WEBVTT
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[SPEAKER_00]: It's easy to hear your favorite artist on WFPK from wherever you are.
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[SPEAKER_00]: Listen on your smart speaker, live stream from our website at WFPK.org from Louisville Public Media.
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[SPEAKER_03]: and welcome to another edition of Kyle Meredith with.
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[SPEAKER_03]: It's the interview series presented by WFPK at WFPK.org consequence and the consequence podcast network.
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[SPEAKER_03]: We've had some great guests lately, especially Brittany Howard was just here.
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[SPEAKER_03]: Alabama Shakes just released their first album in the 11 years, called I Must Be Dreaming, hung out with Patrick Ranna and Daniel official.
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[SPEAKER_03]: You know them from the Sandlot and Boy Meets World, they're in a new YouTube series called Dugout Dads.
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[SPEAKER_03]: Grace Cummings dropped in to discuss her new record Blood Horses, we also hung out with Scott and Pat from Weezer, Anthony Michael Hall, David DeCovney, Lily Sullivan and David Rizdall who starred in the movie Soulmate, Jay Chandra Sikar of Super Troopers, Phoenix Guster Jane Seymour.
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[SPEAKER_03]: That's what you get when you subscribe to the Kyle Meredith with podcast.
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[SPEAKER_03]: And that's me Kyle Merit today.
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[SPEAKER_03]: It's a special rewind episode.
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[SPEAKER_03]: We're going to head back to 2017 and and 2024 to talk with some of the members of slow dive.
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[SPEAKER_03]: In fact, basis Nick Chaplin will be on the first part.
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[SPEAKER_03]: And then the second part is my conversation with Neil Hallstead.
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[SPEAKER_03]: and it's and it's really all about their second act.
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[SPEAKER_03]: I mean slow down.
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[SPEAKER_03]: I've second act turned out to be much bigger than anyone in the band expected as you'll hear and Nick's gonna look back at the band's self title come back the moment star roving proved they could make new music again and realizing that a younger generation saw them as a current band instead of just a legacy act and then later on.
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[SPEAKER_03]: Neil and I will talk about following it with everything as alive and building the songs from electronic sketches and happy accidents and balancing the bands love of classic pop with their more atmospheric experimental side.
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[SPEAKER_03]: You know the word that I didn't say yet.
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[SPEAKER_03]: All that of more let's get into it as as we discuss the second acts of slow dive starting on part one here.
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[SPEAKER_03]: It's Kyle Meredith with Nick Chaplin.
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[SPEAKER_03]: I, you know, the compliments first, this is the best low dive record in the entire catalog, which that doesn't happen.
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[SPEAKER_03]: That's so inhuman for that to happen.
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[SPEAKER_03]: You know, band a pull that off.
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[SPEAKER_03]: I mean, do you, you know, I mean, most bands always feel like their latest record is their best, but do you all get a sense of where this lies for you?
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[SPEAKER_01]: I don't know.
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[SPEAKER_01]: I mean, I think I think my sixth year all thinks it's the best.
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[SPEAKER_01]: You know, she insists on having it play on her little iPod with her little dog she has in her room and it just goes on all night She doesn't like falling ashes.
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[SPEAKER_01]: She thinks that's boring But that's the rest of it she really lives and before that her favorite song was cashed the breeze and everything else that we've ever done is boring
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[SPEAKER_01]: So, you know, it's got the vote of confidence from a six year portion.
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[SPEAKER_01]: I mean, I think we were a little bit, you know, a little bit anxious about releasing it, because obviously it was the first thing that we done for such a long time.
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[SPEAKER_01]: We were already confident that the we thought the record was good, but we didn't really know how it would be received.
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[SPEAKER_01]: We didn't know whether people would think it was too similar to what we recorded previously, or maybe not similar enough.
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[SPEAKER_01]: You know, it was a little bit like it was going back to the days of when we released the catch the breezy P which we call holding our breath and we called it holding our breath because we were literally holding our breath waiting for everyone to turn against this and that's what ended up happening.
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[SPEAKER_01]: So it was a little bit like that.
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[SPEAKER_01]: I mean, you know, I think that some of our strongest songs are on this new record.
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[SPEAKER_01]: Whether it's the best, I think maybe we need to live with it a little bit longer before we can make that call.
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[SPEAKER_03]: Well, I'll make the call for myself only personally then.
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[SPEAKER_03]: Thank you.
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[SPEAKER_03]: Yeah, you know, you sort of, you're running with the joke of your, your daughter there.
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[SPEAKER_03]: Um, this is the introduction to some fans though.
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[SPEAKER_03]: This will be their first time.
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[SPEAKER_03]: Here you go, which has got to, which has got to feel special in some sort of way.
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[SPEAKER_01]: Yeah, I mean, it's quite, um, it's quite noticeable in some of the shows that we're playing that, uh, the new songs are being received by the crowd, uh, nail songs.
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[SPEAKER_01]: And, um, you know, that's, that's something that obviously we kind of hope to be in the case.
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[SPEAKER_01]: because we don't want to be seen as a band that just plays like the Gold Nolids from 25 years ago.
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[SPEAKER_01]: But we were a little bit concerned that, you know, we will come out and we play the new songs and people will be like, oh, you know, just play the old song.
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[SPEAKER_01]: You know, no disrespect to bands like the Pixies, but you know, when I've been to see the Pixies,
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[SPEAKER_01]: You know, since they've kind of had new music out, you know, in the last couple of years, you know, I've wanted to hear Sir Farozer and do that all day.
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[SPEAKER_01]: I haven't been able to talk about what, you know, about the new songs, and we didn't really want to be like that.
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[SPEAKER_01]: And, um,
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[SPEAKER_01]: And yeah, I think we've noticed a lot of the audiences is far too young to have been around when we were playing in the early 90s.
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[SPEAKER_01]: And when we play, when Neil plays the first calls to shoulder for the pill, for instance, you know, people, you know, you can sense the crown and the like, yeah, it should be the pill, which is brilliant, because it sort of puts us, you know, as a current band and not just like a legacy act, which is what, you know, we never wanted to just be a legacy act.
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[SPEAKER_03]: Yeah, I know that's something a lot of bands have to fight for it.
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[SPEAKER_03]: I mean bands that you know have only been around for even 10 years themselves.
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[SPEAKER_03]: It's always that new song where the audience kind of tunes out and for you guys to be able to That's that's that's that's great.
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[SPEAKER_01]: Yeah, and we will you know we would play more of those than your recordings.
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[SPEAKER_01]: We physically can play all of it, but we do feel that
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[SPEAKER_01]: you know, when we're playing especially festival sets, we're playing obviously we're at we're at FWF this week and festival set, you feel you can't just hit the crowd with way an hour of new music because that's not really fair on people, you know, they may have not really caught up with a new record but maybe a familiar with us from 1993 or something I'm wondering here stuff from Sichuan, so you have to mix it up a little bit.
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[SPEAKER_01]: But you know, we're looking forward when we come back to the US and for we're looking forward to you know playing a lot more of the new record and you know sort of really kind of breaking breaking out a little bit from from from the old songs maybe.
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[SPEAKER_03]: Were you were you guys conscious of the reputation and the mythology that builds in your apps in your absence did you all feel any of that while it was happening?
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[SPEAKER_01]: Not really, you know, I mean people would talk to us about it, before we reformed people would talk to Neil especially, I was, you know, Neil Halstead was, you know, continue to play live and to write his own music and, you know, he played with Dracart and brother and taught so low and
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[SPEAKER_01]: people would always talk to him about slow diet and about hey man you've got to get slow up out together and you know there's all these people out there that want to see you know you're bigger now than you ever were but we didn't really believe it and really the the first time we realized was when we put the tickets on sale for our first show and the village on the ground in London and
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[SPEAKER_01]: and we were worried that we wouldn't sell 800 tickets and they sold out in like a minute and an hour for something and it was only at that point that we were like, wow, it took us three months to sell 800 tickets in 1999's before.
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[SPEAKER_01]: And here they are selling in 90 seconds and then primavera obviously with 15,000 people watching us and we're going on stage before,
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[SPEAKER_01]: the pixies, they're there again.
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[SPEAKER_01]: But one of our favorite bands of all time, we go on stage at the other end of that huge arena, a prima bearer, and Barcelona just before the pixies, from 15,000 people.
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[SPEAKER_01]: So people told us about it, but we didn't appreciate it until it, you know, until we actually saw it with our own eyes.
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[SPEAKER_01]: And you know, it's still, we still find it difficult to believe to be honest that there is still that much interest in the bearer.
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[SPEAKER_03]: All right, we're going to take a quick moment here to remind you that if you if you did what you're listening to, please do hit that subscribe button, just subscribing helps out this series so much and will be right back right after this.
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[SPEAKER_03]: And welcome back, it's Kyle Meredith with Nick Chaplin of SlowDive.
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[SPEAKER_00]: Let me in what your three years in, technically, on this reunion at this point, right?
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[SPEAKER_03]: So on chapter two, I should say, at like that better.
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[SPEAKER_03]: You know, and when a band starts in your young, you know, it's always kind of likened to a gang.
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[SPEAKER_03]: You know, it's, it's, it's you all against the world.
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[SPEAKER_03]: But this is, is it different nowadays?
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[SPEAKER_03]: Is it possible for you all in a chapter two version to become a gang again?
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[SPEAKER_03]: Or do you feel that it's a wholly different thing this time around?
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[SPEAKER_01]: I think we are still the same gang, you know.
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[SPEAKER_01]: It's a bit weird because you know it was quite it was complicated and slow-diving in the 90s, because it's very well documented about the relationship between Neil and Rachel which broke down which led to the Suclearky record and there were never real big problems in the band, but you know we were a gang when we started but things did start to fragment which led to the band eventually breaking up.
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[SPEAKER_01]: We lost time and
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[SPEAKER_01]: And, you know, since we've got back together, we're obviously a lot older, and we've had families, we've got different perspectives on life now, and we do genuinely get on extremely well.
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[SPEAKER_01]: We have a lot of fun playing together and traveling together, and I would say we're perhaps more of a game.
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[SPEAKER_01]: Now than we were before, we still, we got to dinner together, we, you know, we go out with the crew, you know, we're one of these, we're not one of these bands that kind of set a press for us to help away from the crew.
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[SPEAKER_01]: You know, we just have a really great time because I suppose we think there are so many there are thousands and thousands of bands out there, you know, potentially more worthy of the small success that we've had than we are and here we are having a second bite at the cherry, so really it's about.
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[SPEAKER_01]: for us it's about having as much fun as possible in enjoying it and just living in the moment and enjoying our friendship again.
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[SPEAKER_01]: Which sounds corny but that was that very positive.
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[SPEAKER_01]: Yeah I mean we love it.
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[SPEAKER_01]: You know our crew is a really tight net bunch as well as the same crew pretty much that we
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[SPEAKER_01]: put together in 2014 and we're all good mates now.
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[SPEAKER_01]: We'll travel together.
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[SPEAKER_01]: We'll hang out together.
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[SPEAKER_01]: So it is a bit like, I don't know whether you have it in the States, but in Britain, when you're in in high school, you go out on these on these school trips.
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[SPEAKER_01]: You might go away for three or four days to some awful youth hostile out in some rainy part of England where you're supposed to be studying history or geography or something, and it kind of feels like that.
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[SPEAKER_01]: You're all kind of...
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[SPEAKER_01]: You're all kind of trying together on a bus and taking a look out of each other and, you know, everybody's kind of in a child comes out.
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[SPEAKER_01]: But, you know, we enjoy it.
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[SPEAKER_01]: And if we didn't enjoy it, you know, we probably wouldn't do it.
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[SPEAKER_01]: We don't need it, really.
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[SPEAKER_01]: I mean, it's not like something we can make a fortune out of.
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[SPEAKER_01]: We do it because we enjoy it.
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[SPEAKER_01]: And, you know, and then when that stops, I guess, we will stop.
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[SPEAKER_03]: Back on this record because I do want to talk about it.
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[SPEAKER_03]: You guys get back together, you know, so you've done the shows and you're you're heading in the studio, was there a song or a moment when you realize that it is going to work, you know, that this is is clicking again.
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[SPEAKER_01]: I think probably a couple of moments.
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[SPEAKER_01]: I mean, it sounds obvious, maybe, because it's the two, the two singles.
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[SPEAKER_01]: So to speak, I'm sorry, I'm going to share with the pedal.
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[SPEAKER_01]: Sugar for the pill was actually recorded first, but I think we all didn't really come together as a solenoid till quite late on.
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[SPEAKER_01]: But we kind of knew when we were recording that, that was a, you know, that we had something good there.
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[SPEAKER_01]: And we had a number of different ideas playing around which really, you know, we couldn't really pull together.
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[SPEAKER_01]: We'd become so used to being alive and again, we'd almost forgotten how to go and record.
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[SPEAKER_01]: And, you know, things were sort of meandering and it took a while and then suddenly Star-Robin came together quite separately from an idea that Neil had, which was really different.
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[SPEAKER_01]: It sounded like a crowd rock cover.
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[SPEAKER_01]: You know, it sounded like it sounded like a can track or something.
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[SPEAKER_01]: You know, it was good, but we were all like, you know, what this sounds too much like, we're just copying can.
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[SPEAKER_01]: And I wrote a different, I've came up with a different baseline for it, which kind of, you know, maybe a bit funky or almost, and we sort of mixed in some electronic drums with some match with some live drums.
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[SPEAKER_01]: And they all came up with this monstrous movie keyboard part, which took a part of some of the bass.
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[SPEAKER_01]: And, you know, it's suddenly it was like, you know, it's like, wow, this is like slow noise.
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[SPEAKER_01]: slow drive to take on teenage riot or something and we were all like this is great and from that point on we everything else seems to come together so I think we can probably credit star-roving with pulling the album together it was that was the moment where we were like right now we can do something good
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[SPEAKER_03]: And the idea is always to sort of build a mood, you know, in slow dive, in sort of the genre that you're you're lumped in with, it's sometimes even more about the mood than other parts, and I don't know, is there a mood that you go for this time around?
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[SPEAKER_03]: Is it just, you know, you kind of take the song as it is and build it up, or were you guys trying?
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[SPEAKER_03]: Because it's an album, and it's such a cohesive sound for an album, you know, again, which is notable for having been gone so long
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[SPEAKER_01]: I don't think we really do.
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[SPEAKER_01]: I think we're definitely one of those bands that just let's.
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[SPEAKER_01]: the process take itself off into whatever direction.
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[SPEAKER_01]: I think when we when we started putting the records together, I think we all thought without really admitting to each other.
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[SPEAKER_01]: I think we all thought we'd end up with the successor to Pigmaillian.
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[SPEAKER_01]: We thought that what we were going to end up with would be something quite experimental and a little bit out there and that people would be, you know, probably some some very artsy people would be all over it, but maybe
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[SPEAKER_01]: You know, the people that jump around to when the sun hits and catch the breeze and Alice and would maybe feel a little bit kind of sort of left out of it, but that's not how it turned out.
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[SPEAKER_01]: So I think although the intention was there maybe to write something quite experimental, I think the fact that we've been playing as a live band for three years really influenced the recording and the writing process much more than we thought it would and we ended up with something which
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[SPEAKER_01]: You know, we all kind of think it's more, if it's a successor to anything, it's a successor to Sparky rather than Pig Malian.
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[SPEAKER_01]: So, you know, we just, we let things kind of take, um, whatever direction, you know, they're going to take rather than rather than aim for a particular mooch, but having said that moving on from the new record now, I think what we're keen to do to follow that is to maybe explore more of the Pig Malian textures that we perhaps neglected on this record.
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[SPEAKER_01]: something which is more of a conscious decision to be slightly more experimental, but you know we'll see maybe we'll go back in and we'll end up like making a record that sounds like the food fire so
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[SPEAKER_03]: Well, it's part of the most exciting things that you've said right there, not counting the food fighters.
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[SPEAKER_03]: Although whatever, as long as you guys are writing music, I'll be happy, but just knowing that you're already thinking ahead, and it's not just a one-stop here, that's great news.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: We've always tried.
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[SPEAKER_01]: Right through the start, we always have said that we want to look forward, and we love plenty of songs, and we love making people happy, want to hear those songs again, or maybe for the first time.
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[SPEAKER_01]: We don't want to just be kind of coming back every year and playing the same place isn't playing the same set.
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[SPEAKER_01]: That's not what we're about.
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[SPEAKER_03]: Well, I love this record.
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[SPEAKER_03]: It's one of my favorite to the year and I'll go ahead and start looking forward to the next record as well.
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[SPEAKER_03]: So Nick, it was really great talking to you.
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[SPEAKER_03]: Thank you so much.
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[SPEAKER_03]: All right, we're going to take a quick moment here to remind you that if you if you did what you're listening to please do hit that subscribe button Just subscribing helps out this series so much and we'll be right back right after this
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[SPEAKER_03]: And welcome back, it's Kyle Meredith.
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[SPEAKER_03]: All right, part two of this slow dive rewind.
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[SPEAKER_03]: This was 2024 when I jumped on with Neil Hallstead to talk about the record, everything is alive.
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[SPEAKER_03]: It was the band's second album since reforming back in 2013.
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[SPEAKER_03]: And we got to discuss starting the LP with 40 electronic instrumentals and the way the group typically worked using the same studio since the beginnings.
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[SPEAKER_03]: One which still has the same couch.
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[SPEAKER_03]: as it has for over 30 years.
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[SPEAKER_03]: All that and more, let's get into a part two.
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[SPEAKER_03]: It's Kyle Meredith with Neil Hallstead of Slowdive.
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[SPEAKER_02]: Like Kyle, how are you?
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[SPEAKER_03]: Seriously, it's so great to talk to you the new music, the old music, everything you've been between.
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[SPEAKER_03]: I'm such a admirer of, but this new album is so good.
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[SPEAKER_03]: And I'm even looking at your tour list, too.
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[SPEAKER_03]: You guys got a monster.
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[SPEAKER_03]: You're going to be out on the road for a little bit this year, right?
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[SPEAKER_02]: Yeah, yeah, and we did a fair bit last year as well, starting in September, so I haven't really looked at the schedule yet.
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[SPEAKER_02]: I don't understand myself, but it's a little bit busy for you.
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[SPEAKER_02]: It's a bit tough being away from home for long periods, but we try and
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[SPEAKER_02]: Try out to be a wife too.
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[SPEAKER_02]: You know, usually it's like three or four weeks at a time, you know, and then we'll be home prepared.
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[SPEAKER_03]: So yeah, go away to do it.
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[SPEAKER_03]: But yeah, and I should mention, because I'm here in Louisville, May 7th, you'll be here in Louisville at the Paris Town.
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[SPEAKER_02]: So I think I look forward to that.
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[SPEAKER_02]: I think I think last time I was in Louisville was maybe 15, 16 years ago.
17:53.941 --> 17:56.342
[SPEAKER_03]: It did like a weird radio convention there.
17:56.942 --> 17:59.903
[SPEAKER_03]: Oh, the non-convention when it was still here.
17:59.923 --> 18:00.303
[SPEAKER_03]: Yeah, yeah.
18:00.363 --> 18:03.804
[SPEAKER_02]: Thank you a little whiskey, a hung out with that hardcore Nora Jones.
18:03.964 --> 18:06.905
[SPEAKER_02]: It was just fun.
18:08.286 --> 18:11.667
[SPEAKER_02]: I think that was when she was having a really big record at two weeks.
18:11.707 --> 18:14.168
[SPEAKER_03]: She had a big record in starring her journey.
18:14.548 --> 18:20.530
[SPEAKER_03]: Yeah, it was an infamous show for her as well, because of those radio conventions.
18:21.945 --> 18:25.727
[SPEAKER_03]: People are it can they can be a little bit loud and gabby during the show.
18:25.767 --> 18:32.830
[SPEAKER_02]: Yeah, yes, she was having none of that just shut it down Didn't hurt her all that I remember being told about it.
18:32.870 --> 18:34.691
[SPEAKER_02]: I missed it But I was told about it.
18:34.751 --> 18:36.291
[SPEAKER_02]: Yeah, she she told them off.
18:36.631 --> 18:44.775
[SPEAKER_02]: Yeah, good and good on her too because they deserve it No, it's good to see I mean, you know you've been
18:45.815 --> 18:48.597
[SPEAKER_03]: With that, you have been touring for a very long time.
18:48.877 --> 18:50.618
[SPEAKER_03]: Has your routines changed these days?
18:50.658 --> 18:57.203
[SPEAKER_03]: How do you keep yourself sane and busy on the road these tours like this?
19:00.345 --> 19:01.586
[SPEAKER_02]: Still trying to figure that out.
19:02.046 --> 19:04.968
[SPEAKER_02]: The temptation was always to drink a lot.
19:05.168 --> 19:07.950
[SPEAKER_02]: And I found, like, I can't really do that.
19:08.010 --> 19:10.311
[SPEAKER_02]: Now, I still like to go and find the...
19:11.290 --> 19:19.651
[SPEAKER_02]: nice point of Guinness somewhere, but rather than spend all day there, I'll try and do some other stuff as well.
19:21.992 --> 19:24.572
[SPEAKER_02]: Yeah, no, it can be tricky.
19:24.592 --> 19:30.833
[SPEAKER_02]: It's just sort of a weird, you know, your day is a bit odd, you know, so, you know, because everything happens.
19:31.233 --> 19:39.955
[SPEAKER_02]: You sort of everything is sort of, you know, you know, it's this thing that's happening at 9 or 10 o'clock at night, you know, so the rest of the day,
19:41.557 --> 19:52.282
[SPEAKER_02]: Yeah, it's just figuring out, but there's, you know, I try, you know, I always have a laptop with me and guitar, you know, and so I try and do music or work on different things.
19:52.342 --> 19:56.905
[SPEAKER_03]: So you can't just binge curb your enthusiasm so many times, I guess.
20:01.848 --> 20:07.373
[SPEAKER_02]: But, you know, there's always stuff to see, you know, which is usually an interesting series.
20:08.214 --> 20:13.359
[SPEAKER_02]: So there's always if you can have the motivation, and you know, going to here in our gallery, or...
20:14.352 --> 20:19.393
[SPEAKER_02]: And at this point, this usually someone I know is somewhere close to that.
20:19.893 --> 20:20.513
[SPEAKER_03]: That's helpful.
20:20.573 --> 20:22.694
[SPEAKER_03]: I mean, you know, friends and every city kind of a thing.
20:22.714 --> 20:27.555
[SPEAKER_02]: That's very, it's always a nice chance to catch out with people.
20:27.715 --> 20:29.356
[SPEAKER_02]: If you can, you know, right.
20:29.376 --> 20:29.576
[SPEAKER_03]: Right.
20:29.676 --> 20:30.076
[SPEAKER_03]: Right.
20:30.776 --> 20:35.077
[SPEAKER_03]: Well, I am excited to see see this record perform live, but beginning into it.
20:36.232 --> 21:03.426
[SPEAKER_03]: You know, so the story's been told, you know, it's not been a handful of years since the the last record and for all the obvious reasons endemic, et cetera, et cetera, but even with that, did you find that getting that reunion record out of the way, did that that that lend anything to that take the weight off of getting into this one, I mean at all, is there is there any direct comparison to the two records, I mean it did feel quite different, I suppose approaching this one.
21:05.793 --> 21:10.478
[SPEAKER_02]: And I kind of felt like we needed to start somewhere.
21:10.898 --> 21:13.201
[SPEAKER_02]: So different to where we'd started at a record.
21:13.882 --> 21:23.331
[SPEAKER_02]: You know, just so that there was, you know, just just to give it sort of an element of trying to do something different.
21:25.269 --> 21:37.616
[SPEAKER_02]: I think the, you know, slow dive we record it straight out of having done a bunch of touring after we got back together and I think it just carried that kind of energy with it.
21:37.656 --> 21:42.439
[SPEAKER_02]: So it was a quick record to do and that and this one was, it took a lot longer.
21:42.479 --> 21:47.522
[SPEAKER_02]: You know, we started and I guess I started throwing ideas out to the band in 2019.
21:51.616 --> 21:52.496
[SPEAKER_02]: So it took a while.
21:52.996 --> 21:53.797
[SPEAKER_02]: And it was quite slow.
21:54.457 --> 21:57.658
[SPEAKER_02]: Yeah, slow at times paying for process.
21:58.098 --> 21:58.398
[SPEAKER_02]: Right.
21:59.378 --> 22:06.680
[SPEAKER_02]: And, you know, it took a while to figure out what kind of record it was going to be.
22:06.740 --> 22:11.402
[SPEAKER_02]: You know, and probably it didn't, it kind of figured itself out really.
22:12.457 --> 22:13.197
[SPEAKER_02]: towards the end.
22:13.297 --> 22:22.242
[SPEAKER_02]: But you know, we started off with, I sent the band like over 40 ideas that were just electronic sketches really.
22:22.462 --> 22:31.446
[SPEAKER_02]: While some of them were more finished than others, but they were all just sort of instrumental electronic things that I had done.
22:33.483 --> 22:38.105
[SPEAKER_02]: really in the last sort of five, six years, just stuff like it down on my own in the studio.
22:39.266 --> 22:48.709
[SPEAKER_02]: And I thought it might be an interesting way to start a slow dive record, you know, just use a few of those to see where they went early, you know?
22:49.329 --> 22:49.570
[SPEAKER_03]: Yeah.
22:49.950 --> 22:53.451
[SPEAKER_03]: Do you find that that did change the way you all did song?
22:53.791 --> 22:57.873
[SPEAKER_03]: Like, like so much of music happens
22:59.521 --> 23:00.121
[SPEAKER_03]: in a jam.
23:00.361 --> 23:04.463
[SPEAKER_03]: I'm going to use that loosely, you know, it's just newling around, you know, finding your spot.
23:04.483 --> 23:17.029
[SPEAKER_03]: But you know, and I don't know if that's the same for you, but, you know, when you're sending it to them, you know, and here's demos or whatever, here's pieces, like how much does that approach then change the way that you write a song?
23:17.049 --> 23:23.312
[SPEAKER_03]: Because it doesn't just become, you know, a group of people in a room feeling their way out until the song is created.
23:24.108 --> 23:28.810
[SPEAKER_02]: Yeah, I mean, there's only a few songs we've ever really worked that way.
23:29.351 --> 23:38.335
[SPEAKER_02]: But what we do is usually, you know, just work on an idea, so if I bring an idea, I'm going to work on it as a band, you know.
23:40.056 --> 23:51.361
[SPEAKER_02]: And in some ways that there is no other jamming with that, you know, because you're just playing with an initial idea and just see what kind of direction you can take it in.
23:54.378 --> 23:58.660
[SPEAKER_02]: It's in your try and loads of different ways and just see how you can extend the idea.
24:01.662 --> 24:14.148
[SPEAKER_02]: But I think digital recording makes that process really interesting because you can really dig into taking loops and different pieces of things that are playing around with them.
24:14.829 --> 24:17.670
[SPEAKER_02]: Really easily, which was much harder to do.
24:17.710 --> 24:20.872
[SPEAKER_02]: When we first started recording in the 90s,
24:24.419 --> 24:36.990
[SPEAKER_02]: You know, Melon Yellow was a track where we literally hadn't a song that we just accidentally put on the tape the wrong way round and it sounded really mental backwards, you know.
24:37.051 --> 24:43.316
[SPEAKER_02]: So we ended up basically just adding a few things on top of that and some vocals and that was the song.
24:45.408 --> 24:54.571
[SPEAKER_03]: doing something like that now, which is much easier to do, but you know, but do you get the happy accidents in that way is often?
24:55.371 --> 25:04.693
[SPEAKER_02]: You do, yeah, because you, I mean, that's really almost what, so I look forward, initially, it's just that happy accident where you're like,
25:10.815 --> 25:15.458
[SPEAKER_03]: Yeah, I love it because currently, like you all still record in the same place you always have, right?
25:16.819 --> 25:24.165
[SPEAKER_02]: Yeah, I mean, I have a studio here in Cornwall where I live.
25:26.426 --> 25:34.732
[SPEAKER_02]: I wish I could do a lot of work in, but the slow drive, we've used the studio, our friend's Chris Huffett studio and, uh,
25:36.869 --> 25:41.353
[SPEAKER_02]: which is out in the Rocksford and we've used that studio since pretty much day one.
25:42.994 --> 25:45.756
[SPEAKER_02]: So we always end up going back there and doing some work there.
25:46.197 --> 25:49.199
[SPEAKER_02]: Yes, I guess it's a comfortable environment.
25:49.219 --> 25:50.420
[SPEAKER_02]: It's still got the same sofa.
25:51.595 --> 25:57.697
[SPEAKER_02]: You know, if I leave a kiss, there it is, it's kind of like, does this really get cleaned?
25:58.537 --> 25:59.858
[SPEAKER_02]: The surface doesn't get cleaned, right?
25:59.898 --> 26:01.318
[SPEAKER_02]: That's not a thing you really do.
26:01.698 --> 26:02.438
[SPEAKER_02]: It's a leather.
26:02.578 --> 26:04.739
[SPEAKER_02]: It's a very leather sofa.
26:05.239 --> 26:08.240
[SPEAKER_03]: Right, because every studio had leather sofa, especially back then.
26:08.820 --> 26:13.422
[SPEAKER_02]: Of course, a friend of mine told me it's a great story about he, he got to work.
26:15.521 --> 26:36.276
[SPEAKER_02]: with Tom Jones once doing a vocal and he had a pretty grotty studio and he felt compelled to buy a new leather sofa before Tom came in and did his vocal and finally he came in with his answer right, did the vocal in about five minutes and disappeared without mention one so nice to see.
26:37.317 --> 26:38.878
[SPEAKER_03]: But you got a new silver leather sofa for us.
26:45.805 --> 27:08.710
[SPEAKER_03]: I feel like there's a coffee table book somewhere in this conversation about the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh
27:13.470 --> 27:17.392
[SPEAKER_03]: You know, I mean, there is a slow dive sound, even though it changes from album to album.
27:17.972 --> 27:21.194
[SPEAKER_03]: But so when I hear you talk about it, it's less about like a lot of songs.
27:21.274 --> 27:23.615
[SPEAKER_03]: Oh, that song's about, you know, it becomes about the story.
27:24.055 --> 27:26.056
[SPEAKER_03]: With you, it always seems to start with the mood.
27:26.656 --> 27:28.237
[SPEAKER_03]: Is that how you start a song?
27:28.297 --> 27:29.337
[SPEAKER_03]: Is it about mood with you?
27:30.118 --> 27:32.779
[SPEAKER_02]: I think it really is with Sired Eye, right?
27:32.939 --> 27:40.983
[SPEAKER_02]: I mean, when I, you know, I spent a long time writing acoustic music and basically making almost folk records.
27:42.797 --> 28:02.272
[SPEAKER_02]: It was the other way around, the lyrics were kind of the grounding thing, that was the bit you, worked around and with slow dive, it's definitely, we work around an atmosphere, you know, so it's, that's the, the spark, really, that begins the thing, you know, you get one moment on there, right?
28:02.332 --> 28:05.255
[SPEAKER_03]: I mean, the, uh, endolucia, please, that's the, uh,
28:06.180 --> 28:27.936
[SPEAKER_02]: Yeah, which is actually a really old song of mine that I hadn't put on a solo record and it just hung around and I ended up kind of redoing the melody a bit and and sort of thought, well, maybe I'll work for a so-dive album, you know, slightly different way, yeah.
28:28.658 --> 28:29.778
[SPEAKER_03]: It's a cool moment on the record.
28:30.018 --> 28:37.361
[SPEAKER_03]: How many of those, and maybe that's an obvious question about how much is in the vault, how many opportunities do you have?
28:37.381 --> 28:40.782
[SPEAKER_03]: Because you said he started with like 40 ideas that you sent over.
28:41.163 --> 28:41.843
[SPEAKER_03]: Oh, yeah.
28:41.983 --> 28:42.903
[SPEAKER_03]: There's a lot in the vault.
28:43.744 --> 28:45.344
[SPEAKER_03]: There's a lot in the vault, cause, yeah.
28:46.825 --> 28:49.706
[SPEAKER_03]: Well, I guess, you know, because I've talked about the right.
28:49.866 --> 28:54.267
[SPEAKER_02]: I go to the studio a lot, and I work on stuff from most of it, and I would say it's the light of thing.
28:56.623 --> 29:17.453
[SPEAKER_02]: Like I said, you don't want to say that you don't want to forget about it, you know, that's the very strong and now it's even easier to forget about stuff because hard drives just kind of sit there and you get it gets full and you get another hard drive and you forget about it, well, you know, and then you really don't have the right lead for the old hard drive anymore.
29:20.674 --> 29:34.564
[SPEAKER_03]: You know, when I see when artists get further into their career, when they've been together longer, you know, it's almost like, um, what am I trying to say?
29:34.584 --> 29:36.585
[SPEAKER_03]: There's less time wasted.
29:37.686 --> 29:40.268
[SPEAKER_03]: If that's a way to put it, that sounds like a bad way to put it.
29:41.189 --> 29:43.771
[SPEAKER_03]: But you know, everything becomes more concise.
29:43.791 --> 29:44.932
[SPEAKER_03]: There seems to be less.
29:46.515 --> 30:05.129
[SPEAKER_02]: chances for a deluxe edition where you just haven't here's, you know, 20 other songs that we recorded that didn't make the record, you know, that's, yeah, I think we've always been very, maybe overly, um, curate it and you know, we correct curate our stuff.
30:06.454 --> 30:17.043
[SPEAKER_02]: Maybe, you know, I'm like, when we did the first album, we didn't want to put any old, we didn't want to put any of the EP tracks on the record because we wanted it to be completely new.
30:17.063 --> 30:34.238
[SPEAKER_02]: The record, which seems a bizarre decision now because our strongest material at that point was the, the singles really, you know, when we like Alan McGee had to literally beg us to put catch the breeze on the first album.
30:35.230 --> 30:47.695
[SPEAKER_02]: He wanted us to put a bunch of stuff from the EP's, because I suppose he realized that actually albums are the things that survive really, EP's and not.
30:48.656 --> 30:52.397
[SPEAKER_02]: They go to Artifaction, thank you.
30:52.417 --> 31:03.122
[SPEAKER_02]: So, but I think we've always been a bit like that, where we just want to have this one sort of thing, be any PR and album that is distinct and individual.
31:06.339 --> 31:30.187
[SPEAKER_02]: is not, you know, it doesn't have a lot of filler, you know, I mean personally, I don't like long albums, I think albums should be 8 or 9 songs, 40 minutes tops, maybe 45, but you know, in the 90s everyone was putting out CDs with like over an hour's worth of material on it and it's just, it just becomes a bit boring, you know, and I think
31:33.992 --> 31:44.246
[SPEAKER_02]: you know that thing of having four songs, five songs or whatever each side and it's a nice chunk of music you know it's a good way to consume it I think.
31:44.807 --> 31:45.207
[SPEAKER_03]: It's really
31:47.139 --> 31:50.902
[SPEAKER_03]: people artists really had it figured out early on because of the parameters.
31:51.222 --> 32:06.553
[SPEAKER_03]: I mean that's as they would say you couldn't put too much music on one side of the record because it would degrade the sound so you sort of had like we figured out just my chance it seems like 40 minutes it's a really good amount of time to put together a piece of musical art.
32:07.393 --> 32:11.756
[SPEAKER_02]: Yeah that's right and you can take a little break off if you want probably join whatever is
32:14.877 --> 32:29.210
[SPEAKER_02]: But yeah, I mean, it always, maybe because we condition ourselves to that lens of anything more feels too much to me, but yeah, it is only so long you can focus, I think, or concentrate on the music.
32:29.730 --> 32:33.814
[SPEAKER_03]: Now, I agree on that, and that's, like,
32:34.698 --> 32:47.344
[SPEAKER_03]: as someone who really was paying attention to the music of the sixties and seventies and I think it was your bandmates who was saying, you know, if it when it came to sixties pop, like you were the person that probably listened to that a little bit more than everybody else.
32:47.585 --> 32:51.026
[SPEAKER_02]: But I feel yeah, I'm a massive sixties kind of kid.
32:51.066 --> 32:51.487
[SPEAKER_02]: Yeah.
32:52.522 --> 32:52.782
[SPEAKER_03]: Yeah.
32:53.202 --> 33:01.024
[SPEAKER_03]: But at the same time, like you don't mind going for the drony experimental stuff on on the other side.
33:01.044 --> 33:02.385
[SPEAKER_03]: Like, is that it?
33:03.085 --> 33:09.547
[SPEAKER_03]: Is there ever a contrasting little argument that happens inside you about, you know, what to do?
33:09.587 --> 33:17.969
[SPEAKER_03]: Like, like you have this, this classic pop side, and you have this great, you know, for better terms, you gaze a drony side to you.
33:18.029 --> 33:19.570
[SPEAKER_03]: Like, what's what's the compromise there?
33:19.810 --> 33:20.390
[SPEAKER_03]: How does that work?
33:21.150 --> 33:39.360
[SPEAKER_02]: I don't think you need to, I mean, I think you just, if you like, you know, I think we all as a band sort of like both sides of that, you know, so I guess it's nice to try and keep both sides alive, you know, and I think we did that right from the off, you know.
33:41.350 --> 33:46.614
[SPEAKER_02]: with the very first EP and we saw a continued, we had a sort of tradition with the EP as well.
33:46.634 --> 33:53.378
[SPEAKER_02]: We would put the single on the outside and then there would be something like an instrument or something a bit different on the V side.
33:55.799 --> 33:57.200
[SPEAKER_02]: And so I think the albums just...
33:58.407 --> 34:07.872
[SPEAKER_02]: expand that a little bit, you know, it's always trying to fit both all aspects of the band on to the record, you know, you don't want to confine yourself.
34:08.373 --> 34:13.035
[SPEAKER_02]: I don't think we'd feel comfortable just doing it out for pop songs and we probably couldn't, you know, I think.
34:13.336 --> 34:13.576
[SPEAKER_02]: Well, yeah.
34:15.500 --> 34:28.231
[SPEAKER_02]: Um, but there's definitely a side of us that really just loves a great pop song, you know, we just did, we just did some shows with the cure and they're like, uh, you know, we're all massive, massive cure fans.
34:29.352 --> 34:41.883
[SPEAKER_02]: Since since we were kids and just, I think they're really good at that, you know, they have these amazing pop songs and then they have these great draw now, you know, things like a forest that just go on and on
34:42.918 --> 34:46.903
[SPEAKER_02]: You know, but it's still compelling, you know, it's still beautiful.
34:49.586 --> 34:53.030
[SPEAKER_02]: They're a band that does that really well, I think, you know, combine those two things.
34:53.851 --> 34:54.271
[SPEAKER_03]: Absolutely.
34:54.732 --> 34:59.016
[SPEAKER_03]: Do you think we'll ever hear that that cure album that's become Chinese democracy for them?
35:01.663 --> 35:06.147
[SPEAKER_02]: Well, rumours rumours are that it may, may see daylight, you know.
35:07.688 --> 35:14.594
[SPEAKER_02]: Nick is our resident cure expert, so he's always feeling a little, little things.
35:16.155 --> 35:17.016
[SPEAKER_02]: But yeah, who knows?
35:17.376 --> 35:18.857
[SPEAKER_02]: Yeah, I hope so.
35:19.117 --> 35:24.222
[SPEAKER_02]: You know, I've used stuff that they were playing live sounds amazing, like the first song that's on the open with.
35:26.954 --> 35:41.557
[SPEAKER_03]: I mean, it's really, really good, and I, you know, so hopefully, you know, let this moments they are evidence on here, I think you've talked about them before the kisses and say if it is, is it a leaf?
35:41.817 --> 35:45.278
[SPEAKER_03]: Is it a life, like a life, a life.
35:45.538 --> 35:46.458
[SPEAKER_03]: I've got back and forth.
35:46.518 --> 35:49.019
[SPEAKER_03]: I was like, I need someone to say this because I want to call it
35:55.535 --> 35:57.596
[SPEAKER_02]: Yeah, Rachel was used to call it Alfie.
35:57.696 --> 35:59.957
[SPEAKER_02]: And for about a year, she was calling it Alfie.
35:59.977 --> 36:02.199
[SPEAKER_02]: And at some point, I was like, it's actually a life.
36:02.919 --> 36:05.240
[SPEAKER_02]: But I don't know why it is a life.
36:05.340 --> 36:12.184
[SPEAKER_02]: It just was, you know, when you're working a rough idea, it usually end up having really stupid sort of working titles.
36:13.305 --> 36:17.047
[SPEAKER_02]: And that one always was that and state that.
36:17.107 --> 36:18.627
[SPEAKER_02]: And it might have just been a spelling.
36:20.008 --> 36:41.730
[SPEAKER_03]: That's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that
36:42.747 --> 36:49.433
[SPEAKER_02]: Yeah, I think we work, when we were working on kisses, we went, that's the song that probably went through.
36:49.453 --> 36:53.196
[SPEAKER_02]: We recorded in so many different ways.
36:53.556 --> 36:59.001
[SPEAKER_02]: And I think a lot of that was because we were scared of the pop version, which was the one we put on the record.
37:00.442 --> 37:02.224
[SPEAKER_02]: Because it's quite light, literally.
37:02.744 --> 37:10.371
[SPEAKER_02]: At least the chorus is very light, literally, and it felt we'd him want to make a kind of facetious track, you know, and I think,
37:11.402 --> 37:15.985
[SPEAKER_02]: but I always borrowed that it was too to light.
37:16.326 --> 37:23.971
[SPEAKER_02]: And because it came very easily as a song, it was one of those ones where I wrote, I did the demo and I sent it to everyone now.
37:23.991 --> 37:26.733
[SPEAKER_02]: I was like, does anyone know where this song comes from?
37:26.754 --> 37:29.896
[SPEAKER_02]: Because it felt so familiar to me, and I felt like I must have...
37:31.604 --> 37:38.226
[SPEAKER_02]: you know, someone else off, you know, so I was like, I was saying Nick, is this like a cure song?
37:38.246 --> 37:39.566
[SPEAKER_02]: Is it a new order song?
37:39.846 --> 37:49.488
[SPEAKER_02]: It just because it had those elements to me, but I couldn't tell if I had actually taken one of their songs.
37:49.508 --> 37:55.650
[SPEAKER_02]: So you're always like slightly scared of the ones that come easy, you know, it's kind of like there must be something wrong with it, you know.
37:56.380 --> 38:01.525
[SPEAKER_02]: And it's been a nice hit for you guys, that's, you know, yeah, and I really, I love playing it live.
38:01.565 --> 38:03.086
[SPEAKER_02]: It's really fun once you do live.
38:03.126 --> 38:09.312
[SPEAKER_02]: And it's interesting, like how many of that ones become to the audience already, you know.
38:10.553 --> 38:14.676
[SPEAKER_03]: So on the other one, on a life, what happened when you stepped up to the mic?
38:15.937 --> 38:18.440
[SPEAKER_02]: I mean, that's fun was actually,
38:20.732 --> 38:38.615
[SPEAKER_02]: My partner, Ingrid, wrote the part that Rachel sings was actually written by her, and it was a song that I been playing around the house quite a lot, but it was pretty similar to what was said even to what you hear, but it didn't have those breakdown sections.
38:38.875 --> 38:45.897
[SPEAKER_02]: Ingrid started singing this something along to it, and I was like, let's really call it, let's record that, and we ended up sort of
38:49.218 --> 38:53.020
[SPEAKER_02]: into another section in the song, and then I'll see Rachel resung it.
38:53.420 --> 38:56.361
[SPEAKER_02]: But yeah, it's definitely a mood, a mood piece.
38:57.042 --> 38:57.782
[SPEAKER_02]: That's great.
38:59.363 --> 39:00.983
[SPEAKER_03]: Those happenings, like slab is the same.
39:01.143 --> 39:04.365
[SPEAKER_03]: Like slab is really, I think more of what I was thinking along the lines of that.
39:04.405 --> 39:09.467
[SPEAKER_03]: Like what happens when you go up the song where it's just like, it's vocal things.
39:09.507 --> 39:10.708
[SPEAKER_03]: That's what that's what I was getting at.
39:10.728 --> 39:10.948
[SPEAKER_03]: Yeah.
39:11.406 --> 39:22.513
[SPEAKER_02]: Yeah, yeah, then the service definitely more in that, in that, that vibe, you know, a life has got this story about a river, which was sort of, I think, just walking back to where Rachel and I grew up.
39:26.175 --> 39:31.398
[SPEAKER_02]: And, you know, the river was quite an important part of the town and all that sort of stuff.
39:33.539 --> 39:36.401
[SPEAKER_02]: But thinking about, I guess, rivers are, you know, any town has
39:39.483 --> 39:43.624
[SPEAKER_02]: We have a river that's the place where the lecturing comes from.
39:43.724 --> 39:48.466
[SPEAKER_02]: There's always stories about people, dark stories or whatever.
39:48.806 --> 39:53.448
[SPEAKER_02]: You know, rivers are cool, particularly in England, I think.
39:53.668 --> 39:57.209
[SPEAKER_02]: You know, we have an interesting relationship to rivers.
39:59.210 --> 40:01.590
[SPEAKER_02]: But yeah, so that's where life comes from.
40:01.650 --> 40:06.452
[SPEAKER_02]: So that, yeah, but the slab was definitely a kind of...
40:10.714 --> 40:11.915
[SPEAKER_02]: slavish fit of music.
40:12.195 --> 40:29.166
[SPEAKER_03]: Yeah, I love I do I love how the vocals just float around and it's like you can't read you can sing along to it and you can't at the same time, you know, it's almost like if I try to sing along to the slab, I'm more or less creating another vocal part for it, you know, at the same time.
40:29.186 --> 40:30.227
[SPEAKER_03]: Yeah, I do.
40:30.787 --> 40:31.047
[SPEAKER_03]: Yeah.
40:33.966 --> 40:35.307
[SPEAKER_03]: That's cool, those mood moments.
40:35.948 --> 40:44.217
[SPEAKER_03]: And I'll quickly also, because I was looking at my notes here, you, the unknown country, Lily Gladstone, have it a big moment right here.
40:44.237 --> 40:45.999
[SPEAKER_02]: Yeah, what did you do with that?
40:47.720 --> 40:53.627
[SPEAKER_02]: So Marissa Malts, the director, I guess go in touch.
40:55.164 --> 41:13.783
[SPEAKER_02]: because she wanted to use some a couple of slow dive tunes in the film and then she sent what she had with the film, it wasn't finished at that point and obviously it's Lily's, I think it's her first sort of four-fig feature.
41:16.612 --> 41:22.854
[SPEAKER_02]: But yeah, I mean, I really love the film and I offered to do some score work for it.
41:23.174 --> 41:29.717
[SPEAKER_02]: And so I ended up doing doing a few scenes school work, but yeah, it's a great film.
41:30.397 --> 41:44.202
[SPEAKER_02]: I think if people get a chance to see it, it's a sort of, I don't know, it's sort of like a doc you film in some ways, you know, it's not like a script to film, you know, and a lot of the people in that aren't really acting.
41:45.820 --> 42:06.204
[SPEAKER_02]: they're real, but Lily is acting, but it's also real, it's, yeah, it's an interesting kind of, but it's beautifully shot with cinematography, it's amazing, it's a kind of a road movie, you know, and yeah, Lily's gone on and she's, you know, the killer's of the flower, and I think she just got
42:12.337 --> 42:27.954
[SPEAKER_02]: Yeah, and you know, Marissa's great, the director, she's she's working on another film at the minute that I'm doing some music for, which kind of is sort of somewhat related to Unknown Country.
42:30.427 --> 42:32.348
[SPEAKER_02]: But yeah, well well worth checking out.
42:32.548 --> 42:33.389
[SPEAKER_02]: Yeah.
42:33.569 --> 42:34.750
[SPEAKER_03]: Well, of course, the check out I went out too.
42:35.670 --> 42:41.274
[SPEAKER_03]: In the meantime, I love the new record and I'm excited to see you guys May 7th right here in the Louisville.
42:41.794 --> 42:42.695
[SPEAKER_03]: Neil, thank you so much.
42:42.915 --> 42:44.336
[SPEAKER_03]: Seriously, for taking the time to talk today.
42:44.356 --> 42:45.537
[SPEAKER_03]: The man's been a real real pleasure.
42:46.198 --> 42:49.599
[SPEAKER_02]: Thanks, Carl, and yeah, we'll see you in the show.
42:50.099 --> 42:54.580
[SPEAKER_03]: There you go, thanks to Neil, thanks to Nick, and thanks to you for checking on the episode.
42:54.900 --> 42:59.281
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44:11.544 --> 44:15.765
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[SPEAKER_03]: That does it for another edition.
44:20.266 --> 44:20.947
[SPEAKER_03]: I'm Kyle Meredith.
44:21.347 --> 44:21.807
[SPEAKER_03]: I'll see you next time.
44:35.008 --> 44:40.259
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[SPEAKER_00]: Listen on your smart speaker, live stream from our website at WFPK.org from Louisville Public Media.
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[SPEAKER_03]: and welcome to another edition of Kyle Meredith with.
00:28.677 --> 00:36.181
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[SPEAKER_03]: We've had some great guests lately, especially Brittany Howard was just here.
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[SPEAKER_03]: Alabama Shakes just released their first album in the 11 years, called I Must Be Dreaming, hung out with Patrick Ranna and Daniel official.
01:10.910 --> 01:15.175
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01:15.595 --> 01:32.149
[SPEAKER_03]: Grace Cummings dropped in to discuss her new record Blood Horses, we also hung out with Scott and Pat from Weezer, Anthony Michael Hall, David DeCovney, Lily Sullivan and David Rizdall who starred in the movie Soulmate, Jay Chandra Sikar of Super Troopers, Phoenix Guster Jane Seymour.
01:32.609 --> 01:36.673
[SPEAKER_03]: That's what you get when you subscribe to the Kyle Meredith with podcast.
01:37.298 --> 01:38.418
[SPEAKER_03]: And that's me Kyle Merit today.
01:38.438 --> 01:40.139
[SPEAKER_03]: It's a special rewind episode.
01:40.679 --> 01:48.761
[SPEAKER_03]: We're going to head back to 2017 and and 2024 to talk with some of the members of slow dive.
01:48.801 --> 01:52.142
[SPEAKER_03]: In fact, basis Nick Chaplin will be on the first part.
01:52.542 --> 01:55.463
[SPEAKER_03]: And then the second part is my conversation with Neil Hallstead.
01:55.863 --> 01:57.864
[SPEAKER_03]: and it's and it's really all about their second act.
01:57.904 --> 01:58.404
[SPEAKER_03]: I mean slow down.
01:58.424 --> 02:16.268
[SPEAKER_03]: I've second act turned out to be much bigger than anyone in the band expected as you'll hear and Nick's gonna look back at the band's self title come back the moment star roving proved they could make new music again and realizing that a younger generation saw them as a current band instead of just a legacy act and then later on.
02:16.728 --> 02:28.540
[SPEAKER_03]: Neil and I will talk about following it with everything as alive and building the songs from electronic sketches and happy accidents and balancing the bands love of classic pop with their more atmospheric experimental side.
02:28.940 --> 02:30.862
[SPEAKER_03]: You know the word that I didn't say yet.
02:31.363 --> 02:38.470
[SPEAKER_03]: All that of more let's get into it as as we discuss the second acts of slow dive starting on part one here.
02:38.510 --> 02:40.452
[SPEAKER_03]: It's Kyle Meredith with Nick Chaplin.
02:41.072 --> 02:48.699
[SPEAKER_03]: I, you know, the compliments first, this is the best low dive record in the entire catalog, which that doesn't happen.
02:48.739 --> 02:51.822
[SPEAKER_03]: That's so inhuman for that to happen.
02:52.543 --> 02:54.384
[SPEAKER_03]: You know, band a pull that off.
02:54.424 --> 03:01.711
[SPEAKER_03]: I mean, do you, you know, I mean, most bands always feel like their latest record is their best, but do you all get a sense of where this lies for you?
03:02.031 --> 03:02.592
[SPEAKER_01]: I don't know.
03:02.732 --> 03:05.955
[SPEAKER_01]: I mean, I think I think my sixth year all thinks it's the best.
03:06.976 --> 03:15.465
[SPEAKER_01]: You know, she insists on having it play on her little iPod with her little dog she has in her room and it just goes on all night She doesn't like falling ashes.
03:15.505 --> 03:24.095
[SPEAKER_01]: She thinks that's boring But that's the rest of it she really lives and before that her favorite song was cashed the breeze and everything else that we've ever done is boring
03:24.555 --> 03:29.016
[SPEAKER_01]: So, you know, it's got the vote of confidence from a six year portion.
03:29.556 --> 03:38.057
[SPEAKER_01]: I mean, I think we were a little bit, you know, a little bit anxious about releasing it, because obviously it was the first thing that we done for such a long time.
03:38.317 --> 03:43.738
[SPEAKER_01]: We were already confident that the we thought the record was good, but we didn't really know how it would be received.
03:43.758 --> 03:49.740
[SPEAKER_01]: We didn't know whether people would think it was too similar to what we recorded previously, or maybe not similar enough.
03:52.380 --> 04:05.083
[SPEAKER_01]: You know, it was a little bit like it was going back to the days of when we released the catch the breezy P which we call holding our breath and we called it holding our breath because we were literally holding our breath waiting for everyone to turn against this and that's what ended up happening.
04:05.783 --> 04:07.244
[SPEAKER_01]: So it was a little bit like that.
04:07.304 --> 04:10.865
[SPEAKER_01]: I mean, you know, I think that some of our strongest songs are on this new record.
04:10.925 --> 04:15.626
[SPEAKER_01]: Whether it's the best, I think maybe we need to live with it a little bit longer before we can make that call.
04:15.806 --> 04:18.446
[SPEAKER_03]: Well, I'll make the call for myself only personally then.
04:18.567 --> 04:18.967
[SPEAKER_03]: Thank you.
04:20.627 --> 04:24.388
[SPEAKER_03]: Yeah, you know, you sort of, you're running with the joke of your, your daughter there.
04:24.628 --> 04:28.009
[SPEAKER_03]: Um, this is the introduction to some fans though.
04:28.029 --> 04:29.350
[SPEAKER_03]: This will be their first time.
04:29.750 --> 04:32.991
[SPEAKER_03]: Here you go, which has got to, which has got to feel special in some sort of way.
04:33.191 --> 04:43.034
[SPEAKER_01]: Yeah, I mean, it's quite, um, it's quite noticeable in some of the shows that we're playing that, uh, the new songs are being received by the crowd, uh, nail songs.
04:43.334 --> 04:47.575
[SPEAKER_01]: And, um, you know, that's, that's something that obviously we kind of hope to be in the case.
04:47.675 --> 04:52.497
[SPEAKER_01]: because we don't want to be seen as a band that just plays like the Gold Nolids from 25 years ago.
04:52.677 --> 04:58.799
[SPEAKER_01]: But we were a little bit concerned that, you know, we will come out and we play the new songs and people will be like, oh, you know, just play the old song.
04:59.559 --> 05:03.541
[SPEAKER_01]: You know, no disrespect to bands like the Pixies, but you know, when I've been to see the Pixies,
05:04.080 --> 05:11.705
[SPEAKER_01]: You know, since they've kind of had new music out, you know, in the last couple of years, you know, I've wanted to hear Sir Farozer and do that all day.
05:11.725 --> 05:18.449
[SPEAKER_01]: I haven't been able to talk about what, you know, about the new songs, and we didn't really want to be like that.
05:18.869 --> 05:19.450
[SPEAKER_01]: And, um,
05:20.290 --> 05:27.416
[SPEAKER_01]: And yeah, I think we've noticed a lot of the audiences is far too young to have been around when we were playing in the early 90s.
05:27.656 --> 05:46.512
[SPEAKER_01]: And when we play, when Neil plays the first calls to shoulder for the pill, for instance, you know, people, you know, you can sense the crown and the like, yeah, it should be the pill, which is brilliant, because it sort of puts us, you know, as a current band and not just like a legacy act, which is what, you know, we never wanted to just be a legacy act.
05:46.952 --> 05:50.354
[SPEAKER_03]: Yeah, I know that's something a lot of bands have to fight for it.
05:50.414 --> 05:54.076
[SPEAKER_03]: I mean bands that you know have only been around for even 10 years themselves.
05:54.116 --> 06:00.639
[SPEAKER_03]: It's always that new song where the audience kind of tunes out and for you guys to be able to That's that's that's that's great.
06:01.140 --> 06:05.822
[SPEAKER_01]: Yeah, and we will you know we would play more of those than your recordings.
06:06.182 --> 06:08.884
[SPEAKER_01]: We physically can play all of it, but we do feel that
06:09.304 --> 06:30.720
[SPEAKER_01]: you know, when we're playing especially festival sets, we're playing obviously we're at we're at FWF this week and festival set, you feel you can't just hit the crowd with way an hour of new music because that's not really fair on people, you know, they may have not really caught up with a new record but maybe a familiar with us from 1993 or something I'm wondering here stuff from Sichuan, so you have to mix it up a little bit.
06:31.521 --> 06:45.294
[SPEAKER_01]: But you know, we're looking forward when we come back to the US and for we're looking forward to you know playing a lot more of the new record and you know sort of really kind of breaking breaking out a little bit from from from the old songs maybe.
06:45.754 --> 06:55.424
[SPEAKER_03]: Were you were you guys conscious of the reputation and the mythology that builds in your apps in your absence did you all feel any of that while it was happening?
06:56.064 --> 07:11.495
[SPEAKER_01]: Not really, you know, I mean people would talk to us about it, before we reformed people would talk to Neil especially, I was, you know, Neil Halstead was, you know, continue to play live and to write his own music and, you know, he played with Dracart and brother and taught so low and
07:11.775 --> 07:30.492
[SPEAKER_01]: people would always talk to him about slow diet and about hey man you've got to get slow up out together and you know there's all these people out there that want to see you know you're bigger now than you ever were but we didn't really believe it and really the the first time we realized was when we put the tickets on sale for our first show and the village on the ground in London and
07:30.632 --> 07:43.445
[SPEAKER_01]: and we were worried that we wouldn't sell 800 tickets and they sold out in like a minute and an hour for something and it was only at that point that we were like, wow, it took us three months to sell 800 tickets in 1999's before.
07:44.566 --> 07:51.814
[SPEAKER_01]: And here they are selling in 90 seconds and then primavera obviously with 15,000 people watching us and we're going on stage before,
07:52.234 --> 07:53.535
[SPEAKER_01]: the pixies, they're there again.
07:53.735 --> 08:03.400
[SPEAKER_01]: But one of our favorite bands of all time, we go on stage at the other end of that huge arena, a prima bearer, and Barcelona just before the pixies, from 15,000 people.
08:03.420 --> 08:09.183
[SPEAKER_01]: So people told us about it, but we didn't appreciate it until it, you know, until we actually saw it with our own eyes.
08:09.243 --> 08:15.907
[SPEAKER_01]: And you know, it's still, we still find it difficult to believe to be honest that there is still that much interest in the bearer.
08:16.347 --> 08:27.899
[SPEAKER_03]: All right, we're going to take a quick moment here to remind you that if you if you did what you're listening to, please do hit that subscribe button, just subscribing helps out this series so much and will be right back right after this.
08:29.521 --> 08:32.584
[SPEAKER_03]: And welcome back, it's Kyle Meredith with Nick Chaplin of SlowDive.
08:33.138 --> 08:38.301
[SPEAKER_00]: Let me in what your three years in, technically, on this reunion at this point, right?
08:38.321 --> 08:40.742
[SPEAKER_03]: So on chapter two, I should say, at like that better.
08:41.782 --> 08:45.825
[SPEAKER_03]: You know, and when a band starts in your young, you know, it's always kind of likened to a gang.
08:45.845 --> 08:47.886
[SPEAKER_03]: You know, it's, it's, it's you all against the world.
08:48.006 --> 08:50.427
[SPEAKER_03]: But this is, is it different nowadays?
08:50.507 --> 08:54.969
[SPEAKER_03]: Is it possible for you all in a chapter two version to become a gang again?
08:55.069 --> 08:58.251
[SPEAKER_03]: Or do you feel that it's a wholly different thing this time around?
08:58.531 --> 09:00.812
[SPEAKER_01]: I think we are still the same gang, you know.
09:01.033 --> 09:24.326
[SPEAKER_01]: It's a bit weird because you know it was quite it was complicated and slow-diving in the 90s, because it's very well documented about the relationship between Neil and Rachel which broke down which led to the Suclearky record and there were never real big problems in the band, but you know we were a gang when we started but things did start to fragment which led to the band eventually breaking up.
09:24.346 --> 09:25.107
[SPEAKER_01]: We lost time and
09:28.428 --> 09:39.030
[SPEAKER_01]: And, you know, since we've got back together, we're obviously a lot older, and we've had families, we've got different perspectives on life now, and we do genuinely get on extremely well.
09:39.070 --> 09:46.552
[SPEAKER_01]: We have a lot of fun playing together and traveling together, and I would say we're perhaps more of a game.
09:46.772 --> 09:56.054
[SPEAKER_01]: Now than we were before, we still, we got to dinner together, we, you know, we go out with the crew, you know, we're one of these, we're not one of these bands that kind of set a press for us to help away from the crew.
09:56.394 --> 10:12.848
[SPEAKER_01]: You know, we just have a really great time because I suppose we think there are so many there are thousands and thousands of bands out there, you know, potentially more worthy of the small success that we've had than we are and here we are having a second bite at the cherry, so really it's about.
10:13.028 --> 10:20.791
[SPEAKER_01]: for us it's about having as much fun as possible in enjoying it and just living in the moment and enjoying our friendship again.
10:20.931 --> 10:23.592
[SPEAKER_01]: Which sounds corny but that was that very positive.
10:23.752 --> 10:25.192
[SPEAKER_01]: Yeah I mean we love it.
10:25.553 --> 10:29.434
[SPEAKER_01]: You know our crew is a really tight net bunch as well as the same crew pretty much that we
10:29.934 --> 10:33.097
[SPEAKER_01]: put together in 2014 and we're all good mates now.
10:33.117 --> 10:34.097
[SPEAKER_01]: We'll travel together.
10:34.117 --> 10:35.178
[SPEAKER_01]: We'll hang out together.
10:35.198 --> 10:43.605
[SPEAKER_01]: So it is a bit like, I don't know whether you have it in the States, but in Britain, when you're in in high school, you go out on these on these school trips.
10:44.265 --> 10:54.573
[SPEAKER_01]: You might go away for three or four days to some awful youth hostile out in some rainy part of England where you're supposed to be studying history or geography or something, and it kind of feels like that.
10:54.633 --> 10:55.374
[SPEAKER_01]: You're all kind of...
10:55.794 --> 11:02.116
[SPEAKER_01]: You're all kind of trying together on a bus and taking a look out of each other and, you know, everybody's kind of in a child comes out.
11:02.176 --> 11:03.177
[SPEAKER_01]: But, you know, we enjoy it.
11:03.197 --> 11:05.477
[SPEAKER_01]: And if we didn't enjoy it, you know, we probably wouldn't do it.
11:05.537 --> 11:07.038
[SPEAKER_01]: We don't need it, really.
11:07.218 --> 11:09.899
[SPEAKER_01]: I mean, it's not like something we can make a fortune out of.
11:09.939 --> 11:11.439
[SPEAKER_01]: We do it because we enjoy it.
11:11.660 --> 11:15.481
[SPEAKER_01]: And, you know, and then when that stops, I guess, we will stop.
11:15.881 --> 11:17.622
[SPEAKER_03]: Back on this record because I do want to talk about it.
11:19.082 --> 11:31.211
[SPEAKER_03]: You guys get back together, you know, so you've done the shows and you're you're heading in the studio, was there a song or a moment when you realize that it is going to work, you know, that this is is clicking again.
11:31.531 --> 11:33.892
[SPEAKER_01]: I think probably a couple of moments.
11:34.092 --> 11:38.516
[SPEAKER_01]: I mean, it sounds obvious, maybe, because it's the two, the two singles.
11:38.736 --> 11:41.398
[SPEAKER_01]: So to speak, I'm sorry, I'm going to share with the pedal.
11:42.415 --> 11:50.322
[SPEAKER_01]: Sugar for the pill was actually recorded first, but I think we all didn't really come together as a solenoid till quite late on.
11:50.522 --> 11:55.506
[SPEAKER_01]: But we kind of knew when we were recording that, that was a, you know, that we had something good there.
11:55.966 --> 12:00.890
[SPEAKER_01]: And we had a number of different ideas playing around which really, you know, we couldn't really pull together.
12:00.910 --> 12:05.034
[SPEAKER_01]: We'd become so used to being alive and again, we'd almost forgotten how to go and record.
12:05.654 --> 12:15.520
[SPEAKER_01]: And, you know, things were sort of meandering and it took a while and then suddenly Star-Robin came together quite separately from an idea that Neil had, which was really different.
12:15.580 --> 12:17.681
[SPEAKER_01]: It sounded like a crowd rock cover.
12:18.382 --> 12:22.084
[SPEAKER_01]: You know, it sounded like it sounded like a can track or something.
12:22.104 --> 12:27.687
[SPEAKER_01]: You know, it was good, but we were all like, you know, what this sounds too much like, we're just copying can.
12:28.384 --> 12:42.010
[SPEAKER_01]: And I wrote a different, I've came up with a different baseline for it, which kind of, you know, maybe a bit funky or almost, and we sort of mixed in some electronic drums with some match with some live drums.
12:42.390 --> 12:47.152
[SPEAKER_01]: And they all came up with this monstrous movie keyboard part, which took a part of some of the bass.
12:47.252 --> 12:50.974
[SPEAKER_01]: And, you know, it's suddenly it was like, you know, it's like, wow, this is like slow noise.
12:51.354 --> 13:07.456
[SPEAKER_01]: slow drive to take on teenage riot or something and we were all like this is great and from that point on we everything else seems to come together so I think we can probably credit star-roving with pulling the album together it was that was the moment where we were like right now we can do something good
13:07.956 --> 13:22.087
[SPEAKER_03]: And the idea is always to sort of build a mood, you know, in slow dive, in sort of the genre that you're you're lumped in with, it's sometimes even more about the mood than other parts, and I don't know, is there a mood that you go for this time around?
13:22.127 --> 13:27.812
[SPEAKER_03]: Is it just, you know, you kind of take the song as it is and build it up, or were you guys trying?
13:28.012 --> 13:34.397
[SPEAKER_03]: Because it's an album, and it's such a cohesive sound for an album, you know, again, which is notable for having been gone so long
13:36.198 --> 13:37.421
[SPEAKER_01]: I don't think we really do.
13:37.801 --> 13:41.849
[SPEAKER_01]: I think we're definitely one of those bands that just let's.
13:42.483 --> 13:45.464
[SPEAKER_01]: the process take itself off into whatever direction.
13:45.804 --> 13:52.005
[SPEAKER_01]: I think when we when we started putting the records together, I think we all thought without really admitting to each other.
13:52.045 --> 13:55.186
[SPEAKER_01]: I think we all thought we'd end up with the successor to Pigmaillian.
13:55.466 --> 14:06.308
[SPEAKER_01]: We thought that what we were going to end up with would be something quite experimental and a little bit out there and that people would be, you know, probably some some very artsy people would be all over it, but maybe
14:06.768 --> 14:16.574
[SPEAKER_01]: You know, the people that jump around to when the sun hits and catch the breeze and Alice and would maybe feel a little bit kind of sort of left out of it, but that's not how it turned out.
14:16.594 --> 14:30.443
[SPEAKER_01]: So I think although the intention was there maybe to write something quite experimental, I think the fact that we've been playing as a live band for three years really influenced the recording and the writing process much more than we thought it would and we ended up with something which
14:30.903 --> 14:36.787
[SPEAKER_01]: You know, we all kind of think it's more, if it's a successor to anything, it's a successor to Sparky rather than Pig Malian.
14:37.247 --> 14:57.400
[SPEAKER_01]: So, you know, we just, we let things kind of take, um, whatever direction, you know, they're going to take rather than rather than aim for a particular mooch, but having said that moving on from the new record now, I think what we're keen to do to follow that is to maybe explore more of the Pig Malian textures that we perhaps neglected on this record.
15:00.863 --> 15:09.023
[SPEAKER_01]: something which is more of a conscious decision to be slightly more experimental, but you know we'll see maybe we'll go back in and we'll end up like making a record that sounds like the food fire so
15:10.865 --> 15:15.309
[SPEAKER_03]: Well, it's part of the most exciting things that you've said right there, not counting the food fighters.
15:15.829 --> 15:24.877
[SPEAKER_03]: Although whatever, as long as you guys are writing music, I'll be happy, but just knowing that you're already thinking ahead, and it's not just a one-stop here, that's great news.
15:25.337 --> 15:25.737
[SPEAKER_01]: Yeah.
15:26.138 --> 15:26.838
[SPEAKER_01]: We've always tried.
15:27.299 --> 15:38.168
[SPEAKER_01]: Right through the start, we always have said that we want to look forward, and we love plenty of songs, and we love making people happy, want to hear those songs again, or maybe for the first time.
15:38.808 --> 15:43.491
[SPEAKER_01]: We don't want to just be kind of coming back every year and playing the same place isn't playing the same set.
15:43.511 --> 15:45.131
[SPEAKER_01]: That's not what we're about.
15:45.352 --> 15:46.732
[SPEAKER_03]: Well, I love this record.
15:46.752 --> 15:51.715
[SPEAKER_03]: It's one of my favorite to the year and I'll go ahead and start looking forward to the next record as well.
15:51.795 --> 15:54.736
[SPEAKER_03]: So Nick, it was really great talking to you.
15:54.756 --> 15:55.457
[SPEAKER_03]: Thank you so much.
15:56.530 --> 16:08.558
[SPEAKER_03]: All right, we're going to take a quick moment here to remind you that if you if you did what you're listening to please do hit that subscribe button Just subscribing helps out this series so much and we'll be right back right after this
16:10.066 --> 16:11.747
[SPEAKER_03]: And welcome back, it's Kyle Meredith.
16:11.767 --> 16:15.069
[SPEAKER_03]: All right, part two of this slow dive rewind.
16:15.089 --> 16:21.392
[SPEAKER_03]: This was 2024 when I jumped on with Neil Hallstead to talk about the record, everything is alive.
16:21.412 --> 16:24.754
[SPEAKER_03]: It was the band's second album since reforming back in 2013.
16:25.194 --> 16:33.339
[SPEAKER_03]: And we got to discuss starting the LP with 40 electronic instrumentals and the way the group typically worked using the same studio since the beginnings.
16:33.699 --> 16:35.220
[SPEAKER_03]: One which still has the same couch.
16:35.940 --> 16:38.142
[SPEAKER_03]: as it has for over 30 years.
16:38.702 --> 16:40.743
[SPEAKER_03]: All that and more, let's get into a part two.
16:41.004 --> 16:44.406
[SPEAKER_03]: It's Kyle Meredith with Neil Hallstead of Slowdive.
16:44.746 --> 16:45.687
[SPEAKER_02]: Like Kyle, how are you?
16:46.087 --> 16:51.451
[SPEAKER_03]: Seriously, it's so great to talk to you the new music, the old music, everything you've been between.
16:52.232 --> 16:55.734
[SPEAKER_03]: I'm such a admirer of, but this new album is so good.
16:55.874 --> 16:58.236
[SPEAKER_03]: And I'm even looking at your tour list, too.
16:58.256 --> 16:59.176
[SPEAKER_03]: You guys got a monster.
17:00.157 --> 17:02.518
[SPEAKER_03]: You're going to be out on the road for a little bit this year, right?
17:03.118 --> 17:11.643
[SPEAKER_02]: Yeah, yeah, and we did a fair bit last year as well, starting in September, so I haven't really looked at the schedule yet.
17:11.663 --> 17:15.404
[SPEAKER_02]: I don't understand myself, but it's a little bit busy for you.
17:15.424 --> 17:18.546
[SPEAKER_02]: It's a bit tough being away from home for long periods, but we try and
17:26.223 --> 17:27.264
[SPEAKER_02]: Try out to be a wife too.
17:27.324 --> 17:31.468
[SPEAKER_02]: You know, usually it's like three or four weeks at a time, you know, and then we'll be home prepared.
17:31.508 --> 17:33.109
[SPEAKER_03]: So yeah, go away to do it.
17:33.169 --> 17:40.215
[SPEAKER_03]: But yeah, and I should mention, because I'm here in Louisville, May 7th, you'll be here in Louisville at the Paris Town.
17:40.276 --> 17:44.880
[SPEAKER_02]: So I think I look forward to that.
17:44.900 --> 17:51.566
[SPEAKER_02]: I think I think last time I was in Louisville was maybe 15, 16 years ago.
17:53.941 --> 17:56.342
[SPEAKER_03]: It did like a weird radio convention there.
17:56.942 --> 17:59.903
[SPEAKER_03]: Oh, the non-convention when it was still here.
17:59.923 --> 18:00.303
[SPEAKER_03]: Yeah, yeah.
18:00.363 --> 18:03.804
[SPEAKER_02]: Thank you a little whiskey, a hung out with that hardcore Nora Jones.
18:03.964 --> 18:06.905
[SPEAKER_02]: It was just fun.
18:08.286 --> 18:11.667
[SPEAKER_02]: I think that was when she was having a really big record at two weeks.
18:11.707 --> 18:14.168
[SPEAKER_03]: She had a big record in starring her journey.
18:14.548 --> 18:20.530
[SPEAKER_03]: Yeah, it was an infamous show for her as well, because of those radio conventions.
18:21.945 --> 18:25.727
[SPEAKER_03]: People are it can they can be a little bit loud and gabby during the show.
18:25.767 --> 18:32.830
[SPEAKER_02]: Yeah, yes, she was having none of that just shut it down Didn't hurt her all that I remember being told about it.
18:32.870 --> 18:34.691
[SPEAKER_02]: I missed it But I was told about it.
18:34.751 --> 18:36.291
[SPEAKER_02]: Yeah, she she told them off.
18:36.631 --> 18:44.775
[SPEAKER_02]: Yeah, good and good on her too because they deserve it No, it's good to see I mean, you know you've been
18:45.815 --> 18:48.597
[SPEAKER_03]: With that, you have been touring for a very long time.
18:48.877 --> 18:50.618
[SPEAKER_03]: Has your routines changed these days?
18:50.658 --> 18:57.203
[SPEAKER_03]: How do you keep yourself sane and busy on the road these tours like this?
19:00.345 --> 19:01.586
[SPEAKER_02]: Still trying to figure that out.
19:02.046 --> 19:04.968
[SPEAKER_02]: The temptation was always to drink a lot.
19:05.168 --> 19:07.950
[SPEAKER_02]: And I found, like, I can't really do that.
19:08.010 --> 19:10.311
[SPEAKER_02]: Now, I still like to go and find the...
19:11.290 --> 19:19.651
[SPEAKER_02]: nice point of Guinness somewhere, but rather than spend all day there, I'll try and do some other stuff as well.
19:21.992 --> 19:24.572
[SPEAKER_02]: Yeah, no, it can be tricky.
19:24.592 --> 19:30.833
[SPEAKER_02]: It's just sort of a weird, you know, your day is a bit odd, you know, so, you know, because everything happens.
19:31.233 --> 19:39.955
[SPEAKER_02]: You sort of everything is sort of, you know, you know, it's this thing that's happening at 9 or 10 o'clock at night, you know, so the rest of the day,
19:41.557 --> 19:52.282
[SPEAKER_02]: Yeah, it's just figuring out, but there's, you know, I try, you know, I always have a laptop with me and guitar, you know, and so I try and do music or work on different things.
19:52.342 --> 19:56.905
[SPEAKER_03]: So you can't just binge curb your enthusiasm so many times, I guess.
20:01.848 --> 20:07.373
[SPEAKER_02]: But, you know, there's always stuff to see, you know, which is usually an interesting series.
20:08.214 --> 20:13.359
[SPEAKER_02]: So there's always if you can have the motivation, and you know, going to here in our gallery, or...
20:14.352 --> 20:19.393
[SPEAKER_02]: And at this point, this usually someone I know is somewhere close to that.
20:19.893 --> 20:20.513
[SPEAKER_03]: That's helpful.
20:20.573 --> 20:22.694
[SPEAKER_03]: I mean, you know, friends and every city kind of a thing.
20:22.714 --> 20:27.555
[SPEAKER_02]: That's very, it's always a nice chance to catch out with people.
20:27.715 --> 20:29.356
[SPEAKER_02]: If you can, you know, right.
20:29.376 --> 20:29.576
[SPEAKER_03]: Right.
20:29.676 --> 20:30.076
[SPEAKER_03]: Right.
20:30.776 --> 20:35.077
[SPEAKER_03]: Well, I am excited to see see this record perform live, but beginning into it.
20:36.232 --> 21:03.426
[SPEAKER_03]: You know, so the story's been told, you know, it's not been a handful of years since the the last record and for all the obvious reasons endemic, et cetera, et cetera, but even with that, did you find that getting that reunion record out of the way, did that that that lend anything to that take the weight off of getting into this one, I mean at all, is there is there any direct comparison to the two records, I mean it did feel quite different, I suppose approaching this one.
21:05.793 --> 21:10.478
[SPEAKER_02]: And I kind of felt like we needed to start somewhere.
21:10.898 --> 21:13.201
[SPEAKER_02]: So different to where we'd started at a record.
21:13.882 --> 21:23.331
[SPEAKER_02]: You know, just so that there was, you know, just just to give it sort of an element of trying to do something different.
21:25.269 --> 21:37.616
[SPEAKER_02]: I think the, you know, slow dive we record it straight out of having done a bunch of touring after we got back together and I think it just carried that kind of energy with it.
21:37.656 --> 21:42.439
[SPEAKER_02]: So it was a quick record to do and that and this one was, it took a lot longer.
21:42.479 --> 21:47.522
[SPEAKER_02]: You know, we started and I guess I started throwing ideas out to the band in 2019.
21:51.616 --> 21:52.496
[SPEAKER_02]: So it took a while.
21:52.996 --> 21:53.797
[SPEAKER_02]: And it was quite slow.
21:54.457 --> 21:57.658
[SPEAKER_02]: Yeah, slow at times paying for process.
21:58.098 --> 21:58.398
[SPEAKER_02]: Right.
21:59.378 --> 22:06.680
[SPEAKER_02]: And, you know, it took a while to figure out what kind of record it was going to be.
22:06.740 --> 22:11.402
[SPEAKER_02]: You know, and probably it didn't, it kind of figured itself out really.
22:12.457 --> 22:13.197
[SPEAKER_02]: towards the end.
22:13.297 --> 22:22.242
[SPEAKER_02]: But you know, we started off with, I sent the band like over 40 ideas that were just electronic sketches really.
22:22.462 --> 22:31.446
[SPEAKER_02]: While some of them were more finished than others, but they were all just sort of instrumental electronic things that I had done.
22:33.483 --> 22:38.105
[SPEAKER_02]: really in the last sort of five, six years, just stuff like it down on my own in the studio.
22:39.266 --> 22:48.709
[SPEAKER_02]: And I thought it might be an interesting way to start a slow dive record, you know, just use a few of those to see where they went early, you know?
22:49.329 --> 22:49.570
[SPEAKER_03]: Yeah.
22:49.950 --> 22:53.451
[SPEAKER_03]: Do you find that that did change the way you all did song?
22:53.791 --> 22:57.873
[SPEAKER_03]: Like, like so much of music happens
22:59.521 --> 23:00.121
[SPEAKER_03]: in a jam.
23:00.361 --> 23:04.463
[SPEAKER_03]: I'm going to use that loosely, you know, it's just newling around, you know, finding your spot.
23:04.483 --> 23:17.029
[SPEAKER_03]: But you know, and I don't know if that's the same for you, but, you know, when you're sending it to them, you know, and here's demos or whatever, here's pieces, like how much does that approach then change the way that you write a song?
23:17.049 --> 23:23.312
[SPEAKER_03]: Because it doesn't just become, you know, a group of people in a room feeling their way out until the song is created.
23:24.108 --> 23:28.810
[SPEAKER_02]: Yeah, I mean, there's only a few songs we've ever really worked that way.
23:29.351 --> 23:38.335
[SPEAKER_02]: But what we do is usually, you know, just work on an idea, so if I bring an idea, I'm going to work on it as a band, you know.
23:40.056 --> 23:51.361
[SPEAKER_02]: And in some ways that there is no other jamming with that, you know, because you're just playing with an initial idea and just see what kind of direction you can take it in.
23:54.378 --> 23:58.660
[SPEAKER_02]: It's in your try and loads of different ways and just see how you can extend the idea.
24:01.662 --> 24:14.148
[SPEAKER_02]: But I think digital recording makes that process really interesting because you can really dig into taking loops and different pieces of things that are playing around with them.
24:14.829 --> 24:17.670
[SPEAKER_02]: Really easily, which was much harder to do.
24:17.710 --> 24:20.872
[SPEAKER_02]: When we first started recording in the 90s,
24:24.419 --> 24:36.990
[SPEAKER_02]: You know, Melon Yellow was a track where we literally hadn't a song that we just accidentally put on the tape the wrong way round and it sounded really mental backwards, you know.
24:37.051 --> 24:43.316
[SPEAKER_02]: So we ended up basically just adding a few things on top of that and some vocals and that was the song.
24:45.408 --> 24:54.571
[SPEAKER_03]: doing something like that now, which is much easier to do, but you know, but do you get the happy accidents in that way is often?
24:55.371 --> 25:04.693
[SPEAKER_02]: You do, yeah, because you, I mean, that's really almost what, so I look forward, initially, it's just that happy accident where you're like,
25:10.815 --> 25:15.458
[SPEAKER_03]: Yeah, I love it because currently, like you all still record in the same place you always have, right?
25:16.819 --> 25:24.165
[SPEAKER_02]: Yeah, I mean, I have a studio here in Cornwall where I live.
25:26.426 --> 25:34.732
[SPEAKER_02]: I wish I could do a lot of work in, but the slow drive, we've used the studio, our friend's Chris Huffett studio and, uh,
25:36.869 --> 25:41.353
[SPEAKER_02]: which is out in the Rocksford and we've used that studio since pretty much day one.
25:42.994 --> 25:45.756
[SPEAKER_02]: So we always end up going back there and doing some work there.
25:46.197 --> 25:49.199
[SPEAKER_02]: Yes, I guess it's a comfortable environment.
25:49.219 --> 25:50.420
[SPEAKER_02]: It's still got the same sofa.
25:51.595 --> 25:57.697
[SPEAKER_02]: You know, if I leave a kiss, there it is, it's kind of like, does this really get cleaned?
25:58.537 --> 25:59.858
[SPEAKER_02]: The surface doesn't get cleaned, right?
25:59.898 --> 26:01.318
[SPEAKER_02]: That's not a thing you really do.
26:01.698 --> 26:02.438
[SPEAKER_02]: It's a leather.
26:02.578 --> 26:04.739
[SPEAKER_02]: It's a very leather sofa.
26:05.239 --> 26:08.240
[SPEAKER_03]: Right, because every studio had leather sofa, especially back then.
26:08.820 --> 26:13.422
[SPEAKER_02]: Of course, a friend of mine told me it's a great story about he, he got to work.
26:15.521 --> 26:36.276
[SPEAKER_02]: with Tom Jones once doing a vocal and he had a pretty grotty studio and he felt compelled to buy a new leather sofa before Tom came in and did his vocal and finally he came in with his answer right, did the vocal in about five minutes and disappeared without mention one so nice to see.
26:37.317 --> 26:38.878
[SPEAKER_03]: But you got a new silver leather sofa for us.
26:45.805 --> 27:08.710
[SPEAKER_03]: I feel like there's a coffee table book somewhere in this conversation about the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, the, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh
27:13.470 --> 27:17.392
[SPEAKER_03]: You know, I mean, there is a slow dive sound, even though it changes from album to album.
27:17.972 --> 27:21.194
[SPEAKER_03]: But so when I hear you talk about it, it's less about like a lot of songs.
27:21.274 --> 27:23.615
[SPEAKER_03]: Oh, that song's about, you know, it becomes about the story.
27:24.055 --> 27:26.056
[SPEAKER_03]: With you, it always seems to start with the mood.
27:26.656 --> 27:28.237
[SPEAKER_03]: Is that how you start a song?
27:28.297 --> 27:29.337
[SPEAKER_03]: Is it about mood with you?
27:30.118 --> 27:32.779
[SPEAKER_02]: I think it really is with Sired Eye, right?
27:32.939 --> 27:40.983
[SPEAKER_02]: I mean, when I, you know, I spent a long time writing acoustic music and basically making almost folk records.
27:42.797 --> 28:02.272
[SPEAKER_02]: It was the other way around, the lyrics were kind of the grounding thing, that was the bit you, worked around and with slow dive, it's definitely, we work around an atmosphere, you know, so it's, that's the, the spark, really, that begins the thing, you know, you get one moment on there, right?
28:02.332 --> 28:05.255
[SPEAKER_03]: I mean, the, uh, endolucia, please, that's the, uh,
28:06.180 --> 28:27.936
[SPEAKER_02]: Yeah, which is actually a really old song of mine that I hadn't put on a solo record and it just hung around and I ended up kind of redoing the melody a bit and and sort of thought, well, maybe I'll work for a so-dive album, you know, slightly different way, yeah.
28:28.658 --> 28:29.778
[SPEAKER_03]: It's a cool moment on the record.
28:30.018 --> 28:37.361
[SPEAKER_03]: How many of those, and maybe that's an obvious question about how much is in the vault, how many opportunities do you have?
28:37.381 --> 28:40.782
[SPEAKER_03]: Because you said he started with like 40 ideas that you sent over.
28:41.163 --> 28:41.843
[SPEAKER_03]: Oh, yeah.
28:41.983 --> 28:42.903
[SPEAKER_03]: There's a lot in the vault.
28:43.744 --> 28:45.344
[SPEAKER_03]: There's a lot in the vault, cause, yeah.
28:46.825 --> 28:49.706
[SPEAKER_03]: Well, I guess, you know, because I've talked about the right.
28:49.866 --> 28:54.267
[SPEAKER_02]: I go to the studio a lot, and I work on stuff from most of it, and I would say it's the light of thing.
28:56.623 --> 29:17.453
[SPEAKER_02]: Like I said, you don't want to say that you don't want to forget about it, you know, that's the very strong and now it's even easier to forget about stuff because hard drives just kind of sit there and you get it gets full and you get another hard drive and you forget about it, well, you know, and then you really don't have the right lead for the old hard drive anymore.
29:20.674 --> 29:34.564
[SPEAKER_03]: You know, when I see when artists get further into their career, when they've been together longer, you know, it's almost like, um, what am I trying to say?
29:34.584 --> 29:36.585
[SPEAKER_03]: There's less time wasted.
29:37.686 --> 29:40.268
[SPEAKER_03]: If that's a way to put it, that sounds like a bad way to put it.
29:41.189 --> 29:43.771
[SPEAKER_03]: But you know, everything becomes more concise.
29:43.791 --> 29:44.932
[SPEAKER_03]: There seems to be less.
29:46.515 --> 30:05.129
[SPEAKER_02]: chances for a deluxe edition where you just haven't here's, you know, 20 other songs that we recorded that didn't make the record, you know, that's, yeah, I think we've always been very, maybe overly, um, curate it and you know, we correct curate our stuff.
30:06.454 --> 30:17.043
[SPEAKER_02]: Maybe, you know, I'm like, when we did the first album, we didn't want to put any old, we didn't want to put any of the EP tracks on the record because we wanted it to be completely new.
30:17.063 --> 30:34.238
[SPEAKER_02]: The record, which seems a bizarre decision now because our strongest material at that point was the, the singles really, you know, when we like Alan McGee had to literally beg us to put catch the breeze on the first album.
30:35.230 --> 30:47.695
[SPEAKER_02]: He wanted us to put a bunch of stuff from the EP's, because I suppose he realized that actually albums are the things that survive really, EP's and not.
30:48.656 --> 30:52.397
[SPEAKER_02]: They go to Artifaction, thank you.
30:52.417 --> 31:03.122
[SPEAKER_02]: So, but I think we've always been a bit like that, where we just want to have this one sort of thing, be any PR and album that is distinct and individual.
31:06.339 --> 31:30.187
[SPEAKER_02]: is not, you know, it doesn't have a lot of filler, you know, I mean personally, I don't like long albums, I think albums should be 8 or 9 songs, 40 minutes tops, maybe 45, but you know, in the 90s everyone was putting out CDs with like over an hour's worth of material on it and it's just, it just becomes a bit boring, you know, and I think
31:33.992 --> 31:44.246
[SPEAKER_02]: you know that thing of having four songs, five songs or whatever each side and it's a nice chunk of music you know it's a good way to consume it I think.
31:44.807 --> 31:45.207
[SPEAKER_03]: It's really
31:47.139 --> 31:50.902
[SPEAKER_03]: people artists really had it figured out early on because of the parameters.
31:51.222 --> 32:06.553
[SPEAKER_03]: I mean that's as they would say you couldn't put too much music on one side of the record because it would degrade the sound so you sort of had like we figured out just my chance it seems like 40 minutes it's a really good amount of time to put together a piece of musical art.
32:07.393 --> 32:11.756
[SPEAKER_02]: Yeah that's right and you can take a little break off if you want probably join whatever is
32:14.877 --> 32:29.210
[SPEAKER_02]: But yeah, I mean, it always, maybe because we condition ourselves to that lens of anything more feels too much to me, but yeah, it is only so long you can focus, I think, or concentrate on the music.
32:29.730 --> 32:33.814
[SPEAKER_03]: Now, I agree on that, and that's, like,
32:34.698 --> 32:47.344
[SPEAKER_03]: as someone who really was paying attention to the music of the sixties and seventies and I think it was your bandmates who was saying, you know, if it when it came to sixties pop, like you were the person that probably listened to that a little bit more than everybody else.
32:47.585 --> 32:51.026
[SPEAKER_02]: But I feel yeah, I'm a massive sixties kind of kid.
32:51.066 --> 32:51.487
[SPEAKER_02]: Yeah.
32:52.522 --> 32:52.782
[SPEAKER_03]: Yeah.
32:53.202 --> 33:01.024
[SPEAKER_03]: But at the same time, like you don't mind going for the drony experimental stuff on on the other side.
33:01.044 --> 33:02.385
[SPEAKER_03]: Like, is that it?
33:03.085 --> 33:09.547
[SPEAKER_03]: Is there ever a contrasting little argument that happens inside you about, you know, what to do?
33:09.587 --> 33:17.969
[SPEAKER_03]: Like, like you have this, this classic pop side, and you have this great, you know, for better terms, you gaze a drony side to you.
33:18.029 --> 33:19.570
[SPEAKER_03]: Like, what's what's the compromise there?
33:19.810 --> 33:20.390
[SPEAKER_03]: How does that work?
33:21.150 --> 33:39.360
[SPEAKER_02]: I don't think you need to, I mean, I think you just, if you like, you know, I think we all as a band sort of like both sides of that, you know, so I guess it's nice to try and keep both sides alive, you know, and I think we did that right from the off, you know.
33:41.350 --> 33:46.614
[SPEAKER_02]: with the very first EP and we saw a continued, we had a sort of tradition with the EP as well.
33:46.634 --> 33:53.378
[SPEAKER_02]: We would put the single on the outside and then there would be something like an instrument or something a bit different on the V side.
33:55.799 --> 33:57.200
[SPEAKER_02]: And so I think the albums just...
33:58.407 --> 34:07.872
[SPEAKER_02]: expand that a little bit, you know, it's always trying to fit both all aspects of the band on to the record, you know, you don't want to confine yourself.
34:08.373 --> 34:13.035
[SPEAKER_02]: I don't think we'd feel comfortable just doing it out for pop songs and we probably couldn't, you know, I think.
34:13.336 --> 34:13.576
[SPEAKER_02]: Well, yeah.
34:15.500 --> 34:28.231
[SPEAKER_02]: Um, but there's definitely a side of us that really just loves a great pop song, you know, we just did, we just did some shows with the cure and they're like, uh, you know, we're all massive, massive cure fans.
34:29.352 --> 34:41.883
[SPEAKER_02]: Since since we were kids and just, I think they're really good at that, you know, they have these amazing pop songs and then they have these great draw now, you know, things like a forest that just go on and on
34:42.918 --> 34:46.903
[SPEAKER_02]: You know, but it's still compelling, you know, it's still beautiful.
34:49.586 --> 34:53.030
[SPEAKER_02]: They're a band that does that really well, I think, you know, combine those two things.
34:53.851 --> 34:54.271
[SPEAKER_03]: Absolutely.
34:54.732 --> 34:59.016
[SPEAKER_03]: Do you think we'll ever hear that that cure album that's become Chinese democracy for them?
35:01.663 --> 35:06.147
[SPEAKER_02]: Well, rumours rumours are that it may, may see daylight, you know.
35:07.688 --> 35:14.594
[SPEAKER_02]: Nick is our resident cure expert, so he's always feeling a little, little things.
35:16.155 --> 35:17.016
[SPEAKER_02]: But yeah, who knows?
35:17.376 --> 35:18.857
[SPEAKER_02]: Yeah, I hope so.
35:19.117 --> 35:24.222
[SPEAKER_02]: You know, I've used stuff that they were playing live sounds amazing, like the first song that's on the open with.
35:26.954 --> 35:41.557
[SPEAKER_03]: I mean, it's really, really good, and I, you know, so hopefully, you know, let this moments they are evidence on here, I think you've talked about them before the kisses and say if it is, is it a leaf?
35:41.817 --> 35:45.278
[SPEAKER_03]: Is it a life, like a life, a life.
35:45.538 --> 35:46.458
[SPEAKER_03]: I've got back and forth.
35:46.518 --> 35:49.019
[SPEAKER_03]: I was like, I need someone to say this because I want to call it
35:55.535 --> 35:57.596
[SPEAKER_02]: Yeah, Rachel was used to call it Alfie.
35:57.696 --> 35:59.957
[SPEAKER_02]: And for about a year, she was calling it Alfie.
35:59.977 --> 36:02.199
[SPEAKER_02]: And at some point, I was like, it's actually a life.
36:02.919 --> 36:05.240
[SPEAKER_02]: But I don't know why it is a life.
36:05.340 --> 36:12.184
[SPEAKER_02]: It just was, you know, when you're working a rough idea, it usually end up having really stupid sort of working titles.
36:13.305 --> 36:17.047
[SPEAKER_02]: And that one always was that and state that.
36:17.107 --> 36:18.627
[SPEAKER_02]: And it might have just been a spelling.
36:20.008 --> 36:41.730
[SPEAKER_03]: That's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that
36:42.747 --> 36:49.433
[SPEAKER_02]: Yeah, I think we work, when we were working on kisses, we went, that's the song that probably went through.
36:49.453 --> 36:53.196
[SPEAKER_02]: We recorded in so many different ways.
36:53.556 --> 36:59.001
[SPEAKER_02]: And I think a lot of that was because we were scared of the pop version, which was the one we put on the record.
37:00.442 --> 37:02.224
[SPEAKER_02]: Because it's quite light, literally.
37:02.744 --> 37:10.371
[SPEAKER_02]: At least the chorus is very light, literally, and it felt we'd him want to make a kind of facetious track, you know, and I think,
37:11.402 --> 37:15.985
[SPEAKER_02]: but I always borrowed that it was too to light.
37:16.326 --> 37:23.971
[SPEAKER_02]: And because it came very easily as a song, it was one of those ones where I wrote, I did the demo and I sent it to everyone now.
37:23.991 --> 37:26.733
[SPEAKER_02]: I was like, does anyone know where this song comes from?
37:26.754 --> 37:29.896
[SPEAKER_02]: Because it felt so familiar to me, and I felt like I must have...
37:31.604 --> 37:38.226
[SPEAKER_02]: you know, someone else off, you know, so I was like, I was saying Nick, is this like a cure song?
37:38.246 --> 37:39.566
[SPEAKER_02]: Is it a new order song?
37:39.846 --> 37:49.488
[SPEAKER_02]: It just because it had those elements to me, but I couldn't tell if I had actually taken one of their songs.
37:49.508 --> 37:55.650
[SPEAKER_02]: So you're always like slightly scared of the ones that come easy, you know, it's kind of like there must be something wrong with it, you know.
37:56.380 --> 38:01.525
[SPEAKER_02]: And it's been a nice hit for you guys, that's, you know, yeah, and I really, I love playing it live.
38:01.565 --> 38:03.086
[SPEAKER_02]: It's really fun once you do live.
38:03.126 --> 38:09.312
[SPEAKER_02]: And it's interesting, like how many of that ones become to the audience already, you know.
38:10.553 --> 38:14.676
[SPEAKER_03]: So on the other one, on a life, what happened when you stepped up to the mic?
38:15.937 --> 38:18.440
[SPEAKER_02]: I mean, that's fun was actually,
38:20.732 --> 38:38.615
[SPEAKER_02]: My partner, Ingrid, wrote the part that Rachel sings was actually written by her, and it was a song that I been playing around the house quite a lot, but it was pretty similar to what was said even to what you hear, but it didn't have those breakdown sections.
38:38.875 --> 38:45.897
[SPEAKER_02]: Ingrid started singing this something along to it, and I was like, let's really call it, let's record that, and we ended up sort of
38:49.218 --> 38:53.020
[SPEAKER_02]: into another section in the song, and then I'll see Rachel resung it.
38:53.420 --> 38:56.361
[SPEAKER_02]: But yeah, it's definitely a mood, a mood piece.
38:57.042 --> 38:57.782
[SPEAKER_02]: That's great.
38:59.363 --> 39:00.983
[SPEAKER_03]: Those happenings, like slab is the same.
39:01.143 --> 39:04.365
[SPEAKER_03]: Like slab is really, I think more of what I was thinking along the lines of that.
39:04.405 --> 39:09.467
[SPEAKER_03]: Like what happens when you go up the song where it's just like, it's vocal things.
39:09.507 --> 39:10.708
[SPEAKER_03]: That's what that's what I was getting at.
39:10.728 --> 39:10.948
[SPEAKER_03]: Yeah.
39:11.406 --> 39:22.513
[SPEAKER_02]: Yeah, yeah, then the service definitely more in that, in that, that vibe, you know, a life has got this story about a river, which was sort of, I think, just walking back to where Rachel and I grew up.
39:26.175 --> 39:31.398
[SPEAKER_02]: And, you know, the river was quite an important part of the town and all that sort of stuff.
39:33.539 --> 39:36.401
[SPEAKER_02]: But thinking about, I guess, rivers are, you know, any town has
39:39.483 --> 39:43.624
[SPEAKER_02]: We have a river that's the place where the lecturing comes from.
39:43.724 --> 39:48.466
[SPEAKER_02]: There's always stories about people, dark stories or whatever.
39:48.806 --> 39:53.448
[SPEAKER_02]: You know, rivers are cool, particularly in England, I think.
39:53.668 --> 39:57.209
[SPEAKER_02]: You know, we have an interesting relationship to rivers.
39:59.210 --> 40:01.590
[SPEAKER_02]: But yeah, so that's where life comes from.
40:01.650 --> 40:06.452
[SPEAKER_02]: So that, yeah, but the slab was definitely a kind of...
40:10.714 --> 40:11.915
[SPEAKER_02]: slavish fit of music.
40:12.195 --> 40:29.166
[SPEAKER_03]: Yeah, I love I do I love how the vocals just float around and it's like you can't read you can sing along to it and you can't at the same time, you know, it's almost like if I try to sing along to the slab, I'm more or less creating another vocal part for it, you know, at the same time.
40:29.186 --> 40:30.227
[SPEAKER_03]: Yeah, I do.
40:30.787 --> 40:31.047
[SPEAKER_03]: Yeah.
40:33.966 --> 40:35.307
[SPEAKER_03]: That's cool, those mood moments.
40:35.948 --> 40:44.217
[SPEAKER_03]: And I'll quickly also, because I was looking at my notes here, you, the unknown country, Lily Gladstone, have it a big moment right here.
40:44.237 --> 40:45.999
[SPEAKER_02]: Yeah, what did you do with that?
40:47.720 --> 40:53.627
[SPEAKER_02]: So Marissa Malts, the director, I guess go in touch.
40:55.164 --> 41:13.783
[SPEAKER_02]: because she wanted to use some a couple of slow dive tunes in the film and then she sent what she had with the film, it wasn't finished at that point and obviously it's Lily's, I think it's her first sort of four-fig feature.
41:16.612 --> 41:22.854
[SPEAKER_02]: But yeah, I mean, I really love the film and I offered to do some score work for it.
41:23.174 --> 41:29.717
[SPEAKER_02]: And so I ended up doing doing a few scenes school work, but yeah, it's a great film.
41:30.397 --> 41:44.202
[SPEAKER_02]: I think if people get a chance to see it, it's a sort of, I don't know, it's sort of like a doc you film in some ways, you know, it's not like a script to film, you know, and a lot of the people in that aren't really acting.
41:45.820 --> 42:06.204
[SPEAKER_02]: they're real, but Lily is acting, but it's also real, it's, yeah, it's an interesting kind of, but it's beautifully shot with cinematography, it's amazing, it's a kind of a road movie, you know, and yeah, Lily's gone on and she's, you know, the killer's of the flower, and I think she just got
42:12.337 --> 42:27.954
[SPEAKER_02]: Yeah, and you know, Marissa's great, the director, she's she's working on another film at the minute that I'm doing some music for, which kind of is sort of somewhat related to Unknown Country.
42:30.427 --> 42:32.348
[SPEAKER_02]: But yeah, well well worth checking out.
42:32.548 --> 42:33.389
[SPEAKER_02]: Yeah.
42:33.569 --> 42:34.750
[SPEAKER_03]: Well, of course, the check out I went out too.
42:35.670 --> 42:41.274
[SPEAKER_03]: In the meantime, I love the new record and I'm excited to see you guys May 7th right here in the Louisville.
42:41.794 --> 42:42.695
[SPEAKER_03]: Neil, thank you so much.
42:42.915 --> 42:44.336
[SPEAKER_03]: Seriously, for taking the time to talk today.
42:44.356 --> 42:45.537
[SPEAKER_03]: The man's been a real real pleasure.
42:46.198 --> 42:49.599
[SPEAKER_02]: Thanks, Carl, and yeah, we'll see you in the show.
42:50.099 --> 42:54.580
[SPEAKER_03]: There you go, thanks to Neil, thanks to Nick, and thanks to you for checking on the episode.
42:54.900 --> 42:59.281
[SPEAKER_03]: Hit that subscribe button if you're not already that helps out so much, so much more than you would even think.
42:59.621 --> 43:01.882
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43:17.466 --> 43:22.990
[SPEAKER_03]: Now, after that, you're going to head over to wfpk.org, where I do a show Monday through Friday.
43:23.030 --> 43:25.192
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44:11.544 --> 44:15.765
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44:17.606 --> 44:18.286
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44:18.306 --> 44:19.166
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44:19.186 --> 44:20.246
[SPEAKER_03]: That does it for another edition.
44:20.266 --> 44:20.947
[SPEAKER_03]: I'm Kyle Meredith.
44:21.347 --> 44:21.807
[SPEAKER_03]: I'll see you next time.
44:35.008 --> 44:40.259
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44:40.640 --> 44:46.573
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