Latest / You Call That Radio? / 'Dystopian Sonic Universe' w/ Uncle Daddy (Nathan Saoudi & Richard Wilson)

Transcript

'Dystopian Sonic Universe' w/ Uncle Daddy (Nathan Saoudi & Richard Wilson) · You Call That Radio?

• 0:06
  Speaker A: Is this an airflow? It's actually a podcast. Where the fuck's our podcast? You know, it's kind of like a radio show.
• 0:20
  Speaker B: My name's Nathan Saudi.
• 0:23
  Speaker C: I'm Richard Wilson from. We're both from Uncle Daddy and Uncle Daddy.
• 0:29
  Speaker A: I just listened to the bill, sent me the song blood. Sounds phenomenal. How would you. How would you describe the sounds of Uncle Daddy? Fun.
• 0:41
  Speaker B: Big future.
• 0:46
  Speaker C: The signs of Uncle Daddy? Well, yeah, just like we're trying to do future park.
• 0:51
  Speaker B: Kind of groaning into the future.
• 1:00
  Speaker A: Grown.
• 1:01
  Speaker B: Future grown.
• 1:02
  Speaker A: Yeah, it's like drone grown.
• 1:05
  Speaker B: There's no drone here. We're not into the drone system. Maybe four.
• 1:12
  Speaker C: We're trying to pull London out of a hole.
• 1:16
  Speaker B: Yeah, it's very tough. They're very downward down here these days.
• 1:21
  Speaker A: Yes. So I was actually. I was actually in London. I was in Mexico for a few months and then we came back. We played dash, the head store.
• 1:30
  Speaker B: Oh, yeah.
• 1:31
  Speaker A: So we'll do. We're down for a few. About a week. A week. Went to see meet raffle. They were amazing.
• 1:38
  Speaker B: Yeah, they're good to dads too. These days. They've got our screw on.
• 1:44
  Speaker A: So how is it. So you. Would you see that obviously, everywhere. I mean, Glasgow is suffering the. No, just I think we're kind of blaming the cost of living crisis. But I mean, is it. Is it the same thing? It's affecting London or. Because obviously we've got a bit of gentrification, but obviously London wins. Wins that game.
• 2:06
  Speaker B: Yeah.
• 2:07
  Speaker C: One of the reasons I left Glasgow was, well, I had a. I have a daughter, she's seven, so I had her in Scotland. And so I just chose to stay in Glasgow because really there was nothing happening musically because I wanted to just lock down and take care of my daughter until she was a bit older. But it was like, almost like ghost town, that. That place. When it comes to music now, I used to live there, like, back in 20 years ago, and that's where the music came from, isn't it, really? A lot of it and a lot of innovative bands were coming from. From Glasgow, Scotland. Well, if they weren't from Glasgow, it was. Glasgow was showcasing them as well.
• 2:56
  Speaker B: Yeah.
• 2:56
  Speaker A: There's a bit of a brain train where, if you live anywhere else, I mean, in Scotland, I would even say anywhere in Scotland, because Edinburgh can't really compete with Glasgow. Just like, if you. If you live in a 100 miles radius or whatever, you're going to move to Glasgow.
• 3:11
  Speaker C: Yeah. But now it seems that Glasgow is now like Edinburgh. It's like Aberdeen. It's like there isn't a cultural difference there now. And so I had to get, like, once my daughter was old enough, I had to get out of there to even have a. To be busy, to even do anything in music really well, like that has a future in it, you know, like a reason for doing it rather than just a hobby.
• 3:37
  Speaker A: How did you start working together?
• 3:39
  Speaker B: We met at the hedge store as well. I think I met you there. The basement?
• 3:47
  Speaker C: Yeah, with me.
• 3:48
  Speaker B: And then it's our friend Sam. We have a mutual friend who runs this label called Level of Records. And basically through him, met him, but then came around here, this his place, and then fucking, he showed me his library, his portfolio, and I was like, holy fuck, man. I think you might be the best producer in the country. And then I fucking asked him, plot. We got to work. And then I moved in.
• 4:17
  Speaker C: Well, I'd been making. I've been doing like electronic music, like jungle and acid cut sort of brain dance, reflex records kind of stuff. Old school jungle acid for like, since like 2005, where I released an album on Love Love. We started love love with my music. And it's through that friend I had. Well, through this label I've been on for like, it's almost 20 years now that we. That I met. It was through them I met Nathan because the love love guy was working with Nathan for a little bit of.
• 4:57
  Speaker A: Just a quick look at the, the bio, and there's a mention of Larry Love, who I know as well. What was his involvement?
• 5:06
  Speaker C: He. He really helped us sort of finalize getting together. We met and we were like. I'd worked on one of Nathan's songs. I'd worked on actually some of Joe's songs. He's. Who's in Uncle Daddy and. And the guy from love love was involved in some of that.
• 5:25
  Speaker B: Then we organized getting Larry dad.
• 5:29
  Speaker C: Yeah, then Nathan.
• 5:30
  Speaker B: I've known Larry for about. Since I moved to London. Basically, he's kind of like a mentor father figure of such an uncle figure for fat whites. And like, he's always been around on the radar.
• 5:46
  Speaker A: Yeah, because Larry's obviously a massive Alabama three fan. Met them loads of times. And then I was obviously a lot closer with Jake, who's a Glasgow Boyden, so Rip Jake. But I remember Jake telling me stories about. I think it was the fat white family rehearsal rooms that was. Did he live next to something like that? I've got.
• 6:04
  Speaker B: He lived upstairs to it and it come down sometimes I'd be like, hey, are you fucking talking in some incomprehensible Glaswegian what is he saying? Is he upset or is he what? I don't know, but I got to know that. That's just how I. Me. He's some character. Any.
• 6:23
  Speaker A: Absolutely.
• 6:27
  Speaker B: Jake, the other front man, he died.
• 6:32
  Speaker A: Yeah. Jake was. A lot of people thought that he was actually american because obviously on the american Twang, then you actually meet him. What the fuck? Because he's not. I mean, he's strong for even living in Glasgow, do you know? I mean, it's proper. So a postal accent. They didn't lose a bit of even by touring the world. They didn't. It didn't. It didn't come down at all. So Alabama three, was that so? Did you just bump into them back in the day? So was this very early on in your musical?
• 7:05
  Speaker B: They were just fucking.
• 7:09
  Speaker C: They were doing.
• 7:10
  Speaker B: They were in. Pubs would be like. It was pub. Strictly come up, pub band culture. I don't know, like, fucking hanging out different pubs. But one of the pubs that drew us all together was one called Queen's Head. Still friends with the ex landlord Simon. But, like, they'd always be there and we'd be. That's where we'd be starting. Fat whites and they'd be there and like, comment in taking a piece, being funny, being supportive, and then fast forward to this day. I saw working with, with Rich and then worked kind of well, I was working with Sam, but more like, come on, man, get to it. You got all some music, you get to it. And then I organized me, rich, Larry Love and Sam to sit in a room and saw this project. And then basically from that point on, we realized that it was kind of like rich, Larry and I, who was kind of doing this thing because Sam just ducked out of the room. He's like, he's a bit wobbly. He stuck out the room. And then we kind of like. We're like, oh, there's something happening here. And then we kept to it every Tuesday during winter. And then we've kind of got about half an album's worth of material with Larry Love, and we're going to go meet him in a bit to try and discuss moving forward.
• 8:30
  Speaker C: We're going to start more, record some more after. It's been almost a year since recording. Before now we've been working together and we've done some low key shows. Now, I think when we go in the studio or we sort of make new material, it'll be like, go up a level.
• 8:51
  Speaker B: Yeah, because we're virgins to each other. Whenever we are starting really yeah. And now we're kind of like, we know, we know.
• 9:03
  Speaker A: And we were all vulnerable.
• 9:04
  Speaker C: Yeah. Larry was very vulnerable for a while, you know, but now. Now we can grow a little bit.
• 9:14
  Speaker A: What was the low key gigs like? How did they go then? Where were you playing stuff?
• 9:18
  Speaker B: They're. They're just. Well, basically, we've got a pub now. Our new pub is the Earl Farahs and Streatham. And that start. We rehearse there. We play all the gigs there. That's where we're practicing our live show. So they're all fun. They're like, we didn't know what it'd be like to start with, and then it's just like, instantly, like, yeah, this is. This is. This is it. This is doable. We need to, like, relax mental positions a bit more because it's fresh. It's like three of us singing, two of us just hold mics and then one with a guitar. So it's like, we've never really been up front and singing, all of us, before, but we're all just kind of naturally doing because it's. I think it's from the heart and it's like, Larry's like that. Larry's a fucking soul, Mandy. He just. He gets on there and you're like. You'll see him all like. And they'll get on. It's a pro in it.
• 10:15
  Speaker A: Yeah, that's the height. Yeah, he's just. He's got that. He's got that muscle memory, that experience of just playing all these big shows. So he just. It dives back into it. It's always quite. It's always quite mad when you see somebody that is so good. Just getting a wee bit nervous before a gig. I really struggled after lockdown for some reason. I think it's because we were always just performing all the time, and then it suddenly stopped that sometimes I start. I overthink things before I go on stage. Is there any. Have you got any tips for that before you go on stage to Camden?
• 10:47
  Speaker C: Yeah, I think. Well, for me, I believe you're winding yourself up. Yourself isn't anything that's going on for me. It's like, uh, just another day. That's the way I do.
• 11:02
  Speaker B: I'm a great believer in star jumps, but he.
• 11:06
  Speaker C: He's different.
• 11:07
  Speaker B: I love star jumps. Every time I've. I've star jump before a gig. Not only I can't remember the gig, but I can remember the star jumps.
• 11:15
  Speaker C: I mean, let's just do. That's doing something with your energy instead of you working yourself up, you're doing star jumps. You know, you've got to focus that energy that maybe you're putting into your mind to just something else, because soon you'll be playing and you don't care anyway. That's what I feel like. Once you're doing it, you're loving it. So why is he so nervous?
• 11:37
  Speaker B: Well, it's like a game of football where you are. You want to give the audience a good game even if you lose. Yeah, I mean, the audience just wants a good game.
• 11:46
  Speaker C: The thing with what we're doing is it's all really natural. We're nothing trying to do any tricks or any. Anything forced. It is just what it is. So we're not. I'm not getting nervous going and doing it, really. I'm more nervous maybe about some crackling noise or something to do with equipment because I'm doing all of that stuff. And maybe I have that to focus on to take my mind away from.
• 12:16
  Speaker B: We're not using any narcotics, but none of us. None of us drink or do drugs. We smoke a bit of hash or a weed or whatever, but none of that stuff for. So everything is just kind of organic.
• 12:28
  Speaker C: It's, like, real. So I don't feel there's much to be nervous about if you're honest.
• 12:34
  Speaker B: Like, yeah, we're proud of the song. So it's like, that's, like, behind us. So it's like, march it in with the fucking flag. You know, the guys in the movies. Why the fuck is that cunt marching first behind in front of the army? It's just like, kind of like that.
• 12:50
  Speaker A: And is it. How does it compare, doing it sober? Do you.
• 12:57
  Speaker B: It's like a mild mix of. I can't be endorsing it, but this is a natural. It's like, a mild mix of, like, an opiate and some methamphetamine.
• 13:07
  Speaker C: It's natural.
• 13:09
  Speaker B: You're, like, getting a very, very organic speedball and. But that's heavy. So I'm kind of, like, I want to do it all the time because I've got personality anyway, so. But this is just like. Yeah, like, I've been fucking lying to myself for a large part of my life. And a good rock and roll band is right fucking buzzy. But, like, I reckon I was getting the same buzz naturally anyway. I was probably sobering up on that stage. And then you realize you fucking. The buzz you're going through, you can multiply of your soul because you can find where the buzz is and you're like, oh, and then you can like start, like bit of dough, start stretching out, turn it into piece or croissants or whatever. It's kind of like that. You're able to find the dough.
• 13:59
  Speaker C: Yeah. So then you end up not really nervous about going to play and you want to do it like you want to do it. And then when you're finished, you're like, I don't want to stop. Let's do it again.
• 14:12
  Speaker B: Yeah. So it's. I definitely encourage it not to be like a kind of, you don't be the naughty boy, but just like, it's about a buzz. If you're into music, that's the buzz. It's like, if you're into sex, you probably prefer it without a condom on in it. It's kind of like that. That's the difference.
• 14:33
  Speaker A: And you remember it and you remember it.
• 14:36
  Speaker B: Yeah.
• 14:38
  Speaker A: And so where I was wondering, you just mentioned a little about how London struggling a little bit with the, the music scene and stuff. We just mentioned that pub. Could you repeat that again? Was that the earth and arms?
• 14:50
  Speaker B: Did you see the Earl Ferrers? It's a bit of an odd name.
• 14:54
  Speaker C: E a r ldez fers.
• 15:00
  Speaker A: Okay, so that, so that got a little bit of scene happening around it now.
• 15:05
  Speaker B: Well, not really, not just yet. We're hoping to kind of eject a bit life into it needs, like, it's got a whole courtyard we want to clear out so people can have fags and peace and, and we're trying to like, put a decent pa and it's got decent pa, but a permanent one. It's like, it's a bit scrappy, but it's good, it's got a good soul and it's, uh. I. The landlord's very welcoming. So, yeah, it's, it's good. We'll be better in a month's time once we finish it, obviously.
• 15:36
  Speaker A: It was such an amazing scene that sort of built around you guys. Obviously, I'm looking at it from Glasgow, but huge fans about white family and obviously meet raffle and stuff I mentioned earlier on. Were you surprised that black midday splitting up?
• 15:52
  Speaker B: Well, they're, they're like fucking industry school band are going in there GCSE's and like, this is your destined to be this. It's a bit like those bands I don't think naturally have that much longevity because they're more like a modern business unit where you build it to sell it and then build it another one to sell it. And it's just thought I never really got much. I didn't identify soul in their music, so I never really paid attention to them.
• 16:22
  Speaker C: I don't know this band, Black Midi, so I missed the whole thing.
• 16:28
  Speaker A: Well, you mentioned the word destiny. Brine destiny.
• 16:32
  Speaker B: I'm changing to natholeon.
• 16:34
  Speaker A: Right. Okay. So can we talk about brain Destiny?
• 16:38
  Speaker B: Yeah, sure. I'm just doing acoustic now with Brian Destiny.
• 16:43
  Speaker A: Yeah.
• 16:44
  Speaker B: Basically, Brian Destiny is just an alter ego. So, like, I could. I could force myself into some other thing. And right now he's just, like, on the acoustic guitar trying to write songs. Not necessarily himself, but, like, for if there's other bands. I mean, so, like, if I'm making a song on there and acoustic guitar, I'll show it to Uncle Daddy. And if they like it, they might be like, yeah. Or, you know, I used to be like that with flat whites, but I've had to step out for a while. If my brother can wires up. Uh. But the, uh. Yeah, that's kind of what it's for, just to, like, make songs. I'm not, like, doing it for any other reason at this point. I can't. That's what I. What I enjoyed doing. I was doing some studio stuff before, but I think I was doing studio stuff to find out about rich basically trying, like, because I knew. I knew I was doing something that was not the whole thing. Yeah.
• 17:48
  Speaker C: I'm not so much a songwriter. I'm more the music he's up music production all. I do the Ronald beat wife electronic stuff. And he does a songwriting.
• 18:04
  Speaker B: That's kind of what this. That's kind of what Uncle Daddy is in a wayside. The. A fusion of, like, bandworld and electronic dance world, which I don't. I don't get why it's not really being exploited that well. Not exploited. Explored that much in british music, especially british indie music. You know, I mean, it's, uh. The two worlds are really prominent, and they should be a lot, you know, tangling, at least.
• 18:31
  Speaker A: So you're bringing a. Let's say, for example, you've got a song in mind, and you bring it to yourself. Do you already have, do you think? Or I've actually got a beat in mind that would work well with that? Or do you just start creating something from scratch?
• 18:45
  Speaker B: Or is it can be either point. It can either be like, he started something that makes me, like, say something, or I'll have something that's written on, like, a guitar with different chords, and I'll be like, listen. Something he's made. Because he's got shitload. He doesn't stop making. I'd be like, hold on a second. I think this might work on that. And it kind of. Yeah, so it's a mix of, if.
• 19:11
  Speaker C: We keep doing what we do anyway, it sort of comes together, so he has to keep the Brian destiny thing or the. What is it? Neff nathole think on. I'm having a bit of a break from all my electronic stuff, but I still do it. But all the. I'm just doing it more, like, for song based stuff now than just dance music or club style. I'm trying to get that style in songs.
• 19:46
  Speaker B: Like, we can send you some more of the tracks after this, by the way.
• 19:52
  Speaker A: I'd love to hear that for everyone.
• 19:54
  Speaker B: That'S kind of got. Or reply to Bill's shout out. We've shown more music, so you can see what we're talking about, basically.
• 20:04
  Speaker C: Yeah. Blood was the very first track we made together as well, which kind of was just by. We were all in. In the studio. Well, in the end we were. But we were just messing around on something I'd started, and Joe had put some guitar on. Then Nathan came later on and put words down, and then it was really from blood that we, like, we knew that I couldn't take it myself and do something with it, and Nathan couldn't take it and do something with it, and Joe couldn't. So we had to do it together. That's why I was like, we all made this song, so we should all be doing it.
• 20:50
  Speaker B: Yeah. Was, uh.
• 20:51
  Speaker C: So we started. We started from there, and we start to make more based on the fact that we're gonna be doing it as a.
• 20:58
  Speaker B: What? It was a wild night.
• 21:01
  Speaker A: And is it four? It was at four members, according to the bio.
• 21:04
  Speaker B: It says, no, no, no, that's three. Larry Love. We need to figure out what Larry love is. I think Larry Love should just use his name. Larry Love. And then be like, you know, Larry Love featuring Uncle Daddy or backed by Uncle Daddy or. But it's Larry loves his own.
• 21:21
  Speaker C: We're still figuring out, really, as we go, because none of it was really planned.
• 21:27
  Speaker B: Yes.
• 21:28
  Speaker A: Larry loves knowing as Larry Love from Alabama. Three. So maybe he's seen as an opportunity to explore another side of his character, perhaps.
• 21:36
  Speaker C: Well, yeah, well, that. See, he's just so into music. New in the culture of new music with the kids, and he just. He needs to be doing it, otherwise you'll get depressed and. I don't know. That's all I see. It's natural for him to. And he's progressing, whereas a lot of people that maybe in his position, they're scared to do that, to join in with the kids.
• 22:03
  Speaker A: And he's always busy. I mean he'll do his biggest, a UK tour, Alabama three. And then he'll be away Australia or something. And then on the downtime he's doing these acoustic tours as well. So he's always staying busy. So on the. Who's white devil. White devil disco as well. Who I've. I don't know anything about but I love the tunes. But I'm a wee bit ignorant. Sorry, who's that?
• 22:31
  Speaker B: That's Joe Pancucci. He's the other member of the band. He lives on another place to us. And he. That project there, that is where he started with Sam Fez, who we talked about earlier on, who was a head of love, love Records. So he's got this band and I'm encouraging him to finish his album. But he's.
• 22:57
  Speaker C: So I was working on some songs with this Joe who's guitarist in our band. He does some singing in harmonies. And then.
• 23:08
  Speaker B: What is it? Yeah, he was working. You were working on?
• 23:13
  Speaker C: Yeah, I was working on some of Joe's songs. Like maybe two or three of Joe's songs. And then that's how I got to know Joe. And then. But then we start to do this white devil disco. And Joe started to take more time to do Uncle Daddy. Then white devil disco. For the moment. Let's just.
• 23:34
  Speaker B: I do want him to finish his stuff though.
• 23:36
  Speaker C: It's just cuz. Yeah, it's like his band. He's always had problems. Like I'm maybe getting people that fit in the band. And with his music.
• 23:44
  Speaker A: Yeah, I know that I've had 55 band members.
• 23:48
  Speaker C: It's kind of. That kind of stuff you want. You know, it needs to be a band, that kind of thing. Um, but we might try and strip it down a bit and see if we can get it going.
• 24:00
  Speaker A: The chins are phenomenal. The chins are?
• 24:02
  Speaker C: Yeah.
• 24:03
  Speaker A: I've just heard a few bits and bombs.
• 24:05
  Speaker C: There is a one song finished and he has a video and everything made which might come out at some point. But it's a very nice video, a really good song.
• 24:14
  Speaker B: Well, I'm trying to get him to like. Basically because I'm doing the hench. I'm like Joe, if we're gonna release this, can you get on some more stuff basically so we can follow it through? Because if you just make one release and don't have anything to follow up with. It's a bit. It's always good to have your second thing made as you're do. I bet to release something, you know, that's what I've learned because I'm like, I'm an expert, but like, that's what I've learned. And it's all.
• 24:43
  Speaker A: Absolutely. You've got. You've got to take advantage of the momentum when it, when it comes. Absolutely. And, you know, I mean, and you're an expert. You've been, you've been making. You've been involved in loads of great records over the years. Is there any particular record that you're proudest?
• 24:59
  Speaker B: No. Like the record side of things. That's why I'm not proper buzzing about Uncle Daddy, because working with a proper producer, someone who really knows a shit and I'm not, that's where a lot of, like, that's why I kind of stepped out. Fat white. I felt like I couldn't bring fat whites any further. The live show is kind of. It's wicked, but the recordings I'm not. Wasn't happy with, so I'm like, no, I'm not. I've never been completely with these. Some of the recordings that, with Uncle Daddy's got right now. Yeah, I am. I am like, kind of like, oh, yeah, I'm happy. So there. Yeah, that's. That. Well, that's how I feel.
• 25:40
  Speaker C: Well, I think it's. When you're in a band and you're working on albums, it's. It's really hard for anyone to achieve what they want it to be in there.
• 25:49
  Speaker B: Yeah, it's really hard because you got to share.
• 25:52
  Speaker C: There's so many people involved in who's selecting who to work with you on whatever aspect of the music, and it filters it down so much that. Yeah, what dilutes it, you know, that your, your first goal is disappear.
• 26:11
  Speaker A: A lot of strong characters and the band. I suppose everybody, when you're at the early stages of a song, you maybe got a different interpretation of how the song's going to sound at the end.
• 26:22
  Speaker C: I mean, this. This can happen with us. There's three of us. It can happen in our, our situation and we already all have it. Like an experience of it still happens.
• 26:33
  Speaker A: So when it comes to the live show, I mean, obviously you mean to finish. Have you got a deadline in mind to finish an album or. No, actually plans?
• 26:45
  Speaker B: I just think no deadline. This band doesn't feel like it needs deadlines because it works. Just, I don't know, an album pretty soon, that'll be good to have one done by the end of the year.
• 26:59
  Speaker C: I mean, we. We have, like, more than an album's worth of material, and we. We make more, but it's more about playing as much places as we can to as much people as we can, getting out wherever. And we will, through that, put out a new song now and again until I don't know where.
• 27:22
  Speaker B: We need more people to hear it, basically. So that's why we're trying to, like, get press out with as many people as possible.
• 27:30
  Speaker C: No one knows who you are. Putting out a whole album, to me, is suicide. I mean, you could, uh. Yeah, you just. I just don't think you do that. Uh, you get some appreciation maybe first or some kind of following.
• 27:47
  Speaker A: Yeah, you want. You want people to be excited for.
• 27:49
  Speaker C: The album, not be, like, forcing them to listen to this. You need to listen to this. I'm not really into that. I don't even do that with my old. My other stuff. I don't force feed people that. I like it to be organic people to share. Look what I find. You should listen to this. Look what I find. Like, people enjoy sharing that. And so in that sense, I think putting out little tracks now and again while playing shows, well, it's just a better way to create some culture rather than force feeding your product. It's like, there's enough product selling already when you scroll down. Why are you gonna join? I don't want to join in. In this stuff.
• 28:29
  Speaker B: I don't want to wait.
• 28:30
  Speaker C: I'd rather make a meme that's taking the piss out of us doing that, you know?
• 28:36
  Speaker A: Have you got any plans for Glasgow? Coming up to Scotland.
• 28:43
  Speaker C: When we start getting ready to actually travel further?
• 28:47
  Speaker B: I think once we have an album in the bag and we can, like, show that there's some people that. That's in the bag, then we can, like, you know, say, you know, the way that the industry works. Fucking some booking agent will be like, all right, what's your release scheduled, then? Because I like this. And he'll be like, oh, well, we've got this album which we can release at the end the earth. They want to hear all this shit. I've been through all that stuff. So we just. Yeah, play, play and fucking just keep making new tracks.
• 29:19
  Speaker A: The light, the live show. Are you keeping it to three people or we got any plans to extend, or are you just happy keeping it as a three?
• 29:26
  Speaker B: I reckon three people. Get the three. Everyone in the band better? Yeah, it's the learn, learn some new, like, areas of your body which you can't. You haven't accessed before and stuff like that.
• 29:38
  Speaker C: Maybe a dancer.
• 29:40
  Speaker B: Yeah, maybe. Maybe two dancers. But band members now breeze hard enough.
• 29:45
  Speaker C: It is.
• 29:49
  Speaker A: I just don't need a drummer. These. No, that's one thing. I mean, we've got the never ending problem with, with drummers because they're. They're either insane or they're in 75 bands.
• 30:02
  Speaker C: I mean, for me the drums, good.
• 30:05
  Speaker A: After good, that is, they need to.
• 30:07
  Speaker C: Evolve a bit or something. I don't know. The drums have been the same since. It's like saxophone. I don't know. For me the drums. A drum kit on stage, like you're. You are restricting your groove and your pace and your. Your whole song. If you've made a song in a studio and you want to use drums on a stage, you have to change the song. You can't think you're gonna do it the same. You have to do a different version of the song live. So it's like a whole other game. I have a lot of live experience like well, professional bands and what. And. Yeah, it's you. You either need to have your. Your drummer is the whole band. So if you can't find the drummer to carry your whole show live, that ain't really gonna carry in my mind.
• 30:59
  Speaker B: Yeah, you're only as good as your.
• 31:01
  Speaker C: See, so in the beats for me in the club, my experience at clubs and getting people to dance and enjoy themselves is the solid groove in the. And the uncle daddy for me has got, you know, it's about that. It's about the environment, the vibe in the room, the groove and the feeling, the sound. And for me the drum kit is just sometimes a bit too nasty. Depending on your drummer.
• 31:31
  Speaker A: Depending on the drummer. And also depending on the kind of room you're playing as well. If you're. If you're playing in a kind of sort of smaller venue then there's that kind of sort of echo that comes off. The drum kit sometimes isn't ideal.
• 31:46
  Speaker C: Yeah, we have this problem with the rooms. Just by using the pa and the drum beat, you know, the room. The problems you have with the rooms, you know, bouncing around it might suit too much high end, too much mid. It's like nippy and so. But I can control all of that. The drums, like, you're just stuck with it. But I mean, if you're a band, you know, you need to drum or you need it with like, I've been right.
• 32:11
  Speaker B: That drum machine though, for fucking years. Because even right, if you're writing, you just want a little fucking whatever, really just to fucking get in. Because no one's gonna sit there and.
• 32:24
  Speaker C: Look like when you're doing songs and you want to perform them, you need a drummer who's a drum machine, not a drummer who wants to be a drummer, basically.
• 32:33
  Speaker B: Yeah.
• 32:33
  Speaker C: So we would just be finding a drummer that would just be like a drum machine. Me telling them, no, no, no. And it's like, you know, no one's going to take that. No one will take that.
• 32:44
  Speaker A: I got drummer that doesn't talk back.
• 32:46
  Speaker C: That's it. You know, like, if we had that added to this, we wouldn't probably got this far yet. We'd be stuck.
• 32:55
  Speaker A: What is the sort of. What's the perfect live room experience? Because obviously, if it's got that more electronic sound, would you be wanting to do on it? Something like a late night midnight slot or. What kind of room are we talking? A club?
• 33:09
  Speaker C: We just. We did a show in Soho in a cinema, and we brought a pa into the cinema, and then I routed just the subs into the cinema subs. And, like, the. The AO eight were wobbling, like, the whole room kind of thing. It's like a. You want the warm kind of club environment, really. I guess something with. We're all about the subs and the bass. The ladies love the bass.
• 33:40
  Speaker B: Lady love the bass.
• 33:41
  Speaker C: Like, that's my experience of, like, 20 years playing in clubs. Like, I know what it does, and we need. We need that. And you don't. You won't get that with, like, a band. Band with a drummer.
• 33:54
  Speaker B: I think the jazz has got some of that other day with the old.
• 33:57
  Speaker C: Yeah, they've got still, you need someone who's do that.
• 34:04
  Speaker B: I say what he's saying is he's a digital jazz drummer.
• 34:10
  Speaker C: Because of doing the jungle and all that. I really mastered drums, like, ten years ago. I'd already. I'd been doing drums for ten years. I mastered, like, in program drums, like a real drummer, or I'm like the complete opposite. So to try and just keep this, that's what keeps the future. That's what keeps it, like, interesting. Otherwise, for me, what I'm saying is in London, everyone's replaying songs from 20 years ago. The same format, the same sounds, the same styles. And anyone that maybe tries something new gets kind of put down by all of these people that are stuck in their ways and own this space. They, like, they think they own this place, but it's like maybe they did 20 years ago. Come on. Like, you know, everyone's on their phones, hyperactive. They're hyper now, and you just want to pull them back to, like, smackdown, you know, that's like, that was all right when it was dark and everyone was burning coal, you know what I mean? Throwing shit out their windows or something. But, like, now it's a bit hyper. There's robots and shit going around, you know what I mean?
• 35:32
  Speaker B: We need to think about the robots.
• 35:34
  Speaker C: Before you know it. Before you know it, digital artists are going to overcome these 20 year old. It'll be AI artists. Not even real people are gonna be the future.
• 35:47
  Speaker A: Well, that was actually gonna be my next question about AI and stuff. What is the future for music?
• 35:52
  Speaker C: People don't come in and like us and try and do something future modern. The digital companies are gonna create AI artists that are gonna do it anyway, and they'll make sure it covers up all this old 20 year old shit because they'll own it. The AI will be able to push it down.
• 36:12
  Speaker A: So sexy bass music so the robots can shake their booty.
• 36:18
  Speaker C: It's kind of like that. Just like music.
• 36:20
  Speaker B: Terminator. I didn't mention that chapter or, like.
• 36:24
  Speaker C: Organic music for the airwaves. Organic, like made by humans with human soul and the words with a meaning. There's actually a reason for this, not just our own, like, egos. It's like that kind of stuff. Not even just the sound you need just to carry the message.
• 36:44
  Speaker A: Robotic overlords try and take over and kill us or kill all of humanity. User either going to be able to seduce or sedate them. With Uncle Daddy featuring Larry Love.
• 36:58
  Speaker C: We'Ll try and keep some organic flavor within the future of the music that's going to be played on the radio and streamed. Yeah, I think the two things can.
• 37:08
  Speaker B: Go well hand in hand, collaborate well with each other. This the future, the future technologies and humans. So the shared human experience is still going to exist.
• 37:19
  Speaker A: So actually, was the Friday, the Friday there I was. My friend Sus, he's not a musician or anything, but he just paid for an AI music app, Angsley, 30 pound a month. And he was just showing me how it was. You type in your lyrics or you type in a song about it, and then it creates a song. Now, obviously, every single song was absolutely terrible, and I don't have any soul or any anything, but it was quite weird to see, like, you know, him taking it random topics and turning it into, I don't know, it was like pop punk or even the grime stuff actually sounded not bad.
• 37:53
  Speaker C: Yeah, I got it.
• 37:54
  Speaker A: But yeah, I should. Obviously, what you mentioned there, the record labels are going to go, why are we, why are we dealing with humans that want a pay rise, that are going to say no to certain things? So the labels will start doing that. So how do we keep the soul? I suppose. How do we, I suppose the question I'm trying to say is, should real creative people be worried because the robots will never be able to compete or will the robots able to become creative, if you know what I mean?
• 38:25
  Speaker B: I don't think there's anything to worry about.
• 38:29
  Speaker C: Yeah, I wouldn't think you're definitely going to die. It's like, London's different for me than anywhere else in the world. So it's like, how we deal with it will be different to like any other, like any, like other cultures. So I think there will be a fear of it here because there's already a fear of, like, kind of thing we're doing, which is slightly like different futuristics. So, I mean, here, they'll always still try and be stay in their 20 year old hole, even with all it going around. And they'll probably be, be happy with that, I think. It's not that it's maybe a good thing this stuff's happening because something needs to force, like a change of, like.
• 39:14
  Speaker B: I don't know, it's an epochal shift. It's not just like industrialization. I don't think it's more like gone from Bronze Age to Iron Age, where the guys were bronze were doing whatever they're doing. And then, like, the guys were iron came and they're like, what you doing? And like, oh, we're doing this. It's like, you're not like it. And they're like, what do you mean we're not? And then they're like, well, how? Test this. And then they test it. And they were like, ah, shit. You can either do peacefully or let it for be forced upon you in an apocalypse shift. And I do think we are in an apocalypse shift because some of the possibilities that are right around the corner are totally unfounded. I mean, today, just today, just today, guys, I saw an advert for an umbrella that hovers over your head. It's from your phone, and you got umbrellas soon. That's like blade runner shit. That's really, uh, possible. It's not exactly like energy, probably.
• 40:15
  Speaker A: Probably not good for your body leaf, but it can.
• 40:18
  Speaker B: It's cool as and future as fuck. And if you really think about what it could be like in 510 years, that is like Sci-Fi movie. So it's gonna happen. Try and work with it. Because the Iron Age people, the Iron Age is there. And if we're on bronze, are they gonna be like, look what you doing? It's like, you kind of have to respect iron because it's just been invented and you can't do anything about it. You're gonna be no bronze. Bronze. Just put more bronze on top of bronze.
• 40:47
  Speaker C: Do, do, do. Nah, you can only repeat, I think, the same thing, same kind of art for so long before it's not art anymore. It's just like plastic. You know, there's plastic all around your room, like all around you right now. You're not aware of it. Your plastic around your microphone, plastic on your headphones. Like the more you repeat something, it becomes unaware to your brain. Your brain starts to just take it for granted. I mean, for me, it's been going on so long, some of the sounds and music, something needs to change it. And if it's AI that's going to help us sort of realize this, then that's cool.
• 41:32
  Speaker B: That's the same way the synthesizer did it in there.
• 41:35
  Speaker C: Yeah, it's happened with the synths. People. Like, we didn't accept a synthes being music.
• 41:40
  Speaker B: You know, the difference between now and the sixties, I'd say, because the shared human experience is still the same, you know, in between death. There's a big story filled with all these activities. That's the shared human experience. But in this fifties, whenever they were getting this technology, it appears to me like there was more enthusiasm for making music that anticipated the future. And now we're in a similar kind of like, technological. Whoa, it's going right up. Oh, let's go. But they're like, not, they're trying to make music, which is imitate music made from the past, which was trying to predict the future. So I'm kind of why we got ourselves in this mindset. And that's why it's very. That's why I'm like, hot whole hog in with rich because it's like he sees this, the band world. There's none of this kind of fervor for this kind of new technology. I'm like, what? All the music we like in the fifties, sixties, seventies, was all like this. Why is this different? I mean, like, look, you can press a button and this happens. You order a car, boom. It's like you telling me it's not like moved forward a bit.
• 42:49
  Speaker C: Yeah.
• 42:50
  Speaker B: Taxi. Yeah, right.
• 42:52
  Speaker C: It's just the. It's just that the AI affects. Not just the music, affects the technology, affects all, like art jpegs, all videos, like, even like lots of industries. So it's like the synthesizer was mainly just music and engineering. It changed some engineering, but yeah, so it's not just music effects. So. But all of these other things affect music technology. The tv, video are also affects music. So it's a lot. A lot. It seems like probably quite overwhelming compared to any of other evolution.
• 43:39
  Speaker A: That's a brilliant answer. And last question. Do you, is there any bands that you do think are doing something interesting or futuristic? What we'd recommend that our listeners check out.
• 43:52
  Speaker B: All right, this is the problem. They're called body whore. That's not the problem. They're body whore. But the problem is, I don't much appreciate the recordings, but if you check out their live footage, there's a live gig at the windmill. You'll get the point. It's. It is still bad format, but they're using, like, electronics and with electronics, so.
• 44:15
  Speaker C: They have a bit of it with the electronic.
• 44:18
  Speaker B: It sounds bad and futuristic. It's so cool. So body whore, that's the show.
• 44:24
  Speaker A: That's amazing. And how for anyone that's listening to Uncle Daddy, how can they check out your stuff? And when are the releases happening?
• 44:33
  Speaker B: We got a demo on YouTube and Soundcloud. It's called Blood. We're gonna hold off from Spotify because we're just going to be like, releasing slot demos from.
• 44:48
  Speaker C: It would just be Instagram. Can we post everything, update everything through Instagram? You can find all these. This information through Instagram is the main TikTok, I think.
• 45:01
  Speaker B: I think Joe started.
• 45:02
  Speaker C: There's a little bit of that, but it is initially Instagram we're using because that's pretty much what everyone's on, isn't.
• 45:09
  Speaker A: Yeah, it's not. I've not. I've tried to do TikTok. It didn't really work for me, but I guess it gets to the point. I've just got, you know, so many different bands, different podcasts. This way there's only so much social media you can do.
• 45:23
  Speaker C: That's it.
• 45:23
  Speaker A: So. But Instagram seems to be where my age group is mostly, I would say is everybody's got. A lot of people have dutch Facebook, but they haven't quite committed to TikTok yet. That's a great. A great way to do it, man. I'll put a link for a. For anyone who's listening to check it out. Love that demo. And I did notice it on the press release. The bill did say to message him for more demos. So, yeah, please. I'll send them. I'll message. I'll send you the email definitely, man, because I love to hear the rest of it. Thank you very much for taking the time to talk to me. Call that radio Wanc.