Latest / Ghost Cult Magazine Podcast / PODCAST: Episode 753 - Harry Armstrong of Noisepicker Talks New Album, Stoner Doom, and The End of Orange Goblin

Transcript

PODCAST: Episode 753 - Harry Armstrong of Noisepicker Talks New Album, Stoner Doom, and The End of Orange Goblin · Ghost Cult Magazine Podcast

• 0:00
  Band is the sum of its parts. Just switching bass players or
• 0:02
  switching guitar players or switching switching singers is
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  obviously the big one that people think about and switching
• 0:06
  dramas. It can change your band
• 0:08
  completely, and often does, and usually not for the better.
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  I mean, for me, some of the best bands in the world have been
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  guys that have stuck together over the years and four guys in
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  a room or five guys in the room smashing it out, working
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  together and compromising and making the pieces fit.
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  And that's cool, but I've done that in my entire life.
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  I just wanted to see what happens if I didn't do that.
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  What's up everybody, it's keep with ghostcultman.com.
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  I am super stoked to be joined by Harry Armstrong of Noise
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  Picker and Orange Goblin and Hangnail and a bunch of other
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  projects. How you doing today, Harry?
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  Yeah, I'm doing good, doing good to talk to.
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  You. It's so nice to meet you.
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  I have been such a fan for a long time and I really love this
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  project. You know, I can't say enough
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  good things. I appreciate Dave and your split
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  PR for putting us together for this.
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  And I know you're, you know, it's a, we're across the globe,
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  thanks to technology, it's not always perfect.
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  So I really am, you know, I don't take any of these for
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  granted. For years, I only did interviews
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  in person, whether I was in, you know, here in the States or when
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  I was over in Europe and and then the pandemic happened.
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  So now it's all on these devices.
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  But I still feel like this is better than nothing.
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  And I get to, you know, get to chat about you, about awesome
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  things like your new record with Noise picker, the The Earth Will
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  Swallow the Sun, the ominously titled album on the great Exile
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  and mainstream label. Well.
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  Doing these, doing these interviews like this is, is good
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  for me. I remember, I'm old enough to
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  remember back in the day, I used to have to go to the record
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  company office and sit by phone all day and that was kind of a
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  bit of dry choice. Here I can, I'm just at home.
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  I can have a beer. It's chilled out.
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  I like it. So yeah, I'm, I'm trying London.
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  Yeah, I'm sure London, Chicago, LA, New York still do some
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  headquarters interviews and things like that.
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  I kind of do miss those press days around the conference
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  table. And, and again, I really, I used
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  to thrive on doing these in person, in the bowels of every
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  club in Brooklyn and elsewhere. And that is the best way to do
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  it. Yeah, definitely a.
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  Little bit like, you know, shoulder to shoulder, I can look
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  you in the eye. There's never any, you know
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  there. Just like text, just like any
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  other form of communication, there's always a risk, an
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  inherent risk of not being understood.
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  But you seem I've heard nothing but great things.
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  I know you're very down there. I interviewed Ben for Orange
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  Goblin way back in the day. So, you know, huge fan and noise
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  pickers, really fun. I know that you live in another
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  part of the country from each other, so I wanted to kind of
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  ask, you know, what drew you together in the first place?
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  Well, we didn't always live in a different part of the country.
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  I mean, I was born and raised in London.
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  That's how I know the goblin guys.
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  But I moved down here to Darkest Hampshire just to get out of the
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  city for a while, a little bit, you know, it's getting a bit too
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  crowded for my taste. But I'm only an hour away on the
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  train, so I still nip up there for geeks and stuff.
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  But, and yeah, I met Kieran because he was working in my
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  local bar, but he's since, well, my idea was I was tired of
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  people quitting bands because they're having kids and getting
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  old and stuff. So when I met him and saw him
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  play drums and thought he was fucking brilliant for a start, I
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  thought, right, I should get this guy in my bag because he's
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  only 20 years old. He's not about to run off and
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  get married or have kids and stuff.
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  But then he started off to university in Manchester, which
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  is about 300 miles away, and now he's moved to Norfolk with his
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  girlfriend. And yeah, we barely see each
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  other, but we're still good friends and technology like this
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  helps us to kind of make music as well, so it's not all bad.
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  Yeah, the the working music game seems to be a younger person's
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  game. I recently joined a new band for
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  the first time in like 15 years because I just like felt like I
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  needed a creative outlet, but I had to stop doing music through
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  journalism. So like here's all my folly come
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  back upon me. I totally relate to this.
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  Luckily I live in the same town as my bandmates, but and you
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  know, we cut we we are very heavily UK centric brand still
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  and a lot of our writers and team are there and we have
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  coverage in Manch all the time And and I'm very thankful for
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  all the venues and bands that are from the scene there.
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  But Karen is fucking great by the way.
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  He there's no secret weapon, but like his drumming powers.
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  This whole thing. I'm really fascinated to talk to
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  you about singing and songwriting styles and stuff
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  like that. But Kieran, at first glance,
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  like his drumming, is breathtaking.
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  Yeah, he'll be stoked to know that he was going to join us
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  tonight, but he couldn't, unfortunately.
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  But yeah, I'm going to. I'll tell him that you said he
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  sucked. Oh no, my reputation is
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  besmirched. It's over.
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  I'm sure when we get around to the review, it's it's going to
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  be, you know, going he killed it.
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  And especially considering, you know, such an interesting, you
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  know, stylistic approach across different things.
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  Obviously you got a lot of influences.
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  You know, people know you from one thing, but you've been, you
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  know, hangnails its own entity. I know you've had a bunch of
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  other bands. I really do feel like this kind
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  of stands on its own. It's very unique.
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  It doesn't sound like anything else, even if it kind of calls
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  back to its influence. Is really cool that way.
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  That's, that's really great to know.
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  You know, it's really, I just wanted to do something that was
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  just from my mind and not have to kind of compromise with other
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  band members. Want a better way of putting it
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  so? Yeah, that's that is the whole
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  deal, man. It's, you know, I.
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  Wanted I wanted to do a record that sounds like sounds in my
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  head for a change instead of how everyone else wants it to sound.
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  Exactly, Exactly. I think like a lot of people
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  don't appreciate, especially long working bands, veteran
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  bands, don't, you know, they edit themselves less like, oh, I
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  know how to make a song that sounds like what I make, so this
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  is what it is. And then obviously when you put
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  any song into the hands of another person, it's going to
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  change. Even if they play exactly what
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  you tell them, their fingers on frets, their voice, their
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  lyrics, their beat is always going to.
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  Absolutely, absolutely. A band is the sum of its parts.
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  Just switching bass players or switching guitar players or
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  switching switching singers is obviously the big one that
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  people think about and switching dramas.
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  It can change a band completely, and often does, and usually not
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  for the better. I mean, for me, some of the best
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  bands in the world have been guys that have stuck together
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  over the years and four guys in a room or five guys in the room
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  smashing it out, working together and compromising and
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  making the pieces fit. And that's cool.
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  But I've done that in my entire life.
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  I just wanted to see what happens.
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  I didn't do not. We just saw a Mastodon lose a
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  member after 25 years. He wasn't a founder, but he'd
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  been so integral to the success of the band.
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  I'm sure people, you know, their fan base freaked out.
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  I think people were, you know, understandably upset.
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  But also, this does happen. We're all getting older and the
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  music industry, even at a successful level, a highly
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  successful level, is tough. It's tough to be out here and do
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  this for a living. Yeah.
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  Especially when you've got a gang of people going in, you
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  know, sometimes not the same direction or, oh, I'm tired of
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  this. I want to do something else with
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  my life. And, you know, I don't want to
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  tour as much. You're hearing that a lot now.
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  You know, we saw Nico Mcbrain retire from Iron Maiden.
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  Like, I know I'm using the biggest examples, but you see it
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  across the board and on down. Yeah, but it.
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  It is a young man's game, though.
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  It is a young man's game. All the, you know, days of
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  driving up and down, you know, hundreds of miles in the back of
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  a van with no seats on it and just getting drunk enough to
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  fall asleep on a cold floor somewhere because you can't
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  afford a hotel and all that. It's, you know, it's fun, but,
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  you know, I'm in my 50s now. I don't really want to be doing
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  that. I'd like a like a comfortable
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  bed and a glass of wine at the end of the night.
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  Thank you very much. It's really hard on you
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  personally to tour even the weekend bands or long or like a
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  week here and a week there. It's just tough on you and and
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  really the music is the thing. Just like you said, like you
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  know, obviously getting this to express this part of you that
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  you haven't put out. Let's talk about the songwriting
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  first and foremost because I love like, it's still very, the
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  songs are really well put together, but it's definitely
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  like across a lot of different flavors for you.
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  And I love your vocals and such a cool approach to different
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  kinds of vocals. Did you said you had that sound
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  in mind already? But like when you were fleshing
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  the songs out, there's certain material.
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  Just say, this is what this needs.
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  I need to do this kind of voice here.
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  And then I can do a more melodic thing here because I really like
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  this like across the whole album.
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  I really like the different kinds of vocals.
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  Well that's cool of you to say man.
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  I don't think with that there was any real kind of pre thought
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  about it. All I wanted to do was just
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  write ideas and whether that or not it's a metal idea or a jazz
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  idea or a lounge bar idea or a mellow idea or a heavy idea,
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  just see, just start working on it and start, you know, playing
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  some drums on it, playing some guitars on it.
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  And then the vocals kind of form around that, you know, and the
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  song's got a certain feel to it, then that kind of dictates how
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  I'm going to sing it. I mean, I'm a fan of a lot of
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  different singers and I'm a big fan of not auto tuning or
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  overcompressing vocals and all that shit.
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  I like hearing, you know, Otis Redding's voice cracking when
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  he's going and all that, you know, I want, I want that shit
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  on my records, you know, one take live, honest locals.
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  And that's the only thing I was definitely concerned about is
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  just going in, doing one or two takes.
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  Pick the best one, Bam, job done.
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  Keeping it as as fresh and as honest as possible.
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  Really. So as far as writing goes, the
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  vocal direction was dictated by the riffs really, I guess.
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  And my, my love of various different singers.
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  You know, I love Tom Waits as much as I love Lammy.
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  It's raining as as much as Ronnie James Dio, you know, So
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  it's, it's just having a broad spectrum to play with, I guess.
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  Right on. I hear the weights thing for
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  sure. And Otis is.
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  It was incredible. I had a bootleg tape for years
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  of the Atlanta Pop Festival and the two headliners were Jimi
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  Hendrix and Otis, and I would watch that tape on a loop for
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  years in my form, the Otis. Like, yeah, I've seen, I've seen
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  the Otis reading footage of that.
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  It's fantastic. Yeah, phenomenal stuff.
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  And yeah, Wades man is I, I think like not just the voice,
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  but also like, I, I know you're trying to not just make music to
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  for the sake of making you're telling stories from wherever in
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  your subconscious or you're conscious.
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  And I love that, you know, like Waits, his voice is so effective
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  because it's kind of it's it's not typical.
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  He never had a typical, you know, crooner kind of voice.
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  But in his own way, he's so great at conveying a story or a
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  meaning or a word, even down to a phrase.
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  So powerful. And I think you're pulling some
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  of that off here because like, I love the change UPS between the
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  songs. Here's a more aggressive song.
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  Here's a more Moody, laid back song.
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  And I love the differences. It really, I guess in in some
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  way that's, that's influences from Tom Waits, really.
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  There's a lot of his albums where he will, you know, I've
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  met people who said that Tom Waits Can't Sing.
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  He just goes Cookie Monster all the time.
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  But that's not the case there. There's some beautiful melodies
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  on some of his albums. And he does switch between a
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  kind of low, comfortable sadness and a gruff anger.
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  Yeah. So that's, that's a huge
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  influence on me. I've got quite obviously, I
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  think really, and I'm not ashamed of it.
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  Yeah, of course. Were you ever a Nick Cave fan?
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  I also get some of those vibes too.
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  Weirdly, I should be on paper, I should be.
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  I've tried to get into, I've seen him live a few times.
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  I've got a couple of his records.
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  I just, there's something about it that doesn't quite connect
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  with me. It's, you know, it's good, but
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  for me, I'm just, I find myself drifting off when I'm listening
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  to Nick Cave a little bit sometimes, which is weird
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  because I should like it. I've tried a few times.
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  Maybe I just haven't heard the right record or, you know, I
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  don't know. I've seen him live twice and
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  just kind of started getting distracted and looking at the
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  decorations on the on the seats. Oh no, well, you know, even some
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  of the guitar work has kind of a little birthday party.
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  The early Jesus Lizard I thought of.
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  I was like, Oh, this is a fun approach to, you know, some
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  guitar licks and and work and then obviously contrasted with
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  the heavier stuff. So I think I think it all kind
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  of works. Fair enough on Nick.
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  I felt like it might have been a little thing there, but all
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  good. You know, we all have our I
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  definitely like artists, know, you know, people love and I'm
• 11:51
  like. Yeah, I don't know why I've
• 11:55
  never connected with Nick Cave. I should try again I think.
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  Yeah, Frank Zappa had something to say about forming your own
• 12:01
  taste is, like, essential to being a true artist.
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  It's like you can't. If you like what everybody else
• 12:06
  likes, there's probably something wrong with you.
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  You can't like everybody in the biz.
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  Yeah. And you're kidding yourself as
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  well if you don't, if you can't be honest about your musical
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  taste. I mean, what's the point?
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  It's like nobody's right or wrong.
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  There is no right or wrong in music.
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  If you like something, you like it.
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  If you don't like something, then you don't like it.
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  Doesn't mean it's shit or that it's bad that someone else likes
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  it. It's just you've got to be
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  honest. I don't want to listen to a
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  record that somebody else likes and go like, Oh yeah, this is
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  great when I don't, when I'm not into it, you know?
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  But at the same time, there's plenty of records I want to put
• 12:31
  on in the house and I wait till the wife's out.
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  Right on. And she'll do the same for me,
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  you know what I mean? Oh, nice.
• 12:40
  OK, I'll follow that up with a later question.
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  But I imagine like you do you, did you just pick up the guitar
• 12:47
  to start working on this material and it immediately was
• 12:49
  like, oh, new band? Or were these ideas you had it
• 12:52
  lingering around? I always feel like every
• 12:53
  guitarist or bassist has riffs just cut just sitting in the
• 12:57
  back pocket for that rainy day. But it could be.
• 13:00
  Yeah, I think like, like every guitar I started I spoke to and
• 13:03
  every songwriter ever spoke to is the same.
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  They've either got a notepad or a Dictaphone or just a mobile
• 13:08
  phone just full of an idea that comes to them in the middle of a
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  fucking supermarket or on a train or something, you know?
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  And I think we're all the same, just humming into our phones all
• 13:16
  the time when it gets to the point of you've got some spare
• 13:18
  time. Like we finished the the Orange
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  Goblin album early last year and I thought, right, what am I
• 13:23
  going to do? Let's go through all these
• 13:25
  recordings and most of them are shit.
• 13:26
  But you know, I found 10 that I liked and went, OK, let's let's
• 13:29
  work on these. But yeah, it's just generally I
• 13:32
  like sitting at home just strumming and not having an idea
• 13:35
  of what's going to happen and just let the song kind of create
• 13:38
  yourself almost, if you know what I mean, pull it out of the
• 13:40
  ether and go from. There, right?
• 13:43
  And then once Kevin put his parts on, did the songs change
• 13:46
  much at all? Did Kevin just play to what you
• 13:48
  created? Karen.
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  Karen. Yeah, no worries.
• 13:53
  I'm man, I get people's names wrong all the time.
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  So I've got the worst for it now.
• 13:57
  Thank God for the worst, all right mate, because I can't
• 13:59
  remember people's fucking names. Anyway, Yeah, he, I mean, he
• 14:02
  brought his own flavour to it. I, I kind of demoed everything
• 14:05
  and, and emailed them over to him.
• 14:08
  Just me either like tapping out a really bad drum pattern on a
• 14:11
  keyboard or using a loop, or sometimes even he calls it
• 14:15
  drunken beatboxing because I've sent him recordings of me going
• 14:19
  into a fill. There's various ways we put it
• 14:24
  together. But yeah, he's understood the
• 14:27
  concept of what I've been trying to do and he has added his own
• 14:30
  flavour and done it thankfully brilliantly.
• 14:33
  I really love what he's done on it.
• 14:34
  So it would have sounded different with a different
• 14:36
  drummer, and so I'm glad you didn't have to get one because
• 14:40
  he's done a great job, I think. Again, so gratifying.
• 14:43
  I'm not even a drummer. I'm a singer and bassist by
• 14:46
  trade, but I'm always concerned with the drums and what the
• 14:48
  drums are doing and. Foundation of everything, yeah.
• 14:52
  Yeah, like the drums need to push everything.
• 14:54
  That's just always been my. I think I also grew up listening
• 14:56
  to a lot of jazz and classic rock, so I think that kind of
• 14:59
  formed in my brain. The drummer has to push the
• 15:02
  movement of the music and the sound.
• 15:04
  But yeah, what a what a killer record.
• 15:06
  I'm so happy for you about this, and I'm glad you have other
• 15:09
  projects to lean on. I know you have a show coming up
• 15:12
  at the Black Card venue. We've been at many times as an
• 15:14
  organization. Not me personally.
• 15:16
  I'm overdue for a trip to London, but, you know, yeah, I
• 15:22
  need to not probably not in time for this show in early April,
• 15:25
  but absolutely. Eventually I'd love to meet you
• 15:27
  at the pub and have a drink. We'll, we'll probably it will be
• 15:32
  a future ghost cult night in London at some point in the few
• 15:35
  next few years, I promise. What, like in terms of your
• 15:38
  hopes to translate this to a live environment, you know, do
• 15:41
  you envision you being able to play the whole album live?
• 15:43
  Do you think you would some of the songs would take different
• 15:46
  shapes live, maybe even or just kind of a straight up
• 15:49
  performance of what's put down? I think it's more a case of them
• 15:52
  taking on their own form of, I think to begin with at least we
• 15:57
  will be. I mean, we have played a couple
• 15:59
  of games and like Rd. testing these songs and you know, there
• 16:03
  are bits on the album where there's more than just the two
• 16:05
  of us going on where I've overdubbed little Ebos or, or
• 16:09
  even some bass and stuff. For the sake of the first few
• 16:12
  live performances, we'll be trying to give it a different
• 16:16
  direction and a different feel. And so it's slightly different
• 16:19
  Animal, you know, just, I mean, if I go to a gig, I don't really
• 16:21
  want to hear the album played exactly as the album is
• 16:24
  anywhere. I like when bands take it
• 16:26
  somewhere else and give it a new flavor or a new energy.
• 16:28
  And I think that's the plan at the moment.
• 16:30
  We're going to smash it out between the two of us, have a
• 16:35
  wall of amps, make it loud and angry and see if it works,
• 16:38
  basically. I like it.
• 16:40
  We're a noise picker and we play Rock'n'roll.
• 16:42
  That would be welcome. It would be appropriate.
• 16:44
  It's an, it's an organic thing, you know, I don't, we're not
• 16:46
  going to use click tracks or samples or loop pedals or any of
• 16:50
  this modern technology stuff. We just want to get on stage two
• 16:53
  people and make a row And and. It will be slightly different
• 16:56
  from the album, but hopefully the songs will be recognizable
• 16:59
  to someone anyway. Right on.
• 17:02
  Yeah, right on. I imagine.
• 17:03
  I imagine No Call will come out to you eventually for some
• 17:06
  touring or some festivals. I can totally see it.
• 17:09
  Love to see you, our friends over at Roadburn, would be
• 17:12
  wonderful to have you out there or you know, or on a nice
• 17:16
  package. Bill.
• 17:17
  Yeah, we played Robin a couple of years ago.
• 17:19
  That was good fun. But I think this new album is a
• 17:23
  lot stronger than the previous album, so I'm really looking
• 17:26
  forward to taking this one out there.
• 17:27
  But also we haven't planned it very well.
• 17:29
  I think I've been so busy with a couple of other bands I'm in, I
• 17:32
  forgot that nowadays. If you want to book a tour, you
• 17:36
  know, you've got to be booking now for 2027.
• 17:39
  It's I'm kind of like, oh, let's go on tour.
• 17:42
  Everything's booked up, every venue's booked up until another
• 17:45
  year. So we got to either wait for
• 17:47
  people to cancel or just get lucky or start booking for 2027
• 17:52
  or something. But I either way we're going to
• 17:55
  do some gigs. Yeah, you can grind it out
• 17:57
  locally in the meantime, and I think a certain enough of your
• 18:00
  fans will come support this project.
• 18:02
  This album's awesome. What other can you talk about?
• 18:05
  Anything else you have going on other than what we know about
• 18:07
  with Orange Goblin? No, well, those guys have
• 18:10
  decided to call it a day now, which is fair enough.
• 18:13
  They're just doing this year, got a bunch of stuff lined up.
• 18:16
  It's been a kind of positive response to to it really.
• 18:20
  There's been lots of gig offers from festivals and stuff.
• 18:22
  So we're going to be quite busy. But again, that's taken up a lot
• 18:26
  of my weekends that I might have booked a noise picking gig for.
• 18:29
  So. But yeah, that's going to run up
• 18:31
  until I think there's going to be some final gigs in the UK in
• 18:34
  December, although I'm probably not allowed to say anything
• 18:36
  about that, but. What the fuck?
• 18:40
  Just leave it in. Nobody, nobody will notice.
• 18:42
  They won't watch it. But yeah, it's, it's, I
• 18:47
  understand their decision for it.
• 18:48
  They're all, they've been playing the same songs for 30
• 18:50
  years. They're all battle worn and
• 18:52
  bruised from from the life of touring.
• 18:55
  So fair play. But I'd like to do some more And
• 18:58
  then today has given me the time to do to do noise picker.
• 19:02
  So I'm quite happy. I think everyone's happy about
• 19:04
  the decision, really. Yeah, it's understandable.
• 19:07
  Do you have any, you know, personal favorite moment from
• 19:10
  your history in the band and any, you know, things that are
• 19:13
  going to stay like treasured with you for a long time as a
• 19:16
  result of, you know, you know, down, you know, blood stock or
• 19:20
  bit, you know, European festivals or things like that?
• 19:22
  Is there any like favorite singular show or memory with the
• 19:26
  band or album you're most proud of?
• 19:27
  Yeah, I mean, we had a, we had a lot of fun.
• 19:30
  I mean, I just like, I like just making a noise with my friends,
• 19:33
  whether it's to five people or 5000 people, really.
• 19:35
  I mean, we played Hellfest in France.
• 19:38
  That's kind of a standout one because we were going on, we're
• 19:41
  headlining one of the smaller stages and Metallica were on the
• 19:43
  big stage and Carcass were on the stage over here.
• 19:46
  We're like, no, who the fuck's gonna come and watch us when
• 19:48
  that's going on? But ended up the place was Rams.
• 19:51
  It's a really good atmosphere and we had a lot of fun.
• 19:54
  So yeah, I enjoyed that gig quite a lot.
• 19:56
  But you know, I've also played gigs, like I say, when nobody's
• 19:59
  turned up and we're just playing to the bar staff and the other
• 20:01
  band, and I've enjoyed that just as much.
• 20:03
  It's just, you know, sometimes it's fun.
• 20:06
  Having fun is having fun. Don't.
• 20:08
  Need a big crowd for it, but yeah, Health Fest would probably
• 20:11
  be if I had to pick 1 gig. I can't remember when it was two
• 20:14
  years ago now. I think that yeah, it was.
• 20:16
  Probably going to go down as the greatest health fest ever.
• 20:18
  That was the comeback from the pandemic year.
• 20:20
  And like it was two weeks of health fest and it was like, how
• 20:23
  could they even do this? They're never going to top this.
• 20:25
  This is insane. Yeah, it was insane.
• 20:27
  It's insanely hot. I remember, yeah, I was super
• 20:30
  hot. I remember seeing the last US
• 20:32
  Orange Goblin tour and the place was packed out, probably sold
• 20:35
  out. And I was even like really proud
• 20:38
  that my city at the time sold out that show.
• 20:40
  I was like, this is fantastic is what we need.
• 20:43
  And the band was killer and just came out and played.
• 20:45
  No fancy effects, just here's our songs.
• 20:49
  Metal and crowd was into it was, you know, just like a real great
• 20:53
  confluence. There's a good package I've seen
• 20:54
  you recall. And I just remembered, like,
• 20:57
  thinking about my long history as a fan, I was like, this is
• 20:59
  very, you know, like we have a band that's been around for
• 21:03
  like, 35 years that's still red. And I was very grateful that
• 21:06
  night. Oh.
• 21:07
  That's good to hear. It's good to hear.
• 21:08
  Yeah, there. There's always been a great live
• 21:11
  band, no matter how drunk they got.
• 21:14
  Nice work. Just to just to wrap this up, I
• 21:17
  always like to end with a wild card question.
• 21:19
  I pick a special wild card question.
• 21:22
  I can't say words today because I have only had a cup and a half
• 21:24
  of coffee, but shit, sorry. Man.
• 21:26
  I try to pick a special question for everybody, so the question I
• 21:29
  have for you is, what is your favorite song to play live in
• 21:34
  any project you've ever been in? I don't really know to be
• 21:37
  honest. With you, the song you never get
• 21:39
  tired of. I'm hoping some of the songs of
• 21:41
  this new album might, it might be one of them.
• 21:43
  But otherwise, I mean in Hangnail there was a song called
• 21:46
  Side Slide that was always fun to play.
• 21:49
  In Orange Goblin there's a song called, Can't remember what it's
• 21:54
  called now. It's got really offbeaten.
• 21:58
  I forgot the bloody title. I'm going to get slaughtered for
• 22:02
  that, So I'll go with Blue Snow from Orange Goblin.
• 22:07
  Sing in a band called Blind River that does a song song
• 22:09
  called Acid Tongue. I really do like playing live
• 22:12
  because it's got a really slow, dirty groove to it, you know?
• 22:14
  So that's one of them. On On Any Different Day it'd be
• 22:17
  a different answer as well. Nice work, slow grooves forever
• 22:22
  probably on the new album. I think shoe or start the Flood
• 22:25
  and the title track are probably going to stay with people a long
• 22:28
  time. Shoe The video for Chew was fun.
• 22:30
  I know you worked on that and I do like start the flood.
• 22:33
  That's kind of like my vibe. I like the.
• 22:35
  I've got the puppets hanging up in the background there
• 22:38
  somewhere. Oh, no way.
• 22:39
  That's amazing. Yeah, great job on that video.
• 22:41
  It's it was very jarring and cool and different.
• 22:44
  Oh cheers man, maybe that's something.
• 22:45
  You want to do. Yeah, that was, it was kind of
• 22:48
  caused by the point of me and Kieran hardly ever been in the
• 22:52
  same room. I thought, how can I make a
• 22:53
  video where he's on the other side of the country, get puppets
• 22:57
  that looks a little bit like us and try and blend it together.
• 23:01
  So. But yeah, I do enjoy making the
• 23:03
  video side of things. Really.
• 23:04
  It's when you get an idea, it's good fun.
• 23:06
  I mean, that's another thing. I've been in bands, I've had
• 23:08
  ideas and videos and the rest of the band gone so it's never
• 23:11
  happened. But there's no one to tell me no
• 23:13
  in this band, so I guess. You might have a hidden talent,
• 23:16
  maybe people will engage you to do some videos for them.
• 23:19
  I can see it happening. Who knows, You know I like doing
• 23:22
  it for fun and I like having no one to answer to.
• 23:28
  The Earth Will Swallow the Sun is the new album from noise
• 23:31
  picker Harry Armstrong, also of Orange Goblin.
• 23:34
  Bunch of other projects. Thank you so much for hanging
• 23:36
  out with us today, man. It was a real treat for me to
• 23:38
  get to know you and hear your story and share it with our
• 23:40
  audience. Thank you.
• 23:41
  Best of luck. We continue to follow you and
• 23:43
  support you whatever you do beyond Orange Goblin and more.
• 23:46
  So keep it up man. That's much appreciated.
• 23:48
  Thanks for helping us spread the word.
• 23:50
  It's you know, it's, we do it anyway.
• 23:52
  But it's nice when when people give a shit.
• 23:54
  So thanks man. Well, we give a lot of shits.
• 23:57
  Cheers, have a great one. You too mate.
• 23:58
  Thanks again.