Latest / Kyle Meredith With... / Florence Welch on Everybody Scream, Witchcraft, and the Power of Imperfection

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Florence Welch on Everybody Scream, Witchcraft, and the Power of Imperfection · Kyle Meredith With...

• 0:00
  [SPEAKER_00]: It's easy to hear your favorite artist on WFPK from wherever you are.
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• 0:27
  [SPEAKER_03]: Welcome to another edition of Kyle Meredith with it's the interview series presented by WFPK at WFPK.org Consequence and the Consequence podcast network He's making you way here for checking out the series I do hope you hit that subscribe button if you're not already you're gonna get new interviews like this one
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• 1:02
  [SPEAKER_03]: We've had some great guests dropped by lately.
• 1:06
  [SPEAKER_03]: In fact, I was just talking with Funky Janssen.
• 1:09
  [SPEAKER_03]: Of course, you know her from James Bond.
• 1:11
  [SPEAKER_03]: And the X-Men, she's back in a new series on Netflix, called Amsterdam Empire.
• 1:17
  [SPEAKER_03]: Kaiser Chiefs, Teenage fan club, we're just here, Moby.
• 1:19
  [SPEAKER_03]: Michaela J. Rodriguez and Ron Funches dropped in to talk about the latest season of loot on Apple TV Plus.
• 1:27
  [SPEAKER_03]: We spoke with broken social scenes, speedy Ortiz, Mary Chape and Carpender, Marty Stewart, Ian asked Barry of the cult just an example of what you get when you subscribe to the Kyle Meredith with podcast.
• 1:40
  [SPEAKER_03]: And that's me Kyle and Mary today.
• 1:42
  [SPEAKER_03]: I am so excited.
• 1:43
  [SPEAKER_03]: One of the all-time greats.
• 1:45
  [SPEAKER_03]: One of my all-time favorites Florence Welch of Florence and the Machine.
• 1:50
  [SPEAKER_03]: They're back with an album called Everybody Scream.
• 1:54
  [SPEAKER_03]: It released on Halloween.
• 1:55
  [SPEAKER_03]: which is sort of great and appropriate.
• 1:59
  [SPEAKER_03]: Florence and I are going to talk about how it really is her gothiest record yet.
• 2:03
  [SPEAKER_03]: It's also, as she says, a sister to the last album, Dan's fever.
• 2:08
  [SPEAKER_03]: She'll open up about insecurity, imperfection, how a near-death experience, reshapier connection to witchcraft and creativity.
• 2:15
  [SPEAKER_03]: She's going to discuss recording raw, unpolished takes with Erin Desner, some lyrical callbacks to Daphidil and Cassandra.
• 2:23
  [SPEAKER_03]: and how the record explores the line between prophecy and catastrophe.
• 2:28
  [SPEAKER_03]: We'll dive into our striking visuals with autumn to wild, the western influence on the artwork, and finding some peace after all the chaos as well.
• 2:36
  [SPEAKER_03]: I'm so excited to do this.
• 2:38
  [SPEAKER_03]: I've been waiting years for this one.
• 2:40
  [SPEAKER_03]: So let's jump into it and talk everybody's screen.
• 2:43
  [SPEAKER_03]: It's Kyle Meredith with Florence Welch of Florence in the Machine.
• 2:47
  [SPEAKER_01]: Hi Kyle, sorry.
• 2:48
  [SPEAKER_01]: I'm so sick of seeing my fucking face, so I'm just like not.
• 2:53
  [SPEAKER_03]: You can completely understand.
• 2:54
  [SPEAKER_01]: No, you have to.
• 2:55
  [SPEAKER_01]: You have to.
• 2:56
  [SPEAKER_03]: I was laughing with Shirley Manson the other day because we've been doing interviews for like 12, 13 years.
• 3:03
  [SPEAKER_03]: And I think we've done like 12 or 13 interviews in every time she's like, I can't do the camera.
• 3:07
  [SPEAKER_03]: I'm so sorry.
• 3:07
  [SPEAKER_03]: I'm like, that's fine.
• 3:09
  [SPEAKER_01]: Oh my gosh, Shelley, I can't.
• 3:11
  [SPEAKER_01]: I love her.
• 3:12
  [SPEAKER_01]: And I feel exactly the same fucking way.
• 3:15
  [SPEAKER_01]: And it's never been worse.
• 3:16
  [SPEAKER_01]: I walked into a radio interview the other day and I was five cameras.
• 3:20
  [SPEAKER_01]: I was like, this is radio.
• 3:22
  [SPEAKER_01]: The fuck is going on.
• 3:24
  [SPEAKER_03]: Everybody's got a camera, everybody's got a, got the phone, whatever.
• 3:27
  [SPEAKER_01]: It was five cameras and two phones.
• 3:29
  [SPEAKER_01]: I ducked.
• 3:30
  [SPEAKER_01]: It was crazy.
• 3:31
  [SPEAKER_01]: I was like crawling on the floor.
• 3:33
  [SPEAKER_03]: It's really a pleasure.
• 3:34
  [SPEAKER_03]: Seriously, to get the talk to you today, and especially about this new album with everybody's scream, holy cow, because I've been a fan since longs and everything, and every album is great.
• 3:45
  [SPEAKER_03]: But you were just hitting everything that I love about music on this record.
• 3:50
  [SPEAKER_03]: So just to congratulations there.
• 3:52
  [SPEAKER_01]: Oh, that's so kind of you.
• 3:54
  [SPEAKER_01]: Thank you so much.
• 3:55
  [SPEAKER_01]: Like, so much of this record is almost about the insecurity of making records.
• 4:00
  [SPEAKER_01]: You know what I mean?
• 4:01
  [SPEAKER_01]: Just like, did I get it right?
• 4:02
  [SPEAKER_01]: Was even worse giving up like another chunk of my life for this?
• 4:07
  [SPEAKER_01]: Like, it will be perfect.
• 4:09
  [SPEAKER_01]: I'll be happy.
• 4:10
  [SPEAKER_01]: You know, so much of it is wrestling with like, what it takes from you versus what it gives.
• 4:15
  [SPEAKER_01]: So it really just means so much to people say that like it.
• 4:19
  [SPEAKER_03]: Do you find it surprising that that's the insecurity this long into things?
• 4:24
  [SPEAKER_03]: Like you've had a lot of records now, you know the process, but still this is what kind of bubbles to the top.
• 4:31
  [SPEAKER_01]: I only feel okay about it now that I accept that it's part of me.
• 4:35
  [SPEAKER_01]: You know, I always expect it to be able to make a record and just be like, yeah, it's perfect.
• 4:42
  [SPEAKER_01]: And I just, I have to accept that it just never happens.
• 4:44
  [SPEAKER_01]: Like, it doesn't seem to be like a, it doesn't seem to be something like I allow myself.
• 4:50
  [SPEAKER_01]: I don't, I don't know if that is that drive to then go and keep making things or I don't know childhood.
• 4:59
  [SPEAKER_01]: Probably something you do with childhood, like, yeah, there is a sort of, but I think it made this one especially interesting because I've kind of acknowledging that about myself and acknowledging that fury and frustration and I do think it made for an interesting record kind of bringing that some of that energy into it.
• 5:19
  [SPEAKER_03]: Well, even in the music, because I was trying to think like, why, why does this sound different?
• 5:25
  [SPEAKER_03]: Then not just your records, but a lot of records that I hear.
• 5:28
  [SPEAKER_03]: And it's because of those, like, you allowed some imperfections to stick around.
• 5:32
  [SPEAKER_03]: Like, like, yes.
• 5:34
  [SPEAKER_03]: Yeah, like at the guitar of one of the grades, like you can hear like the tempo just, you know, shit, like, but that's what made, that's what made classics, classics, right?
• 5:41
  [SPEAKER_03]: So that's Mary Clayton's screaming, giving me shelter, all of those moments.
• 5:45
  [SPEAKER_01]: Yeah, it was almost like it was accepting things being raw and ugly and imperfect in places.
• 5:55
  [SPEAKER_01]: There was actually so much discussion over one of the greats and the tempo or its lack of and the tuning.
• 6:04
  [SPEAKER_01]: There were periods where me and Bo and tried to put it in time with itself and it just lost everything.
• 6:11
  [SPEAKER_01]: There were periods where we tried to
• 6:13
  [SPEAKER_01]: Like, I took it to some, before I met Aaron, I took it to some producers who were like, this guitar sound is terrible!
• 6:22
  [SPEAKER_01]: I was like, it's like, but I was like, it's not, it's perfect.
• 6:27
  [SPEAKER_01]: It's amazing.
• 6:28
  [SPEAKER_01]: Like, Aaron completely got it.
• 6:30
  [SPEAKER_01]: But there is a discordance and almost like an uglyness to it that if you are a producer who's into like good sounds, you know, I mean, like a good sounding thing.
• 6:39
  [SPEAKER_01]: You will be like, perturbed by it.
• 6:42
  [SPEAKER_01]: But it is in that, it is it's brilliant.
• 6:44
  [SPEAKER_01]: And so I actually didn't end up like,
• 6:48
  [SPEAKER_01]: working with one producer because he was sort of like wanted to be player.
• 6:52
  [SPEAKER_01]: I was like, no, I'm sorry.
• 6:53
  [SPEAKER_01]: That's not happening, you know?
• 6:55
  [SPEAKER_03]: we've gotten so far away like it was easy for me to recall Nirvana when I first heard that guitar sound you know just that just that dirty raw sound within a guitar and it's just become so easy to oh it's not perfect I can go back you know nobody's recording on tape anymore we don't have to worry about that you know well they're going back to tape now I would love that no they are they are I think tape is coming back it's yeah I think like
• 7:24
  [SPEAKER_01]: We remember and did always mean to re-record it, honestly.
• 7:28
  [SPEAKER_01]: It was done in one take.
• 7:30
  [SPEAKER_01]: We didn't know what we were doing.
• 7:31
  [SPEAKER_01]: I was singing it for the first time.
• 7:33
  [SPEAKER_01]: He was playing it for the first time.
• 7:35
  [SPEAKER_01]: And the whole thing is like, we're about to fall off the clear floor.
• 7:39
  [SPEAKER_01]: We're going to get to the end of the song.
• 7:41
  [SPEAKER_01]: It's just that feeling like it.
• 7:43
  [SPEAKER_01]: It speeds up so as down, we do not know where we're going.
• 7:45
  [SPEAKER_01]: Like, we were keeping the most insane eye contact.
• 7:48
  [SPEAKER_01]: Like, we both look deranged as we were making it.
• 7:50
  [SPEAKER_01]: Because we didn't know if we'd make it to the end of the song.
• 7:52
  [SPEAKER_01]: And we did and the idea was that we would get it perfect, do it tons and tons of times and like re-record it and actually as you said that take I could never I could never get that vocal take back.
• 8:06
  [SPEAKER_01]: I could never because I didn't really know where it was going or what it was doing, you know?
• 8:11
  [SPEAKER_03]: And that's the beauty, right?
• 8:11
  [SPEAKER_03]: That's what actors, right?
• 8:12
  [SPEAKER_03]: Don't know where the next line is.
• 8:15
  [SPEAKER_03]: Know it, but don't know it.
• 8:16
  [SPEAKER_01]: that's it.
• 8:17
  [SPEAKER_01]: So we just kept it and then actually getting it over the line was so hard.
• 8:26
  [SPEAKER_01]: It was so hard.
• 8:28
  [SPEAKER_01]: Because to play to it, honestly, you couldn't put it on.
• 8:33
  [SPEAKER_01]: You know, all of the things you usually do like you couldn't put it on a click track that was out of the question you couldn't you you had to tune things to it rather than tune it, you know, like it really it was one burst of absolute like Genius in the moment and then like painstaking two years of work.
• 8:51
  [SPEAKER_03]: And we'll be right back right after this.
• 8:53
  [SPEAKER_03]: Welcome back.
• 8:55
  [SPEAKER_03]: It's Kyle Meredith with Florence Welch and and of course what you're talking about in that song and the way that goes into you can have it all
• 9:03
  [SPEAKER_03]: and just thinking about what you're actually talking about with, you know, what you're talking about.
• 9:12
  [SPEAKER_03]: But like even like, like, I was thinking about the song Daffodil and like, did this song and that song do you find that they're sort of talking with each other in that same way?
• 9:23
  [SPEAKER_01]: That's a really good spot, actually, because I think I really was, like, I felt like daffodil sometimes you write a song on one record that kind of opens you up to the next one.
• 9:34
  [SPEAKER_01]: And I feel like daffodil was almost like a precursor of things to come on this record.
• 9:39
  [SPEAKER_01]: I feel like I kind of discovered something I was really interested in, sound wise.
• 9:44
  [SPEAKER_01]: And...
• 9:45
  [SPEAKER_01]: it kind of, I do feel like that sense of this floral imagery mixed with extreme brutality of sound was something that I was exploring on this one as well and I thought it actually gets a shout out in perfume and milk.
• 10:00
  [SPEAKER_01]: So yeah, it is that is a really good spot because I do think of that song as connected to this album in some way.
• 10:07
  [SPEAKER_03]: And there was another one like in
• 10:14
  [SPEAKER_01]: Oh yes I mean I think of them as sister records honestly because this record was formed by what happened to her in the last record and it feels like the last record was this record of like prophecy and then this record is this record of catastrophe.
• 10:32
  [SPEAKER_01]: just like living with the kind of prophetic visions of the last record and the results of that.
• 10:37
  [SPEAKER_01]: And so I do feel like they are connected in some way.
• 10:43
  [SPEAKER_01]: And I do feel like, um,
• 10:48
  [SPEAKER_01]: dance fever was a record that was kind of split in two by the pandemic and I think it was really important for me to be able to pull this one together in one place, you know, so much of dance fever was had to be done remotely and this one I was like, no, I am going to our own studio for a month.
• 11:06
  [SPEAKER_01]: I'm putting all this together, like, I really needed to feel the album and myself kind of be pulled together, you know, and become
• 11:16
  [SPEAKER_03]: to be whole like I'm just thinking about that line like do you see me now it's it's such it's such an easy line and it's so powerful at the same time
• 11:26
  [SPEAKER_01]: So, it's interesting because in Cassandra there's a flip, so in Cassandra it was, don't see for us a word like chronological album because it's almost like a, you know, I started recording it in New York and then I had to go home at the beginning of the pandemic and Cassandra was sort of, then girls against Gordon Cassandra was sort of written during the pandemic and we had no idea when,
• 11:49
  [SPEAKER_01]: performance was going to come back or if it ever would come back, you know, if if shows we've gone forever, if this thing that I'd done my whole life would have ever returned.
• 11:57
  [SPEAKER_01]: And so Cassandra, you're like, you're speaking to the power above you.
• 12:02
  [SPEAKER_01]: Can you see me?
• 12:03
  [SPEAKER_01]: I cannot see you.
• 12:04
  [SPEAKER_01]: Everything I thought I knew has fallen out of you.
• 12:08
  [SPEAKER_01]: So you're kind of speaking to that thing that created force.
• 12:13
  [SPEAKER_01]: you know, being like, why have you forsaken me, you know, in that kind of way?
• 12:18
  [SPEAKER_01]: And then, um, cracking is almost like you have become that huge thing, you know?
• 12:25
  [SPEAKER_01]: Like, um, I think this record almost was like,
• 12:31
  [SPEAKER_01]: dance fever was like wrestling with potentially monsters outside of yourself and this record is almost like becoming it you know like in kind of and so do you see me now it's like I have a sort of acknowledging how big it had become and how huge and like
• 12:52
  [SPEAKER_01]: It's almost like a group.
• 12:54
  [SPEAKER_01]: He's revenge song crackling like the do you see me now as in reference to like all of the it was so male that indie scene that I was in and I was essentially like
• 13:05
  [SPEAKER_01]: You know, I was like, you know, the drunk girl that came to the gigs.
• 13:10
  [SPEAKER_01]: So it was this thing.
• 13:12
  [SPEAKER_01]: I was like, I guess I was seeing, I was like least likely to, you know?
• 13:15
  [SPEAKER_01]: And I'm like, oh, do you see me now?
• 13:17
  [SPEAKER_01]: Like, did you have any, do you think about me?
• 13:19
  [SPEAKER_01]: You know, that like drunk girl?
• 13:22
  [SPEAKER_01]: Cause you're so, you're taking, like,
• 13:25
  [SPEAKER_01]: No one takes you seriously.
• 13:27
  [SPEAKER_01]: You're just there to be a fan, you know, like no one no one kind of thinks that you can be it could be anything more than someone to just idolize them and then you become this kind of huge thing.
• 13:38
  [SPEAKER_03]: I mean you become iconic.
• 13:41
  [SPEAKER_01]: Yes, yeah in a way like it yeah and I think like
• 13:48
  [SPEAKER_01]: You know, I idolized them so much.
• 13:50
  [SPEAKER_01]: You know, I idolized all those sort of like front men of my youth.
• 13:54
  [SPEAKER_01]: And I did take so much like inspiration from them.
• 13:59
  [SPEAKER_01]: I think it added to a lot of the masculinity that you see in my performance.
• 14:04
  [SPEAKER_01]: But I don't think they could have ever imagined that I would be the one to come out of that.
• 14:09
  [SPEAKER_01]: See, I mean, like, I mean, it's the prize I think I'm alive.
• 14:16
  [SPEAKER_03]: And we'll be right back, right after this.
• 14:19
  [SPEAKER_03]: Welcome back.
• 14:20
  [SPEAKER_03]: It's Kyle Meredith with Florence Welch.
• 14:22
  [SPEAKER_03]: What I think about iconic, too, it's like, because this is such a goth record, you know, and that shouldn't be surprising from an artist that made my boy build his coffins, right, the beginning, you know, but it's such a goth or end to me when we're talking about this icon and iconography.
• 14:38
  [SPEAKER_03]: Like, it's almost like you're matching this image.
• 14:43
  [SPEAKER_03]: that so many has been projecting onto you for years, whether you've meant it to or not, I think.
• 14:50
  [SPEAKER_03]: That's what it feels like to me anyway.
• 14:52
  [SPEAKER_03]: Like hearing you talking about looking into, you know, witchcraft and spells and all that stuff, like I love that because because it all feels right within this record, I guess.
• 15:01
  [SPEAKER_01]: Well, it was because like real spooky shit happened to me.
• 15:05
  [SPEAKER_01]: It was like it was beyond an aesthetic at this point, and so, you know, you play with the Gothic,
• 15:13
  [SPEAKER_01]: You know, there was strange predictive sentences in like the last album that's like ended up being sort of like strange like sonic prophecies of things that would happen to me.
• 15:25
  [SPEAKER_01]: And so it almost like I was looking for something beyond just like the aesthetic of witchiness but to look deeper.
• 15:34
  [SPEAKER_01]: And I think that allowed me to, you know, that based it in something
• 15:39
  [SPEAKER_01]: very real.
• 15:40
  [SPEAKER_01]: It wasn't like I was creating mythology to hide the truth.
• 15:44
  [SPEAKER_01]: It was the truth.
• 15:45
  [SPEAKER_01]: Does that make sense?
• 15:46
  [SPEAKER_01]: It was like this was like my way of coping with like a real thing that happened to me.
• 15:51
  [SPEAKER_01]: So it's yeah, it feels like it feels like it's it's like I'm able to pull on all the imagery all the like influences and the gothic imagery that I've always loved but it's
• 16:08
  [SPEAKER_03]: selfishly, I really want you to ascend to actual, which that can do spells in.
• 16:17
  [SPEAKER_03]: I need that to be real.
• 16:19
  [SPEAKER_03]: Florence, I need that.
• 16:21
  [SPEAKER_01]: Yeah, I was like it was so um, you know, I was so like physical and real, you know, I had like a near death experience on stage that was
• 16:33
  [SPEAKER_01]: so real, and I think the imagination is a form of escape.
• 16:39
  [SPEAKER_01]: I think when something happens to your body that you are not in control of, it is a way of being free.
• 16:46
  [SPEAKER_01]: If you can construct a mythology or especially when I was looking into witchcraft and magic in medicine, I was looking into like a way of understanding what happened to me and also like a way of finding power in a situation
• 17:03
  [SPEAKER_03]: Well, I also think that you've sort of peaked behind the veil of human connection in a way that most people don't ever get to.
• 17:13
  [SPEAKER_03]: Like when you're standing on a stage and you've got tens of thousands of people around you, you know, moving as one body and pushing all of that energy towards you, like that's a whole different level.
• 17:26
  [SPEAKER_03]: of like so I do think you get to see something that the rest of people don't and a lot of people in your position as well you know but but just to be open to that I mean yeah you do have to sort of open some kind of portal
• 17:40
  [SPEAKER_01]: in yourself, which allows you to be completely in the moment and then the gift that you give to everyone is that they are allowed to be that too.
• 17:48
  [SPEAKER_01]: You know, it is a sort of, you do have to like, almost, it's like, is like, almost like, energy work or something, like you have to make your energy so big and project like out from yourself that you can hold all those thousands of people together in that one moment with you.
• 18:10
  [SPEAKER_01]: something about the album deals with that sense of hugeness and actually how difficult that is to fit into the confines of a normal life and the things that I also want.
• 18:20
  [SPEAKER_01]: You know, like this sense that there's this crazy force or energy inside of me that's always like trying to get out, you know, even when I'm trying to do the normal things of life.
• 18:32
  [SPEAKER_03]: I love how it goes into that music.
• 18:35
  [SPEAKER_03]: And everything about it, and I really quickly, I also wanted to just, you know, mention like these collaborations that you do seeing these videos that you do with, with autumn, do while and just this world that you all have created.
• 18:50
  [SPEAKER_01]: My mom was like, it's so scary.
• 18:53
  [SPEAKER_01]: That's like good.
• 18:54
  [SPEAKER_03]: But you know, as, as, as a, as a, you know, child of the 80s, 10 of the 90s, of course, music videos was so important to me and that and, and.
• 19:02
  [SPEAKER_03]: And just what you could do, and the fact that you all have continued that, you know.
• 19:06
  [SPEAKER_01]: I know, I know, everyone's thinking, I know.
• 19:12
  [SPEAKER_01]: Everyone's like, oh, you know, you're still going to make a bunch of expensive music videos.
• 19:17
  [SPEAKER_01]: I was like, yes, yes, we are.
• 19:22
  [SPEAKER_01]: Because technically you don't even have to.
• 19:25
  [SPEAKER_01]: You don't.
• 19:26
  [SPEAKER_00]: You don't.
• 19:26
  [SPEAKER_01]: People wouldn't even make you.
• 19:28
  [SPEAKER_01]: They would be like, do you have the content?
• 19:32
  [SPEAKER_01]: Good.
• 19:33
  [SPEAKER_01]: Do you have a Spotify canvas word?
• 19:35
  [SPEAKER_01]: You know, that would be, you don't technically have to do it.
• 19:38
  [SPEAKER_01]: But I think it's so important for me in terms of...
• 19:44
  [SPEAKER_01]: Um, I think especially with a record, this personal, the world around it had to be rock-solid, like, and I don't know, I just think, like, I'm so visual, and it would, it's sort of, I always find it adds a layer to the song that I'm working with, or does she always adds, like,
• 20:06
  [SPEAKER_01]: She takes stuff in and it.
• 20:08
  [SPEAKER_01]: She always adds elements that I didn't even hear in the music, but definitely there, you know, there is witchcraft, but there's also this strange like western feeling sometimes in some of the songs like this outlaw energy and so when there was the backwards horseman,
• 20:22
  [SPEAKER_01]: I was like, of course, there is this sort of like almost like this wild west feeling to the music in places like especially like music by man or buckle, you know, you feel this sort of like learns some cowboy and G. So it was like there was witches but there was also like
• 20:41
  [SPEAKER_01]: this backwards horseman and it was like a medieval tavern but it also looked like a kind of bordello and the witches are in it and like you know so she pulls she hears things and sees things in the music that I I know of there but she
• 20:57
  [SPEAKER_03]: But she brings them to life in a way I kind of didn't even realize sometimes yeah and just to elevate the song like that and and I think that goes for the artwork too I mean like I thought the artwork was striking then I didn't I see you post a picture like the artwork is in reference to another piece of arts
• 21:12
  [SPEAKER_01]: Yeah, yeah, yeah, so the artwork was in reference to a picture from a still from the movie McCabe and Mrs. Miller, which was a western.
• 21:23
  [SPEAKER_01]: So it's like an old western and Judy because the western is again, yeah.
• 21:26
  [SPEAKER_01]: Yeah, so the western element comes in to it.
• 21:29
  [SPEAKER_01]: We were so looking at, um,
• 21:32
  [SPEAKER_01]: possession, I think the film possession and yeah, like looking a lot at like the Edwardian, but 70s and their Western elements, you know.
• 21:42
  [SPEAKER_03]: Again, the amount of levels and onion skin layers that we can just pick apart on these bands.
• 21:49
  [SPEAKER_03]: It just, you know, you can hear a song and you can like the song and you can sing along to the song, but if you can take that's, you know, multi-dimensional, and it just, it makes it so much more fun, I guess is what I'm saying.
• 22:02
  [SPEAKER_03]: So, I'm already here.
• 22:03
  [SPEAKER_01]: Yeah, I mean, well, that's what albums are like.
• 22:05
  [SPEAKER_01]: For me, they become almost these like many reference projects where,
• 22:10
  [SPEAKER_01]: You know, I read up so much about witchcraft and visited, you know, the biggest occult library in London and I got to kind of look at like all these strange like Victorian and Edwardian texts and, you know, then I'm also Autumn sending me movies, I'm sending her movies like they've become these sort of like
• 22:33
  [SPEAKER_01]: Yeah, like this way for me also to learn more about culture and to learn more about art and every time I do a record I feel like I like learn a little more about the world as well
• 22:43
  [SPEAKER_03]: Well, I know I probably need to wrap this up too, but just, you know, I cannot over complement it.
• 22:49
  [SPEAKER_03]: I really don't think I can over complement how good this record is and even the stuff I didn't get to hit on, I mean, lyrics, miracles are often inconvenient.
• 22:57
  [SPEAKER_03]: I think is one of my favorite little puzzles that I keep working on lately.
• 23:02
  [SPEAKER_03]: And just ending with, you know, pieces coming.
• 23:05
  [SPEAKER_01]: I know, well, in a record with so much like, um, in a record with so much like, yeah, like longing and aching and screaming, I wanted to end it on a song.
• 23:20
  [SPEAKER_01]: Also, if like songs are coming true, you know, let it be this one.
• 23:23
  [SPEAKER_01]: You know, let it be peace for me and for us all.
• 23:26
  [SPEAKER_01]: If songs are prophecies or manifestations, it felt very important to me to release a song
• 23:35
  [SPEAKER_01]: What is it more like surrendering to something and more like resting than running pieces coming?
• 23:41
  [SPEAKER_03]: Well, I hope that's a manifestation for all of us.
• 23:44
  [SPEAKER_01]: Yeah, me too.
• 23:46
  [SPEAKER_03]: Congratulations on this.
• 23:47
  [SPEAKER_03]: Thank you for continuing to do what you do seriously.
• 23:50
  [SPEAKER_03]: It has been such a pleasure getting the talk to you today about it.
• 23:53
  [SPEAKER_01]: Thank you so much, Kyle.
• 23:56
  [SPEAKER_03]: and my thanks to Florence, everybody's screen is out now.
• 24:01
  [SPEAKER_03]: Thanks to you for checking out the episode.
• 24:03
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• 24:07
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• 24:22
  [SPEAKER_03]: After that, you can head over to www.fpk.org.
• 24:25
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• 24:30
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• 25:27
  [SPEAKER_03]: That does it for another edition.
• 25:29
  [SPEAKER_03]: I'm Kyle Meredith.
• 25:30
  [SPEAKER_03]: I'll see you next time.
• 25:44
  [SPEAKER_02]: Consequence Podcast Network
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• 25:52
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