Speaker 2: one way out, like to come out like kicking and punching.
• 1:51
  Speaker 2: Do you know what I mean?
• 1:52
  Speaker 1: If you had to go back and think about it,
• 1:54
  Speaker 1: when was the first like fuck it moment? Like when
• 1:56
  Speaker 1: did that become a.
• 1:58
  Speaker 2: Staple the whole of my life? Like I've always had
• 2:01
  Speaker 2: the Yeah. My stepdad said to me the other day
• 2:03
  Speaker 2: that he's known me for the whole of my life.
• 2:04
  Speaker 2: He was like, he was like, you've spent your whole
• 2:06
  Speaker 2: life in final flight. Yeah, he was like, you've had
• 2:09
  Speaker 2: or you're just like ever since a kid, you've been
• 2:11
  Speaker 2: in like fileflight, Like I've just it's just been like
• 2:14
  Speaker 2: I don't know, like maybe a combination of like the
• 2:17
  Speaker 2: way my life has been the stress of being an artist,
• 2:21
  Speaker 2: you know. Yeah, but even going on stage is fight
• 2:23
  Speaker 2: or flight, you know, like it's kind of do you
• 2:25
  Speaker 2: freeze in front of an audience or do you come
• 2:27
  Speaker 2: out kicking and screaming. It's like everything like even going
• 2:30
  Speaker 2: on tour is file flight. Like even doing like a
• 2:32
  Speaker 2: massive project, do you have that moment like before a
• 2:35
  Speaker 2: big shoot or anything where you're just like, am I
• 2:37
  Speaker 2: going to be able to do this tomorrow?
• 2:38
  Speaker 1: And there's got to be with an album, there's got
• 2:40
  Speaker 1: to be at some point where you're like, Okay, I've
• 2:42
  Speaker 1: been tinkering or working for years, this has to work
• 2:46
  Speaker 1: at some point, like this has to be the.
• 2:48
  Speaker 2: Thing, right Like yeah, I mean I'm going through it now,
• 2:50
  Speaker 2: like I'm at that point when I was speaking to
• 2:52
  Speaker 2: a director last night and we were talking about the
• 2:55
  Speaker 2: moment when you're at that point in a project where
• 2:57
  Speaker 2: you've swum out so far that you can't see the
• 2:59
  Speaker 2: island behind you, but you can't see the island in
• 3:01
  Speaker 2: front of you. And I'm literally there right now, Like
• 3:03
  Speaker 2: with my next music projects, I'm that like I can't
• 3:05
  Speaker 2: see the island behind me and I can't see the
• 3:07
  Speaker 2: island in front of me, and I'm just like, do
• 3:09
  Speaker 2: you like bolt back and think like don't worry, do
• 3:13
  Speaker 2: you know what I mean?
• 3:13
  Speaker 1: Safety?
• 3:14
  Speaker 2: Yeah? Or do you like go forward and finish it.
• 3:17
  Speaker 1: Are you one of those people, Like I've heard people say,
• 3:19
  Speaker 1: you're performing live, you get butterflies, or you get extreme
• 3:22
  Speaker 1: anxiety or whatever the range of degrees of that is.
• 3:26
  Speaker 1: But there's some people who are addicted to that, almost
• 3:28
  Speaker 1: like adrenaline, as like an adrenaline junkie. Does it feel good?
• 3:32
  Speaker 1: Do you enjoy that feeling?
• 3:35
  Speaker 2: I change it around in my head. So sometimes when
• 3:37
  Speaker 2: I'm really nervous, you know you're doing a big show,
• 3:40
  Speaker 2: especially some of the festivals I did last year, like
• 3:42
  Speaker 2: I'm performing a front of eighty thousand people, and you
• 3:44
  Speaker 2: peek around the cut and you think, whose idea was this?
• 3:48
  Speaker 2: I always think that I'm just like, I'm sorry, who
• 3:52
  Speaker 2: so this is a good idea? And I'll get really nervous,
• 3:55
  Speaker 2: And then I always say to myself in my head,
• 3:57
  Speaker 2: and no, it's not that I'm nervous. I'm so excited
• 4:00
  Speaker 2: and I've like got these amazing dance moves, and I've
• 4:03
  Speaker 2: been practicing so much, and I'm so excited to show
• 4:06
  Speaker 2: everybody this thing that I've got. And then I try
• 4:08
  Speaker 2: and psychologically say like, I'm not nervous, I'm not scared.
• 4:11
  Speaker 2: I'm excited to show what I've been practicing like that feeling.
• 4:16
  Speaker 2: You know when you're a kid and you have lunch
• 4:18
  Speaker 2: chopsticks on the piano and you're like, mom, Mom, what's
• 4:20
  Speaker 2: just you know, like that kind of feeling where or
• 4:23
  Speaker 2: you have a picture you've done at school and you
• 4:25
  Speaker 2: want to come home and you're like, look at this.
• 4:27
  Speaker 2: You know, it's like that feeling. I try and make
• 4:30
  Speaker 2: myself think it's that, and it works. It does work.
• 4:33
  Speaker 1: That's a great trick.
• 4:35
  Speaker 2: Yeah, you're just excited to show people, like you just
• 4:37
  Speaker 2: can't you can't wait to get out there and show people.
• 4:39
  Speaker 1: And then by the time you're on stage, is it
• 4:43
  Speaker 1: are you super in your body, super conscious of everything
• 4:46
  Speaker 1: that's happening, or is it just does it just rush
• 4:48
  Speaker 1: by unconsciously?
• 4:51
  Speaker 2: I think for me, the first song is always a
• 4:52
  Speaker 2: bit jelly legs, Like sometimes I just feel a bit
• 4:55
  Speaker 2: like I'm not centered in the first number, like usually
• 4:59
  Speaker 2: with my shows, because I know, for me, the first
• 5:01
  Speaker 2: song is a bit tentative. I tend to start very
• 5:03
  Speaker 2: slow and then you sexually. I thought, I'm gonna try
• 5:06
  Speaker 2: something different, and I'm going to try with the start
• 5:08
  Speaker 2: with the biggest dance number. So I started with perfect
• 5:12
  Speaker 2: Stranger which is like the poppiest song and the biggest
• 5:15
  Speaker 2: dance number that required. I mean, it's not like a
• 5:18
  Speaker 2: super difficult dance routine, but it's like precise because you're
• 5:20
  Speaker 2: dancing with ten people doing everything the same, so it's
• 5:23
  Speaker 2: not really like a lot of room to like mess up.
• 5:25
  Speaker 2: And that was really interesting. I definitely learned a lot
• 5:29
  Speaker 2: making myself go to one hundred first, but now in
• 5:33
  Speaker 2: Body High, I'm not going to do that. Would no,
• 5:35
  Speaker 2: Now I'm gonna actually, do you know what, it is
• 5:38
  Speaker 2: still one hundred for me because Body High. In my
• 5:40
  Speaker 2: next tour, I'm gonna start like playing instruments, which is
• 5:43
  Speaker 2: something that I've never done on stage before, so I
• 5:45
  Speaker 2: guess there will be like a lot of nerves, but
• 5:47
  Speaker 2: I think I'm just forcing myself to like get over
• 5:49
  Speaker 2: a new thing.
• 5:53
  Speaker 1: Is that because you need to play instruments on this
• 5:56
  Speaker 1: one or or is it just you want to feel
• 5:59
  Speaker 1: like what would compel you to want to do that
• 6:02
  Speaker 1: at this point?
• 6:03
  Speaker 2: Because I play instruments in a non conventional sense in
• 6:07
  Speaker 2: the studio and it's how I produce like drum machines
• 6:10
  Speaker 2: and pads and analogue instruments and noises and like kind
• 6:14
  Speaker 2: of like push them together into some sort of resemblance
• 6:16
  Speaker 2: of something that sounds like a music or a beat.
• 6:19
  Speaker 2: But I've never done it before on stage, and i
• 6:24
  Speaker 2: think I'm reaching a point where I'm searching for autonomy
• 6:28
  Speaker 2: as well even as an artist, because I've never been
• 6:31
  Speaker 2: able to do this thing where it's like, if you
• 6:33
  Speaker 2: are like Twigs, will you come and perform at like
• 6:37
  Speaker 2: my wedding tomorrow? I would have to call a pianist
• 6:40
  Speaker 2: or call my band or say I need to check
• 6:44
  Speaker 2: who's free, you know, to help support me in that,
• 6:47
  Speaker 2: Whereas I have the skill set and the ability to
• 6:51
  Speaker 2: be able to do a set by myself, but it's
• 6:53
  Speaker 2: been fifteen years and I've never tested that. So on
• 6:56
  Speaker 2: body high, I just decided that I was going to
• 6:58
  Speaker 2: start testing that theory of playing instruments a way that
• 7:01
  Speaker 2: I do in the studio. But I've also got an
• 7:03
  Speaker 2: amazing MD. His name's Matt, who is helping me find
• 7:07
  Speaker 2: my way of doing that by triggering things and relating
• 7:11
  Speaker 2: my in studio process to something that is on stage
• 7:16
  Speaker 2: and makes sense, like beyond playing an acoustic guitar or
• 7:19
  Speaker 2: playing the piano, how most like traditional musicians would do.
• 7:22
  Speaker 1: That are so these going to be songs off of
• 7:25
  Speaker 1: Afterglow or.
• 7:27
  Speaker 2: It's the whole of my discography. Really, yeah, it's everything.
• 7:30
  Speaker 2: I mean, I've been doing this now for fifteen years.
• 7:32
  Speaker 2: It's amazing because there's a song for every mood. And
• 7:35
  Speaker 2: I think I've realized how diverse my music is and
• 7:37
  Speaker 2: that's been really eye opening to me as well, to
• 7:39
  Speaker 2: realize how many different tempos and genres and you know,
• 7:45
  Speaker 2: I've really over the last fifteen years create created like
• 7:49
  Speaker 2: such a vast sonic palette, and I'm learning a lot
• 7:54
  Speaker 2: about myself. I feel like humbled by the amount of
• 7:56
  Speaker 2: music I've created in different ways. I didn't even realize
• 8:00
  Speaker 2: it until putting together Body High. Because Body High the tour,
• 8:04
  Speaker 2: there's lots of different size to me. I can like
• 8:06
  Speaker 2: dance and be a pop star in that sense and
• 8:10
  Speaker 2: do those big group numbers. Then there's also some really
• 8:12
  Speaker 2: experimental electronic music. They're completely like genre defying sounds and
• 8:19
  Speaker 2: it's industrial and it's moody. And then there's a lot
• 8:22
  Speaker 2: of like sensual music. And then there's music that is
• 8:25
  Speaker 2: inherent to who I am, like dance, wall, em bashment
• 8:28
  Speaker 2: and more rhythms that are associated with the music I
• 8:31
  Speaker 2: was brought up on in my own black culture, and like,
• 8:35
  Speaker 2: there is a full picture of who I am as
• 8:37
  Speaker 2: a person, which is so cool.
• 8:39
  Speaker 1: It's wild. I couldn't it kind of I went back
• 8:42
  Speaker 1: and listened to your whole discography to do I hadn't
• 8:47
  Speaker 1: done like I actually I had never done that just
• 8:49
  Speaker 1: when one sitting Wow, but you say fifteen years and
• 8:52
  Speaker 1: it did kind of shock me because and it's not
• 8:54
  Speaker 1: that it's it's also that there's been a lot of
• 8:59
  Speaker 1: eras of the music business since you've been around, you know.
• 9:03
  Speaker 1: I mean, it's been a lot of permutations of what
• 9:06
  Speaker 1: music is or how people receive it or listen to it,
• 9:08
  Speaker 1: or how it's distinct. You kind of first came out
• 9:13
  Speaker 1: sort of in a pre Spotify world, you know, and I.
• 9:16
  Speaker 2: Sort of it was it was right. I mean I
• 9:18
  Speaker 2: literally remember my manager at the time calling me and
• 9:21
  Speaker 2: being like, there's this thing it's like moving like music
• 9:25
  Speaker 2: streaming platforms, Like you don't have to go on it,
• 9:27
  Speaker 2: but like artists are going on it now if you
• 9:29
  Speaker 2: want to. And I was just kind of like, I mean, yeah, sure,
• 9:32
  Speaker 2: if you whatever, if you think so. I mean I
• 9:34
  Speaker 2: literally remember that conversation of just like it's something that
• 9:37
  Speaker 2: like I could potentially opt out of and it's not
• 9:39
  Speaker 2: that much of a big deal cut to you now,
• 9:41
  Speaker 2: that seems like a hilarious conversation to have, like opting
• 9:44
  Speaker 2: out of streaming because it's not that relevant, you know.
• 9:47
  Speaker 2: And I think I was probably quite late even to
• 9:49
  Speaker 2: going on it, really, I think so, like I just
• 9:52
  Speaker 2: don't remember it being a big part of like my
• 9:55
  Speaker 2: first record, And it was only really when I did
• 9:58
  Speaker 2: Magdalen that I kind of realized that I'd like not
• 10:02
  Speaker 2: been working.
• 10:03
  Speaker 1: It, like working the systems.
• 10:06
  Speaker 2: Yeah, because I was like I have any monthly listeners
• 10:08
  Speaker 2: because I not been working it, whereas there's been other artists.
• 10:12
  Speaker 2: I'm probably gonna get this wrong. I'll probably be like
• 10:13
  Speaker 2: corrected whatever. But like I think Frank Ocean had done
• 10:16
  Speaker 2: some deal with with Apple or some streaming things easy.
• 10:19
  Speaker 1: He did a deal though, but I don't think it was.
• 10:22
  Speaker 2: But I don't know he'd done something with streaming or
• 10:24
  Speaker 2: like artists were at that time doing things with like
• 10:26
  Speaker 2: exclusively giving things.
• 10:28
  Speaker 1: Did something. He did something. His album was exclusively on
• 10:31
  Speaker 1: Apple I think for like a week or Yeah, I
• 10:33
  Speaker 1: think it was something like that, kind of.
• 10:34
  Speaker 2: Just working it like that like making everyone swarm to
• 10:37
  Speaker 2: this one place to like support that platform or I
• 10:40
  Speaker 2: can't remember. I just remember like artists were like doing
• 10:42
  Speaker 2: cool things and the platforms were kind of like paying
• 10:46
  Speaker 2: people to create, you know things. It's like in that
• 10:48
  Speaker 2: early time, it's like, you know, if you don't get
• 10:51
  Speaker 2: on TikTok or something in the beginning, then like it's
• 10:52
  Speaker 2: just really hard to like get on it afterwards.
• 10:54
  Speaker 1: Well you on TikTok at the beginning, because that I
• 10:56
  Speaker 1: was the other big you know, like no.
• 10:58
  Speaker 2: I was like, what is it? I still am terrible
• 11:00
  Speaker 2: at it?
• 11:01
  Speaker 1: Do you care about it?
• 11:02
  Speaker 2: I mean, I think I'm supposed to, Like I try.
• 11:05
  Speaker 2: It's I'm so bad at it, like I mean, the
• 11:08
  Speaker 2: truth is honestly, Like the truth is, I'm literally almost
• 11:11
  Speaker 2: forty and like I just like the.
• 11:20
  Speaker 1: Kick in.
• 11:22
  Speaker 2: I'm just like just like I mean, I do it
• 11:25
  Speaker 2: like it's fun. If I feel too, Like I don't
• 11:27
  Speaker 2: you like to dance your day?
• 11:28
  Speaker 1: You love? But I like to.
• 11:30
  Speaker 2: Dance and like I'm gonna train woosh you sword for
• 11:32
  Speaker 2: like I'm gonna like become a black belt at or
• 11:36
  Speaker 2: I'm gonna I like to dance like I'm gonna become
• 11:38
  Speaker 2: a pole dancer, and there's this trick where you like
• 11:40
  Speaker 2: hang off your ankle and like hold on to your
• 11:43
  Speaker 2: foot and fucking spin around.
• 11:44
  Speaker 1: You know.
• 11:44
  Speaker 2: Like I'm like, I don't even like to dance. I
• 11:47
  Speaker 2: like to just do very extreme things with my body
• 11:50
  Speaker 2: under my rules of things that I want to do
• 11:53
  Speaker 2: in terms of like TikTok dancing, Like it's a very
• 11:55
  Speaker 2: like it's a very like specific way of moving because
• 12:00
  Speaker 2: you don't really like move your body. And I'm not
• 12:03
  Speaker 2: from that school.
• 12:04
  Speaker 1: When you say you don't have to move your body,
• 12:06
  Speaker 1: it looks like you have to move your body. My
• 12:07
  Speaker 1: daughter tries to teach me totok, I can't move my body.
• 12:11
  Speaker 2: This is how I see it, and like, you know,
• 12:13
  Speaker 2: I'm just gonna be honest. It's like because I'm from
• 12:15
  Speaker 2: more old school dancing, like I started like jazz dancing
• 12:18
  Speaker 2: or like doing tap or like ballet or something. And
• 12:22
  Speaker 2: when I did even like street dance and hip hop,
• 12:25
  Speaker 2: we're talking about the era of I'm trying to think
• 12:29
  Speaker 2: when it was like when I was a teenager and
• 12:31
  Speaker 2: I was learning hip hop dancing. We're talking about like
• 12:33
  Speaker 2: early Chris Brown or something like that. It's kind of
• 12:35
  Speaker 2: like in the wake of of kind of like Michael
• 12:37
  Speaker 2: Jackson like that kind of way. Yeah, it's like the
• 12:41
  Speaker 2: post Michael like R and B wave of dancing, which
• 12:46
  Speaker 2: is even I mean in the most pop sense I'm
• 12:48
  Speaker 2: thinking of. You could even imagine like Aliyah or like
• 12:53
  Speaker 2: Destiny's Child or that kind of way of dancing. That's
• 12:56
  Speaker 2: when I was coming up learning commercial dancing, which is
• 12:59
  Speaker 2: one thing. But okay, so like this is the way
• 13:03
  Speaker 2: I describe im probably gonna sound so crazy, but like
• 13:05
  Speaker 2: to dance a TikTok dance, it's it's like making your
• 13:11
  Speaker 2: head like the center of the screen. So it's like
• 13:14
  Speaker 2: this way of dancing where like you don't like.
• 13:17
  Speaker 1: The movement is limited limits, which is exactly.
• 13:21
  Speaker 2: So it's like really interesting for me because I just
• 13:23
  Speaker 2: don't move in that way because like I'm just from
• 13:25
  Speaker 2: a different time, So ay time when you won't.
• 13:27
  Speaker 1: Worried about being in the fucking frame.
• 13:29
  Speaker 2: I don't have to worry about the frame. We didn't
• 13:31
  Speaker 2: film ourselves doing it, you know. I'm from like an
• 13:33
  Speaker 2: era of when I was training to be a dancer.
• 13:36
  Speaker 2: I would go to class the way that you see
• 13:38
  Speaker 2: kids going to class now, but you wouldn't film the
• 13:42
  Speaker 2: end of class, whereas now it's completely normal. They have
• 13:44
  Speaker 2: these like amazing like sticks sticks, and it's like it
• 13:52
  Speaker 2: looks so good, little X yeah, and you do like
• 13:55
  Speaker 2: a move and the camera shakes and stuff Like I'm
• 13:57
  Speaker 2: not saying it's bad. I think it's good. If anything
• 14:00
  Speaker 2: like I genuinely do think is good. It's just like
• 14:02
  Speaker 2: I'm so like in my era of being like a mover,
• 14:06
  Speaker 2: I'm so past thinking about that. Like I'm literally at
• 14:12
  Speaker 2: a point in my movement development where I'm like body
• 14:15
  Speaker 2: mobility and safety when movement is very important to me.
• 14:19
  Speaker 2: So I'm very much kind of like how do I
• 14:22
  Speaker 2: keep spine mobility into my forties And how do I
• 14:26
  Speaker 2: do like hip opening exercises and how do I safely
• 14:31
  Speaker 2: go on to the floor and how do I keep
• 14:33
  Speaker 2: my flexibility and the movements that I'm doing, Like even
• 14:36
  Speaker 2: on the pole, I'm really thinking about like, oh, when
• 14:39
  Speaker 2: I did that back movement, I feel like I'm moving
• 14:41
  Speaker 2: too much in my lumber spine, Like how do I
• 14:43
  Speaker 2: find extra movement in my upper upper shoulders to support
• 14:48
  Speaker 2: the flexibility that I have in my middle back which
• 14:50
  Speaker 2: I don't want to rely on so that I can
• 14:52
  Speaker 2: keep on doing this for ten years, and like, I'm
• 14:54
  Speaker 2: so in another part of my journey as a mover
• 15:00
  Speaker 2: to donate my time to doing TikTok dances, which is
• 15:06
  Speaker 2: fine that it's fucking so cool, actually, but I just
• 15:10
  Speaker 2: like I can't do it, and I can't do that
• 15:12
  Speaker 2: and do that. I have to do my hip opening
• 15:14
  Speaker 2: exercises more than I have.
• 15:16
  Speaker 1: To be great TikTok pages, probably because I look, I'm
• 15:20
  Speaker 1: trying to do the same thing. I'm like, I'm just
• 15:22
  Speaker 1: telling my guy been here. I'm like, I haven't run
• 15:24
  Speaker 1: in fourteen months, not because I don't love to run,
• 15:26
  Speaker 1: but because I keep sucking my my hip up or
• 15:29
  Speaker 1: my ankle.
• 15:30
  Speaker 2: Like that's something for another period of life, like not running.
• 15:35
  Speaker 1: Yeah, but I have no other way to get like
• 15:36
  Speaker 1: my fucking.
• 15:37
  Speaker 2: Walking uphill on a treadmill. Yes, it's quite meditative. Yeah,
• 15:45
  Speaker 2: it's good. Like if you've got like knee hip issues,
• 15:47
  Speaker 2: it's like walking uphill on a treadmill forty minutes. Put
• 15:50
  Speaker 2: on a podcast, put on this fire game. Yeah, on
• 15:53
  Speaker 2: this podcast.
• 15:56
  Speaker 1: I'm glad you're talking about.
• 15:59
  Speaker 2: It's not all It's like fucking amazing. I feel so young.
• 16:03
  Speaker 2: I'm getting younger in many ways.
• 16:05
  Speaker 1: I feel younger than for younger.
• 16:07
  Speaker 2: But that's what.
• 16:09
  Speaker 1: I don't say that. Don't say that that is true.
• 16:13
  Speaker 1: I thought I was, you know, because when I was young,
• 16:15
  Speaker 1: I used to think I was old, Like I really
• 16:16
  Speaker 1: thought it would. I have a friend I tell her
• 16:18
  Speaker 1: all the time like she's like now like doing really
• 16:21
  Speaker 1: great music. But I remember in college, like we're graduating
• 16:23
  Speaker 1: college and she bought a fucking keyboard. I remember looking
• 16:26
  Speaker 1: at her being like the fuck are you doing? Like
• 16:28
  Speaker 1: we're we gotta go figure life out and now and
• 16:33
  Speaker 1: then like now she's killing it, and I'm like, how
• 16:35
  Speaker 1: dumb was I? Like I felt like we were. I
• 16:37
  Speaker 1: thought we were like middle aged at that point, you know.
• 16:39
  Speaker 1: But you know, did you you have that same Yeah?
• 16:41
  Speaker 2: I had that same thing too.
• 16:42
  Speaker 1: Yeah how did you get past that to actually then
• 16:47
  Speaker 1: applying yourself to create and make things and and have
• 16:50
  Speaker 1: a go at a career.
• 16:51
  Speaker 2: And like I mean I speak about it, I'm trying
• 16:53
  Speaker 2: to meet this cross section where I look young, feel young,
• 16:59
  Speaker 2: like I'm within youth culture, which which I still am,
• 17:03
  Speaker 2: and like I'm becoming more wise and I'm learning my
• 17:07
  Speaker 2: lessons and I'm like not a fucking idiot anymore. And
• 17:09
  Speaker 2: if I can like hit that cross section where I'm
• 17:11
  Speaker 2: like sexy and fresh and I'm not an idiot, you know,
• 17:15
  Speaker 2: and I can feel it coming haven't really like I'm
• 17:18
  Speaker 2: like and then when I hit that cross section, you know,
• 17:21
  Speaker 2: like I'm it's like, it's not that I feel old
• 17:24
  Speaker 2: or young. For me, it's about like learning my lessons
• 17:27
  Speaker 2: in life, not repeating patterns, developing as a friend, an artist,
• 17:31
  Speaker 2: a daughter, or a girlfriend, whatever it is I need
• 17:34
  Speaker 2: to do in my personal life and my mind, and
• 17:37
  Speaker 2: keeping my relationship with myself healthy, which is obviously in
• 17:40
  Speaker 2: this industry very hard to do. If I can do
• 17:43
  Speaker 2: that and still be having new ideas as an artist,
• 17:49
  Speaker 2: still be affecting culture, still be you know, I like
• 17:54
  Speaker 2: leading ideas, ways of making music, ways of moving Like
• 18:01
  Speaker 2: I don't mind being like the first of things and
• 18:04
  Speaker 2: people not quite understanding it straight away. Like I'm really
• 18:07
  Speaker 2: okay with that. That makes me very excited to kind
• 18:11
  Speaker 2: of be a part of like even sometimes just a
• 18:13
  Speaker 2: droplet of inventing a new sound or a new moment
• 18:18
  Speaker 2: in an era or a decade. I feel so lucky,
• 18:21
  Speaker 2: I mean with you sexually, I feel so lucky because
• 18:23
  Speaker 2: I feel that it's like made its mark in this
• 18:27
  Speaker 2: era of time, and so to be able to have
• 18:29
  Speaker 2: done that in like twenty twelve, and then to be
• 18:32
  Speaker 2: able to be a part of the conversation again yeah
• 18:35
  Speaker 2: in twenty twenty six is like incredible, you know. So,
• 18:39
  Speaker 2: and then it's not about age. Then it's about development
• 18:43
  Speaker 2: as a person and as an artist, and it's about growth.
• 18:46
  Speaker 1: Yeah, yeah, yeah, We'll be back with more from FK
• 18:50
  Speaker 1: Twigs after the break. You know, listening to your discography
• 18:59
  Speaker 1: makes me think of certain people. I didn't really connect
• 19:01
  Speaker 1: the dots, but those people probably are people who perhaps
• 19:06
  Speaker 1: had similar approaches, you know, like like Prince you know,
• 19:08
  Speaker 1: when you think about how he was, he was never
• 19:11
  Speaker 1: quite chasing. He's never chasing youth culture, chasing being cool.
• 19:15
  Speaker 1: He was just after doing his fucking thing and you
• 19:17
  Speaker 1: caught up or you didn't, or you moved along. And Madonna,
• 19:21
  Speaker 1: same thing. Like I don't think, you know, I don't
• 19:23
  Speaker 1: want to speak for these people or speak for you,
• 19:25
  Speaker 1: but it seems like they had similar modes of creating
• 19:28
  Speaker 1: and relating to themselves as people and creative people. Creative
• 19:31
  Speaker 1: probably Pad yeah, the same. You know. I know you
• 19:36
  Speaker 1: have his daughter on your sexual which is super cool.
• 19:38
  Speaker 2: Yeah, that's the best. I think that the differences is
• 19:42
  Speaker 2: back in the day, artists had a lot of time
• 19:44
  Speaker 2: to develop. Like even when you look at Prince like
• 19:47
  Speaker 2: he had a few records that he released or Bowie,
• 19:50
  Speaker 2: there were records that were released that only became popular
• 19:54
  Speaker 2: after they blew up. Yeah, you know, and I think
• 19:57
  Speaker 2: I'm probably gonna get this so wrong, but I think
• 19:59
  Speaker 2: like Bawi did Let's Dance, and I think he was
• 20:02
  Speaker 2: like maybe forty or like I think he was. Yeah,
• 20:06
  Speaker 2: I think he was like in his forties and he
• 20:08
  Speaker 2: just lets dance and that was like a huge hit
• 20:10
  Speaker 2: for him. And I think that was such like a
• 20:11
  Speaker 2: breakthrough moment for him as an artist to like enter
• 20:14
  Speaker 2: into like the living rooms of like many nations and
• 20:18
  Speaker 2: and that was completely normal then. I think even like
• 20:22
  Speaker 2: Elton John had released like a few records that you know,
• 20:25
  Speaker 2: his fans like, but then he later on like he
• 20:27
  Speaker 2: then started having like the big hits and there's just
• 20:30
  Speaker 2: just this time the artists back in the day.
• 20:34
  Speaker 1: But it's crazy too because I mean, like there was
• 20:36
  Speaker 1: like a bunch of records too that we love now
• 20:37
  Speaker 1: that I mean like Diamond Dogs. Yeah, not commercially and
• 20:41
  Speaker 1: critically but you find that Americans no one gave a fuck,
• 20:44
  Speaker 1: you know, critically exactly, you know.
• 20:45
  Speaker 2: Like exactly. But then you discover them after they have
• 20:48
  Speaker 2: like their big hit or whatever, and you can go
• 20:51
  Speaker 2: back and you can see this like breadth of work,
• 20:53
  Speaker 2: and that's the artists back in the day had that
• 20:56
  Speaker 2: time to develop. So for me, I still feel like
• 21:00
  Speaker 2: a new artist because I've still not had my Let's
• 21:02
  Speaker 2: dance yet. I've still not had that moment yet.
• 21:06
  Speaker 1: This feels pretty This feels like a let's dance in
• 21:08
  Speaker 1: a way like me, no, no, no, okay, what would
• 21:12
  Speaker 1: make what would make it feel like? That's what your moment?
• 21:15
  Speaker 1: Like that moment is.
• 21:16
  Speaker 2: For artists like myself that tend to either be like
• 21:21
  Speaker 2: very like off center of the curve or like sometimes
• 21:26
  Speaker 2: like to ahead of the curve. It's a kind of
• 21:30
  Speaker 2: magical universal gift that's slightly out of your hands. The
• 21:35
  Speaker 2: culture and what you're doing hit at the same time,
• 21:39
  Speaker 2: and you can't really control it, you know, you can't
• 21:42
  Speaker 2: actually like quite control that, like the cultural consciousness and
• 21:46
  Speaker 2: narrative needs exactly what you're doing at that time. And
• 21:52
  Speaker 2: then that's the moment, right, like I've actually not had
• 21:55
  Speaker 2: that moment, I'm either like way off to the left
• 21:58
  Speaker 2: or or like I'm almost a bit too ahead of
• 22:01
  Speaker 2: it sometimes with sounds or with ideas. And that's so fine,
• 22:05
  Speaker 2: Like honestly, I love my careers so much, Like if
• 22:07
  Speaker 2: this is what it is for me, Like I'm so blessed,
• 22:10
  Speaker 2: I'm so happy. But Bowie or Bowie? What do you say?
• 22:13
  Speaker 1: Bowie Bowie? But just but I think in the UK, Bowie,
• 22:16
  Speaker 1: which is it?
• 22:18
  Speaker 2: I'm not going to Okay, Tomato, Okay, so Bowie, like
• 22:22
  Speaker 2: you know he had that moment with Less Dance or
• 22:24
  Speaker 2: Byork had like it's also quiet? Yeah, And it's not
• 22:30
  Speaker 2: that what is that? Is it also quiet? The Bork song?
• 22:33
  Speaker 2: Is that what it's actually called her?
• 22:34
  Speaker 1: Is it? I'm really bad with it?
• 22:36
  Speaker 2: But it's okay shush the title, Yeah, okay, so shush,
• 22:43
  Speaker 2: so quiet for Byork. It's not that that song is
• 22:48
  Speaker 2: like better or worse than any of the rest of
• 22:51
  Speaker 2: her songs before that. It's that at that point with
• 22:54
  Speaker 2: that video that I think Spike Jones directed, that is
• 22:59
  Speaker 2: what culture needed to put her on the world stage.
• 23:02
  Speaker 2: And when I was a kid, that was actually the
• 23:04
  Speaker 2: first time I'd heard of Byork, you know, because I
• 23:07
  Speaker 2: was I think I was. I was a kid, and
• 23:08
  Speaker 2: I can't remember. I think I was in my early
• 23:09
  Speaker 2: teens maybe when that came out or when I became
• 23:11
  Speaker 2: aware of it, but then that was the entry point
• 23:14
  Speaker 2: to something way way, way, way way deeper. Yeah, but
• 23:17
  Speaker 2: she just had that more like global moment because that's
• 23:21
  Speaker 2: just what culture needed and that's what it latched onto.
• 23:24
  Speaker 1: But no, it's amazing though, too, like that because there
• 23:27
  Speaker 1: are some artists who have that moment that you're talking
• 23:30
  Speaker 1: about and then and then chase it or that's what
• 23:34
  Speaker 1: now they think they need to do. And then there
• 23:37
  Speaker 1: are people like York like Bowie who have it and
• 23:40
  Speaker 1: it's great and to keep on their pay Yeah, yeah,
• 23:43
  Speaker 1: stay weird. Yeah yeah. Maybe Neil Young's the same, right,
• 23:47
  Speaker 1: like had a lot ton of misses and then early
• 23:50
  Speaker 1: nineties has Harvest Moon or whatever, you know, and that's like,
• 23:54
  Speaker 1: you know what he's now he's used again in his
• 23:56
  Speaker 1: forties or fifties, even like that's probably the song is
• 23:59
  Speaker 1: most known for at this point.
• 24:00
  Speaker 2: Yeah, yeah, exactly.
• 24:03
  Speaker 1: Jones has Dad Thriller in his fifty you know what I'm.
• 24:07
  Speaker 2: Saying exactly, But it takes that long, like it's just
• 24:10
  Speaker 2: about learning your craft. And I've learned so much, and
• 24:13
  Speaker 2: I've had to have weird moments in my musical journey
• 24:17
  Speaker 2: that I feel kind of like were like off kilter
• 24:21
  Speaker 2: for me. But those weird moments have made the moments
• 24:25
  Speaker 2: that have worked possible because I've learned how to structure
• 24:29
  Speaker 2: a song, or I've learned how to eke you a drum,
• 24:32
  Speaker 2: or I've learned about a rhythm that I hadn't done before.
• 24:35
  Speaker 2: And sometimes it's just about a few tries, you know.
• 24:38
  Speaker 2: Sometimes you try a song and you think it doesn't
• 24:40
  Speaker 2: quite work, but you release it because you know release it,
• 24:42
  Speaker 2: you think okay, and then you actually like almost do
• 24:44
  Speaker 2: that song again, but better, like two or three years later.
• 24:48
  Speaker 2: It's like the same song, it's the same DNA of
• 24:50
  Speaker 2: the song, and you do it later and then that's
• 24:52
  Speaker 2: the one that works. It's so strange how that works.
• 24:55
  Speaker 2: But you had to have the kind of not so
• 24:58
  Speaker 2: good version before for the next one to kind of hit.
• 25:01
  Speaker 1: There's an example of that that stands out to you.
• 25:04
  Speaker 2: I think like as a project catpre songs, I mean,
• 25:07
  Speaker 2: it was never like album, It's like a mixtape.
• 25:10
  Speaker 1: I didn't realize it was a mixtape until it's a
• 25:12
  Speaker 1: mixtape till this week. I didn't I thought that was
• 25:14
  Speaker 1: an album.
• 25:15
  Speaker 2: No, no, it's a mixtape. I mean I made it quick.
• 25:17
  Speaker 2: It's like with after Glow for me as well, Like
• 25:19
  Speaker 2: these are projects that I make quite quickly and in
• 25:22
  Speaker 2: a different way to how I make like my record records.
• 25:26
  Speaker 2: But there's a lot of like experimentation. But Caprio songs
• 25:30
  Speaker 2: kind of like taught me how to write better songs,
• 25:34
  Speaker 2: even though there's not necessarily like even well written songs,
• 25:37
  Speaker 2: particularly on Caprio song. It's just but it's just like
• 25:41
  Speaker 2: a bit hookier, Like it's just it's just like there's
• 25:44
  Speaker 2: Caprio songs. It's like there's more hooks on it. They
• 25:47
  Speaker 2: might not be in the right order, like the hooks
• 25:49
  Speaker 2: probably aren't in the right order for like an amazing
• 25:51
  Speaker 2: pop song. But I just learned, like, oh, I found
• 25:54
  Speaker 2: my way to repeat a melody and do it in
• 25:56
  Speaker 2: my way because in my usual songwriting, I don't give
• 25:59
  Speaker 2: a fuck, I'll do a different melody for the verse,
• 26:01
  Speaker 2: the pre and the chorus won't a'll only happen once
• 26:04
  Speaker 2: because why not?
• 26:05
  Speaker 1: You know?
• 26:05
  Speaker 2: But do you know what I mean? Like sometimes I'm
• 26:07
  Speaker 2: like whatever it doesn't matter. But but with Caprew songs,
• 26:10
  Speaker 2: I learn about structure. I learn about like minimalism within
• 26:14
  Speaker 2: sounds that maybe are like more palatable to audiences. And
• 26:20
  Speaker 2: for me, it's like testing what I'm okay with because
• 26:23
  Speaker 2: sometimes when something is too like palatable or normal, I'm like, okay,
• 26:26
  Speaker 2: not for me, like I've lost my place in this now,
• 26:29
  Speaker 2: this is for someone else to do very well, like
• 26:31
  Speaker 2: I don't need to do that. But Capri Songs at
• 26:33
  Speaker 2: the time was about me because I've just come off Magdalen,
• 26:38
  Speaker 2: you know, kind of psychedelic. But but then Caprio songs,
• 26:41
  Speaker 2: I'm like testing, Like, am I comfortable with a drum
• 26:44
  Speaker 2: that doesn't change throughout a whole song? I don't know.
• 26:46
  Speaker 2: I've not done that before. My drums change all the time.
• 26:48
  Speaker 2: So am I comfortable with a rhythm this stays the same?
• 26:50
  Speaker 2: Am I comfortable with a repeating bassline? And I have
• 26:53
  Speaker 2: to like test it and I think, yeah, I can
• 26:55
  Speaker 2: do I can do that, Yeah I can do I
• 26:57
  Speaker 2: can do that rhythm, I can I can do a
• 27:00
  Speaker 2: structure that is like verse pre chorus, verse pre chorus,
• 27:02
  Speaker 2: Like I'm okay with that, But it's not. It's it's
• 27:05
  Speaker 2: like an It's like an experiment, and Capri songs was
• 27:08
  Speaker 2: all also an ode to uh my culture and the
• 27:14
  Speaker 2: music I was brought up on, like like not at
• 27:17
  Speaker 2: home so much, but with my friends, like a bit
• 27:20
  Speaker 2: of R and B Bashman dance or like more like
• 27:23
  Speaker 2: I guess like black rhythms, you know, because I'm biracial.
• 27:26
  Speaker 2: So I'm just looking at a constant like fucking crisis,
• 27:30
  Speaker 2: you know. Do you know what I mean about?
• 27:32
  Speaker 1: Like is your mom white or your dad?
• 27:34
  Speaker 2: My mom is Spanish and white and my dad is Jamaican,
• 27:37
  Speaker 2: but I was raised by a Beijing man, so I'm
• 27:39
  Speaker 2: even more confused because I have like different sides of
• 27:42
  Speaker 2: like the Caribbean coming at me that are very like opposing,
• 27:45
  Speaker 2: very competing. Yeah yeah, yeah, It's like I'm Jamaican in
• 27:49
  Speaker 2: my DNA, but I'm did.
• 27:51
  Speaker 1: You make it? I mean, come on culture obviously across
• 27:55
  Speaker 1: all cultures, you.
• 27:55
  Speaker 2: Know, Like yeah, you know, it's great. I feel it
• 27:58
  Speaker 2: in my blood. It's great.
• 27:59
  Speaker 1: No respect to your stepdad or anything. Yeah yeah, yeah.
• 28:03
  Speaker 2: But like yeah, it's great. Like I feel my like
• 28:07
  Speaker 2: black blood in me. I feel it tangibly like inside me,
• 28:11
  Speaker 2: and it's.
• 28:12
  Speaker 1: Like it's Spanish but that's kind of deep too, though.
• 28:15
  Speaker 1: I mean, you know, you think about the Moorish influence
• 28:18
  Speaker 1: and all that, you know running through that music, and
• 28:20
  Speaker 1: that's like it's not something I haven't dolved into as
• 28:23
  Speaker 1: much as I you know, want to in the future.
• 28:26
  Speaker 1: But you know what I mean. When I listened to
• 28:29
  Speaker 1: that stuff, it's like incredible.
• 28:30
  Speaker 2: Yeah it is, it is. There's lots of stuff going
• 28:33
  Speaker 2: on in there, and yeah, Cabriot Songs was like more
• 28:36
  Speaker 2: of an ode to the rhythms that I think like
• 28:39
  Speaker 2: that I first latched onto maybe as a teenager going out.
• 28:42
  Speaker 2: I went to a lot of like bashman and dance
• 28:44
  Speaker 2: hall clubs and stuff. That was like my first experience
• 28:48
  Speaker 2: of like going to like illegal like nightclubs and stuff
• 28:51
  Speaker 2: like that. Was like dance hall clubs.
• 28:54
  Speaker 1: Were those like cool places to get that time or
• 28:56
  Speaker 1: just a place to be. So I don't know what
• 28:58
  Speaker 1: the layout of London's sort of nightlife is.
• 29:03
  Speaker 2: Oh, I'm from the country, so I'm like a country girl.
• 29:06
  Speaker 2: And where I grew up I was in place called
• 29:09
  Speaker 2: Gloucestershire and there's lots of different pockets. It's a really
• 29:12
  Speaker 2: interesting place because I was born in a place called Cheltenham,
• 29:17
  Speaker 2: which is very white, very very very white, and it's
• 29:21
  Speaker 2: very interesting because it's like in some ways when I
• 29:23
  Speaker 2: was growing up there, it is very affluent and it's
• 29:27
  Speaker 2: known as a commuters town, so it's where like a
• 29:29
  Speaker 2: lot of middle class people live that commute into London,
• 29:32
  Speaker 2: and it's very beautiful, Like there's a beautiful area called
• 29:35
  Speaker 2: Montpellier which is like just beautiful buildings and everything is
• 29:39
  Speaker 2: just so. And on the other side of it, there's
• 29:42
  Speaker 2: a very big, like lower working class and working class
• 29:46
  Speaker 2: community and there's a lot of like travelers and it's
• 29:49
  Speaker 2: very a lot of farmers there, and on the other
• 29:53
  Speaker 2: side of it, you know, like it it's very raw
• 29:56
  Speaker 2: and it's very working class. And my upbringing was kind
• 30:01
  Speaker 2: of confusing because like my family's very working class and
• 30:05
  Speaker 2: they're from Birmingham, like working class Birmingham, which anyone that's
• 30:08
  Speaker 2: like from Birmingham or from England like knows exactly what
• 30:11
  Speaker 2: that means. But I think Birmingham's an amazing place. Is
• 30:14
  Speaker 2: often left out of the conversation a bit of the UK,
• 30:17
  Speaker 2: but I think it's a place that's very rich in culture,
• 30:19
  Speaker 2: and I think it's a place that's like there's like
• 30:21
  Speaker 2: a really big Aid, Indian and Asian community there, and
• 30:24
  Speaker 2: a really big black community there. Cheltenham is this one place,
• 30:28
  Speaker 2: but then Gloucester which is very close, it's just like
• 30:32
  Speaker 2: fifteen minutes away, and then Bristol, which is very close,
• 30:34
  Speaker 2: it's maybe like half an hour forty five minutes away,
• 30:37
  Speaker 2: is very rich in black culture and specifically Caribbean culture,
• 30:42
  Speaker 2: and it's a lot of people that have come straight
• 30:44
  Speaker 2: from the Caribbean, like have been there. And then this
• 30:46
  Speaker 2: is basically where like trip hop like laid its roots.
• 30:51
  Speaker 2: So this is like where Tricky's from Porter's Head, this
• 30:56
  Speaker 2: type of like music and music that its like trip hop,
• 31:01
  Speaker 2: but then also kind of a lot of dub as
• 31:04
  Speaker 2: well and jungle really like laid its roots in these areas.
• 31:08
  Speaker 2: There was this bus that went from Cheltenham to Gloston.
• 31:11
  Speaker 2: For me at fourteen, this bus was like a fucking
• 31:14
  Speaker 2: godsend because I went from this area where I was
• 31:18
  Speaker 2: the only black person in my area other than like
• 31:21
  Speaker 2: my stepdad. Yeah, I could get this bus after school
• 31:25
  Speaker 2: like twenty minutes and I was around then something completely different.
• 31:29
  Speaker 2: People that were from like the island I'm from, you know,
• 31:32
  Speaker 2: or half of me is from. And so when I
• 31:35
  Speaker 2: first started going out, Like there was this club called
• 31:37
  Speaker 2: the Jamaican Club that was like an illegal kind of
• 31:40
  Speaker 2: like I guess, I don't know a lot of like
• 31:43
  Speaker 2: rasters would go there and play dancehall, batsman reggae and
• 31:47
  Speaker 2: just like sit and hang and there would be food
• 31:49
  Speaker 2: and you would just go and like smoke until and dance.
• 31:53
  Speaker 2: And these are the nightclubs that I first started like
• 31:56
  Speaker 2: frequenting as a teenager. Anyways, So when I make Capbrey Songs,
• 32:00
  Speaker 2: it was kind of like an ode to that side
• 32:05
  Speaker 2: of me.
• 32:06
  Speaker 1: In the idea of it come out more as a
• 32:09
  Speaker 1: mixtape than an album. Was that always the intention it
• 32:14
  Speaker 1: was was to experiment and then release something that didn't
• 32:17
  Speaker 1: feel as definitive as an album.
• 32:20
  Speaker 2: Yeah, because it's like not really finished gapfree song. It's
• 32:24
  Speaker 2: not like exactly finished. I would say, it's like something
• 32:27
  Speaker 2: that was made. But it's same with after Glow, you know,
• 32:30
  Speaker 2: like after Glow is like not exactly finished.
• 32:32
  Speaker 1: I'm shocked at you. So you said, I don't even
• 32:35
  Speaker 1: know if we were recording then, but you said you
• 32:37
  Speaker 1: made that very quickly.
• 32:38
  Speaker 2: I made in twelve weeks.
• 32:40
  Speaker 1: Twelve weeks pretty much like one.
• 32:41
  Speaker 2: Or two songs I thought.
• 32:42
  Speaker 1: I just for some reason, it sounds it really does
• 32:44
  Speaker 1: sound like of a piece with To me, it sounds
• 32:48
  Speaker 1: like related enough that I thought maybe they were created
• 32:52
  Speaker 1: at the same time. You know.
• 32:54
  Speaker 2: No, I made after Glow because I wanted to like
• 33:00
  Speaker 2: have a strike so I could get off one of
• 33:02
  Speaker 2: my record labels. And I didn't want to be like
• 33:05
  Speaker 2: totally because like I really like respected that label, and
• 33:08
  Speaker 2: I didn't want to be like totally disrespectful and give
• 33:11
  Speaker 2: them trash, because I know some artists do that they
• 33:13
  Speaker 2: just think or whatever, there's another frank, Yeah, do you
• 33:16
  Speaker 2: know what I mean. I didn't want to do that
• 33:17
  Speaker 2: because I respect them and we've had a really good
• 33:19
  Speaker 2: journey together. But I have this one song that for me,
• 33:25
  Speaker 2: it's like one of the most beautiful songs that I've written,
• 33:28
  Speaker 2: and I want it to come out this year and
• 33:32
  Speaker 2: I need to I needed to own the masters to
• 33:34
  Speaker 2: that song. Wow, and in like my record label, because
• 33:37
  Speaker 2: I was on two record labels. So on the one
• 33:39
  Speaker 2: that I'm still on now, I get my master's back,
• 33:42
  Speaker 2: which is Atlantic. Yeah, so on that like in a timeframe,
• 33:47
  Speaker 2: the idem is acceptable. I get those masters back and
• 33:50
  Speaker 2: this one song on the record, it's like, you know,
• 33:53
  Speaker 2: for me, it's it's like a cellophane. It's not in sound,
• 33:56
  Speaker 2: but in how important it is to me and how
• 33:59
  Speaker 2: important the lyrics are to me. You know, because when
• 34:01
  Speaker 2: you're an artist and you don't own your masters, it's
• 34:03
  Speaker 2: like painting and giving away paintings and you never get
• 34:06
  Speaker 2: them back. But when you own your masters, then even
• 34:09
  Speaker 2: if they live in a different gallery for a minute,
• 34:11
  Speaker 2: you get to you say, yeah, sure you can put
• 34:14
  Speaker 2: my work in your gallery for like ten years. That's fine, right,
• 34:18
  Speaker 2: But then in ten years I get to take that
• 34:20
  Speaker 2: work and I get to hang it back in my
• 34:22
  Speaker 2: living room and it can just be in my little
• 34:24
  Speaker 2: living room in Hackney, and I just get to hang
• 34:27
  Speaker 2: it on the wall and I get to say, like,
• 34:28
  Speaker 2: that's my work, you know, And that's that for me,
• 34:31
  Speaker 2: is like very important psychologically.
• 34:34
  Speaker 1: And obviously, I mean that's not on many people's radar
• 34:37
  Speaker 1: when you're starting out, like that's.
• 34:39
  Speaker 2: Not even not masters were No one even told me
• 34:41
  Speaker 2: what masters will copyright. I was like, I was like, okay,
• 34:47
  Speaker 2: what's incredible.
• 34:48
  Speaker 1: You're getting on back. Then you're in a situation where
• 34:50
  Speaker 1: you're able to get to a point.
• 34:52
  Speaker 2: Where, yeah, my new music now I get them back.
• 34:55
  Speaker 2: But I think that's the thing, you know, going back
• 34:57
  Speaker 2: to when I started making music. It's not anything bad
• 35:00
  Speaker 2: about my old label. It's just that deals looked different then, yeah,
• 35:04
  Speaker 2: and I signed a deal that had like many records
• 35:07
  Speaker 2: in it, and so now like it's more normal that
• 35:10
  Speaker 2: artists like keep their masters or maybe even have like
• 35:12
  Speaker 2: shorter record deals, which means that you can make choices
• 35:16
  Speaker 2: that you do a record and you decide if you
• 35:18
  Speaker 2: want to stay together or you decide if it's time
• 35:20
  Speaker 2: to move on and stuff like that. But it's really,
• 35:22
  Speaker 2: you know, I want to I'm always very careful. I
• 35:24
  Speaker 2: want to be like very respectful to the relationship I
• 35:26
  Speaker 2: had with Beggars and Young because genuinely, like I had
• 35:28
  Speaker 2: a fab time.
• 35:29
  Speaker 1: It's a great lay one.
• 35:30
  Speaker 2: It's a great way for arts exactly, but it's just
• 35:33
  Speaker 2: at certain point, like I grew to a point where,
• 35:36
  Speaker 2: you know, if I write a song like Cellophane, or
• 35:39
  Speaker 2: if I write certain music that has changed my life
• 35:43
  Speaker 2: that's had like a visceral effect on my chemistry as
• 35:46
  Speaker 2: an artist, and then I write that thing and it's
• 35:48
  Speaker 2: sitting in front of me, and then I have to
• 35:50
  Speaker 2: kind of like, you know, a certain point after over
• 35:55
  Speaker 2: a decade of making music, like it's it's stunting, It's
• 36:00
  Speaker 2: people don't really think about the psychological effect of contracts
• 36:03
  Speaker 2: on artists.
• 36:04
  Speaker 1: What is what's the new song called Bluebird? Bluebird? And
• 36:09
  Speaker 1: do you know as you're writing it that it's that important?
• 36:13
  Speaker 1: Is there feeling to you or is it only after
• 36:15
  Speaker 1: the fact and after you're a kistos?
• 36:18
  Speaker 2: Yeah? And it might not mean anything to anyone else,
• 36:21
  Speaker 2: I don't know, but like to me sometimes I write
• 36:23
  Speaker 2: things and it's like so about my life.
• 36:25
  Speaker 1: So you knew where that was coming from as it
• 36:26
  Speaker 1: was coming out. Yeah, And do you all do you
• 36:30
  Speaker 1: always know where things are coming from?
• 36:31
  Speaker 2: No? Like, sometimes I think I have moments of being
• 36:34
  Speaker 2: like a really like special precious artist where I've done
• 36:38
  Speaker 2: something and I feel like I'm so grateful that I
• 36:41
  Speaker 2: was able to be a conduit for that moment and
• 36:43
  Speaker 2: I feel really like, wow, I'm so grateful to be
• 36:45
  Speaker 2: alive in this body and like have just made that
• 36:47
  Speaker 2: almost makes me emotional. And then sometimes I'm like having
• 36:50
  Speaker 2: fun or sometimes it's just like yep, you know, like
• 36:54
  Speaker 2: just a little like flirtation and it's like not that deep,
• 36:59
  Speaker 2: you know, but I need both because that's my personality.
• 37:02
  Speaker 1: I feel like that personality comes through and a lot
• 37:06
  Speaker 1: of your music, like when you're making pre songs you
• 37:08
  Speaker 1: were trying to just make see if you could just
• 37:11
  Speaker 1: stick with like you know, like a drum loop, that
• 37:14
  Speaker 1: was like that's it. Like your songs expand and contract
• 37:17
  Speaker 1: and move and like all like they're just malleable and
• 37:20
  Speaker 1: these really cool ways that not a lot of people
• 37:23
  Speaker 1: make songs like that anymore. Not a lot of people
• 37:25
  Speaker 1: make records that way. They're like that feel that adventurous
• 37:27
  Speaker 1: from like we're within one song, you've gone on a
• 37:30
  Speaker 1: complete journey. And then when you think about some of
• 37:33
  Speaker 1: the lyrics of these songs too, is that you can
• 37:35
  Speaker 1: tell there's like there's a seriousness sometimes and then there's
• 37:37
  Speaker 1: a play like all those I feel like that does
• 37:40
  Speaker 1: come through.
• 37:41
  Speaker 2: I think in your music, Thank you, that's my personality.
• 37:44
  Speaker 2: I'm like either very serious and very like intense or
• 37:48
  Speaker 2: I'm just like a kid. Yeah, I'm just so playful
• 37:52
  Speaker 2: and it's like silly.
• 37:54
  Speaker 1: One last break and we'll be back with FKA Twigs.
• 38:01
  Speaker 1: My favorite print song is one of I don't know
• 38:04
  Speaker 1: what my favorite is, but one of my Favorites is
• 38:06
  Speaker 1: ballad of Dorothy Parker and there's a line where he
• 38:08
  Speaker 1: says or he's like, he's he's he's met this woman.
• 38:13
  Speaker 1: She's like, do you want to like take a bubble bath?
• 38:15
  Speaker 1: And he's like, yeah, but I'm gonna leave my pants on.
• 38:20
  Speaker 1: I always think about that with friends. I'm like, it's
• 38:23
  Speaker 1: like it's bold, but it's coy, and it's like it's
• 38:26
  Speaker 1: and it's like who does that? There's so many layers
• 38:31
  Speaker 1: to that.
• 38:32
  Speaker 2: Yeah, exactly, it's so fun. It's so fun making fun
• 38:37
  Speaker 2: of yourself on songs.
• 38:39
  Speaker 1: Why why is that? Like what makes that.
• 38:41
  Speaker 2: So it feels like an in joke with yourself? Like
• 38:43
  Speaker 2: I don't know that I'm even just thinking of like
• 38:45
  Speaker 2: on sushi because I'm like, like I can't drive yet.
• 38:49
  Speaker 2: I still can't drive, So I'm like on this song
• 38:52
  Speaker 2: like being like a boss thing, like I'm gonna take
• 38:54
  Speaker 2: it out to all these different places, but like I
• 38:56
  Speaker 2: can't drive yet, so I'm gonna have to get my
• 38:58
  Speaker 2: friend to come and pick you up so we can
• 39:01
  Speaker 2: go out. Like I didn't know if it's like it's
• 39:02
  Speaker 2: only funny to me, but it's just funny sometimes to
• 39:06
  Speaker 2: just like make fun of yourself for sometimes a really
• 39:09
  Speaker 2: intimate secret that people might not pick up on.
• 39:12
  Speaker 1: It's funny brought Sushi was a song that made me
• 39:14
  Speaker 1: think about a Dorothy Parker because there are those moments
• 39:16
  Speaker 1: of like it's like it's it's it's bold, but it's
• 39:18
  Speaker 1: also a little like I said that and I'm going
• 39:22
  Speaker 1: to pull it back even you're like, you know, like, oh,
• 39:24
  Speaker 1: we could have I'm gonna yeah, I don't remember the
• 39:26
  Speaker 1: line we're going to have sex. We could have sex,
• 39:29
  Speaker 1: but we don't have to. I like that. It's just
• 39:32
  Speaker 1: like what are we doing.
• 39:34
  Speaker 2: It's like, it's like what adults. We can do what
• 39:39
  Speaker 2: we like, we can do what we want to do.
• 39:41
  Speaker 1: Yeah, it's just a really funny framing for that, and
• 39:45
  Speaker 1: it's a it's just a framing you don't hear a
• 39:47
  Speaker 1: lot in the contours of pop music.
• 39:49
  Speaker 2: You know, Yes, to be honest, it's funny that you
• 39:53
  Speaker 2: bring up Prince because when I was writing that first
• 39:55
  Speaker 2: part of Sushi, I actually thought about him when I
• 39:58
  Speaker 2: was writing it. It's just about like that that playfulness
• 40:02
  Speaker 2: and acknowledging, like the power play of like being a star,
• 40:06
  Speaker 2: whilst also leaning into so like that you can still
• 40:10
  Speaker 2: be so shy and vulnerable. It's like this double thing
• 40:12
  Speaker 2: of like I'm going to fucking fly you to Paris
• 40:15
  Speaker 2: slash like I can't drive, so my friend's going to
• 40:17
  Speaker 2: get you actually from the airport.
• 40:19
  Speaker 1: You know.
• 40:19
  Speaker 2: It's kind of like this this powerplay of of like
• 40:23
  Speaker 2: knowing as a star you can do what you like,
• 40:25
  Speaker 2: but also you're still like so prohibited and essentially like
• 40:28
  Speaker 2: a kid. Moonlighting is an adult still but in like
• 40:31
  Speaker 2: a fab outfit. You've had like full glam, but you
• 40:34
  Speaker 2: still have no idea what you're doing. You know.
• 40:36
  Speaker 1: It sounds like that's like that's a great life, that's it.
• 40:39
  Speaker 2: It's weird.
• 40:42
  Speaker 1: I read that raves were really important to this album. Yeah,
• 40:46
  Speaker 1: and I imagine raves in Europe. It's particularly it was
• 40:49
  Speaker 1: it was specifically it was Prague. I mean, I'm not
• 40:52
  Speaker 1: even have gone a rave here, to be honest, I
• 40:54
  Speaker 1: have no conception of what rave culture is like. But
• 40:57
  Speaker 1: what is it like? What is it? What's a learn
• 41:00
  Speaker 1: about it to you? And how did that work its
• 41:03
  Speaker 1: way into this album or these couple of projects.
• 41:07
  Speaker 2: Yeah, I mean I've always been very scared of like
• 41:09
  Speaker 2: a four to four beat, you know, even I think
• 41:12
  Speaker 2: in the past like mocked it. I mean I used
• 41:14
  Speaker 2: to mark like trap pads, you know. I used to
• 41:17
  Speaker 2: be like like I'd be like, no, I'm not doing that,
• 41:19
  Speaker 2: like you know, especially like LP one era, like the
• 41:22
  Speaker 2: hat's always like changing, like even like BPM, and I'd
• 41:25
  Speaker 2: always just be like I don't want like a straight
• 41:26
  Speaker 2: like track, like I don't want something that's really really straight.
• 41:31
  Speaker 2: And I used to say like that, you know, like
• 41:33
  Speaker 2: I don't want like a four to the floor beat,
• 41:35
  Speaker 2: like I want this kind of like abstract landscape. So
• 41:39
  Speaker 2: the idea that I based a whole album off like techno,
• 41:42
  Speaker 2: which is like that's the premise of techno, is like
• 41:44
  Speaker 2: actually so humbling to me, and it just shows kind
• 41:47
  Speaker 2: of how your taste can change. And yeah, I didn't
• 41:49
  Speaker 2: ever really think that techno music was for me, and
• 41:51
  Speaker 2: then I started to discover techno, first of all in Prague,
• 41:56
  Speaker 2: and then second of all, like in like queer spaces
• 42:01
  Speaker 2: that were more inviting for me, and I found my
• 42:04
  Speaker 2: way in I don't know, and maybe it's like being black,
• 42:07
  Speaker 2: like sometimes I felt like some music's aren't certain types
• 42:10
  Speaker 2: of music aren't for me. I mean I literally did
• 42:13
  Speaker 2: an interview earlier and I was speaking about this, and
• 42:15
  Speaker 2: maybe sometimes I felt that like I couldn't like listen
• 42:18
  Speaker 2: to that because it's like not not like I'm not
• 42:22
  Speaker 2: allowed to or like there's not an infamy in the
• 42:25
  Speaker 2: scene because like I can't my skinny jeans or something
• 42:27
  Speaker 2: because my thighs are too big. I don't know, but like,
• 42:29
  Speaker 2: do you know what I'm saying, Like it's just like
• 42:30
  Speaker 2: that the preconceived notions of being like a teenager and thinking,
• 42:34
  Speaker 2: like I think I have to have like straight hair
• 42:36
  Speaker 2: pushed to the side to be when I'm from like
• 42:39
  Speaker 2: MySpace era, I have to like be able to do
• 42:42
  Speaker 2: that to like listen to like emo music.
• 42:43
  Speaker 1: I had a metal band in the MySpace era, so
• 42:45
  Speaker 1: I get you exactly.
• 42:47
  Speaker 2: So I think, like naively, I thought that techno wasn't
• 42:51
  Speaker 2: for me, and then I started to like do my
• 42:53
  Speaker 2: research and obviously learn that, you know, dance music like
• 42:57
  Speaker 2: has had so many incredible like Black Pioneers and the
• 43:00
  Speaker 2: whole like Chicago scene. And I remember like when I
• 43:04
  Speaker 2: went to Prague and I had this sort of spiritual
• 43:07
  Speaker 2: awakening in this club and then I went back home
• 43:11
  Speaker 2: and then I started to yeah research like house music
• 43:14
  Speaker 2: and Chicago and all these incredible DJs, and I just
• 43:17
  Speaker 2: was like, oh, do I not know about this? I
• 43:19
  Speaker 2: just I was like I didn't know, you know, I
• 43:21
  Speaker 2: didn't know. And and then I started to dive deeper
• 43:24
  Speaker 2: and deeper. And I still even with dance music, like
• 43:26
  Speaker 2: on New Sexual, I don't and even on After Girl,
• 43:29
  Speaker 2: I feel like I've still not quite like invented this
• 43:31
  Speaker 2: music or done this music that I feel in my head.
• 43:34
  Speaker 2: So it's really fun to keep on like trying this just.
• 43:37
  Speaker 1: Like an iteration.
• 43:38
  Speaker 2: This is like the first yeah, yeah exactly. It's like
• 43:40
  Speaker 2: it's like now I can keep on playing with dance music.
• 43:43
  Speaker 2: And then recently I've been listening to a lot of
• 43:45
  Speaker 2: acid house, which which is.
• 43:47
  Speaker 1: Like how does that relate to, like, how's it different
• 43:49
  Speaker 1: from the regular house.
• 43:52
  Speaker 2: I don't know. I'm not very good with like like
• 43:56
  Speaker 2: the technicalities of like genres, but to me, like acid house,
• 44:00
  Speaker 2: it feels more cunty. That's more of like a stank
• 44:02
  Speaker 2: to it. It feels like like walking down a catwalk,
• 44:05
  Speaker 2: or it feels like something that's like I don't know.
• 44:08
  Speaker 2: I mean, we were last night I was like doing
• 44:10
  Speaker 2: like a fitting for a red carpet, and then it
• 44:14
  Speaker 2: was like acid house. But then it was like a
• 44:16
  Speaker 2: mood glare like fashion show and seeing how like the
• 44:19
  Speaker 2: models like walked to it and stuff, and I was
• 44:22
  Speaker 2: like I understand that, like physically, I understand that language.
• 44:25
  Speaker 2: And that was very inspiring. But anyway, yeah, back to Prague,
• 44:29
  Speaker 2: like I just had this massive epiphany of togetherness on
• 44:32
  Speaker 2: a dance floor in a different way. That was very
• 44:35
  Speaker 2: singular because going to bashment clubs in the early noughties
• 44:41
  Speaker 2: is about what was about like winding, It was about grinding.
• 44:45
  Speaker 2: It was about like doing movements that were the same.
• 44:49
  Speaker 2: There were like you know, like dance movements that you
• 44:52
  Speaker 2: would do like together, and you would like learn the
• 44:56
  Speaker 2: dance movements and then you would get together on the
• 44:57
  Speaker 2: dance floor and communally do them, like the candy dance,
• 45:02
  Speaker 2: but in a different genre. You would do this part
• 45:06
  Speaker 2: of that dance to this music techno is different because
• 45:08
  Speaker 2: you're b yourself and it's actually maybe like unorthodox to
• 45:12
  Speaker 2: like try and invite people.
• 45:14
  Speaker 1: You don't dance with other people, No, you.
• 45:16
  Speaker 2: Do, but it's like a very it's psych surfing. There
• 45:21
  Speaker 2: are rules in dance clubs like surfing said, Yeah, there's
• 45:26
  Speaker 2: rules of waves in surfing, like you don't like the
• 45:29
  Speaker 2: way that surfers navigate the waves is very respectful. You
• 45:33
  Speaker 2: don't just go and like take that wave. I don't
• 45:36
  Speaker 2: just go to a beach I've never been before, Like
• 45:37
  Speaker 2: that's a big wave, I'm going to take it. It's
• 45:38
  Speaker 2: like there's like an order of things. It's like that
• 45:41
  Speaker 2: the more the better surfers might take that wave where
• 45:44
  Speaker 2: you've had your turn, and then you give someone else
• 45:46
  Speaker 2: a thing, and there's a respect to it. That is
• 45:49
  Speaker 2: the way the best dance clubs work, where there's a
• 45:52
  Speaker 2: respect to the way you would approach someone on the
• 45:56
  Speaker 2: dance floor, or you wouldn't because you see that they're
• 46:00
  Speaker 2: in their like flow state or they're like you know,
• 46:04
  Speaker 2: like it's called like tunneling, Like you like tunnel to
• 46:07
  Speaker 2: the music where you're just like in.
• 46:09
  Speaker 1: Your like you just look tunnel that you look like.
• 46:11
  Speaker 2: You're yeah, just like you know, because it's primal, you know,
• 46:15
  Speaker 2: like to do the same movement over and over again.
• 46:17
  Speaker 2: It's very primal, and so sometimes you just have to
• 46:20
  Speaker 2: like respect that people are like working out their own
• 46:22
  Speaker 2: fucking like thing. But it's also very together. But that's
• 46:27
  Speaker 2: what Rumor Fools was about. Like this rumor falls. We
• 46:30
  Speaker 2: make something together. It's like if you separate one of
• 46:34
  Speaker 2: the dancers in the club, they look crazy because that's
• 46:36
  Speaker 2: like moving and it's not about looking good. It's just
• 46:39
  Speaker 2: about like moving and feeling something. And it's quite like
• 46:42
  Speaker 2: sporadic and it's full of ecstasy and it's very like primal,
• 46:46
  Speaker 2: and it's and it's like very practical. You don't wouldn't
• 46:49
  Speaker 2: like wear heels to a rage, do you know what
• 46:50
  Speaker 2: I mean? It's like you wouldn't wear something uncomfortable. It's
• 46:53
  Speaker 2: about being comfortable. It's about like the utilitarian nature of
• 46:57
  Speaker 2: what it is to move together, and that's priority. It's
• 47:00
  Speaker 2: almost kind of like comfort within your body to the beat,
• 47:05
  Speaker 2: whereas yeah, like you just wouldn't like eject someone's moment.
• 47:10
  Speaker 2: But at the same time, the whole crowd is moving
• 47:13
  Speaker 2: together as one, so it's very beautiful. It's like you're
• 47:16
  Speaker 2: like an ameba and you're all cells and together you're
• 47:19
  Speaker 2: like a very important community. When I go like raving,
• 47:23
  Speaker 2: I think like this right now is quite possibly the
• 47:28
  Speaker 2: most important moment in culture. This rave right now, with
• 47:34
  Speaker 2: the drop, the way that the fucking DJ just brought
• 47:37
  Speaker 2: in those high hats and the way that the crowd
• 47:39
  Speaker 2: responded is quite possibly the most important thing that has
• 47:43
  Speaker 2: ever happened in history in this room right now. But
• 47:46
  Speaker 2: it's just like completely contained. It's like completely contained that
• 47:51
  Speaker 2: something will happen, and everyone's just like, that is exactly
• 47:54
  Speaker 2: what I wanted to happen in the music. And you
• 47:56
  Speaker 2: just see the relief, the physical relief that that fucking
• 47:59
  Speaker 2: high hat came in. You're just like, thank god, I've
• 48:01
  Speaker 2: been waiting for seven minutes. I've been like listening to
• 48:05
  Speaker 2: that four four drum. I have my body, it's been
• 48:09
  Speaker 2: a slave to that drum for seven minutes, and now
• 48:12
  Speaker 2: a high hat has come in and this surely is heaven,
• 48:16
  Speaker 2: Like this is surely the best thing that's ever happened
• 48:18
  Speaker 2: in the whole world. But it's just like contained to
• 48:20
  Speaker 2: this one room and no one knows about it. And
• 48:23
  Speaker 2: the next morning you can't even really explain it. You
• 48:26
  Speaker 2: know that I'm.
• 48:27
  Speaker 1: Probably ready to go to Friday Night.
• 48:31
  Speaker 2: I'm talking about Yeah, anyone else, no, Ben, Yeah, Nick knows,
• 48:43
  Speaker 2: everyone knows. Yeah, But this is there are spaces for everybody,
• 48:47
  Speaker 2: you know, there's spaces for everybody. And that's what I realized,
• 48:51
  Speaker 2: that there's space is for.
• 48:52
  Speaker 1: Me, it's fucking wild. But in Prague, of all places,
• 48:55
  Speaker 1: this is where.
• 48:56
  Speaker 2: Well not really, it's like East Block, I don't know,
• 49:00
  Speaker 2: like there's this kind of a pioneer like actually it's
• 49:03
  Speaker 2: actually like a very important to dance music and like
• 49:08
  Speaker 2: you're its like an incredible dance scene.
• 49:11
  Speaker 1: I'm ready to I'm ready to go rave.
• 49:14
  Speaker 2: Honestly, it's pretty good. It's very It makes you like
• 49:17
  Speaker 2: not really care.
• 49:18
  Speaker 1: Can you be sober? Yeah?
• 49:20
  Speaker 2: Yeah, oh my god, one hundred percent. I didn't think so,
• 49:23
  Speaker 2: but then actually you can really Yeah, yeah you really can. Yeah.
• 49:25
  Speaker 2: I can totally go and be completely sober.
• 49:27
  Speaker 1: Okay, yeah, I got too many responsibility got there doing ecstasy?
• 49:32
  Speaker 1: No no, no, you can push forty out there doing
• 49:34
  Speaker 1: ecstasy at a rave. I don't know.
• 49:35
  Speaker 2: No, you can totally go and be sober, like it's
• 49:38
  Speaker 2: amazing sober.
• 49:40
  Speaker 1: I'm gonna I'm gonna dip my toes in, my toes in. Well,
• 49:45
  Speaker 1: it was great speaking with you. It was like an
• 49:47
  Speaker 1: incredible conversation. I went many places. I feel like I'm
• 49:51
  Speaker 1: better for having had it. And I can't wait to
• 49:54
  Speaker 1: hear what was the new song called I can't wait
• 49:57
  Speaker 1: to hear Bluebird? Yeah, I can't wait to hear that.
• 50:00
  Speaker 2: Thank you great to meet you nice great.
• 50:08
  Speaker 1: In the episode description, you' find a link to a
• 50:09
  Speaker 1: playlist featuring our favorite songs from FKA Twigs, including her
• 50:13
  Speaker 1: latest album You Sexual Afterglow. Be sure to check out
• 50:16
  Speaker 1: YouTube dot com slash Broken Record podcast to see all
• 50:19
  Speaker 1: of our video interviews, and be sure to follow us
• 50:22
  Speaker 1: on Instagram at the Broken Record pot. You can follow
• 50:25
  Speaker 1: us on Twitter at broken Record. Broken Record is produced
• 50:28
  Speaker 1: and edited by Leah Rose, with marketing help from Eric
• 50:30
  Speaker 1: Sandler and Jordan McMillan. Our engineer is Ben Tolliday. Broken
• 50:34
  Speaker 1: Record is production of Pushkin Industries. If you love this
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  Speaker 1: review us on your podcast app. Our theme music's by
• 50:54
  Speaker 1: Kenny Beats. I'm justin Richmond.