Latest / You Call That Radio? / 'Taxis in the Sky' w/ Post Coal Prom Queen & Tickle McNIcholl

Transcript

'Taxis in the Sky' w/ Post Coal Prom Queen & Tickle McNIcholl · You Call That Radio?

• 0:01
  Speaker A: As you call that radio. It's the Friday night phone in. It's been a while since we've. We've done a Friday night show and we've got not one, not two, not three guests or together. And we can go. We're celebrating the tickle McNichol. We're celebrating you tonight.
• 0:23
  Speaker B: Me and Postcode Prom Queen as well.
• 0:26
  Speaker A: We're celebrating you. Yeah, yeah. One at a time. One at a time. One at a time. And of course we're celebrating Gordon and the life in Post Cold Concrete. This is the Friday night foreign. It's a big day. Sky Taxis is out now and it's an incredible piece of work. It is a Glasgow dystopian future. I'll just play a little clip of it and then I'll let you guys explain what it is. This is just a six second clip just to give you a vibe to what's going on here. Okay, but wait, that's a very short interlude. Cmv, cb. Max, how would you explain it?
• 1:13
  Speaker B: The clip or the whole. The whole video?
• 1:17
  Speaker C: Well, we'll.
• 1:17
  Speaker A: We'll talk about the whole video. Yeah, I think it's the whole project as a whole.
• 1:22
  Speaker B: Yeah. Basically Postcode Prom Queen made an album called Music for hyper capitalists in 2020. 2020 21. I'm not totally sure when. At some point they did and then they were like, we'll make another. And it was fucking amazing. I think you were on. Was amazing.
• 1:45
  Speaker A: Yeah, sorry, I was on. It wasn't. It was. I want it. I was on it.
• 1:48
  Speaker B: I think you were on it. It was like a concept album.
• 1:50
  Speaker A: Yeah, I was on that.
• 1:52
  Speaker B: Yeah. Everybody worked like, hello, Corporation, right?
• 1:58
  Speaker A: Yeah, it was good. Yeah.
• 2:01
  Speaker D: Another. Another classical dystopia.
• 2:03
  Speaker C: Yeah.
• 2:04
  Speaker D: Okay.
• 2:05
  Speaker B: Yes. So. So they were like, do you want to do. Do you want to be. Do you want to rap on a beat? And they had a bunch of beats and. And I was like, yeah. And just. Was like, I'll just do a. As if I worked. As if I. A continuation of it. So. As if I continue to work for Postcode Prom Queen Corporation. And the beat they give. There was a bunch of beats and I listened to all the beats and my favorite one was called Sky Taxis, which I'm. I'm not sure. I don't know if I've asked them, but I think it may have just been like a throwaway title for the beat. Or like, I mean, I. Or I don't know. I mean it sounds pretty. It's a pretty futuristic beat, so maybe they were like. Sounds like sky taxi music. So it was called Sky Taxis. So I listened to it over and over again and I wrote some little bits, but not. I wasn't really sure, but I thought something about working for a dystopian sci fi corporation. And then I got on the subway and they had new carriages that looked exactly like the set of a 1980 sci fi film. So I was like, right, I'll write a song so that we can make a video that is set on the subway. So I start. So I. So because the beat was called Sky Taxis and because I was trying to. And because I was trying to think of a. Basically I was like, oh, it could be a guy who's on the subway and he just goes round and round on the subway and he's always thinking about how he could be getting a sky taxi instead, but he can't afford a sky taxi. So I. So I basically sat on the subway listening to the beat over and over again until I thought of the song.
• 3:45
  Speaker A: And it's. It's the. The futuristic. The futuristic tax subway. The clockwork horns. Stan Kubrick is obviously one of the. The. The dense people have referenced. Well, this is a question for people in Glasgow, for anyone that's listening as do. Has anyone ever actually called it the Clockwork Orange? Because it's a kind of thing that newspapers say. Oh, are they all clockwork orange like the subway? I've never heard anyone been refer to the Glasgow subway as a clockwork orange. But the newspapers doing the same with the newspapers call people that go to festivals revelers. People don't. It's tabloid things. But I might be wrong. Maybe. Maybe I'm too young.
• 4:34
  Speaker B: Maybe I messed up. I've been you reveling on a Sunday.
• 4:38
  Speaker A: You. I have been known to revel. You have been known to revel.
• 4:42
  Speaker B: I've seen you reveled. Sorry, Mark, I. I might misjudge. I might have been so reveled at my face. But I couldn't really tell what was going on, to be honest.
• 4:54
  Speaker A: It's fair to say I have reveled before. Not. Not so much these days. It's a different. A different. I've only been to one festival this summer. I think this time last year I had been eight and there was eight to go. And that sounds exhausting. That sounds exhausting. But you know, I'm at that age. It's either yoga or smack is yoga smart and I don't know which one. So I'm just taking the year out. So I was the way floor. But yeah, I'M supposed to be at the, the hip hop thing in Queen's park tomorrow. But once again I was just. And I was supposed to be meeting people for dinner. I had all these plans. I was at Commonwealth Games today. But I've just. Basically my rule this summer is do I have to go? And the answer is no. So I've just stayed. So I would have liked to have went but wanting to go and needing to be there is two different things. Going back to the Clockwork Orange. Yes. Glasgow subway though. This has been, this has been in the works for a while. I've been seeing clips and I was trying to work it. Was it, was it you tackle or was it you, Lily? Lily said let me hear the song. Ages ago you sent me clips. Did you not want me to be a cameraman?
• 6:08
  Speaker B: At one point I was, I, I, this, There was a, there were a lot of different. I've had a lot of different plans. A lot of different plans.
• 6:17
  Speaker A: There's been more because music for agriculture capitalist was a while back now.
• 6:21
  Speaker B: So I mean. And I got the beat from you guys in like 2024. I think like that was about the
• 6:36
  Speaker D: thing because we finished our, we finished the, the operatic album we were doing and I thought, well that, you know, that was easy. Let's do another hip hop one. And we got exactly one song in and that's all we've done so far. It took two years. It's worth it though.
• 6:54
  Speaker A: Yeah. What, what, how did the. Let's. Okay, let's go back a little bit to the music then. The music for Sky Taxi's Gordon Lilly. Would you like to explain where it so pre tackle this song in the pre tackle days.
• 7:11
  Speaker B: I'm really interested in this as well, to be honest, because I have absolutely no idea. I should have probably asked.
• 7:18
  Speaker D: This is one of Lily's beats originally. I think so. Jonathan, take it away.
• 7:24
  Speaker C: Yeah, the difficult thing about this, um, is be. It's because it was such a long time ago. I don't remember very much. So it's a shame because I would love to be able to like give you a really detailed explanation of how I built this song. But I don't remember very much. I remember a few things. So I remember that I found a fun sample pack online of computer noises which you can hear in the song. So I just took little computer bleeps and tinkle sounds and put them into the beat and I found some nice synths on Ableton. I don't really remember much else. It was so long ago. But if you. If you want to ask a question, then maybe it would jog some memory.
• 8:12
  Speaker D: But another one we were doing.
• 8:15
  Speaker A: Oh, we don't remember. We don't remember.
• 8:18
  Speaker C: Yeah. Producing music is that like you at the time, it's so detail oriented and you get really into the details and then you finished it and you kind of like when you do an exam and you wipe all your information from your memory after you've memorized it for the exam and you forget everything. It's kind of like that sometimes.
• 8:35
  Speaker D: I think we were doing an awful lot of beat writing back then, because we were. We always had an idea to do more hit talk and more collaborations and we were kind of gearing up to start inviting people in to have a look. And when I heard Lily's beach for sky taxis, which I think was flying cars at one point as well, sounded awesome. So I started like tinkering with it. And everything that we do in the band is like a learning process because we're not professional musicians or anything. So this song has been through so many different iterations and so many. Then we got really into the nitty gritty with introduction this time. Whereas before we would take a very kind of maximalist approach. Just like throw everything out, layer everything up, you know, don't bother with me tiering. Just keep tiring straight assets till it works. But this felt a lot more considered. And even though it's like a big, loud, kind of futuristic song, the production behind it's a bit more delicate than we usually did. So it was a really fun process and it didn't take two and a half years of like non stop worked, you know, we. We've all been off doing other things and working on our own projects and whatnot. So yeah, I'd say maybe a year and a half solid work.
• 10:00
  Speaker C: And I was going to look if I could find the project, to find details of the project to like share my screen and show you, because that could be quite interesting. But it's on a past laptop as well, so I don't even have the original project anymore.
• 10:13
  Speaker D: The thing is, I'm d. My laptop will explode if I try to open up Ableton and stream at the same time. I'll see if it opens, but the laptop I'm using at the moment hasn't been updated since 2020 and Firefox doesn't work on it anymore. Chrome barely works. But all of my plugins, all my VSTs, everything I have can only work on this version of the Mac iOS, which is from 2019, so.
• 10:49
  Speaker A: And shockingly, this computer. This computer here that I'm using was. Was. Was a lockdown computer. And I always say it's. Oh, it's still new, but it's not, is it? Anymore.
• 11:01
  Speaker D: I think lockdown feels like a couple months ago. You know, it doesn't tell everybody's hack.
• 11:06
  Speaker A: Do I need a new desktop?
• 11:09
  Speaker C: Only if it's slowing down or stopping working. And it stops working.
• 11:14
  Speaker A: Is anyone else hearing that? When I had Lolly up full screen, it seemed to glitch a bit. Did I not see that? No. Am I sorry. It's my computer. I can't.
• 11:24
  Speaker B: With these sunglasses on, to be honest.
• 11:27
  Speaker C: Yeah.
• 11:29
  Speaker A: So. So tell us about the look. Tell us about the look. Cmv.
• 11:32
  Speaker B: So. Basically I was like, the. The. The subway is just fucking orange and black and white and gray and pretty much nothing else. So I was like, I'll just. I'll just do that. That was. That was one of the first things I thought of. So I just went on vinted and bought a load of orange. A lot of orange and gray. But it's basically found a nice orange jacket. Got my little orange belt. I thought, you know, in the Fifth Element, a lot of people have their hair like that. They don't have the little sideburn bit in their hair. Everybody's hair is cut to, like, quite a high line. And it made me think that whoever's been responsible for that in. In the film, it's like this idea of like a future fashion sort of thing. So I had this idea that maybe the. The.
• 12:22
  Speaker A: The.
• 12:22
  Speaker B: In the future tra. Like, trousers would be like, right up to here sort of thing. Like, that was the idea. It's. It's like a. It's like a dungarees. But I had. The editing was a real bastard because every so often the. Well, I was. I had to cut loads of. There was loads of bits I couldn't use because my jacket flapped in the. In the wind of the. That the subway causes in the tunnels. And I didn't want there to be any flapping because I. Partly because you could see the thing and partly because I was like. I don't want it to feel like there's any natural, like, wind. I want it to all look like completely like I'm underground. And there's no. Just all very still and dull and boring. And there's nothing natural like wind. So. So yeah, I. I had that basically got. I got a bunch of teal stuff as well. For. For a while. I was like, shall I make it orange and teal? But because the subway doesn't add any teal on it. Teal. Teal. Teal color, like greeny.
• 13:17
  Speaker A: I'm talking. But do you know the last time you were on the show, I have renounced it back because it was 2020.
• 13:24
  Speaker D: What?
• 13:25
  Speaker B: Do you not pronounce the h in Peter Thiel?
• 13:28
  Speaker A: I think people, people do both. I do both. I just, I just say Theo or teal. Just. So obviously I'm not playing the music because you need to go. You need to go to Tickle hip hop on YouTube to watch Sky Taxes. But then let's just stop it here because I just wanted to give. Oh, let's go back a bit. That's the view. There's lots of really cool views like that. So I'll just get that as a wee. A wee side thing for anyone who's listening to the audio podcast. We are. We are looking at the. An empty. An empty dystopian Sky Taxi.
• 14:03
  Speaker B: Yeah. Oh, no, this isn't the Sky Taxi. The Sky Taxi is in. This is. This isn't the Sky Taxi. This is the underground. The Sky Taxi is like the uber ground. So like I'm going round and round. I'm like a commuter. So I get on in the morning and I just go round and round and round and then I get off at the end of the day. Like my job is to commute. Just being on my phone, commuting all day long. And that's all. That's why, that's why.
• 14:27
  Speaker A: Looking at adverts.
• 14:28
  Speaker B: Yeah, adverts or tickle tackle or. You know what I mean? Like trying to get a date that's. Or you know, trying to lose that weight or whatever. Just, you know, apps, just apps, you know, like what. What else is there in life?
• 14:42
  Speaker A: Well, you've. Well you've actually, you've walked. You've walked the walk. Talk to talk. And you have actually been off social media for a long time now.
• 14:51
  Speaker B: Yeah, I have, but I work on it a lot, to be honest. Like red.
• 14:56
  Speaker A: I don't think Reddit counts. It's not got the same gamification.
• 15:00
  Speaker B: And also you're not like. I don't have an. Like at the moment with Reddit, I don't have an account. So I. It's completely untailored to me and I can't get involved in posting anything. And also it's quite anonymous. You're not like yourself. But on Instagram and TikTok and Facebook and stuff, you're like you. And you're presenting on Reddit.
• 15:20
  Speaker A: I'm Called. You call that radio. So they might be able to track it back to me.
• 15:24
  Speaker B: I mean, I was on, I was, I was tickled at one point on Reddit, but at the moment I just look and, and, and I basically, I've set it up so that it's as uninteresting as possible, so that I could spend as little time as possible. But if I, if I wasn't a coward, I would smash my mobile phone. To be honest,
• 15:45
  Speaker A: the. But you've, you've, you've, you are smashing your mobile phone in a sense because you're not on Facebook. You deleted, you were on Facebook before. You've deleted Facebook. I don't think you've ever been to TikTok. Don't remember you. I don't remember about Instagram. It's only recent years that I've gotten Instagram.
• 16:01
  Speaker B: Yeah, no, I had, I had a TikTok account and an Instagram account as well. Like, I just, I was mostly on Facebook, well, when Facebook was the only thing. And then Instagram, when Facebook was just old Daz. And then, and then I gave up Instagram partly because I, I was like, uh, I could just see any. For dark reasons. It's not worth getting into. But Instagram was a bit much. And also I was like, I, I just, I've been trying to get off social media for years and years and years and years and years. It took me seven years to stop smoking cigarettes. And I'd say it's probably a, almost a similar time to get off social media. Uh, so I'm quite happy about that.
• 16:45
  Speaker A: And how, how do you pro. How do you promote as an artist without social media?
• 16:49
  Speaker B: Oh, no, I don't, I don't promote. Don't promote at all. I did like a re. I did a sort of acapella version of, of. I mean, it's this acapella. An acapella audio of I'm not rapping anymore. And like 54 people saw it and I did like an instrumental joined together version of two tunes that were like a. The Elon Musk Sci Fi tune. And like 70 people saw it.
• 17:17
  Speaker A: I got distracted.
• 17:18
  Speaker B: I, I started writing that tune in 2014. I knew he was like, there's a, there's a, there's a. The Nazis are having a rally at Glasgow Green tomorrow, by the way. Anybody that's watching. I'm not suggesting you go, I'm suggesting you go to the counter.
• 17:34
  Speaker A: Yes, there was a bit, there's a bit of a motion as well, because the classic grand have just Canceled a gig. It was called the Grand Awakening because it was gonna. It was ran by an anti immigration free thinker who is also been convicted of domestic abuse. So that you know that. Can I get that kind of person you get. So they were. He was having a gig at Classic grand shows to Classic grand. They just canceled it. And yeah everybody's. But yeah, the code. There's going to be a counter demo at Glasgow Green and there's also going to be a really good hip hop night at Queen's park as well. Which I'm. I'm disappointed. I'm not going to make either of them sadly so but I hope everyone else can.
• 18:19
  Speaker B: You're a fashion who hates hip hop is what you're saying, Mark.
• 18:21
  Speaker A: Well, there's. There's more than you would think. I wouldn't put myself in that category but there is more than you would think. But yeah, there is a. So what I was going to ask. So he asked about the, the. Do you feel free from social media? Do you feel what you're missing out? Are you. Are you completely cured?
• 18:40
  Speaker B: I miss a lot of gigs. I miss a lot of gigs. Oh I. The only thing used to promote is WhatsApp group that I've got but it's only got people I already know and see anyway in it. And stickers. I stuck a bunch of stickers in America in, in the subway in San Francisco and la. But I don't think anybody's. Think anybody's clicked on the QR code. Yeah, no, I feel much better being off social media. I feel psychologically better. I don't really. Yeah, I miss gigs. I miss gigs and events that people having and I miss the new music of people I know and that's not good. But it's like. It's like with phones, like with a phone you can like find where you're going with a map. You can like search up stuff that you don't know. You can like get in touch with people. You can like. Like there's so many amazing things that phone can do but it's still ultimately on like weighed up on the scales. Just a fucking evil in the world. Like even though I miss out on a lot of stuff not being on social media, it's just better. It's just better. And we should all smash our phones.
• 19:41
  Speaker A: Exactly. We used to hold. We had a. It was a brick. We used to hold a brick and now it's the brick that's got a whole device and that's an. That's it. The reason I got into Reddit was because Google got so bad because of the Google adverts. So no matter what yet you, you, you asked. It was a Google advert. So you ended up having to write red after it and then read 50 opinions and decide whether it was okay to mix your painkillers with the other thing. Yeah, interactions, drug interactions. I'm always paranoid a bit, you know, accidentally overdosing on something stupid like, you know, and then people not believing that. My death, I nearly died of cherry pips the other week. The other month I put cherry pips in a blend. Cherries in a blender. I found out that cherries were. Pips were poisonous.
• 20:41
  Speaker C: I didn't die like island light or something like cyanide.
• 20:44
  Speaker D: Yeah.
• 20:48
  Speaker C: Or is it wasn't it? I'm not. It's one of those ones, isn't it?
• 20:52
  Speaker A: I think you're right the first time. But obviously I'm not a scientist. I don't know. But I do know that when I checked red, it said I was gonna die. And then I had to put a post on social media to let everyone know that if I was, should I not survive the. Even at the night it was cherries. But nobody's gonna believe that. Even the post mortem. No one's going to believe that.
• 21:12
  Speaker C: You know, they would think you'd been poisoned by someone. Do you think?
• 21:16
  Speaker A: No, Well, I think, no, I think they would just think it was good old fashioned drugs he's chosen, he's moved to the island to take smack or something. They wouldn't say. They wouldn't say, oh, he's accidentally overdosed on a cherry smoothie with kale. Nobody is believing that. And you know, even if close friends and family went, no, it turned out it was a cherry poisoning thing, an accidental self. Cherry poison. People would just say that that's a lie. People are making up.
• 21:44
  Speaker D: So, you know, I'm not supposed to eat grapefruit on the antidepressants that I take because apparently it can like really, really up grapefruit grape juice. And that's grapefruit.
• 21:56
  Speaker A: Grapefruit, yes. I grape. I wouldn't even touch grapefruit anymore because grapefruit's allergic to everything. So I just, just. And to be honest, I don't enjoy grapefruit enough to risk my, my life.
• 22:09
  Speaker D: No, I was cleaning it formatively, you know, I just, you know, I was just eating it so that people would see me buy it so I could tell people that I eat. It tastes like shit. It's a garbage fruit. So yeah, you're not giving up.
• 22:21
  Speaker A: You're not giving up. You're not giving up. You're not giving up bananas or strawberries. No, no, it's not.
• 22:27
  Speaker D: Power through that.
• 22:28
  Speaker A: Yeah.
• 22:29
  Speaker D: I don't care if this is all my guts. I'm still having the strawberries.
• 22:32
  Speaker C: Affects birth control as well. So you could have like a grapefruit baby because you had too much grapefruit and it stopped your breast control walking.
• 22:40
  Speaker A: Is that true? I learned a lot from you guys because you've obviously got some science going on.
• 22:48
  Speaker B: Citrus fruit. I prepare to eat.
• 22:52
  Speaker D: Sorry.
• 22:54
  Speaker B: There's only one color of citrus fruit.
• 22:57
  Speaker C: Yeah.
• 23:00
  Speaker A: For our audio podcast listeners, it's Tickles. Wearing a very orange jacket. Would you call that a double breasted waistcoat?
• 23:08
  Speaker B: I don't know. I'm not sure.
• 23:10
  Speaker A: I think I'm actually tie and I'm matching. Like a tie belt?
• 23:15
  Speaker B: Yeah, it's just like. It's an actual little belt. I just had to put it. I had to put it on the front and then round behind the dungarees so that it looked a bit more like I was wearing a belt. It's got a little round thing. See the buckles? Like round. Like the, you know, like the circles on the stuff.
• 23:31
  Speaker A: It's fun. Oh no, the. I want to talk to you about quasi crystals because so you shared on Instagram last night something about. It was called An Introduction to Quasi Crystals. Quasi Quasi Crystals and the Quantum Physics and the foundation of General Quantum Physics or something like that. And you said, and you're saying views are taking these new song titles a bit far.
• 23:58
  Speaker B: Which.
• 23:58
  Speaker A: Which we all laugh. But I ended up finding a really good podcast on An Introduction to Cozy Crystals because this is my. This is my shit. This is how I turn my brain off at night is listening to things that I am not. I don't have enough intelligence or facts to have based an opinion on. So I find it really relaxing. So did you go to it? What is your opinion of quasi crystals?
• 24:26
  Speaker D: The thing is, I saw that in the Edinburgh Scooters Institute where I worked and that I work in like the ethics of AI and that sort of thing and AI literacy. But I'm the only person in that building that doesn't have like multiple doctorates. I'm like the diversity hire being a idiot. So I see all these signs up everywhere and I've got no idea what's going on. But the people that are coming into these events, they look down on me like I am to build and they're right to do it. It's. It's a ridiculous place to work. So I couldn't really tell you exactly what quasi crystals.
• 25:06
  Speaker A: That's the beauty of it though. Nobody knows this is what going. I don't have a clue. Yeah.
• 25:13
  Speaker D: Also that's a four day conference they're running. There's four days on quasi crystals in fundamental physics. That's a lot of quasi crystal content.
• 25:22
  Speaker A: I hope somebody was. Somebody was recording the audio because that. That stuff makes me go to sleep. I feel it tricks me into feeling that I'm being smart as I fall asleep. But I think the general V. It's not true. You've got two 2D, 3D. This proves that there's 8D and then there is some theories that sign it's science series that might be. What is the right word for not alien but an interterrestrial. I don't know. A foreign. A foreign rock that is 8D. So that's basically the general. Am I right in saying that? Am I getting that wrong?
• 26:03
  Speaker D: That sounds about right. As part. I know.
• 26:07
  Speaker A: And there was a scientist who had been. Who had been laughed out. He'd been laughing with academics who's been proven right. And I think he won an award in the story. Yeah.
• 26:18
  Speaker B: This is social media and it like I've not heard anything about that.
• 26:22
  Speaker A: No. No. Nobody has.
• 26:23
  Speaker D: No.
• 26:24
  Speaker A: This is weird. This is new. That's just why I like it. Yeah.
• 26:26
  Speaker D: It's like the. The Hungarian guy that said it when we should wash our hands before surgery and everyone said you're absolutely insane like that. That's nonsense. And he put him in a. Like a psychiatric. A psychiatric hospital. They like died in poverty. Turns out he's absolutely right and he previndicates it those. Of course he's gonna give a shame about that now on kind of being dead.
• 26:47
  Speaker A: So I don't know why people are always so against washing your hands. You know like, you know, wash your hands before you cook food. Just wash your hands in general. I know that it was. It was some people upset about washing hands. It's. It's not a. How I would die on. I think just wash your hands. What's the harm in that? I don't know. I don't know if they're going to
• 27:07
  Speaker C: wash their hands after handling corpses in a morgue anyway.
• 27:13
  Speaker D: Yeah. Right. You think that that would be kind of a natural reaction.
• 27:16
  Speaker A: Yeah.
• 27:18
  Speaker D: I don't know if everyone can see the charts here but Lily has issued a fact a lies fact check which is I don't understand why the news
• 27:26
  Speaker A: counts grapefruit and Birth control. They decrease the breakdown of estrogen in your body, not stop the birth control chemicals. So can you see the effects of birth control not make baby more.
• 27:38
  Speaker C: Yeah, because I. I had heard that grapefruit make your birth control less reliable. I think lots of other things can. But then I was like wait, am I just repeating some scaremongering thing? I'm going to just do a quick fact check.
• 27:50
  Speaker A: Yes. Fact check. Please fact. Feel free to fact check me on my quasi crystals. I don't think I anything controversial. I don't think anyone's going to go out there and pick up a rock and go that's 8D. Mark said it's okay to to use this in my dinner. No, I didn't say anything. I just said they think that it might. It would just change the existence as we know it. It's what they're saying something like that. But they don't even know what that means. Obviously the meaning of the thing that it might have something to do with the meaning of life or something.
• 28:22
  Speaker D: But this sort of thing. The prevailing theory was that everything exists within 10th dimensional space. And you've got the first few dimensions like a spatial, the fourth dimension of time, then lights 5 to 6, 7 and 8 and 9 were 10 weird intermediate star dimensions and then everything within that is folded up within 10th dimensional space. And then there's like task like multiverse theory and all that sort of thing. But that was a long time ago and I don't know if that's a cool trendy theory anymore. That's around like string theory kind of times which nobody talks about anymore.
• 29:00
  Speaker B: I sky some really regretting the pipe that I smoked wee minute ago because.
• 29:08
  Speaker A: I'm going to play. I'm going to play. So we're not going to play the new one because we want everyone to. Hold on. Stacey's asking, can you ask when it went on Bandcamp? I think I met on Bandcamp at 3 o' clock today because I got an email. Is that right?
• 29:18
  Speaker E: Yeah.
• 29:19
  Speaker D: Is under TC2 Bandcamp right now.
• 29:21
  Speaker A: Yes. Postcode Prom Queen Bandcamp. Actually I'll put. I'll put a link in the comments as we watch a song from Tickle I've picked I picked an old classic because we want people at the end of the show to go and watch Sky Taxis. I will put a link in the comments. If you listen to audio podcast I'll link in the description. I'm not rapping anymore as the one I picked is one of your classic stickle. So wake up, be Introduction to that and we'll have a. A quick music break.
• 29:49
  Speaker B: I. I made a beat out of this, the introduction to. Know what they called Fleetwood Mac song. The name of which escapes me, but I bet you'd recognize it. I made the beat and then I was like, that's a nice beat. And it's a rarity that I would write. And I speak like it's vanishingly rare that I would write one and think, oh, I could rap on that because I'm really not that great at beat writing. But it was all right. So I was like, I'll write a rap for that. So then I just wrote. I just wrote a rap for it and I just used the same rhyme scheme all the way through. And I wrote a 32 bar verse. And then I was like, I don't have. I don't know what else to do. I think that's it. So that was it. Very few hours about how I'm not rapping anymore and all the other things I'm doing instead and. But, oh, when I wrote it, I had, you know, that throat. The thing that you had with the. Where your vocal cords.
• 30:51
  Speaker A: Yeah, yeah, the vocal part.
• 30:54
  Speaker B: Yeah, I can.
• 30:54
  Speaker A: Yeah. That's why it made me emotional watching this the first time because I was like. I couldn't talk for about six weeks or something. I was in Korea with no vocal cords.
• 31:03
  Speaker B: What's wrong with me that I'm like telling you that I just wrote it and like, it's not really about anything. And then telling you that I could barely.
• 31:09
  Speaker A: No, it actually meant a lot to me. It was like. I felt it. I felt it. It was just. It was quite a scary time because obviously vocals is important, although probably not anymore because I keep on getting adverts for a living lab saying that they can clone my voice. That's going to be fucking interesting in the future for a minute.
• 31:26
  Speaker B: So I just.
• 31:27
  Speaker A: It's like, you don't need to even do. You don't even need to talk anymore. You can just clone your voice, which what the hassle is, why don't I just do it anyway? I just. It's not that difficult for me to say the words that I want to say.
• 31:42
  Speaker B: I ran to AI Rap.
• 31:45
  Speaker A: They.
• 31:45
  Speaker B: They'd written down some rap lyrics and then got an AI to say it. To say my rap lyrics. And so it was like an AI rapping my rap lyrics. And it made me very uncomfortable. I know that's not really to do with what you're saying about the voice, but.
• 31:58
  Speaker A: Oh, no, that's Somebody that, that to me, I wouldn't mention the person, but they sent me a. A remix of the Catch, actually. And it was horrific. And I told them that actually. So I don't care. But it was basically, you know what? I'll try and see if I can find. I'll try and see if I can
• 32:20
  Speaker B: find at some point someone ascend us all music of ours that an AI has made, but the AIs made it better than us. And then we're gonna have to. You guys are gonna have to listen to beats and singing and keyboard playing of your own. Of your own song.
• 32:35
  Speaker A: I'm not concerned because I'm not good at singing. Yeah, I'm not good at singing. I'm not concerned. It's the flaws. It's the year 2027 is going to be the year of the average looking, average singer. Because nobody's going to be that sure anymore because everyone's going to need to get shit and get shit quick because
• 32:53
  Speaker B: they going to be old as well then like that.
• 32:55
  Speaker A: Yeah, absolutely. You can't be.
• 32:57
  Speaker B: You can't be.
• 32:57
  Speaker A: You can't be hot. You can't be hot in the future. Everyone's hot in the future. If you want to make authentic music be less hot and be less good, get quick.
• 33:10
  Speaker D: I've been ahead of your. I've been ahead of this curve for decades, but I'm loving this.
• 33:18
  Speaker A: Yeah, we're going to play. We're going to play the I'm not rapping anymore and we'll be back with more. Hold on.
• 33:26
  Speaker B: No, never mind. It doesn't matter.
• 33:29
  Speaker A: You can. We'll do that. We'll do. We'll wrap up the I'm not rapping anymore after it. So let's go for the song. Let's listen to the song. Let's have a music break.
• 33:47
  Speaker E: I'm not rapping anymore anymore. I'm not rapping anymore. I'm not rapping anymore. I'm not rapping anymore. Maybe grab a flag and that wave a light semaphore if it's pressing and it's possible A message or some gossip in a bottle my way on any shore you can bet it's true. You'll be getting my news from a messenger to do to make ready for a better set of methods to choose that a sensitive to. And I reckon I'll use a great many more scribbling and illuminated a letter for him. I'm only going to communicate in metaphor. Bringing in a little liberated ape to train to take the train to 8. Make it a horse telling me to tell them me to tell them me to tell them tell them at the place face to face but teleport hope is a float Take my tokens for smoke signals Most think the do to make me a better sport If I miss you all ache very sore if I'm missing call we should all make plenty more Telegram or teleman or telegraph or telepath With a crystal ball from my old mate Skeletor with tea leaves head stays send your toes reach deep DG remonstrate when they're bored Got a no game we can play. You're getting warm, hot and cold Got the whole day a 24 flying in a drop of water take from a heliport riding on a bomb Bomb your base in a deadly war. I'm into a song I'm trying to sign A long strong rhyming in binary My prayer spellings raw spooky of my composed pain is with many flaws Hope I write a note won't break any laws Grab a basic lingo seat I wrote a line of code and you know I se with the hater felo. I'm not rapping anymore. I'm not rapping anymore. I'm not rapping anymore. I'm not rapping anymore.
• 35:35
  Speaker C: More.
• 35:39
  Speaker A: Yes, we are. We are back.
• 35:41
  Speaker B: We're back.
• 35:43
  Speaker A: Sorry. Yes, we. That was. I'm not rapping anymore because you were not rapping. Tickle. Oh, there is. He's just gone. He's back.
• 35:52
  Speaker B: Hold on, I'm here.
• 35:54
  Speaker C: Tickle.
• 35:54
  Speaker A: You are not rapping anymore because the vocal pol. Let's talk about vocal polyps briefly.
• 35:59
  Speaker B: I don't. I didn't have polyps. I went. She looked in my throat. She was like, you don't have polyps, but you're going to have polyps unless you stop straining your voice. So I didn't say. I went home and didn't say anything for like a.
• 36:14
  Speaker C: A week
• 36:17
  Speaker B: to try and give it proper rest because I was dead freaked out. I didn't want to have surgery and I've got. I was just like, a bit worried because I know, like, whoever the. It was, Julie Andrews was it Julie Andrews got surgery and it fucked her voice.
• 36:28
  Speaker A: Someone.
• 36:29
  Speaker B: Someone got surgery for polyps and it fucked her voice. And I was like, I don't want that to happen. And so I didn't say anything, anything for a week. And I had to take my fucking. The corner of my mouth up with surgical tape to remind me not to say anything. Even when, like, when I was on my own. I Had to. I like when I was with people, I was like not saying anything because I was consciously aware I wanted to say something to them all the time and I didn't say anything. But when I was on my own, I forgot. So I had to put tape on tape on my mouth to remind me to not talk to myself constantly or not constantly, but at all. And then after that week of complete rest, I was quite careful. Went back very gently to it. And I've never actually gone back to rapping as much of the time as I did before that. Really? Yeah.
• 37:22
  Speaker A: So you don't get the. You didn't get the. The full on. The full on operation then?
• 37:28
  Speaker B: No, no, no. I was like. I got freaked out. It was really hurting. The thing is, it was all right. I was kind of almost okay speaking, but it was whenever I wrapped it really, really hurt. So I waited on my. Yeah, I went to see the specialist and then I was like, she freaked me out. She freaked me out. And I got well on it. I got well on chatting less, which is an absolute mission for me. To be honest.
• 37:51
  Speaker A: They told me that if I continued I'd lose my voice forever. Yeah, I mean they put a camera in that thing.
• 38:01
  Speaker B: What they carved did they carved them out?
• 38:05
  Speaker A: Yeah. Well, she says it's the size of
• 38:08
  Speaker D: the top of the thumb.
• 38:09
  Speaker A: It was at the back of the throat.
• 38:11
  Speaker D: Right.
• 38:11
  Speaker A: So if you listen to. It happened gradually. But if you listen to who took Utopia era gyros, my voice is kind of struggling. Sounds cool at times and then it sounds really bad at other times. But it happened and basically everybody just blamed it on me drinking and smoking too much. And that, that's one of the things is it could be because you're drinking smoke, it could be because you're. You're singing with a vocal warm up. That could be also true because I've never done that before. And it could be because you are in rooms with really loud musicians. We'd obviously God the Duncan on the drums. So that's true. And yeah, basically lifestyle and not singing properly, which is all seems legit. But also it could be a genetic thing and it's nothing to do with me, which nobody believed and I don't think I believed that either. So I, yeah, obviously I live. I live a healthy lifestyle now. It was just a phase. It was just a phase and the vocal part worked fine. I couldn't talk for a couple months. Quite scary. But I came back, the voice came back. I went for a singing lesson with Sav. One singing lesson and it was amazing to hear the. What the vocal can do with an hour of warm ups. I can sing very high, but I didn't know that and I don't bring it into the music because I'm not. What are you going to do an hour backstage of warm ups?
• 39:37
  Speaker B: I don't know.
• 39:38
  Speaker A: In fact, Lily, I would like you to tell us about singing because obviously you're an actual singer. Yeah, yeah.
• 39:43
  Speaker B: Look at us chatting about.
• 39:45
  Speaker A: I was just talking about singing. We've got an incredible singer, lovely post called Prom Queen. Tell us, tell us about singing. How do you. Do you warm up? How do you protect your voice? What's any tips?
• 39:57
  Speaker C: I do warm up. It's actually sometimes quite hard to have time to warm up. I think lots of musicians will find this as well. You really have to be strict with yourself to make yourself warm up before a gig because there's so much going on sometimes before a gig when you're like trying to remember what you're going to do, you're talking to people, you're trying to organize your equipment and all that stuff. Maybe you've arrived just on time and then you have to. You don't want to do your warm up too far away from the actual set. Someone could correct me on that. Maybe it's fine to do it a few hours before. So I'd often go to the toilets and do it in there, which does. Can't sound quite good because of the sounds of toilets. But it can be a bit weird if other people come in and you're singing a song. So, yeah, some warm ups. And I went to a singing teacher for a bit and one of the things we would do at the beginning of the lesson was stretches as well. Like some movements of your arms to kind of like stretch out your rib cage and your shoulders because then you've got a bit more flexibility with your taking deep breaths. So, yeah, I think some of the best ones I've done are the ones where you're. You go. You're going up and down and you're feeling that sound go up. Yeah, those are pretty good. Those and the stretching
• 41:14
  Speaker A: also there's a placebo effect, I think as well, whereby sometimes if it feels like the gag. Everything's just getting. Everything feels out of control before I get. Especially if you're organizing it yourself. Yeah, but if you can get a couple of minutes to do a couple of stretches. I mean, the, the, the actual vocal warm up's tough when you're playing, you know, even if you're playing a bigger Venue there's loads of people in the green room. You can't really find the space to do it but if you can go outside for a smoke Mark singing his face we want ksl. It said a back a back door Get a smoke didn't you? And do some stretches, some warmups. That feels like a place. It feels like here I've. I'm reading.
• 42:00
  Speaker C: Do you think maybe the vocal warm ups are different for the kind of vocals you two do? Because.
• 42:08
  Speaker A: Well, I don't know. Obviously me and Tickle are very different as well. Like he's. He's doing a high speed technical rapping which is something that I've not done and you know, maybe go a wee bit fast but you're doing like triple time. Could you give us. I don't have put in the split Tickle but could you give us an example of acapella rapping fast.
• 42:29
  Speaker B: I. I just drank like an action. It's a. Actually a pint of. That was actually a pint of Aperol.
• 42:34
  Speaker A: You know I don't know what's that
• 42:35
  Speaker C: Afro spritz or Aperol by itself.
• 42:37
  Speaker B: Aperol by itself
• 42:40
  Speaker A: me that wasn't a paint that wasn't a faint glass. You know that one I'm tickle my nickel A bit of a tip of
• 42:46
  Speaker B: a sip of trickle a liquor similar drink it is slippery nipple A ticket is linger regenerative Swiggy It's a bit of kind of wish inhibition of finder giving him by vivid limit and like that. I didn't breathe properly though. I didn't breathe. I didn't take.
• 43:00
  Speaker A: Oh you've got to remember to breathe sitting down.
• 43:02
  Speaker B: You know. Although loads of really good singers do sit down and sing. I guess you got to sit up sit up straight to sing sitting down.
• 43:11
  Speaker C: Yeah.
• 43:11
  Speaker A: Well that's why my new band I'm working on involves I'm designing it so that I can sit down. I think my new band's going to be me sat down. My business. Everything's a bit quieter than the previous bands. Just chill out everybody. And because I'm recording sitting down, I mean this is something that I should be working on. Well I think I might be moving this soon anyway so I'm not going to waste too much time getting it perfect. But I'm recording an album sitting down just now. It's a jackal chase. I'm not. Not the new band but the. I think it would be good to make an album sitting down and he could just sit in a stool like a Backstreet Boy. Or something. It was a Westlife that sat in the stool. So I think Backstreet Boys were jumping.
• 43:55
  Speaker B: You could sit like a folk singer with your finger.
• 43:57
  Speaker A: No, Absolutely no. Yeah, I'd do that. I've actually been doing that. Lil Wayne could do that. One year. I learned that from a pretty good singer who said about earplugs, because I was like. She was like, you need to wear earplugs. You're going to damage your hearing. And then I was, look, no, I'll be fine. Because I'm young. And that's the. The mentality in it. And I actually got away with it until the album launch. Streams are mental. I'll get tinnitus. Sound check for that. It's not really.
• 44:24
  Speaker C: That was when you got it.
• 44:25
  Speaker B: Yeah.
• 44:26
  Speaker A: And after. After all my reckless behavior, that's when I got it. It's kind of. It's actually. It's okay. It's kind of cleared up a bit, but now. But the thing is, the last four or five years, I do wear. I know it's not cool.
• 44:39
  Speaker B: I know.
• 44:39
  Speaker A: Everybody, your protection. Ha ha.
• 44:42
  Speaker E: You.
• 44:43
  Speaker A: You do 16 festivals a week, a summer where you actually watch all the bands and all the DJs and don't sleep really, for every weekend, constantly. All these people that have got problems with ear protection, they go to a gig a month and they're like, no, man, you need the noise. So I did the last few years try and protect my ears. So I was really pissed off that. That a sound engineer would make that kind of mistake where the. There was a reverberation on the stage as things were getting set up. And then. Yeah, I mean, it was probably the camera the destroyer that brought the camel's back, to be fair. But, yeah. Where. So I was. Yeah, I would say, you know, I've never had a sponsor on the show, but I'd maybe do one for a decent bunch of earplugs because I always lose them. Always. I spend a lot of earplugs. I forget them. But, yeah, I think getting. My point is that somebody told me a very good singer years and years before I did. It was like, you wear. You wear earplugs for the other bands, and then you take one out while you're on stage. But to be honest, I would wear the band earplugs for the bands before me, the bands after me.
• 45:52
  Speaker D: It.
• 45:53
  Speaker A: Not all the time, but most of the time. And then during my set, I just wouldn't bother with any earplugs. So when you. When you're In Lily. So I've seen you when you're. You're trying to harmonize. So I think that's another skill that obviously I've never even tried to do because I've only got two. Two, two, two tones. Two tones. The two tone committee. I've got low or slightly less than low. So it's like. It's quite easy for me to harmonize because it's either the low one or the slight less so when you're doing. Are you wearing earplugs when you're doing that thing?
• 46:28
  Speaker C: No. So when we perform, I usually wear in ear monitors because I don't know why exactly, but I think it could be partly because my voice is quite quiet and it's hard for them to put it in the monitors enough for me. It also could just be an audio processing thing. Sometimes maybe I just can't. Like, it's not a sound issue. It's more like a brain issue, like being able to pick out my own voice amongst the other stuff. So I use innominitis so that I can like really focus in on my own voice so that I can hear myself properly and make sure I'm not singing too badly out of tune. I mean, it still happens, but not as badly with inner monitors. So when I'm doing harmonies on stage and I don't have my inner monitors, I do that thing that you see people doing where you push your. I don't know what this bit of the ear is called. It's that little flap next to your ear, little cartilage y bit. I push that in and what it kind of does is it like you feel the vibrations of your voice through your jaw and it can. You can kind of hear your voice through your own body.
• 47:32
  Speaker A: Right through the cat flap.
• 47:33
  Speaker C: You can hear the cat flap.
• 47:35
  Speaker A: I don't think it's a brain processing issue. It's the band's loud and the. You know, I've not really been able to hear myself on most of the gigs I do and maybe sound check, you can hear it, but by the time everyone's. Everyone turns themselves up a little bit and you've got no chance. The only time I think I've ever properly heard myself was Bar is the Ballroom. Because you've got such a big monitor for yourself, you know, the sort of bigger stages and that's terrible. That was actually really quite terrifying the first time we played the bars because for the first time I could hear myself completely normally. You're just kind of winging it and you don't really know if you're shy or good because people will tell you that you were good and people will tell you that you were shy and you just pick what one you want to believe. And I would normally on the night, I believe the good guy on the night, the day after, I believe the shade feedback. And then I would watch it on a phone someday uploads a phone thing. And I've decided that in general I don't watch any footage after performed for six years and then. Six years. Yeah, yeah.
• 48:45
  Speaker C: I'm usually like a week. Six years is.
• 48:48
  Speaker A: Six years is the sweet spot. Because if it's me six years ago, I'm just got. I've got a lot of compassion for that guy. I'm like, oh, trying his best. It's not bad. It's no fact, but I've got a lot better since then. You know, that's how I see it
• 49:06
  Speaker E: while it's in.
• 49:07
  Speaker B: While it's in my head. Because I keep forgetting to say that with the video I couldn't. I couldn't work out to film it. My friend Connor, who, who did the coloring in the end came and filmed it and we couldn't get the. Some of the shots, the empty. The empty shots, obviously the empty train shots. And. And then I started to do an edit and realized that a lot of the stuff I'd asked Connor to do was. Wasn't making as much sense as doing it again. And I wasn't sure what to do. And then I asked Hendo to if. If he would come and film it. And he came and filmed it and we got all of the shots except the down the fucking train shots with nobody in it. And then Hendo very kindly went out with me again another, maybe another twice. Until eventually we got by going round on the train for like round. Round on the subway for like an hour and a half or two hours, whatever it was. Round, round and round. Finally got a bit between whatever stop it was and the next stop and whatever stop that was and the next stop, like the two minute and a half bits to film it and got those. And then I. And then I edited it and then I struggled with the. With coloring it for ages and ages and ages and ages and ages and ages and ages. And part of the reason that it took so long to make the video is about with the coloring for ages and ages and ages and ages, trying to learn how to be better at being a colorist to make it look good. And then I fucking gave up and took it round to Connor who did the original first bit of filming and Connor colored it in like four hours or where it was. And the, and really the only reason it looks good and cool and like a movie is because Connor's really, really good at coloring. And Hendo took my random suggestions of like, like this bit. Like I was like, can you show that gray bit that, the gray bit in between the train. Can you show that in the shot please? And everything else about the composition is Hendo being really good at filming. Like in all of the shots. I was just like, oh, could you do this? And then Hendo did what someone would do if they know how to fucking film shit and basically had to fill in the gaps. So I would say between them and my friend Ewan, who loaned me the first camera we used and gave me loads of different advice about how to fucking work resolve and what the fuck is going on. Basically between the expert advice and the amazing camera. Camera operating. And they're tremendous beat but musically. But the, the, the, the, the camera, the help and the coloring. There's basically the mo. Almost everything that makes it good. Like the only reason it looks any good at all is because of those guys, not because of me at all. I, I, and I hadn't, hadn't said that I should have. So the reason, Sorry. The reason I've gone on and on and on like that. Partly cuz I had a pint of apparel and pipe. But also because they're not in the chat and they're, they, they were so helpful. They were so instrumental in the video. It would be like outrageous if I got caned and forgot to mention it at all. So there, I've said it.
• 52:06
  Speaker A: No, it's your, it's your Oscar speech issue is your guys Oscar speeches your day actually feel. I And a lot of people just think this is another song. This song's been kicking about for so long. I've seen clips of it for so long. Tickle. You tried to make me your camera operator and you told me that I was having to get up at five in the morning or four in the morning. Five in the morning. Obviously you got a handle. So that's why the, the phone stopped ringing for me. Which is fine because it was very good.
• 52:37
  Speaker B: I'm ever so sorry. It was. There were a lot of plans. I did. There were. There were.
• 52:42
  Speaker D: Yeah.
• 52:44
  Speaker A: No, Hendo's good too. And Hendo gets up at 5 in the morning. I don't, you know, I wouldn't have, I wouldn't have got up at 5 in the morning.
• 52:50
  Speaker B: Probably not to get an empty train. That was the plan. But we got it at like half eight at night on it on a Thursday in the end that was when the train was empty finally.
• 52:58
  Speaker A: And a Thursday half eight at night.
• 53:02
  Speaker B: night. It's quieter in the evening than it is very, very early in the morning. It turns out you rock up at like half six. It's got more people on it than quite a lot of the time in the. On a weekday evening. I'd say.
• 53:15
  Speaker A: Well that's probably the one time that subway is the best travel times now.
• 53:20
  Speaker B: Like it's mad. You should get on the subway and go around for like half an hour or an hour or whatever because it's a mad experience to just be like on the subway or on the subway and then every so often getting off and then getting back on to go the other way because we had to keep going on the south side where it's quieter. So we go all the way to partic and then get off and get on a. Get on again and go all the way to fucking Bridge street and just do that.
• 53:41
  Speaker C: And.
• 53:42
  Speaker A: Except sometimes we didn't do one next to Bridge Street. Was the. Was the. Was the one that no one ever gets on it as it's shields or something.
• 53:48
  Speaker B: It's west.
• 53:49
  Speaker A: Is it?
• 53:49
  Speaker B: I think it's Bridge street then. Is it west something? West Street. West street and yes.
• 53:54
  Speaker A: So I used to live. I used to live next to that one and nobody was ever on that one.
• 53:59
  Speaker B: Oh the only thing that's there is Enterprise car high.
• 54:02
  Speaker A: It's literally no one ever gotten.
• 54:05
  Speaker B: Yeah.
• 54:05
  Speaker A: And people joke about that. And so shields. No one ever gets on there. But I think people must.
• 54:10
  Speaker B: Surely I get on. But you should. Everyone should go an hour or two on a subway because it's. It's a mad. You feel mad. You feel mad. By the end. Quite weird trying to spot an empty train back and forth. Is there. Is. Is that one opposite us an empty train? Should we jump off and get on it?
• 54:28
  Speaker D: Maybe.
• 54:29
  Speaker B: Maybe the one behind us is an empty train. Or the one ahead of that one or the one behind that one is an empty train. It was a mad experience.
• 54:34
  Speaker C: You should behind the scenes footage because I would love to see you doing this.
• 54:39
  Speaker B: No,
• 54:42
  Speaker A: you must have. You must have with Nintendo. Just burned the rest of it.
• 54:46
  Speaker B: He just shot what we were shooting. I arrived with a ill conceived idea and he patiently guided me through drawing out a storyboard before we went in so that we knew what the fuck is going on. Like honestly, the amount of help that. The amount that Hendo contributed creatively and Connor to the, to the video cannot be understated. I don't know what I'm doing. It's. It's awesome because they're awesome. They're like. I really like it because they just. It was just like I just got all this awesome footage to edit about and then I edited about and then someone made it look good.
• 55:21
  Speaker A: Yeah. You wouldn't get a storybook. You would not have got a storyboard off of me at five in the morning. There's absolutely zero chance of that.
• 55:27
  Speaker B: Yes.
• 55:29
  Speaker A: So yeah, Heather was the right. And what is it coordinated. So speak. I'm actually quite interested in coding obviously these days. These days we have uh, we have all, all sorts of different softwares. So I use a bit of Premier Pro, I use a bit of Cap Cut and the coloring thing obviously there's, there's lots of filters that you can use and stuff. What is the trick? What, what, what makes, what makes. What makes people that are good at coloring so good at it?
• 56:00
  Speaker B: I don't know enough about coloring to know honestly. Like you recent YouTube videos that said you need to like do the white balance and, and then you need to do like a contrast and various different fucking aspects of it and set up a little chain of, of things that are doing that to like make the image neutral to start with and then you can start to color it and I could barely even. I just couldn't do that to start with. I couldn't make it look neutral because I didn't know really understand what they were talking about. Uh, but you do that apparently and then you can. And then you start to fuck with it by adjusting those things or by putting like you can put. What are they called? Is it luts? I think they're called luts. Like those are the kind of filters you get different. You put them on and it'll give it a certain look. But you do need to sort out
• 56:52
  Speaker A: all the other stuff first.
• 56:53
  Speaker B: And like I think Conor is one of the nodes that. When I, when I got it back, one of the notes that Conrad made was like Orangizer. Like the name they'd given it was Orangeizer because they. Whatever it did, I don't know what it does but whatever it does, it makes all the orange look way more orange. Like I don't what they're doing to
• 57:12
  Speaker D: make an orangeizer note.
• 57:13
  Speaker B: Then you can just get cracking with.
• 57:15
  Speaker A: What's a good name? It's a good name for the, for the system.
• 57:19
  Speaker B: The only thing that, the only technical thing I did was make the. Make the signs on the train. I could tell you all about that.
• 57:29
  Speaker A: Well, I'm just putting up eventually, you know, while we were talking there, I've managed to convert an A MAV to an MP4 to. To look at the logos. So explain.
• 57:55
  Speaker E: Wake up.
• 57:56
  Speaker C: That's great. I really enjoyed watching that.
• 58:00
  Speaker A: For people that are listening and can't see this, we've got. I'm just going to pause. Hold on. Can I. Hold on. Can I just pause it? Hold on.
• 58:19
  Speaker E: Wake up.
• 58:20
  Speaker A: It's really relaxing. What, what, what did you see there? Tickle. Can you explain?
• 58:25
  Speaker B: It was this. It was the start bit of the chain, which is this. That soothing like that? Not soothing, but like. It's like sonorific. I don't know. Yeah, it's like. It's like sleepy. It's like a smooth sleepy sound. And then the logos that I made for all the different apps in the, in the. I made the lyrics so that. So that the. So that the character is like on different apps. So I was like, I want. I want. There is be the Cthulhu.
• 59:00
  Speaker A: I was trying to put. Sorry, I interrupted you. That I was trying to pause one of the. The name of the social media. Sorry about that. It didn't work.
• 59:08
  Speaker B: It's all good. So the logos are. Because the character is like waking up in a. In a white and orange flat and then walking down the corridor and getting on a white and orange trainer, going round and round and just. That's their only job. The idea is that they work for the Cthulhu Corp, which is a subset. It's been, you know, it's been part of the platform of other. Of other corporations that post called Chrome Queen own and this, this sub bit. So it's like sub. It's like a sub department. Like a. Because of the subway.
• 59:38
  Speaker C: It's.
• 59:39
  Speaker B: It's like Cthulhu Corp is a sub department or like of the. Of a postcode prom queen and everything that.
• 59:49
  Speaker A: Industries.
• 59:49
  Speaker B: Sorry, I went off one. Yeah, yeah. So I, I, I, I.
• 59:53
  Speaker E: The. The.
• 59:54
  Speaker B: Basically I.
• 59:55
  Speaker A: Everything.
• 59:56
  Speaker B: Everything I interact with is owned by the Cthulhu Corporation. So all those logos are like this. It's the same logo in all the different apps. Because I just exist. You just. The, the character exists in a. Just in a corporate world where the same company owns and controls everything, including. Including, like where they live and where they work and everything. Every. Every. And all the. And all the third place, third spaces and all the. And the only third space that exists is on our phone. So the so all there is is like work and sleep and phone and that's your, that's your lot. So the logos are to like have that consistency across all the apps. So it's like in the adverts on the train, I've got it in the, in the bottom corner of the blue app as on the train and it's on the apps and it's like. That's why it's like flashing in the background in the train station and in the thing of the fucking alarm is because it's. That's the fucking. That's the Cthulhu Corporation logo. And like it's fucking everywhere because that's all, you know, sort of thing. That's, that was the, that's what I was trying to convey with it.
• 1:01:07
  Speaker A: Do you know what might be good news? I watched a thing last night about social media and it was quite a long, drawn out documentary about the history of social media and how, you know, there was the. The Biden administration was basically stopping misinformation by personally emailing the. Your Facebooks and Twitters to stop it. And then your, your feels of your tools or whatever came in and said stop that. Make it more. We'll just give Trump money. We'll make everything more right wing because we want freedom of speech, obviously that kind of freedom of speech. What I've noticed is that Facebook so bad right now that I'm finding it a lot easier to not do scroll. I wouldn't. I'm still dim scrolling but I'm kind of like jumping between the apps like your character. But because Facebook's really bad now as in it's just adverts after advert and. Or it's something has. Something's happened like an. There's been a, an incident and then you've just got racist bots saying things. And I find that really quite like. I just, I'm not going to argue we are bought on the Internet. So I just kind of feel like I don't want that anymore. And the reason that they, they changed, the reason that they bowed down to the idea of which was a bit money. It wasn't about particular. This was this guy's argument. I'm not saying this is true. I don't, I don't, I don't know. But it was because by. When they stopped the misinformation, people went to other websites because people were loving the misinformation, especially during lockdown. It was fun for certain people and it just so, because they were losing. It was affecting the, the bottom line, they changed it. So do you think that maybe there's some hope that with Facebook being so shy because it's just racist bots commenting on a Glasgow Live article that people will stop using Facebook as a result, they lose advertising money as a result. They may be sort that shit.
• 1:03:14
  Speaker B: The racist won't if that, like if the bot, if the, all the bots are. If all the racists are bots and the actual racist or if most of the racists are bots and the actual racists, they'll just be like loving it. They'll just be hanging out on Facebook all the time, presumably.
• 1:03:27
  Speaker A: That's a good point.
• 1:03:28
  Speaker D: I think the other problem is that we are like poor, like fairly media literate people who've grown up the Internet, we're used to it, we're used to its peculiarities and how it works when we stay informed with news and everything. The way the social media is designed now isn't for people like us necessarily is why when you scroll through Facebook, it is just a bit shit. Instagram's craft as well. It's because it's not designed for people like us from that perspective. Like in a kind of political manipulation perspectives because we tend to get our media from a whole variety of different sources. What they're looking for is people who, for whom Facebook was the first and only social media they'd ever used. Like probably people like in our nrcs, our mothers, our grandparents, our fathers, that kind of thing. Those are the people who are easier to manipulate politically because they don't fact check because they tend not to get the news from lots of different sources. So I don't think it's necessarily going to lead to the downfall of Facebook, but it will. Eventually their audience will age out of being relevant and they're going to have to find a way of appealing to people like us more. And it's incredibly easy to manipulate people on social media because everyone wants to think they're right and everyone likes to feel outraged and everyone wants to feel like their little bubble and their little world is not only the correct one, but the only states one. So it's, you know, good content doesn't drive engagement. It's it's fear and rage that drives engagement. You're gonna get way more negatives like emoti reactions on Facebook, impulsive ones. People love to hate stuff. They love to be little dicks about things. And now that we've got AI and especially agent AI, it's not very difficult at all to have these arms of spam bots just going out and commenting about crazy stuff. Emily's brock something in the chat. It is a dead Internet theory. It's just bots talking to bots talking to bots. And we just kind of passively look on at it and people who are susceptible to being manipulated will be people who aren't complain about it. But you know, never the twain shall meet.
• 1:05:52
  Speaker A: What Rage, rage, rage equals engagement is how we all get paid. As Jackal Trades once said. What. What are you. Why is the thumbs down tickle?
• 1:06:01
  Speaker B: I was just disagreeing.
• 1:06:02
  Speaker A: I just disagree.
• 1:06:03
  Speaker B: No just this to be to underline that everybody just wants to like people just like to be like nah. The Internet. Everybody's like nah. Gordon's absolutely spot on.
• 1:06:14
  Speaker A: Yeah, you an angry react. Well the laugh. The laugh react is the one that the. The hurts most when you know when something either tr. So it's like something happens and say there's an incident all by the usual suspects and then they find out that it's a white guy and then the boy. Oh no, you can't trust the mainstream media. And it's a vicious cycle that will never.
• 1:06:40
  Speaker E: Oh yeah.
• 1:06:40
  Speaker A: We're only hearing about the details because it's a white guy. And there is. I'm actually working on a wee diagram for racist people to figure, you know, because it's basically. There is. They'll never. There's nothing that can happen that they'll just say fake news.
• 1:06:56
  Speaker B: Are you gonna do like a flow shot?
• 1:06:58
  Speaker A: Yeah, something like that. I'm working on a flowchart. Obviously a Beginner's guide to being a Stupid Cunt in the Sorry for Swimming. But yeah, people who like film details will like this. The detail related. I want to hear more about tickles and real life marketing in California. Yes. So you were in California. Yeah, promoting the thing. Tell us a little bit more about that Holder.
• 1:07:24
  Speaker B: I told a lie earlier on actually. I should have said I had a plan to. But yeah, I was at a wedding. I was at a wedding in California. It was fucking awesome. We were in San Francisco. I hadn't finished the video because the. The thing that finally got me to actually fucking sort the video out was wanting to put stickers up in America. So we hung out in San Francisco and then we went to Davis and I finished the video and then I got stickers made and then one day I went back to San Francisco. But by that point I'd spent enough time in San Francisco to realize that even though the subway is the perfect place to put a video set on the subway that all the San Francisco subway is ultra clean. It doesn't have any graffiti on it at all. If it gets graffiti down the inside or the outside, they just clean it off straight away.
• 1:08:02
  Speaker A: I would imagine there's nice plants in San Francisco as well next to the subways.
• 1:08:07
  Speaker B: This eerie. The subways is so clean that it feels. If it wasn't for people looking sad and just being people, it would be a bit. It would be like quite clean.
• 1:08:18
  Speaker A: God bless the sad people.
• 1:08:20
  Speaker B: So at least the sad people make it all seem like human, you know. But. So I didn't put them on the subway. I put them all around the outside of the subway and a bunch of other places and one little bit. So I went back to San Francisco for the day and spent the whole day continuously stickering lampos.
• 1:08:37
  Speaker A: Do you have a sticker? Do you have a sticker close to hand to. So we can visualize this a bit better also. God, once, once tickle comes back. I would like to get back to AI Ethics in a wee minute as well because I. I think that would be interesting. Thumbs up. Thumbs up. Anyway, hold on. Yeah, love react. Love react.
• 1:09:01
  Speaker B: Yeah.
• 1:09:02
  Speaker A: What Tickles will be to get a sticker and then I'm going to give you a six second clip of this new video.
• 1:09:07
  Speaker E: Makes it bearable to work to buy the ship. It makes it bearable go to work to buy this.
• 1:09:14
  Speaker B: Oh yeah.
• 1:09:15
  Speaker A: Okay. So this is a. A bar. So what we're looking at now is a QR code.
• 1:09:20
  Speaker B: Yeah.
• 1:09:21
  Speaker C: Yeah.
• 1:09:22
  Speaker A: So if. Can I. Could I try that right now? Can I just.
• 1:09:26
  Speaker B: Yeah, let me get the shine off.
• 1:09:28
  Speaker A: Let me, let me take a picture.
• 1:09:30
  Speaker C: I just took a picture as well.
• 1:09:31
  Speaker A: Does it work? Does it work? Tone isn't reacting to the it seems scan. It's. It's moving too much.
• 1:09:42
  Speaker B: Okay.
• 1:09:43
  Speaker A: It's not working for me. No, it's didn't work. But it's because of the light shining off it. I think I was thinking that it's not your fault.
• 1:09:54
  Speaker B: I didn't finish then. Sorry. Then we went to la, went to the wedding and it was amazing. And then we went to la, which is also highly enjoyable. And I was in LA last year and we traveled by public transport and I got to see a side of LA that's quite grim to be honest because it's just. It's just a. It's a very. It's a. It's a much nicer city if you travel from like nice place to nice place by car. And it's a much less nice city if you go by public transport because then you see the side of the city that can't afford a car and they're having a not great time at all. So I'm glad I went on it. But then when I went to LA this time we were staying with a friend and they had a car and even though I was like I really should go on the subway, she could probably stick it the out of it. I was like, it was just so depressing. Last time we were on the subway and a guy got on with his arse fully hanging out of his trousers and then sat down like three seats in front of us and shot himself. We had to like immediately get up and get off the next stop and it was just like, not that it's not like that happened at every stop but it was just so fucking intense. There was just so many really, really unwell people and quite fucked up people and wasted people just kind of bear having a mad, a mad and not very fucking good time of life that it was just not that fun. And so this time even though I could have gone and stick a bit, I was just like actually now fuck it, I'm just going to go and eat donuts and go for the beat shit. So I just did that. I feel quite bad saying it but it was like hideously depressing and
• 1:11:29
  Speaker A: it's
• 1:11:30
  Speaker B: not a fun place. It's not, it's not fun to go on the Los Angeles subway to be honest. San Francisco one's too clean. New York's fucking intense but it's much nicer than. It's just got a different vibe.
• 1:11:39
  Speaker A: Everyone's just doing pop up gigs in New York every week. Everyone's got a verse, everyone's at a 16.
• 1:11:46
  Speaker B: New York's definitely like busy. It's more socially busy and I kind of foisted on your way I'd say. But it still doesn't feel as like the LA one felt a little bit unsafe at times. Not like super unsafe but just like, oh, I'm just gonna have to be a bit like more constantly fucking aware of what the fuck's going on here because it's all getting a bit escalate, you know, with different. In different ways of different people and I just didn't enjoy it as much. The glass, they're not Glasgow, Chicago, the other O Chicago. Subway or EL it was weird. It's one minute to subway and then it goes fucking up and up and up and then the next minute it's like an elevated railway and it just changes. It's absolutely mental. In Chicago. But it's also not that bad. Like it's fine, it's just the subway. Subway. Anywhere but the LA subways. It just sent me under so I didn't go back.
• 1:12:32
  Speaker A: Not work. Not with the, not with the good old fashioned Clockwork Orange in Glasgow as we always call it. The Clockwork Orange is what people in Glasgow call our subway, according to the Daily Record. And they. It just goes round in a circle. If you miss your stop, go back to sleep, you'll be there in an hour. Shows to my pal who accidentally took acid, wasn't accidentally too acid, she took acid deliberately. But she, she got on a subway and accidentally went on the Clockwork Orange for a couple hours until, you know, she kept missing. So. But the good thing is that she was fine because she spent around a circle. Well that sounds more complicated. The, the in real life. I think to sum up the in real life thing, I live in the isle of Invercuthcay which is a fictional village and here you just put up a poster to say there's a gig happening. You tell somebody that talks to everybody and the word will get that there's a thing happening. And it does, it does, it does feel like a cool way to do things because there's nothing much happening here. When something happens, everybody does know about it. But with old school putting up posters and just talking to people, word of mouth is an action and yeah, I like that. And even when in Glasgow I would still print out flyers. Not great for the environment. But to be honest they do get a second life as roaches and roll ups and jazz cigarettes. Whatever takes your fancy. But people, I'll just gonna roach that and it's like ah, you're gonna roach it. You're gonna look at that flyer six times more than a normal human. What can we do in life? What would you, would you like to see more in real life? Things still try environmentally sound. But what can we do to get to like. I hate the word branding but for, for a band or for a gig, get the word out of there but make it something, I don't know, a wee bit me arty.
• 1:14:40
  Speaker C: My next idea is and I have no idea if this is actually going to be possible to do it might require some special equipment. Is. Does anyone like power washing?
• 1:14:51
  Speaker B: Yeah, I really, I like power washing a lot. It's really enjoyable, really tremendous.
• 1:14:56
  Speaker A: I've never done it but can we just clarify power washing? I mean like, like a really, a
• 1:15:00
  Speaker C: really strong hose on a car or on anything. So what you can do is if you, you can make a stencil that says your band name or. And your gig thing or your album name, maybe a QR code, put stencil on the pavement. Find the dirtiest, most disgusting pavement. You can put your stencil on Power Wash around the stencil and you put a poster on the pavement. And it's not illegal because it's cleaning.
• 1:15:31
  Speaker A: Wow, that's. That's brilliant. So do you think you could. How dirty would a pavement need to be for a QR code to be effective with a power wash?
• 1:15:41
  Speaker C: Yeah, I might need to test this because it does need to have crisp edges, a QR code, doesn't it? And also the size of it so people can scan it. I'll have to do some experiments with the QR code, but with just like pictures and text. I think it would be, I think
• 1:15:56
  Speaker A: if you, if you, if you power washed just the. Something like the name of an album, the less letters the better, I would imagine. Then people will look it up. Y ctr. What happens when you Google Y ctr? Because obviously I've just started calling it Y CTR because I'm sick of. I can't rate. You call that redo everything? Oh, no, it comes up with me. Comes up a picture of me interviewing Karen Dunbar. So I think I own yctr, which is good because imagine there was another, like, I don't know, like a gang called YCTR or like, I don't know, a power wash company called yctr.
• 1:16:37
  Speaker C: Then you can sponsor you and you can get Power Wash to put your logo on the pavement and they'd be into it and it'll fear.
• 1:16:45
  Speaker A: Well, Lily, I'm, I'm really glad that I gave you a really difficult question. You gave me a fantastic answer that that is the future. Hopefully we will see more power washing promo because I think that you don't need, I don't think you need the barcode as such because I think my phones are always shy. They don't seem to work ever when for scanning barcodes. But also I think that it's just. If it's just a phrase or like a name of a band. I think I'm. If I see something especially like in the ground, I'm, I'm gonna, I'm gonna Google it. Call me old fashioned, but I'm gonna google it and I'll type Reddit next to the word that I've seen and then read 50 opinions on it before I click a website.
• 1:17:30
  Speaker B: You're old fashioned?
• 1:17:32
  Speaker A: Yeah, I'm Old fashioned. Thank you. I was just waiting for someone to call me old fashioned.
• 1:17:38
  Speaker B: You did, you, you asked.
• 1:17:41
  Speaker A: I know, I know, and I appreciate that. I appreciate that.
• 1:17:44
  Speaker B: Anytime, anytime.
• 1:17:45
  Speaker A: Thank you, Gordon. AI ethics. Because obviously now we're in a world of where the AI, the, the, the stupid 20 fingered people are starting to vanish. AI is getting better and stronger. It's only a matter of time. I mean, I was laughing about a year ago with Donald Trump with 12 fingers singing in Chinese and how boomers were falling for it, but it's only a matter of time that someone like myself is media literate and. But it's getting, it's getting really real and. Well, I have already fell for stuff. Do you think?
• 1:18:28
  Speaker D: I mean, the one that got a lot of people was the Pope Francis, wearing the kind of big puffy white coat, because the Pope, who generally have a, you know, I think the Pope John Paul II wore like Sprada shoes. You know, all their stuff is like designer gear. So when you saw the Pope in particular, kind of Balenciaga jacket, you think, yeah, probably like that contract. And it wasn't until a couple days later people clocked it actually, that was AI.
• 1:18:58
  Speaker B: Hold on.
• 1:18:58
  Speaker A: Oh no. Come on, hold on, hold on. No, right, I've got this here. I will upload this so people can see.
• 1:19:07
  Speaker D: Excellent.
• 1:19:08
  Speaker B: I haven't seen it a wee while.
• 1:19:10
  Speaker A: No, I wouldn't have fell for that one. I wouldn't have fell for that one. The catch would be if you went, no, it is actually,
• 1:19:22
  Speaker D: I think one like in my job I have to give a lot of talks and I do a lot of workshops and panels and stuff. And it's important to remember that AI isn't one thing. Like there's no such, there isn't really any such thing as AI. That's just a capital term we use for dozens or hundreds of different kind of interconnected technologies. So what we talk about a lot, when we talk about AI, we usually mean generative AI, which is where you take a data set and you use algorithms to like reshape that data into something else based on text prompts. That's how you get videos of. There we are.
• 1:20:03
  Speaker B: See I do.
• 1:20:04
  Speaker D: You know, actually the necklace does look a bit.
• 1:20:08
  Speaker A: No, we didn't fall for that one. Got a Catholic hot bring in here. Catholic op brigging here. I'm not falling for that one.
• 1:20:14
  Speaker D: It was always falling for that. So when, when it's like when people say it's a backlash against AI, they're generally not saying just a backlash against, you know, Algorithms that rest hands rarely or you know, making sort of undersea repairs. Safer like all that.
• 1:20:34
  Speaker A: Sorry, I'm not. Sorry, not interrupt you because I want, I wanted you just to go back to that point a little bit is that this is a thing that I've had a wee bit of an issue with as well because there's a well meaning musicians who are talking about AI, but what they like for example, someone that's been using Photoshop or you know, Premiere Pro, there's lots of things that are not. They were just they existed before I'd even heard the phrase AI unless it'd been a sci fi movie. It's just like a filter or it's a thing. But now what they're trying to do is go use AI to do this filter. But you could have used that filter before Canva had an Ask AI option or whatever. Sorry, sort of just to make that point. You're absolutely right.
• 1:21:14
  Speaker D: Like what's changed over the last couple of years is everything that used to be automation has now been rebranded as AI. Like we've all been using automation for a long time. You know, every Photoshop filter you use is just automation. It's just taking a bunch of steps you can do manually and it's automating it for you. And especially Canva and mailchimp, all their AI tools are for the most part just automation of the fancy make. So when people say they're using AI in their arts is worth taking what that means? You know, are they using AI to, you know, help, you know, write spreadsheets or help them keep attack their finances? That's one thing. Are they using something like Suno to write music for them? That's a completely different thing. I'm firmly of the opinion that when it comes to generative AI, it can create text and images and sound, but it can't write, you know, poetry or art or music. You know, music is more than just wiggly air that hits your ears, that your brain interprets. It's you know, a lifetime decisions leading up to that one moment where you record. If you take away all of that from a musical composition or a poem or an artwork, you're reducing the intentionality of it. You know, you're reducing everything from an infinite number of decisions that human makes over the course of their life down to a couple of choice words in a prompt. I think that's the difference between AI art and you know, human creates art. Difference between fast food and a home cooked meal. It's like the fast food won't kill you, but it also won't nourish you, you know, so it's. I think it's also such an emotive issue, it's hard to.
• 1:23:02
  Speaker A: Juno.
• 1:23:03
  Speaker D: Yeah,
• 1:23:05
  Speaker B: Yeah.
• 1:23:07
  Speaker D: S U N O.
• 1:23:11
  Speaker A: I just. I just. I heard other people talking about it and I was like, I wonder if they're. I wonder if they're learning over Jackal trades when they are.
• 1:23:20
  Speaker B: Yeah.
• 1:23:21
  Speaker A: So there's the Atlantic in it. So the art, jackal trading, physics, arguing with friends, Internet, that's been. That's been getting used. And then I take down gyro babies. And we've got one song there as well. That's code that tinnitus is getting used. Hold on, let me see if you guys are getting used. Postcode Prom Queen. And I don't. I don't like. I don't like that because I don't. I don't understand. It's okay. User safe and tickle.
• 1:23:46
  Speaker D: Yeah. Because we. A lot of the data sets were trained before we were writing, before we were releasing our music. You know,
• 1:23:58
  Speaker B: programs can write good music is because people wrote good music. And it's a program that just takes what people have already done and fucking jiggles it a bit.
• 1:24:04
  Speaker A: Right?
• 1:24:04
  Speaker C: Yeah.
• 1:24:04
  Speaker A: But how are they deciding according to AI, why are they still in two of my songs? Two random songs. The one successful in my level, in my world, weren't successful. One's a great physics beat, Strange times, arguing with friends, Internet. The other one's Counter Eternitus, one of our oldest songs from before 2010. 2010. Why 1. One random song for that? Why have they. How have they picked these songs to steal from?
• 1:24:38
  Speaker D: Well, that's the thing. We don't know why we don't know exactly what these tools are trained on, because they're not like. Most of the companies aren't very forthcoming with that information. Because at the moment is either the greatest wholesale theft of human ingenuity that will ever take place over the course of mankind or is completely fair use. That's apparently for an American court inside which I think is bullshit. And says just to elaborate on Tickle's point, I thought the one of the guys with 65 days of static does it really well. When he said algorithms can't create this future, they can only recreate past, but it's faster. And I think that's. We risk the risk stagnation. And I know people say, oh, well, I've just used, you know, AI to like help the lyrics or the beat or, you know, I've just done it to like flesh out. And the instrumentation might fuck those people. Those people.
• 1:25:39
  Speaker A: Because, yeah, that's one of my side hustles has vanished because I used to write lyrics for people's. I don't know, Christmas, weddings, anniversaries, Valentine's Day. People would hire me to write a poem and I would spend ages because I've got a sign at the bottom. And obviously I still get a couple of commissions from people that want it specifically from me. But I noticed that such a nice idea to have a poem, you know, attached to a card or whatever. It's obviously doing a good enough job for people that know all about poetry, you know that. So I don't, I don't like that. See, the problem I've got with all the modern stuff is, is that from a selfish point of view, none of it has benefited anything in my life yet that I'm aware of. Yeah, when did I get. It's like I've got. I've got a new phone recently. It's like, oh, you know, you want an AI help? You know, seven different AIs wanting to help me write an email. How are you going to write an email? How are you going to know what I'm going to say? I don't know what I'm going to say.
• 1:26:46
  Speaker D: Well, that's the thing. The more it's. If you've been using Gmail for any length of time, it learns from what you do.
• 1:26:53
  Speaker A: No, but if I, if I don't like the person, I'm going to say, sorry, I'm busy. How does it know the person I like? How does it know that I've just not recently fallen out with that person?
• 1:27:03
  Speaker D: Well, the thing is, it doesn't. These things are always just the best estimates, you know, I think, I think people who like AI content are the same people who like fuel, you know, like people who don't actually get into it about what they're consuming. It's like they just want to stuff it in their stupid idiot faces and they're happy with that. And you know what? Good for them.
• 1:27:25
  Speaker A: I've not tried you yet. I've not tried you yet. But I'm not
• 1:27:30
  Speaker D: enough fuel in the camps.
• 1:27:32
  Speaker B: There's going to be more than enough fuel in the camps. You know, I'm not, I'm not going to drink.
• 1:27:37
  Speaker A: I'm not going to drink fuel.
• 1:27:39
  Speaker D: I'm going to poison myself with cherry smoothies, you know, as God intended.
• 1:27:43
  Speaker B: Some people I love. There's people I love who've had fuel and I don't want to be like everyone is don't understand the decision to voluntary.
• 1:27:55
  Speaker A: They had a really good social media guy though. That's how I know about you. Is because people slagging it and whoever was responding was on the ball. But. But I've noticed that that was. Went away because they probably replaced that with an AI. But is there any positives? So we slagged it.
• 1:28:12
  Speaker E: Right.
• 1:28:12
  Speaker A: So obviously people that like AI Songs that. For example. I've got a friend who makes AI Songs who is trying to convince me that it's good. This is actually good. And they used one of my songs to try and convince me. Which obviously I. I. You know. I really feel like playing it. I feel like I could do the next cluster.
• 1:28:31
  Speaker C: I do hear it now.
• 1:28:33
  Speaker A: You kind of want to hear it. Didn't you? But it's not. It's.
• 1:28:36
  Speaker D: Yeah.
• 1:28:36
  Speaker A: Yeah. How can I. I could maybe do it. I could maybe do it. I can do it. Actually. Do you know what? L. You've not spoke for. I want you to speak on your. The pros and cons of where we're going with AI or what we deem to be AI. And I will. I will find this fucking song.
• 1:28:56
  Speaker B: Right.
• 1:28:57
  Speaker A: In fact. I know it's a really good song. It's a really good song. I want to. We'll just take it away.
• 1:29:05
  Speaker C: Wow. That's pressuring. AI
• 1:29:13
  Speaker A: because you embrace. You do embrace technology. So I'm interested in your opinion on this.
• 1:29:19
  Speaker B: Yeah.
• 1:29:19
  Speaker C: I'm doing a diploma in machine engineering right now. So I usually call AI machine learning because a lot of what was machine learning before is like it's still the same kind of thing. Machine learning and AI is. Has become like a marketing term or used more for generative AI. But most of the things I'm doing right now. Machine learning. It's like. It's actually really amazing because a lot of ways of finding knowledge that we can use to do good things. Let's just use medicine as an example. But there are many other examples. Is. There are. There's so much data to go through to learn statistical patterns from. And human minds would just take decades to go through it all. But if we can go through it faster with a computer that can analyze statistics of data sets then we can find knowledge that we can use in ways to help people. So that side of machine learning is the one I think about the most. It's just like we've got all this data. How do we analyze it in a way that's better than humans can do and get useful knowledge from it. And a lot of machine learning is that and it has been before the rise of generative AI.
• 1:30:47
  Speaker A: And do you think that people will actually just go do you know what? Let's use this stuff for good, for no money. That, that, that's my problem with it. It's like it seems good on the surface but will Will and Elon Musk go oh I just let people cure cancer with us, dear. No, I'm saying that that's a bad example but you know what I mean.
• 1:31:13
  Speaker C: I know what I mean.
• 1:31:16
  Speaker D: I guess.
• 1:31:19
  Speaker C: So you cut out a bit there. Can you say it again?
• 1:31:21
  Speaker B: I was saying if it, if it cures cancer it'll make money like that. That's the, the, the, the, the money making drive of like pe. The pe. The businesses that pay for research into saving lives is the same as the money making drive that powers like social media owners because they. The pro. It's the, the profit motive. So it's like it's good healthcare, like healthcare research good. It's like it's good. It's business but it's good. But like so it's all, it's kind of all. It's good here because we get like the free at the point of access benefits of medical research but it's in some place like in America you're out of luck. It's just for making money. And if you don't have any money then you can off and you're not getting access to or any of the benefits of medical research. You know like in as much it depends whether you like I'd say the medical research thing being good versus the social media thing being bad. It's more that hear the medical like benefits of medical research are like socialized. So everybody benefits from the benefits of medical research. But like it's somewhere like America. That's not true. And it's easier to see that the problem with AI is that capitalism's bad basically. It's not like it's not like the, you know, it's not like the fucking whatchamacallit the weaving machines that, that the fucking Luddite smashed were evil. It was the fucking cunts that owned the, the weaving machines. Weaving machines are magic.
• 1:32:47
  Speaker D: They like we for some fabric
• 1:32:51
  Speaker B: buses. That's the problem.
• 1:32:54
  Speaker D: It's important to remember that with healthcare cures don't make money. Freements make money. Yeah.
• 1:33:02
  Speaker A: That has been the most popular conspiracy theory since the 90s. I think correct me if I'm wrong was a Chris Rock. That was the first time that ad Been exposed to that and it's been copied and repeated so many times. And it does seem like a good point. There's. There's no money in. There's no money in the cure. There's money in the treatment. Why would people give away billions? And if there was a cure for cancer, I would imagine people would go, well, you can't copyright that. We all need that. We're losing the loved ones. We need that right now. So I don't know if there's a world where they would just find a cure and go, that, that's that, then all the cancer research is over, everyone's unemployed. Am I being a conspiracy theorist here? And tell me, honestly, I think it's. It's. It's just.
• 1:33:55
  Speaker B: There's just better. There's better money in. In. I reckon there's better money in curing cancer and then moving on to the next thing than there is in suppressing a cure for cancer. You know, I reckon if there was a cure for cancer, we'd know. We'd know about it because they could. They would just move on to the next thing that they just. Because, you know, I. Yeah, I reckon. I don't rec. I don't believe, I don't believe that they're withholding.
• 1:34:17
  Speaker A: I don't know.
• 1:34:18
  Speaker B: I don't know. I think they might be. They knows they might be suppressing better electric cars or. But I'm not sure about all these suppressing the technology things, but.
• 1:34:30
  Speaker A: Yeah, but what is. What's Donald Trump on? What's Donald Trump on? What kind of. What kind of drugs are they giving him to do his 12 hour press releases? He's not like.
• 1:34:40
  Speaker B: He's not.
• 1:34:53
  Speaker C: Dear.
• 1:34:54
  Speaker D: Yeah, you're cutting out.
• 1:34:56
  Speaker A: Oh, sorry. I can't really do anything about that. Let's play a postcode prom queen song and let's hold on let's go. Slip off and my feet feel the
• 1:35:31
  Speaker C: bite of the unknown deep
• 1:35:37
  Speaker B: where all
• 1:35:37
  Speaker C: the e Sleep lost history is creepy
• 1:35:51
  Speaker A: I wake up to the sound of
• 1:35:54
  Speaker C: waves radio and I'm replaced with whale song Every day that we measure it the water rises into my bedroom
• 1:36:14
  Speaker E: Every
• 1:36:14
  Speaker C: day that we measure it the streets they disappear feel so 10 my bed
• 1:36:27
  Speaker A: a shipwreck
• 1:36:31
  Speaker C: my lampard land here
• 1:36:37
  Speaker A: My mother. With lot of rises into my bedroom Every day that we measure it
• 1:37:21
  Speaker E: street
• 1:37:21
  Speaker A: stay disappear feel so. That was very good. That was a postcode prom queen. Probably my favorite tune. Salt God didn't tell us about that tune. I think we'll always obey.
• 1:38:05
  Speaker D: Yeah. That was one of the first Songs that we wrote as PSP2 and we kind of harbored these ambitions of writing songs that we could always play live. It did not pan out like that at all. Lily decided to sting in like really unnatural strong tones. I used a synth tog in that doesn't exist anymore, so we can't replicate sounds. So, yeah, we failed in our ambitions basically straight away. But I stand by it. It's good to. And we recorded it with an amazing guy called Pete Doherty who was based in Bella Dustin at the time. But now he's in a studio in Malmo in Sweden and cannot recommend him enough. He's a wonderfully talented guy and his studio in Sweden is amazing. Although Malmo's a total hall, so I wouldn't necessarily recommend going, but again, to do your mastering and your mixing. He's a good guy,
• 1:39:08
  Speaker A: absolutely great student. And so basically we get. We get. We seem to get flung off of Facebook and Twitter because I was getting too close.
• 1:39:18
  Speaker D: Yeah, you're getting too close to the chair.
• 1:39:21
  Speaker A: The last few people were saying it. Yeah, that gig, that gig at the Classic grand apparently got banned because they were getting too close to trip. So I'm not going to.
• 1:39:29
  Speaker D: You know, the Classic grand have a pretty good track record of canceling like things that they should be canceling. Like there was a kind of really right wing kind of Nazi metal band a couple years ago that they canceled and there was like a lot of debate on Facebook at the time about, you know, is it appropriate to. To like censor music like that. And I kind of have the opinion that yeah, it's. It's up. Free from speech doesn't mean speaking from consequences. Like if you're going to be a dick, then yeah, people will task with your gates and they'll, you know, you'll lose your deposits and also.
• 1:40:02
  Speaker A: Right, right. The far right has nations, the far right has nature. So when you're. So it's like from a business point of view, even forget about morals for a second. Although they should be doing it for moral reasons. But it's like, would you want just the far right. You're just going to run a venue on far right metal bands and far right techno. And it's not, it's not going to work because the far right has natuns. So you need to, you need to, you need to accept that if you want to be. If you want to be an AT se you're not going to have many pubs or clubs to go to. Maybe you maybe get. Maybe get the odd weep up that you can you can do your thing, but nobody wants. Because there is. There's no soul to the music. And yeah, I think what they said was, is that they're about music that's inclusive. And then they're like, well, why are you not including us? Because your. Your opinion is that is the opposite of inclusion. And it's quite hard to explain that to somebody that's in that rubble. Lily, I've sent you an AI generated song. Somebody put me through. Now, the only way this is going to work is because. I don't know why. I think it's maybe, like I said, I don't think it's because I was too close to the truth. I think it might be time to update my computer, but it wouldn't let me save it. So somebody, if you email me that
• 1:41:26
  Speaker C: I did or you have.
• 1:41:27
  Speaker A: Oh, wow, you've already did it. So ask the way dream. No, no, I've not checked. I've not checked. I just thought you hadn't.
• 1:41:34
  Speaker B: You.
• 1:41:34
  Speaker D: You were.
• 1:41:34
  Speaker A: You were too smooth. But hold on. So it's downloaded. It's an MP3. Amazing. So this is. Now not everybody's going to recognize this song. You need to be. You need to kind of be. Not only into my band, but we had a song called Fetch and Pitchfork and it didn't even make the album. It was. The album gets scrapped. We ended up making a new album, Dreams of Metal. It didn't make the album. But this is a song called Creation Pitchfork, which is good enough. It just didn't fit in with album. Anyway, somebody put this through one of these generative AI things. Probably Sunnu, I'm assuming. I'm assuming Suno. And this is. They've turned it into. They have made a mockery of what I made. But what is interesting is that they couldn't understand my accent. So I think that maybe Scotland may be the last people to get taken over by robots. Maybe Scotland and Ireland. Because the. The subtitles are getting better, but they are far from right. So this is a fetching Pitchfork by the Gyro Babies, remixed by the Bastards. It's. You know, let's go. That was for you. Threat detector. Watch out. Activate.
• 1:43:17
  Speaker E: Watch out. Penetrate the truth to pains and hit.
• 1:43:22
  Speaker A: Hold on. Actually, just to make this a bit more interesting because I realize that people are just looking at our face. The Gyro Baby's fishing pitchfork. Let's get the. The lyrics on the screen. So this is what they think.
• 1:43:33
  Speaker D: Yeah.
• 1:43:34
  Speaker A: This will make a bit more interesting, I think. So we're gonna go for Okay, I will share the lyrics with you guys so you can all see it. Sorry if you listen to audio podcast, but what we're doing is looking at my lyrics and what? AI Generative. I don't know if you can see that. Is that enough? I'll put it in the comments as well. I don't think that's good enough. Hold on. Can we zoom in? Zoom? I think we can. I think we can. Anyway, let's just do it this way so that the ideal people can listen as well. I say threat detected. Witch hun activate. Which can demonstrate a trait of painting hate Playing to the gallery the fallout the backlash the knee jerk reaction Self righteous one upmanship A virus gaining traction an anonymous avatar with emoticon laughter Tiptoe around the lava because you ran out of character the bing mob with a digital pitchforks face lit up in the dark with her sickly thi sick thick thoughts playing to the gallery mutual friends high five is reputation swan dive excuses morphin flatline transforming into sci fi I'm not being funny but it's cool. You're never funny anyway. Rubbernecking at a car crash the tribe provide popcorn Turn blind eyes to death threats because the others ain't human Knows another's business Hands in cookie jar actor seeking drama yeah, we know who you are. So this is what this guy is. Threat detector watch out.
• 1:45:14
  Speaker E: Activate Watch out. Penetrate the truth to pain to hit.
• 1:45:24
  Speaker A: Backlash the knee jerk reaction Self righteous blowup check the virus gaining traction Anonymous avatar with a multi core laptop Toe to toe around the lava Cuz you ran out of character and I'm involved
• 1:45:35
  Speaker E: with a digital pitchfork Face off in the dark with a sink Please not stop.
• 1:46:03
  Speaker A: Ch I'll get a copyright streak Ch. I'll get a copyright strike from AI Generative Stealing my own music. I didn't give permission for somebody to put me through. What are we calling that kind of music? I know it's my music, but they're doing something to it.
• 1:46:22
  Speaker D: I'm sorry. I'm sorry if this is a friend of yours, but I hated every single thing about that. That was bad. Do you know what AI makes everything sound like Imagine Dragons.
• 1:46:33
  Speaker A: Yeah, Imagine Dragons. That's what it is. Imagine dragons the multicore laptop witch. Ow. Wet show which Ow. The wet Joe. Okay, that's enough. That's quite enough.
• 1:47:04
  Speaker C: It doesn't know what words are important in the sentence.
• 1:47:07
  Speaker D: Yeah, the same type of this is
• 1:47:11
  Speaker A: why I'm not worried about Ice doing my. My musical job. Because there is. It's not what anyone's going to go. And nobody's ever went to me after a song went, is that you can't believe how good you sang? Is that you. Maybe, maybe, maybe. The first time we were mixed and mastered, I think a couple of friends went, that sounds like a song. Because before that they'd only seen me doing it at house parties. But I think ever since then, people went, right, okay. Nobody's impressed. Well, unless they like the songs, but they're not. Nobody's going to go, wow.
• 1:47:51
  Speaker D: I think AI is not going to take. See the people that make the kind of music that we all make. AI is not going to be able to replicate that in any way because everything we do is a bit wonky. It goes off in strange directions. You know, it's unpredictable. What it's going to do is fill the charts with AI Slog music. And the problem is that eats up space on the airwaves. It eats up, you know, royalties, it eats up space on playlists, you know, all the things that give us a kind of passive income. AI is not going to take away our ability to make music, but it will take away the platforms and we're able to showcase our music off. Why?
• 1:48:31
  Speaker A: What if I pay an artist 0.004 pence when they can pay themselves 0.004 pence? Exactly. Yeah.
• 1:48:39
  Speaker D: It's like there's a whole thing at the moment with Spotify making, it's called Best Fit music and it's music by certain musicians that is meant to fill a mood as opposed to being anything to do with like actual musicianship. So if you just head to Spotify giving you like a chassis Morning kind of chazzy morning playlist. Some of the songs on there will just be sports by session musicians playing kind of sort of modulated jazz standards. And they don't pay anybody for that. It's not going to pay anybody much anyway. But Best Fit music is a big thing at the moment.
• 1:49:17
  Speaker A: Yes. So there's actually an amazing artist shows to Daryl Donald. So he was in the show. He's actually. He's been on the show 2021 or something. Like, lovely guy. Makes really good hip hop instrumentals. I've. I've had him in the show before. He's actually been on a couple of Jackal Trace albums and from Edinburgh, I think, and don't know him that well. But he was really honest in the fact that I was like, you've got a million streams. That's like, I don't. I was trying to think, is anyone else in Scottish hip hop. Got that back then. There's been a couple since. But I was like, I don't think, you know you're gonna be one of the first to have a million streams. And he was just like, I bet nobody knows who the I am. And because he was making really nice chilled out music, you know, just nice lo fi stuff. I think it got in one of those maybe there's lo fi beats to study by kind of things. And he obviously made. Made a nice passive income from that. But with the. With not that I'm comparing his work to generative AI but if it is background music purely, you know, I think I can imagine AI getting a hold of chill out music first. You know, there's nothing that goes wonky but as you can hear the rock music's not going so well for it. That is horrific to me. That sound. Yeah. I don't handle the ram.
• 1:50:40
  Speaker D: You know, it can't handle like AI Songs tend to be the same kind of dynamic range from start to finish. You know it's. It's like ultra polished pop which is what it's trained on. You know. It doesn't do kind of emotional highs and lows or like sonic highs and lows. It's just everything's like a nice sort of median sort of loud bass.
• 1:51:02
  Speaker A: How long for how long to genitive AI can. Can copy that though.
• 1:51:08
  Speaker D: It's not gonna be a moment to be honest. But otherwise no good news.
• 1:51:13
  Speaker A: No no.
• 1:51:15
  Speaker D: Remember when, when the first video like AI schools came out. There was a video said that Will Smith tried to eat spaghetti and it looks absolutely nightmarish. And now like when people fit in the same throats you get these like beautiful high quality videos and it's just obviously slopped bullshit.
• 1:51:31
  Speaker A: But that's also the comic theory.
• 1:51:34
  Speaker D: You know it and it is increasing in capability really really quickly. But we will reach a point where at the moment we're increasing AI's capability by giving more processing power and hanging on more data. But there is a limited amount of data and there is a limited amount of processing power because these things rely on physical infrastructure like data centers and water resources. So we'll reach a point where AI can progress anymore of we're all dead is going to be long walk.
• 1:52:05
  Speaker A: Why don't. Why didn't we give it all a lock and then it will all be good enough to make AI music to Spotify. Yes. Let's go back. Okay. So this is. This is the progression.
• 1:52:23
  Speaker C: I don't even know how he did that. Are only Listening. How can you describe it?
• 1:52:28
  Speaker A: Yes, yes. So we're looking at Will Smith eater spaghetti. And look at. There's a big jump in 2025.
• 1:52:34
  Speaker C: Yeah.
• 1:52:36
  Speaker A: And in 2026. How's it looking?
• 1:52:41
  Speaker D: I mean, that's pretty impressive. That's not, like, nice framing. You know, shadows look right. The coloring is really good.
• 1:52:49
  Speaker A: It's got a kind of computer game, and it's got a computer game vape to it. But it does look like people would fall for that. But, I mean, it doesn't look real.
• 1:52:57
  Speaker C: It's filmed like a film. Like the shot Fremy and the timing and the pacing and all that kind of thing. The lighting is like a film. Look at this undershot. So just before you changed it. No, no, you don't need to go back. But, like, it decided to suddenly change to a shot, though. You can see the underside of the plate and Liu looking up at his face.
• 1:53:21
  Speaker D: You wouldn't necessarily want that. If you were a human filmmaker, you wouldn't think 2023.
• 1:53:27
  Speaker A: This is what. I missed that, though.
• 1:53:30
  Speaker D: I missed the 2023 one.
• 1:53:34
  Speaker A: I mean, from 2024 to 2025. For anyone that's listening, we're watching Will Smith eating spaghetti from 2023 on generative AI and it looks like we're fucked. I mean, to be honest, the jump has been ridiculous. Yeah, yeah, yeah. Not great. It's looking good.
• 1:53:51
  Speaker C: But based on that, I wonder if people. Because that is how AI will now make a film, based on a prompt. Although I suppose we don't know how much was put in the prompt for that last one. It could have been really detailed. But does this mean people are going to get. Go back to, like, storyboards and filming styles are way more chaotic? Because that was very, like, based on standard ways of filming things, cinematic ways of filming things. That worked really well. So if AI does that now, are we going to go back to really just shaky cam, strange angles, cutting at weird times, doing it from, like, point of views of different. Like a bird flying over or something that wouldn't be done by an AI, like. Yeah, maybe it will change.
• 1:54:40
  Speaker D: I think the. The kind of the essence of what makes something art is going to change a bit. It's going to become less classically aesthetic and more about the human flaws or this. The kind of unique human take that people, you know, 12 months with. So I think it's going to get more chaotic, and I think it's going to get. I think art and movies and TV are gonna get real weird over the next couple of years.
• 1:55:10
  Speaker B: I don't think that
• 1:55:13
  Speaker A: they're using. They're using AI to do shots of things that they wouldn't have normally been able to do. So, I mean, I don't watch a lot of Netflix. I've not actually watched. I think apart from the documentary, I've not watched like an actual TV series. In fact, I know I've not watched the TV series in about two years, so. But apparently all these things on, you know, the, the. They're bringing out new ep, new episodes, new series, all the time of. Of release. Bad stuff that I wouldn't watch anyway. That there is AI in that. Where.
• 1:55:47
  Speaker B: When.
• 1:55:48
  Speaker A: And. And also, I mean, if you. There is a rumor that the wrestler. I don't know if any watched wrestling. There is a rumor that. I mean, I think it's a joke, but the AI is doing wrestling scripts and that's why it's so bad. I don't know if that's true. Who knows?
• 1:56:03
  Speaker D: But yeah, the clown from Slipknot's just released an AI power, an AI generated video for his solo project. Although I don't know anyone who's listening to the solo project of the clowns from Slipknot. And anyone who is listening to that is probably quite fine with AI so good for them.
• 1:56:25
  Speaker A: That's an interesting point. Like the, the. There is people who, like Timberland is joined the gang and he's lost a lot of respect for it, but he's made a lot of money from Suno. I get adverts all the time for it. I don't know if you get it. I get it.
• 1:56:38
  Speaker B: I was saying I had no idea until this, until this that, that there were like a thing that people used or that people were writing, using AI to write their tunes or whatever. Because I'm not on social media and I just don't. I just don't really know what the fuck's going on, you know? Like, I don't really. You don't pay that much attention.
• 1:56:57
  Speaker A: Well, you've just made a cutting edge video. You've just made a cutting edge video about what's happening.
• 1:57:02
  Speaker B: But what the actual fuck is there going to be a point where there's off of the art is made by AI and you can't tell anymore and people are so willing to use it that we just have to decide that, like there's a cutoff point and that's the year after which you just can't really engage with the art because it's just not real enough. It's not art, like not enough. Of the art. Not enough of what seems like art is art for you to engage with it. And then all there will be is like fucking art up until that point. And we might, I don't know how far away it would be or whatever,
• 1:57:35
  Speaker D: but it might be like a carbon dating. You know, you can't, you can only carbon date stuff up until the point when the first nuclear tests started because that throws everything off. So it might be a case that Maybe we picked 20, 27, 28 as the year where, you know, that's when you can, you can't be sure what the AI generated anymore after that. But there's always going.
• 1:58:00
  Speaker A: It'll be.
• 1:58:01
  Speaker D: I think it'll come down to like a constant economy. It'll come down to who has the brand and the trust for people to know that they wouldn't. That everything they do is authentic, you know, because we, we already have that to a degree. You know, we, we assume that they basically write their own songs because they're. Shut it these days, you know. But you wouldn't necessarily assume the thing.
• 1:58:25
  Speaker A: Good dancer boys. Good answer boys.
• 1:58:27
  Speaker D: Yeah, I, I love the first like five albums. They're all great, but you know, nobody's thinking they've got a team of ghost writers. But you wouldn't assume that DJ Khaled is sitting there swaving away over his beats and bars, you know, so there is, we already have the tools we need to make like to start like discerning decisions about what we're consuming.
• 1:58:51
  Speaker A: Yeah, but that's, that's an interesting point. Like. Right, okay, I, I'll promise I'm not going to make an AI album. I'll promise. So if I make an album, it's not AI and people will probably give me the benefit of the doubt.
• 1:59:02
  Speaker D: The black.
• 1:59:04
  Speaker A: You're at a tune. You're at a tune. You're at a time. The, you've, you've said, you know in the, the new song we did I say blight instead of bright. But I left it in because if you listen to it with the lyrics it looks. Sounds fine. But if you. Yeah, so there's mistakes deliberately kept in to my songs usually cuz I can't be else changing them. But in general it's. There's flaws and I like flaws. I like mistakes in. In songs. So. But okay, so say in. In my level people will go right, well Martin's not using AI we can trust that. That's con. What did you say?
• 1:59:38
  Speaker D: What was a good word you used the Confidence economy.
• 1:59:42
  Speaker A: Confidence economy. So okay, but how do you break through as a new. I suppose because obviously we know that Buffy, Claire, they're not going to do that. You wouldn't imagine they would do that. You would imagine most people going to do that. But, I mean, there's nothing going to be good made for AI, I don't think. Surely. I did see a funny video of Donald Trump. The only good thing I've seen Generative AI make is Donald Trump getting Jeff Epstein breaking in a helicopter and getting him out of prison. That was funny.
• 2:00:19
  Speaker D: Yeah. I saw a video of Andy Burnham, like, spot teaming his way into number one. Sorry. Into number 10. And then turning around to the camera and going absolutely devastated. That. That's not real.
• 2:00:33
  Speaker A: Yeah, well, it might be real. You don't know. You don't know. We will never know. We will never know. Now, obviously we're going to wrap up with. Oh, by the way, Andrew, Mark, can
• 2:00:48
  Speaker B: I just say, nearly some AI in the video, because ages and ages ago I was like, I don't know how to draw a sky taxi. I draw a sky taxi for the sky taxi advert on the. On the subway. So I used the Google AI to generate some sky taxis by putting in Sky Taxi. And then I used one of them. Although I had to Photoshop it because it was kind of shit. I had to.
• 2:01:13
  Speaker A: But it's Photoshop AI.
• 2:01:16
  Speaker B: No, I. I just. No, I mean, I don't know, I was like. Like just cloning bits and. And smoothing it out and I did. I was. You know, I don't think I was using AI when I was doing the
• 2:01:28
  Speaker A: Photoshop as Reverb is Reverb AI.
• 2:01:32
  Speaker B: And I chatted to these guys and they were like, AI in that way. And I was like, actually, yeah, because I did feel, oh, I shouldn't really be using AI. So I fucked it off and made a crude Photoshopped version by getting a picture of a taxi, the pixie picture of a jet plane and just ramming them together in. In a cruise.
• 2:01:52
  Speaker A: Does that happen in the video? Can you give me a rough time?
• 2:01:55
  Speaker C: Stop.
• 2:01:56
  Speaker B: It's a really. It's a really crude Photoshop flying taxi now, but it is a real. I've got it.
• 2:02:01
  Speaker A: I've got it, I've got it, I've got it. Let's just look at this. See, this is. I would rather this than AI does this. Hold on. Sky taxes. There we go. So here, this. This is your. This is your. Did you do that?
• 2:02:15
  Speaker B: Yeah, yeah, totally.
• 2:02:18
  Speaker A: That's good. I think that's good. I'm not. I'm not great. I'm not. I'm not an artist, but I think that it looks like a sky taxi.
• 2:02:26
  Speaker B: Yeah. Yeah.
• 2:02:27
  Speaker A: So how did you draw that?
• 2:02:28
  Speaker B: I got a picture. I got a photograph of a taxi. Yellow taxi or a red taxi movie, and a photograph of a jet plane. And then I made the made. Changed the color to be orange and blacked out the windows. And then got the. Made the jet. The jet plane engine be orange. And the back. The back bit the orange and then slapped the taxi over the top of the back bit and under the engine. And that was it.
• 2:02:56
  Speaker A: And that. Oh, no, that was.
• 2:02:59
  Speaker B: I photoshopped the wheels off as well. I photoshopped the wheels off and I put a little. One of those little Cthulhu logos on the side of it, even though you could barely see it, you know, but it's got one of the little Cthulhu logos on the side of the taxi. Because the Cthulhu Corporation own everything. It's in the corner of the ADAs.
• 2:03:18
  Speaker A: Sounds like pitching. Where is the. Where is the line between working with computers, which we've all been doing well, in my career? I mean, I'm not from. I'm not that old that it was just. I mean, I think we have made some songs just analog. But everything I've done has been computers, which is that AI. I mean, based on what humans. A normal human would say is AI. It's going to get complicated. This is going to complicate.
• 2:03:48
  Speaker C: Yeah. Because it's like. At what point is it like acceptable maths and forbidden maths? Because it's all maths. It's all just like a computer doing mathematical calculations. Which bit is too allowed and which bit is the forbidden maths?
• 2:04:04
  Speaker D: I think it could be at the moment, forbidden math.
• 2:04:06
  Speaker A: Forbidden math is the train.
• 2:04:09
  Speaker D: Is the maths trained on data that was stolen is probably a fairly good way of thinking about it right now. I don't know if that's always going to be an interesting. A useful barometer, but right now, if you're. If you're creating music or art that you are then selling based on stuff that has been stolen from other people,
• 2:04:32
  Speaker A: based on Countdown to Tinnitus by the gyno babies and based on things by Jackal tradition, physics. Which is what exactly?
• 2:04:40
  Speaker D: Yeah. So that's. Maybe that's one way of looking at it, but I. The thing is, we're facing a kind of philosophical moral conundrum that we never really had to face before. And it's turning everyone into philosophers and everyone into technology experts.
• 2:05:02
  Speaker A: Or have we though? Have we not though? Because basically what about, what about auto Tune?
• 2:05:07
  Speaker D: So that's, that's taking something that somebody created and using a.
• 2:05:14
  Speaker A: With permission. With permission.
• 2:05:16
  Speaker D: With permission. If you were, say you were to sing something and then use an AI tool to perfectly emulate like Adele or whatever without her permission, that's completely different. You know, it's. It comes down to the agency that you're allowing creators and how their work is used. So if you're not, if you're just saying my need to create what I want is more important than your ownership of what you've created, then you're going to be on a pro AI side. If you believe that what somebody creates belongs to them, they should be compensated for any use of it. Then you'll be on an anti AI side right now.
• 2:06:05
  Speaker A: And I'm glad you brought up Adele because that is another thing, big talking point that came up a couple of weeks ago and that is Spotify did a deal with all the major labels that people can remix artists that opt in. So that means all your big pop stars can have just like a super fun with no musical talent whatsoever. They can then just play with the toys Remix. I think, I think actually on Spotify remix it and NCR remix this. But they didn't really. The Dudney. But you know what I'm going to do? I'm going to play Tickle McNichol a song for particular. Then we're going to come. Our final thoughts because we're at, we're at two hours, seven minutes, right? I'm enjoying it. It's Friday night and we're only halfway through. We're only halfway through June lockdown. You know, I did the. I did 10. I did a 16 hour show on my birthday in 2020, 2021. In fact, it's my birthday this week. So it's almost five years ago, an 18 hour show and I had to delete it immediately. As soon as I woke up, I got the fear. But here we go. This is Tickle McNichol and we'll come back with our final thoughts. Look, didn't you get me wrong? I'm a big fan of the Scotch people. I love Lulu. And if Target's on, I'll type it.
• 2:07:41
  Speaker B: Why I've been a minute.
• 2:07:42
  Speaker E: Tickle me nickel a bit of a pickle a puff and a piff and a pick and a spiff and a cup of this. Chipping and lappity ripping and having a kipper Coke float Attacking a cinema Snacking a sizzling roast. So close King of the limit go slow still in the middle. Bit of a dribble a yo so Bit of a lyrical pro King of the r Deliverer Singing a Bring it a bit of a gimmicky flow slow Bit of a dribble a yo so Bit of a lyrical bro King of the river deliverer Singing a Bringing a bit of a gimmicky flow slow Bit of a dribble a yo so Bit of a lyrical pro King of the rhythm Deliverer Singing a Bringing a bit of a gimmicky flow slow Bit of a dribble a yo so Bit of a lyrical pro King of the rhythm Deliverer Singing a Bringing a bit of a gimmicky flow slow Bit of a dribble a yo so Bit of a lyrical pro King of the rhythm Deliver a Singing a bring it a bit of a gimmicky flow slope.
• 2:09:25
  Speaker A: That was Tickle McNickel. Who is here? Who's still here? I'm still Tickle Nickel. A bit of a pickle. You know that I. I love that line. And I've been. I walked a bit Mexico wearing your. Because obviously I was traveling late on. We were at one rucksack. So the only about four t shirts. Five T shirts. And I had your. Your big heat on it. And I told you I was going to edit all the bits, but I haven't even added. Do you call that Mexico finishing. But I would like to just. Ed. When I do edit it, I'll pass it on all the footage to you. But yeah, that. That's a banger. All. All AI generated, of course. And I suppose that's my point is I like the. I like a unique voice. I like a white. The flaws. I like somebody doing something unique. Something either really well produced and unique or something really raw. And if AI actually copies that and catches me, I'll be gutted. But then I'll be like that.
• 2:10:24
  Speaker D: Well, I'll be like that.
• 2:10:26
  Speaker A: I don't think I'll ever go as far as Timberland inventing artists that don't exist. That's crazy.
• 2:10:33
  Speaker B: Would it be AI if I took the video and made it look like a cartoon instead of the way it looks now? There are programs. It's what they're doing. What they're doing is not what we're talking about in terms of years.
• 2:10:49
  Speaker A: Like people have. Remember people using the Simpsons profile picture? I'm assuming that was part of palantirs getting people's faces. But it used to be the Simpsons People have been cartoonifying things for ages. And I think that as long as it's blatantly obvious that you're just. You've used an app, I don't think. I don't know. That is a very good point of hypocrisy. I don't think it bothered me. I'd be like this person
• 2:11:18
  Speaker B: I made.
• 2:11:19
  Speaker A: I. I wouldn't cancel, but it was
• 2:11:21
  Speaker B: me and an old version of me. And the way I did it was to get a. Make a. Get an app to make me look old. I mean, actually I shaved my hair. I let my hair grow and then I shaved the bald bit even bolder so that it was just around the sides and it looked really, it looked like, like I guess the future and that it was uncomfortable. And then I. And then I got it to Photoshop me and it photoshopped me bald like really, really well because of the contrast between the hair that I'd grown in the hair that I cut and. And I took that one frame and then I took the. Some footage of me wrapping apart into individual frames. And then I just found a program where you give it all the frames and. And then you give it the reference frame of the, of the app to fucking old Tickle. And then it just changes all the other frames to fit to. To be like that one. And then, and then it was. And then you put them back together and it's just a bit. It was just video footage of me being old rapping and whatever the program did. I don't know what the it did really. You know, I like, I don't know to make me look old, but I don't. That's not the kind of AI that worries me. I think probably it's just holds. It's Hulk actually. I suppose like if people are. If people are writing beats with AI, then they're just not real. They're not.
• 2:12:44
  Speaker C: That's not.
• 2:12:44
  Speaker B: The beats aren't art. But then if they're rapping over the top of that, then that's the art. Or they're getting. They're getting fucking AI to write their rats. Are people getting.
• 2:12:54
  Speaker A: You know, as well as I do, there's people in the Scottish hip hop scene that are just sampling. And when I say sampling, I don't mean sampling in the 90s way. I mean there is people that sell beats that are just stealing.
• 2:13:06
  Speaker B: I mean there, there are people who are worse than bad AI.
• 2:13:13
  Speaker A: There is people that as well. That's a good way. That's a good closing point. There is people that much musical magpies like Damon Alban who is slagging Taylor Swift for right for the co writing. And I actually like Blur and I like Gorillas. But what who is he say collaborations. Even if you all with collaborations, I wouldn't be away collaborations. So I. Oh, oh, by the way, actually before I do anything I want to just play this quickly. Quickly or did it work? Did it work? I want to play this quickly before. Before we go as well. It's just a 10 second.
• 2:14:01
  Speaker E: In the back.
• 2:14:19
  Speaker A: Yes, that was my mao. There's been a lot of good singles at this week. Obviously we are here to promote Sky Taxis by Postcode, Prom Queen and Tickle Tickle Me Nickel A Bit of a Pickle. And there is also Beckoning Back by Merrill folk who are playing a gag for us in the south side with Serene and all the way from Mexico City to G42. It's the 16th of August, McNeil's Bar upstairs. We're bringing Zambo the full. We're bringing a full PA. We're going to make McNeil sound like it's never sounded before. I know it sounds a bit trumping but it's true and it's going to be an expensive day out for me. So please come along and support a Mexican band and a local band. So if you love local, support your local bands. If you live far away from Mexico, support a very, very far away band. And I'm looking forward to that. That will be Sunday the 16th. It's Govern Hill festival weekend. So it's a. We've not got permission. It's an unofficial governor festival weekend. But that. That I wanted to give away. Shouts to my mama. Merrill and beckoning back, new single out this week. Empress has got a single called Business as well. Lots of good, good music at this week. Not AI.
• 2:15:36
  Speaker C: I made that video with no AI
• 2:15:39
  Speaker A: that they went as far as we know. As far as you made the video.
• 2:15:47
  Speaker C: No, no, no. They made the video on an actual.
• 2:15:52
  Speaker A: Yes. And we've got on the topic of Dystopia, it's a fuse from the Brave New World. Lily, could you wrap so. So I've not read Brave New World, although my sister did give me the book and about two people have given me the book to read. But I read Orwell 1984 and it's haunted me ever since. So I don't know if I want another book haunting me or do I. Should I read Brave New World?
• 2:16:22
  Speaker C: Yeah, I think. I think you should. I think it maybe. Yeah, I think you should say something
• 2:16:29
  Speaker A: I've never saw the Matrix.
• 2:16:30
  Speaker B: I've never seen the Matrix.
• 2:16:34
  Speaker A: Have you seen the Matrix? But it's becoming an ongoing book. The fact that I've never seen the Matrix. I've been, I've been posting about it for years. The fact I've never seen it and it pisses people off. What Tom Holland for Spider Man. He said that he'd never seen the Matrix. He's still in my partner. And everyone's like, oh my God, Tom Holland's never seen the Matrix. Spider Man's not seen the Matrix. And it's not the first time someone stole my partner, maybe my partners. And a generative AI cloud that people at Tom Holland can still feel free because they're so far removed for what real people say. And real people say things like, I've never seen the Matrix. But yeah,
• 2:17:13
  Speaker B: when was Tom Holland or like, how old is Tom Holland? How old, how old was Tom Holland when the Matrix came out? Was he born? The Matrix came out?
• 2:17:23
  Speaker A: Somebody can Google that. I'll. I'll find you the footage of him saying that he's never seen the Matrix.
• 2:17:28
  Speaker B: Cause I'd imagine you've not in the Matrix for, you know, like in a. More like. Is he not quite young? Like the Matrix is fucking really old, isn't it? It's not coming like night.
• 2:17:39
  Speaker D: He's 30 and it came out in what, 1999?
• 2:17:42
  Speaker A: I want to say.
• 2:17:44
  Speaker B: What age was he when he first realistically would have seen the Matrix? You know, like how, how long? I don't think he's been not seeing the Matrix for that long, man. I think you, I think you're definitely beating him in not seeing the Matrix.
• 2:17:56
  Speaker A: Anyone can see, anyone cannot see that Matrix if you're young. But if they're my age with my opinions, you've got to do the Matrix.
• 2:18:05
  Speaker E: Yeah.
• 2:18:05
  Speaker A: If a four year old bragged to
• 2:18:07
  Speaker B: you that they hadn't seen the Matrix, you'd be like, what you mean you've not seen the Matrix? I've not seen the Matrix. And like barely got
• 2:18:17
  Speaker D: you. Just.
• 2:18:17
  Speaker B: That's the thing. I think you can only not, not ever have seen the Matrix. Like, I don't know, like, I have seen the Matrix. Yeah.
• 2:18:28
  Speaker A: I rest dogs myself here, but let's just go for it. This is how many times I have never seen the Matrix. So I've been, I've been consistent with this. So never seen the Matrix. Like, so this is Tom Holland saying he's never seen the Matrix. The more I learn about this film, the more this is 2023. A glitch in the Matrix. The more I learn about this film, the more I think it's not really my sort of thing. It's what that says because it's two guys that look like each other. Day three of still no smoking. 2021, still never seen the Matrix. 2019, forgot to say I got the Matrix DVD for X. On closer inspection, it's not even in English. So New Year, new me, still never seen the Matrix. Edit Update. The secret language is finished. So I did try and watch it once and it was in Finnish, so I stopped it. And then there was just like one day. Some people are saying that they've never seen the Matrix. How have you never seen the Matrix?
• 2:19:23
  Speaker D: Blah, blah, blah.
• 2:19:25
  Speaker A: And this would run for years. Years and years and years. Years. 2019, I was most in the Matrix. Me before. You guys might have seen Game of Thrones and. No seeing the Avengers. It's been a wee reminder. 2018, I've never seen the Matrix. It goes on like this right back to 2017. I've still never seen the Matrix. What is the most famous film you've ever watched? 2018 and a wee Matrix update. Last night I got messages about the Matrix being talked about in Taskmasters. No idea what Taskmasters is, but it seems like rewinding. Then I was listening to a Cage album I'd never heard before in the work. Said, how did you get the billboards? There was a glitch in the Matrix. Anyway, we've never seen it. 2018, sorry to bother you. Is a very good film. 8 to 10, still never seen the Matrix. I don't even remember what sorry bother you with. But yeah, I've been seeing it for a long time and then Tom Holland turns up like young, successful person. I've actually never seen the Matrix.
• 2:20:20
  Speaker B: Are you kidding me? Yeah.
• 2:20:22
  Speaker A: I don't why. I know that I would love it. I just have never.
• 2:20:26
  Speaker B: Are you kidding?
• 2:20:28
  Speaker A: It's never been a movie.
• 2:20:29
  Speaker B: I'm like, I'm so jealous you get to see that the first time. Yeah, I've never seen. I mean, I wonder if it'll feel as groundbreaking to you because so much was subsequently based on it.
• 2:20:37
  Speaker A: Right, right, right.
• 2:20:38
  Speaker B: That it might feel like. But I.
• 2:20:40
  Speaker A: It's.
• 2:20:41
  Speaker D: It's extraordinary. It's a.
• 2:20:42
  Speaker B: It's a great movie.
• 2:20:44
  Speaker A: I. Very good. I'll never watch it. It's. I say it's at that stage now. And then Gas tried to take me to the Queen's park arena last year. They were showing it. I live around the corner for it still didn't watch it. I used to that point there, but I just kind of watch it.
• 2:21:02
  Speaker B: It's interesting because I would say don't. I would say don't watch the second and third one.
• 2:21:06
  Speaker A: Everybody says that. I've heard it all. I've heard it all. I've been. This has been my part for 15 years. Everybody goes, oh, the second one's shite. The third one, shape before the fourth
• 2:21:16
  Speaker B: one was like a fucking Stuart Lee joke. It was like it had finally become good again, but in a different way because it was just fucking his being fucking, you know, like not as good as if it had just been the Matrix. Is that.
• 2:21:33
  Speaker A: Was there not.
• 2:21:33
  Speaker B: There was some kind of reboot? Fourth, like not a reboot but like a weird. Was there not some kind of weird sequel? That might have been a dream. Was it a dream now?
• 2:21:42
  Speaker D: There was a.8 matrix revelations or something. A Matrix something? Yeah. I never saw it.
• 2:21:50
  Speaker A: Matrix Revelations.
• 2:21:51
  Speaker B: I enjoyed it. I felt like it.
• 2:21:54
  Speaker A: You should. You should check.
• 2:21:55
  Speaker B: Enjoy it. I didn't really.
• 2:21:59
  Speaker A: Is there any famous. What's the most famous TV show film book, for example? Me admitted to Never. Never have. Yeah, I don't think nobody's read the Bible. Nobody. I don't believe anyone's read the Bible for start to finish. And I was brought up in it. I was brought up in it, but it was just basically people picking their favorite bits like highly reels in the same way that I watch Lemmy Twitch Streams now. You know, you. You know, I don't watch six hours of Limit a day, but I watch the Twitch. I'll probably watch a wee. A wee clip feed Limit every Day shows to Lenny.
• 2:22:36
  Speaker D: I've never seen stuff like Gone with the Wind, Casablanca, like all the like old really, really like old classic films. I've got no interest in seeing any of those and I never will, but I've seen a thousand things based on them, you know, so maybe. Maybe that counts. Probably doesn't.
• 2:22:58
  Speaker A: Sorry, it's crashed. We're still here. Sorry I crashed there in mind. Try to get. Try to stop us from getting too close to the truth. Never watched Gone with the. I've never watched it either. I don't think. I don't think. But I think it's old enough that maybe I would have watched it as a child. I feel. I feel like my parents liked it. Tickle me nickel. What have you never seen?
• 2:23:22
  Speaker B: I think I've seen and read and heard literally everything your generative AI are.
• 2:23:33
  Speaker D: I've.
• 2:23:34
  Speaker B: I've consumed every There is. So I. I'd say I haven't seen.
• 2:23:41
  Speaker A: You know. You know,
• 2:23:46
  Speaker B: I can't think of anything. I can't think of any. All I can think of is things.
• 2:23:51
  Speaker A: Jacko Trades difficult second album. Have you heard that?
• 2:23:55
  Speaker B: No.
• 2:23:57
  Speaker D: No.
• 2:23:57
  Speaker A: Trip Blasted advisor. No, nobody said that one. What about Lily? Lily, what about you? Anything that you think is. Is very famous, like definitely AIs trained on it. But you've not seen it yourself yet.
• 2:24:12
  Speaker C: Feels harder to think of the things you haven't seen. I think someone recently was shocked.
• 2:24:20
  Speaker A: It's a difficult question.
• 2:24:23
  Speaker D: We hunting what?
• 2:24:24
  Speaker C: Kung Fu Panda.
• 2:24:26
  Speaker D: What's a great film?
• 2:24:27
  Speaker C: Yeah, I haven't seen that, but apparently that's really good.
• 2:24:34
  Speaker A: So I've seen it, obviously.
• 2:24:37
  Speaker D: Yeah.
• 2:24:38
  Speaker A: I mean I can. I can visualize it in my head. I've seen the adverts for it. It seems like it was a bit of a big deal, but I mean it's not funny. It's no funny.
• 2:24:46
  Speaker C: People. People.
• 2:24:48
  Speaker A: We just played a bit.
• 2:24:49
  Speaker C: For me though, like you should be for everyone. They big it up. Like everyone needs to see it. It's. It's for everyone.
• 2:24:58
  Speaker A: I don't believe that.
• 2:24:59
  Speaker D: I don't think it's that much of a seismic, you know, people are full of shit, man.
• 2:25:06
  Speaker A: There's people that have really good taste in music. I've got bad taste in films and TV shows and because I. I'm loyal to the plot in the sense that if I believe in the thing, I'm going to watch it or a book. I'll read to the end and then I will regret wasting my life on it. So this is why I don't really watch or read that many things anymore because I've been disappointed so many times. Angels and Demons. What a terrible book that was. I read that Robert Langford. Langford Langdon. Robert Langdon. That guy. Or they call him the Dolphin because he's friendly, athletic and intelligent. Off. I was like, well, hopefully the point this is he. Dyson. But no, no. Spoiled. Alert. Die.
• 2:25:57
  Speaker D: And yeah, friendly athletic intelligence.
• 2:26:02
  Speaker B: You should start abandoning art, Mark.
• 2:26:04
  Speaker A: If it's bad.
• 2:26:05
  Speaker B: If it's bad, art it off. I reckon I don't mind stopping a film like halfway through. If it's really bad, I'm. I'm happy to do it. If you were eating a banana and you got halfway through and you realized it was a jobby and you've been eating a job eat and worked it out, why would you like. You'd be like, oh, well, I've started eating the joby. I'm gonna finish eating the Joby. Is that.
• 2:26:24
  Speaker A: I did it. I don't know where I missed something that opened up life.
• 2:26:31
  Speaker D: An incredible.
• 2:26:34
  Speaker B: The film's the Joby Banana.
• 2:26:35
  Speaker D: Walk away is the.
• 2:26:36
  Speaker B: That's the message.
• 2:26:39
  Speaker A: Barbie says. Stu. Barbie's only a year or two old. Surely was it not Barbie and whose other film?
• 2:26:44
  Speaker D: Oppenheimer Bomb?
• 2:26:49
  Speaker A: Oh, yeah, yeah. Oppenheimer and Barbie. That's about a year. Was that a year ago? Two year ago. I don't think that's a. I don't think anyone's seen. I didn't watch Barbie or Oppenheimer. I didn't watch either.
• 2:27:00
  Speaker D: Christopher Nolan's already onto his next Big Shiter anyway, so it must be at least two or three years.
• 2:27:07
  Speaker A: Yeah, yeah, it will be. But yeah. Anyway, it's been a pleasure having you guys on. We're now at two and a half hours, so I'm going to wrap up because this is. This is Joe Rogan territory. We're in the. And either. Either I'm going to have to mix it. In fact, I can't mix. I can't mix it because I've been drinking, so I can't mix me drinking on. On a show. It's the first show I've drank on in a long time, so I've enjoyed it. But I can't listen to this back. So. Shouts to Marco, who has obviously mixed and mastered this and hopefully there wasn't. Is it cut out for you guys too much? Has it been like.
• 2:27:50
  Speaker B: I think I. I think I can. Yeah. I don't think I've heard Lily properly. And everybody else has cut in and out as well.
• 2:28:00
  Speaker C: Off.
• 2:28:01
  Speaker A: You could have told me that before.
• 2:28:03
  Speaker B: I was trying to, but whenever I could get a word in H race, I was just like off on one about some. Something in a. Quite dull and drunk with.
• 2:28:16
  Speaker A: Well, that could be. Hopefully your Internet. Hopefully it's your Internet. And you did private message me saying vvv.
• 2:28:25
  Speaker E: Bb
• 2:28:28
  Speaker B: the tape.
• 2:28:29
  Speaker A: You're getting those important messages through the technical department.
• 2:28:36
  Speaker B: I was trying.
• 2:28:39
  Speaker A: We're wrapping it up. We're wrapping up. We're wrapping up. What have you got coming up? You've got a gig, actually. You've got a gig at the West End. I know that. You've got a gig tomorrow maybe. No, no. It was West End in the eighth. Ninth.
• 2:28:51
  Speaker B: I don't think I've got a gig tomorrow. I'm practiced. If I have got a gig tomorrow,
• 2:28:56
  Speaker A: I just drink it. No, it's all right. You're not. You're not in the lineup, but you're playing Kelvin side alongside Lou Lou Palgrave, Dragon Bone man and Sevka, I believe on the 9th or the 8th. 9th.
• 2:29:13
  Speaker B: Yeah. Yeah. It should be good, eh? Yeah, I'm looking forward to it. I'm looking forward to it.
• 2:29:19
  Speaker D: It's gonna be.
• 2:29:20
  Speaker B: It's gonna be awesome. It's. Yeah, that's what I'm.
• 2:29:26
  Speaker A: Anything else, Anything else coming up. Sky Tax, by the way, baby, just to say you've had. You've hit over 300. You text me earlier on today saying because you're not on social media, you'll be lucky. You'll be glad if it hits 200 to 300. You are now way over 300.
• 2:29:43
  Speaker B: That's good. Because it's just been really. It's quite weird because it's not like even if you're. Even if you're online, it's not like, like even, you know. You know, even if I was on social media, it would still just be like, surprisingly few people because of the way all the algorithms that, you know, there's just like. You can't even tell everybody you actually know unless you just tell them one by one. You know, I don't know as many people.
• 2:30:14
  Speaker A: Like, I think maybe, hopefully there might be a wee thing that's happening whereby everybody. It's saying, Tickle's got a new song and people are interested because you're not online with the Mog. The Mog thing. The Mog where it's like, people check. People have to check for Mog's new stuff because there's gonna be a warning that Mog's got a new album and he's making about two albums a year.
• 2:30:33
  Speaker B: I'm gonna be on the train. I'm gonna. I'm gonna ride the subway in my elf with a QR code for 5 or 6 hours a day until some people have fucking watched the video. Now that for net. From now on, for five or six hours every day, I'm gonna. I'm gonna ride the subway with the QR code. And that's. That's like. The only promo that is.
• 2:31:04
  Speaker A: Yeah, that's amazing. No, I think you should do that. I think you should do that.
• 2:31:09
  Speaker B: I don't have time to do five or six hours a day, but I'm gonna def. I'm definitely going.
• 2:31:14
  Speaker A: Yeah, you'll be there.
• 2:31:16
  Speaker B: Yeah, I. I'm not going to do every day because it would just not
• 2:31:19
  Speaker A: be there all the time.
• 2:31:20
  Speaker B: I'm a real.
• 2:31:21
  Speaker A: Do it every day. He's going to be there. He's going to be there every day for five to six hours a day. So if anyone wants considering getting on a subway, now's the time. Now's the time. Okay, Gordon, what's happening next for Post Go Prom Queen?
• 2:31:39
  Speaker D: We're playing at the Fringe by the sea on the 1st of August and we've got a new album.
• 2:31:45
  Speaker A: That's a great gig.
• 2:31:46
  Speaker D: Yeah, we're looking forward to it. It should be a lot of fun. So, yeah, gig on the 1st of August, album in November with lots, lots more cool collaborations and the most ambitious thing we've attempted. So hope everyone's looking forward to
• 2:32:03
  Speaker A: loe. Anything to add to that.
• 2:32:09
  Speaker C: So it's an album part in Gaelic, so if any Gaelic speakers are interested, they might like to hear something in that language. So we're working with four collaborators who are doing their songs in Gaelic and it's about nuclear semiotics. I'm not going to explain it now, but if you want to look it up, it's very interesting.
• 2:32:30
  Speaker D: Yeah, it'll be. It'll be good fun and there'll be singles out over the next couple of months as well.
• 2:32:35
  Speaker A: And did you get all your Gaelic people? Because remember, you messaged me. Working for Gaelic people.
• 2:32:39
  Speaker D: Yeah, yeah, we found some amazing folk. So working with Josie Duncan, Edie Worrell, Alistair White and Colin from Gungal. Oh, bro.
• 2:32:51
  Speaker C: Yeah, you sent us the Evie Wardle track. She's got that Hitman track you sent us and that was her.
• 2:33:00
  Speaker B: Yeah, yeah.
• 2:33:01
  Speaker D: So, yeah, we also just did a photo shoot in the paper factory in Edinburgh. So there'll be lots of cool things happening very, very soon, as well as this very cool thing that's happened today, which we hope everybody goes out and watches and enjoys.
• 2:33:15
  Speaker A: Yeah.
• 2:33:16
  Speaker C: The video is so cinematic and beautiful and so much effort has gone into it. And yes, every second has a detail to look at. So it was really amazing to work with you, Tigo.
• 2:33:27
  Speaker D: Yeah, thank you. It's been wonderful.
• 2:33:29
  Speaker A: Congratulations to you, all three of you. You have done amazing. It's such an amazing piece of art. And whether it gets 100 views or 300 views, it's actually getting 340 and it doesn't update for another day. So I think you're. I think you've. You've hit your. You're worried about not 200 to 300. It's done that already and it'll last. It'll last forever. It's beautiful word of mouth. Hopefully, maybe. Maybe some power washing VR codes or
• 2:34:01
  Speaker B: whatever,
• 2:34:03
  Speaker A: but power washing and you just sitting in the subway and it could. I think if you sit in the subway handing out stickers all day, every day, you could be a thousand views and no thing by the end of the year.
• 2:34:23
  Speaker D: Thanks.
• 2:34:24
  Speaker C: Print off QR codes. The people can hold them on the side.
• 2:34:31
  Speaker A: Well, it's been an absolute pleasure talking to you. My Internet is getting a bit shy, so I'm going to. I'm going to wrap it up. But it's been amazing. I'm going to end with the.
• 2:34:39
  Speaker B: The.
• 2:34:41
  Speaker A: The video or the six second video? No, actually, what I should do is I'm going in with. I'm going in with the Jackal trades. Steve cast song Death of a Daydream. Oh, it's an audio recording I've already got, so check that out. It's out now. It came out last week, so end with that. Thank you very much. Tickle who's disappeared. Thank you, Gordon. Thank you, Lily. And I look forward to hearing all your new projects. Enjoy the rest of the summer.
• 2:35:07
  Speaker E: Bye.
• 2:35:37
  Speaker C: Down a little bit.
• 2:36:23
  Speaker A: Through the airwaves. I feel art at school, but I could draw you my quality depth because I choose for you.
• 2:37:19
  Speaker E: I can see what we're doing. Right. The death of a Dream.