0:00
This is a hell of an Intero album.
Search this video
0:00
Like as as someone who's been with you from the jump as a fan, regardless of how we've gotten to know each other and talking about your music and stuff.
0:08
Um, I am so into this record.
0:10
It's such a great start to finish experience. Thank you. >> Thank you.
0:16
That's really coming from you. It means a lot.
0:18
>> Oh, it's beautiful, man.
0:18
I mean, it has a very, you know, a very sort of a symbiotic top and tail.
0:21
It feels like it starts, it feels like it ends, and in the middle you kind of go everywhere.
0:26
And so, I'm going to start nerd.
0:26
um the the framing of it, the the the order of it, the track listing, the fun stuff.
0:31
Um did it come naturally?
0:34
Did it did it did you kind of always have an idea about the architecture of the record or was it one of those things where it was like shuffle and figure it out?
0:42
Definitely a shuffle and figure it out kind of thing.
0:43
I think um Miraton was a pretty easy decision as an opener.
0:47
Yeah, >> I think because it just, you know, it really eases into this atmosphere and there's something very new sonically, I think, for us with with that song because it starts with bass and just this sort of stripped down beat and >> just felt that was a really good way to kind of introduce some of the new directions that we went in on this record and just sort of yeah, ease people into the environment of the of the sound.
1:10
>> It sort of almost feels like you're walking in the room when you start singing that song.
1:13
Like it's already going and you're like, "Oh we've started."
1:16
and you sort of come in there and just join the experience. It's pretty cool.
1:20
>> And you have cool touches like Friedman did this really interesting thing where he kind of EQed the drums so that they sound like they're underwater at the very top of the song and then they kind of come into focus in an unexpected way which is like we just we worked with so many great people on this wreck and I think it >> really paid off.
1:34
>> Really cool that you could give someone like I mean obviously Dave's amazing but really cool you could give someone like him the the opportunity to um experiment with what is ultimately a finished recording.
1:42
You know, like often times when you go into mix a record, it's like it's kind of what it is.
1:46
EQ it, get the frequencies right, remove the mud, let's go.
1:49
But for for him to be able to say, "Hey guys, why don't we put the drums under water?"
1:52
It's kind of cool, you know?
1:55
>> He just does what he does.
1:55
And kudos to him for considering he's such a accomplished artist and he's worked on so many incredible records.
2:01
I mean, did a whole record with him where he produced the mix and everything. >> Yeah.
2:05
the fact that he was uh you know up for it and and excited about working on it without even hearing it.
2:09
on it without even hearing it. I think he was just like into the idea of continuing our collaboration >> and then we knew we're in great hands just by like letting him do his thing and then it was all it was exciting each and every time that we got to hear the mix >> where you know what he was going to present to us and his version of how he
2:24
saw things and where he you know it's such a personal thing when you to mix a record and to see how someone >> you know basically wants to arrange the room and sometimes you might not be on the same page but it was like really amazing we were on the same page you know and it was really like an incredible >> it was like it was like Christmas every day you open up be like, "Oh man, what's going to sound like?" And then it was
2:41
And then it was like in this place and his um atmospherics are just incredible.
2:43
So yeah, it was really a pleasure to continue working for him. >> Yeah.
2:47
Closest you get to being a fan of your own band in that regard, listening to it at least with fresh ears, you know?
2:51
But I'd imagine there are moments when you go in there and someone's like, "Hey man, I've taken your guitars and I've raised them up six octaves and decided to go make them go backwards and you're like, "This sucks." >> You feel awful.
3:00
I mean, I feel like in the early days when you >> stomach turns, you know what I mean?
3:03
You're like, "How the do I say this is not for me?" You know?
3:05
It's uh it feels like someone dressing you up in clothes that are like not your own with all the wrong colors and like sending you out to school and it just feels terrible.
3:13
That's what it feels like.
3:15
Just like it can feel amazing when everyone's like really gets it and then takes it places that you would never imagine but it's like a better version of something that you taken to a certain point, you know? >> Yeah.
3:25
What you don't like your guitar sound like a clown whistle. >> Yeah.
3:27
[laughter] >> Cuz that's what it sounds like to me. >> It's a kazoo now. >> A kazoo. The kazoo processor.
3:33
Well, I thought that's I thought I thought that was that's what you're going for.
3:37
You know, that's what the melody sound like.
3:40
That's what the kids like. It's going to work. [laughter] Trust me.
3:42
Thanks for coming in today.
3:45
I mean, you're on on route to a beautiful venue up in Santa Barbara.
3:48
It's going to be a really special night tonight. That's a great place.
3:50
And nothing says yacht rock like Inter.
3:52
You guys are going to have a great night. Um, killer.
3:55
[laughter] That's going to be special.
3:55
Uh, it it must be really lovely to get to a place now, the two of you, but also with this band expanded into something that feels legit.
4:03
And I love the way it looks now.
4:04
I love the five of you now.
4:04
It looks like into pole now.
4:06
And I know that's been a journey for the three of you because Sam Sammy's not here, but um you know, it must be really nice to know that you've come full circle from what the band started as to what almost feels like a new point.
4:17
0 having these two members kind of in here and it's like you know, we're not carrying like you're no longer a bass player, Paul. Congratulations. >> Thank you.
4:24
>> Hell of a bass player though. Thank you. Oh, that's very nice.
4:26
Um, yeah, I think incorporating, you know, this is the first record that Brad wrote on, and I think that was among a few decisions that we made going into this record.
4:35
I think that was kind of uh was a really good idea that really paid off.
4:39
And I think it does um give just a new energy and a new creative influence in the mix.
4:46
And then we had Andrew Wyatt also become kind of like a sort of a member for this project I think because he was in it from really like day one >> and had a lot of influence and made a lot of contributions.
4:57
>> And I think yeah the the photos of the band I think it's uh it does kind of convey that sort of gang thing that they what we wanted was that the live audience when we go when we play live that's what you see is these five individuals and I felt like that was a faithful thing to be conveying to people rather than like all this imagery of like the three of us.
5:13
So, we updated the press photos to reflect the five Live members.
5:17
>> Yeah, I think it's great. And it does.
5:19
It kind of gets back to that reason why you form a band in the first place, which is, let's be honest, the Clash.
5:24
>> It's like I feel like it's the moment when the Clash all turn and run towards the front of the stage in London Calling.
5:29
That's pretty much the whole point of a band.
5:32
>> It's a little tangent, but I've been thinking like I I know the Clash have gone their due over time, but are they talked about enough these days?
5:38
I don't know if like kids are discovering them the way that like I discovered them, you know, like at a certain age and so forth.
5:44
I just don't think maybe obviously if they were still in band going or reunited and obviously that's not a possibility >> whether they'd be getting their due, you know, in that sense, but I don't think they're talked about and there's so many other songs are just so like singular and one of a kind and they created like a genre music, you know, and >> I still love them.
6:00
small little story, but when I was in in junior high school, uh my classmate, a friend of mine, had uh he had this is like 80s, like late ' 80s, he had sewn headphones into his hoodie inside of it.
6:11
And uh so you could like and he would put it on and he lended to me too.
6:16
I have this very fond memory of listening to Clash in like class where the teacher, you know, this is obviously like remedial kind of like days of like doing something like that, but you had to really put some ingenuity into it and like so you could like the, you know, you could get away listening to it without the teacher like noticing it.
6:30
I just like it's like one of those moments of like discovery and it's such a >> Your friend's a genius, >> right?
6:35
Felt like a genius at the time. I was like, "Wow, man.
6:36
Big brain that [clears throat] dude. >> Seriously."
6:39
[laughter] Uh, you wouldn't get away with wearing a hoodie in class now, man. No way.
6:44
Let's get back to this record and what um to quote a friend of mine, no one's waiting for a new Interpol record.
6:49
They're waiting for a great Interpol record, which this is.
6:51
And no one knows that more than you.
6:53
There's no need for you to continue to make records.
6:55
You have other creative outlets. You've done enough.
7:00
Interol is a is a t-shirt anyone with taste will wear.
7:02
So, why did you decide to make a new record?
7:05
What was the inspiration behind it?
7:08
>> I mean, it's never even really been a question.
7:11
I think it's just being creative and and making art is, you know, a part of my life.
7:15
I think it's, you know, same for Daniel.
7:17
Daniel's always writing and I think it's really I I think we have a sense also that like we haven't even done our best work and that there's still like lots that we can do.
7:27
I think creatively we share that ambition of like, you know, we haven't written like the perfect Interpol song yet.
7:33
>> I mean, I think I'm very proud of a lot of our work, but I feel like there's just a real drive to sort of excel and do more.
7:39
And I think that it's still a lot of fun, which I feel like it's I don't know if I highlight that enough that it's just like fun making music with Daniel and Sam and with Brad and everyone that we're, you know, work with.
7:51
>> So there's no question about kind of like we don't have to do this.
7:53
It's like I do have to do this. I I want to make art. I want to make music.
7:56
And I feel very much like there's something very alive and and powerful still going on with our chemistry.
8:01
So it's just sort of not yet done.
8:03
Um so there's never been a question about like do we or do we not?
8:07
It's um I love the fact you said it's fun. Yeah.
8:09
And and a lot of times that isn't a word that actually gets kicked around because the process can be arduous and and the title would even suggest that.
8:16
That's like the idea of reflection, self-reflection at least.
8:19
It's like man, it's not an easy process to go through.
8:21
Take a good hard look at yourself for our own enjoyment, you know?
8:24
Um but the beginning is always a interesting kind of fun because it's so fast and you work so hard for it and then it happens like are we having fun?
8:34
Like when did it really when did you get in the clearing do you think as a band or at least individually the two of you where you felt like we don't have to think about all of the distractions and the stresses and the weirdness of this anymore like this is ours and we can actually just purely enjoy it.
8:48
I think for one when when we do have the opportunity to write in a room which is we're not writing on the road or like as far as us being in a room playing music together it's always fun in the sense that it's never like we we're going there because oh yeah we should go make it's never felt like work or we're doing this cuz it's like going to work or we need to do this.
9:06
It's just like we go there, we don't have any plans, we don't discuss it, and then we start playing and then like Paul was was mentioning is like as soon as we start working on something, you get excited.
9:16
And the excitement to me, it feels very similar to the early days of Interpol.
9:20
When you're working on something, it should feel like, oh yeah, this is going to be the >> this could be the best thing we've ever done or this has that possibility.
9:25
The excitement makes you feel that way.
9:27
And that's the desire, you know, it's the idea is to you're doing it for yourself.
9:32
you're trying to create something like uh the best that you can make it and then you're excited by like what all your partners are doing together and then you're like, "Oh, I didn't see that coming."
9:40
And then the thing's just building.
9:41
It's like building this incredible dish and then I feel like so to me it's just like really about that.
9:46
You're not really thinking about outside stuff and and as as long as that feels that way, it's never going to feel like you're you're almost like distracted by what you're actually doing as far as you're making a record and so forth.
9:57
You're actually just creating the thing in there and focusing on that.
9:58
So, it's like I think it should always just feel that way versus like you're doing that, you have a purpose, you're trying to make a record and so forth.
10:05
And fortunately, [snorts] >> it still feels that way, you know what I mean?
10:09
So, to me, it's like the fact that it feels that way versus like something you have to do and so forth, >> then it makes it everything else like that much easier.
10:15
And it's um and it's incredible to me that all these years later be, you know, we've been a I've known Paul for 30 years and it's like it be it's it' be [clears throat] understandable if you don't feel that way as far as it feeling, you know, not getting lost in the moment.
10:27
getting lost in the moment. But while you are writing something, the fact that you're still getting lost in the moment and you can still have that draw that parallel to the early days is such an exceptional thing in life that it's like
10:38
uh an amazing experience, but it's um yeah, to me, as long as you have that and it's fun and so forth and easy and then you're excited by the like what you're doing and you're like distracted, then it's like everything kind of usually falls into place, you know? >> Do you ever reflect on the sort of magic
10:49
>> Do you ever reflect on the sort of magic of life and the fact that the two of you met?
10:53
I always think about that like just just the kind of random things that can happen and how this whole life's journey and and even just for me and all of us and the people the good people of partisan records who now get to hang out with you and collaborate with you like this is like cuz you two met and how lucky that was and do you ever sort of allow yourself the ability to just sit in that for a second and not just keep going forward? >> Yes.
11:15
I think life is sort of like there's the things that you can't control and then there's the things that you can control.
11:19
And so I feel like life puts you in the path of other people and and you either seize that opportunity or like find a bond or or you don't and you kind of keep it moving.
11:29
>> And I feel like I've always had a good eye for talent.
11:34
>> Um and I think you know that's an interesting part about our relationship I think is it started with a creative connection.
11:40
Like we weren't friends who then said let's be in a band together.
11:44
like we knew each other from a a school program abroad and Daniel had the band and was rehearsing and said to me one time, "Do you want to come and see this band I'm working with?"
11:51
And so I just went and saw it and was like, you know, >> I wasn't looking to be in a band, but I you know, you know, I'll be in that band.
11:57
[laughter] >> Um, so I feel like it's uh I do often kind of think about that.
12:02
Yeah, everything is very serendipitous and cosmic and like but you know, you can miss a lot of opportunities.
12:07
You can just sort of be like, I don't want to follow up on what this could be.
12:11
So I think I've just um been very fortunate in the relationships that I've been able to have and I think I'm you know matured in time to maintain those relationships and kind of like keep the people that are really important to me close and not like you know >> let important relationships drift. >> Yeah. Yeah. Yeah.
12:31
It's important I think as we mature that we recognize like um we have enough self-awareness to recognize the joy in our life and not like uh sacrifice that for whatever we think is waiting for us.
12:40
think is waiting for us. Do you know what I And it's totally and I really think that Interole from a from a like again as a fan >> you've landed in this very sweet space where it's just like man you know if we can keep making records this good and why the would we alter that on so many levels it is like so fortunate how
12:56
as you're you know you're you're mentioning before it is crazy I do think it does dawn on me like these like chance meetings >> and then chance like you know I bumped into Paul on the street after we'd initially met a few months earlier >> you know invite him down to rehearsal and like the fact that I bumped into him all these the moment right there. That
13:10
That is the actual moment decision. Yes.
13:12
You know, it's like what the Like you could have been like, "Oh man, I'm >> I'd love to, but I'm just I'm late for something." And bam. >> Absolutely.
13:21
All those things, you know, and uh it's just, you know, it's really it's it's it's it's not lost on me.
13:25
or the fact that it took us like 5 years before we put out a, you know, from formation to putting out our first record like and, you know, and then just hustling and making demos that had, you know, our first demo had songs that would end up on our first record.
13:39
Maybe inferior versions of playing them, but it had >> PDA was our very first song we ever wrote, you know, and it had Roland on that very first demo, you know.
13:46
So, it's not like we were trying to figure out like >> what we wanted to do or who we were or like we were making the music that we would continue, you know, we're already on that path.
13:55
it's just like there was not that interest and no one wants to come to shows and you're just like hustling your friends to come to the shows and and everything like that.
14:00
So it's like to me my goal is just to get to make a record like that was it and so when we made that album I was like wow the first record I was like wow I just never dreamt beyond that cuz it'd be so unreasonable to do so.
14:12
>> I love that bit in Meet Me in the Bathroom or at least the documentary which which I I did watch and uh I love that bit where you're like man I was driving back from listening to this and I was emotional cuz I was like I I can't believe we did this.
14:22
believe we did this. this I love this album and I just love that you acknowledge how much you loved that record and what you'd achieved and it wasn't like oh it could have been better or well people like it perception perception it was like no I feel this well going back to what we were saying before actually cuz we originally mixed it right before Christmas and then it wasn't right it was December like 2001
14:40
and I remember we all got together in a dive bar in in Williamsburg um and I just remember commisserating like all together and being like >> it just didn't feel right it felt awful and then we made the decision right so we had a decision to be that you we would either have to wait a few months to go back with Peter Cadis who who uh we had recorded with for him to mix it when he had availability or just go ahead and get it out sooner. And when
15:01
And when you're like a young band, you're like, "Yeah, but I want it out sooner."
15:03
You know, you're writing this.
15:06
>> But we were like, "No, okay, let's let's just wait. Let's make it happen."
15:08
It was obviously the the right call, but I just have that that that moment.
15:11
So that's like what it sounds like when you know what it feels like when it doesn't feel right when someone is dressing up in the wrong clothes.
15:17
I think I think it's one of the most stressful and anyone creative can be when you realize that your vision is actually unresolved.
15:22
Somewhere along the way you've gotten lost or distracted or diverted and you're like, "Fuck, man."
15:25
You know, do I have the courage to go back in order to go forward?
15:29
And it's, you're right, especially as a young person that's really really hard.
15:32
Nowadays, you wouldn't question it.
15:33
You'd be like, "It's not right, guys. We what the is time?" >> Yeah.
15:36
And it's also easier to like change now.
15:38
I think it'd be, you know, you probably can make it quicker and so forth.
15:40
But back then, you'd have to like, you know, it's a bit more analogy and you have to make time and go up to Connecticut where we made this record from New York.
15:46
It was but it was it was a good lesson.
15:47
I you know >> we didn't have budget either. >> We had no budget.
15:50
We're like negative budget. Yeah. >> Negative budget.
15:53
>> That should have been the name of the record.
15:55
>> Um [laughter] >> it's definitely merch.
15:58
I mean you guys definitely had negative budget inter >> but you know it's also like you know once you've gone beyond a certain point and you've had like you know I think you as a band and you're like you know and it's such like you're still enjoying making music together and the chemistry does feel like oh this is it hasn't run out.
16:14
out. we haven't hit that wall ever in the in the writing space which is like pretty incredible like it does feel exciting and you're you're off to the races pretty quickly each and every time you realize that it is special and it is like a lifelong you know relationship and and so forth so you want to be
16:29
careful and I think bands can really like they're really like good like life lessons at that and if you do care for you know then you really do have to be like careful as you proceed with it as well >> if you think like I wasn't looking to be in a band and like Daniels has you know really specific specific taste. I think when, you know, as an artist,
16:45
I think when, you know, as an artist, you have like a real notion of what you think is, you know, good and, you know, taste kind of guidelines.
16:52
>> And I think when you find somebody that whose taste doesn't offend you, but rather like kind of consistently inspires you, I think it's like a lot of bands like lose sight like as though there could be a hundred people you don't want to be in a band with and that that are really talented people who have ideas and stuff, but like their ideas are not working for you. >> Yeah.
17:10
So when you find someone who's like, I really like 100% or 99% of this person's ideas, >> I think it's just a shame when artists lose track of how rare that is and kind of say like, oh, I could go and, you know, do this elsewhere.
17:21
I don't like I've got a ego issue or we're having a fight, so I'm going to bounce and like find something else.
17:27
>> And also exhaustion, I think, plays a part into that cuz especially when you're young and starting out with negative budget.
17:31
I mean, yeah, you want to run, you want to travel, you want to see it, but your body can only take so much.
17:35
Your mind can only take so much.
17:37
I've lost track of how many artists I've spoken to on a reunion level who've told me that really when they think back they broke up cuz they were just >> exhaustion. Yeah.
17:45
>> No one should ever make a decision about the future of your band backstage ever.
17:49
>> Truth [clears throat] >> ever. Don't do it. Do you know what I mean?
17:52
And how many bands have broken up on tour? >> That's it. End of this tour. We're done.
17:56
I mean, almost everybody.
17:56
I think >> I've done it in my mind countless times. >> Yeah. Yeah.
18:00
You know, I think it's like man.
18:01
you know, give yourself the grace and the space to be able to think rationally for just a split second because it's precious what you have, you know, >> and when you're like, you know, green and you're like out there and it's exciting, but then you get burnt out and then you just don't, you know, you're not making decisions like you're saying from a rational standpoint.
18:15
You're just like, I want to do this, you know?
18:17
You're just like, >> I miss my couch, so this is over.
18:20
And all those songs that are waiting for you are like, I guess we're going to go and hang out with them now. >> You know what I mean?
18:24
These songs are just like going to go somewhere.
18:26
And I guess at that there's there was a lot of people who came before us and a lot of those stories to kind of be, you know, mindful of as you, you know, made your own way.
18:34
You know, that it wasn't lost on me as well.
18:36
You know, a lot of bands that call it a day way too soon, you know, >> way too soon.
18:40
>> And it's pretty incredible.
18:40
It's been you've been really consistent at releasing records every basically I think on average like every four years a time when you actually needed it as well, which I think was really cool.
18:47
I want to talk about some of this.
18:49
I mean, wounded soldier to me starts to introduce the groove in a very real way.
18:53
And and yes, there are beautiful classic interpol moments on this in a new way like um this mirror is has the you know very much we're starting an inter album in 2026 type feeling but you know there is groove on this you know we were playing wake up before there's a real sense of danceability on this record.
19:07
Um how did you come get to that place where it was like guys let's shake this out.
19:12
Win the Soldier I think was like a that's definitely a shout out to Brad on that one cuz you know like I had the chord pattern and then Brad really brought this like dubby kind of >> vibe to it which you know I know him and I are big dub music like longtime fans of you know and so like uh it was really
19:27
cool hearing his take on how to >> you know from that rhythm that standpoint and so that really gave like a different sort of like dimension to it you know >> I love the lyric too wounded soul wounded soldier it's like it's such a beautiful turnaround you know of like I get what that means oh now I really get what that means. >> Oh, thank you. >> Oh, thank you.
19:43
>> When you were writing for this particular record, can I ask you what the feelings were you were conjuring during the during this process or at least if not the specific nature of each song or the story or the narrative?
19:52
Um, when you'd hear a piece of music, where was your, you know, where was your spirit?
19:58
Like, where did you find yourself on on a song like that?
19:59
I think it's not I think being a I became a father between the last two records and I think >> Yeah. Congrats, by the way. It's amazing. >> Thank you.
20:10
And I think there's something, you know, in just the way, you know, where the world is and where, you know, social media, you can follow some Ukrainian boxer's account cuz you like boxing and then suddenly you're seeing footage that is like it's unbelievable that it's just on your phone. >> Yeah.
20:30
>> Um and mixed in with forms of entertainment and like frivolous things. >> Yeah.
20:34
And I think just my kind of sense of empathy and kind of care for like other human beings really changed and and grew a lot from from having children and just kind of like that part of you that really uh just you know I think I just care more deeply about humanity and so I think there was a lot a little bit of sort of like my my own soul wounded by some of the things that I saw.
20:58
>> I know that you've always sought for space.
21:01
In fact, the first time I ever met you away from the band, you were we were at a gig and you couldn't have been further away from everybody.
21:08
[laughter] >> And I really taught me something about you.
21:11
It really taught me something about you that night, which was like you don't need to be in the center of the room or the center of attention.
21:16
In fact, you like >> you want to experience it.
21:19
At least that's what I took from it.
21:20
But you want to do it on your terms.
21:22
>> And I I really respected that.
21:22
And since then, I've always I think we've spoken on and off about time, you know, you having going away in different parts of the world and not necessarily feeling beholdened to this space. Is that still the case? >> For sure.
21:34
I love going to the beach. I love going to Yeah.
21:35
remote beach destinations really specifically.
21:37
I'm not sort of like I don't really long to go climb mountains or, you know, but uh surfing and the ocean, that's something that's really precious to me.
21:45
And yeah, I mean, I feel like I'm I like making art and I certainly think I would, you know, miss it if I didn't get to interact with people and do this kind of stuff that we're doing right now.
21:57
And I love talking about art and I love being a professional artist, but uh the the trappings of, >> you know, notoriety or fame are not really important to me in in the least.
22:09
>> What about you, Daniel?
22:09
How has life kind of evolved since you were that guy running around Brooklyn or the Lower East Side trying to figure out how to get into New York?
22:16
Is it still does it still motivate you or have you searched for other ways to kind of find peace?
22:19
I feel like I do, you know, as much as touring can be difficult and so forth, I do love to travel and I do love where touring takes you.
22:27
I love being able to be so, you know, so familiar in all these cities that you've been to >> countless times.
22:32
So, you're like, "Oh, I love this. I love that."
22:33
love this. I love that." So I do think I am actually like a bit of a sailor in that sense where I feel comfortable being like in a foreign situation that you know familiar or not familiar but I like being so that is a part of I think of of something that intrigues me that I want you know I like in my life it's not just something you grow accustomed to from touring you know so I split my time
22:52
between Barcelona and and New York too as well so you know I grew up in Europe lived there till I was 11 so I like spending time both in in New York and in Europe so I don't know I think it's like a little bit of a constant traveler kind of vibe so there's Um, but I do like I feel very comfortable being alone and spending a lot of time like in very tranquil like you know solitude situations. I don't
23:09
I don't need like to be mix of things and I like being like head in the sand as far as like technology and what's going on.
23:15
I don't find that very blissful and I find everything kind of as we were just talking about like overwhelming.
23:20
So I don't it's like it might not even be like responsible but I do sometimes it's like either you stay on top of everything or sometimes you have to let go of things and >> and I think we're in a a moment in time where you it's like yeah you can either keep doubling up doubling up that that takes so much energy and I'm not going to be living on my phone all the time.
23:38
>> I feel really good like having my phone living on do not disturb and just like only looking at it when I need something you know.
23:44
>> So I don't know it's a real interesting moment figure out what works for you and so forth.
23:47
But um >> I love that you're in Barcelona.
23:48
>> I love that you're in Barcelona. what a great city Boston and disappear into and just it's I mean all the culture is there for you all the vibe the food and people >> it's amazing yeah and it's like geographical location being France like in an hour like car or just all these other places is uh and what you know what a history too
24:02
>> can we talk about some of the songs specifically on this record I want to talk about bird and the serpent which to me has a really interesting and really cool arrangement and just kind of it's sort of a sort of a bit of a fever dream in terms of you're kind of in and then you're out and you're in and you're out and I just I just felt it feels very um un non- cerebral to me like it was all feeling. Um, but that's my take on it as
24:20
Um, but that's my take on it as a listener.
24:22
I'd love to know how what went into making that song. >> I love that song. Same.
24:27
>> I mean, Daniel had that, you know, really cool hypnotic riff that the song opens with and I think we started there.
24:33
Did you have the chorus written?
24:35
>> Yeah, I think I like the arrangement that I love.
24:38
>> And yeah, then it was just a I remember it was took a long time to teach Brad the baseline because actually it's like interestingly challenging riff that initial thing because the timing is kind of funny. >> Yeah.
24:47
But, uh, it's just very hypnotic and very moody and it really spoke to me as a as a vocalist and a lyricist and I think I did write that in a bit of a fever dream.
24:56
I think that all came about in like one writing session I did um, not with the band.
25:00
So, we had worked on the instrumental together in New York City and then I was at home in Berlin just doing vocals and I remember that was one of those times where just like from the first things that I did I was like so excited.
25:10
It's >> got some big lines in that song too.
25:12
It's got some like really like lines that just jump off the, you know, the the speakers at you. you're like, "Oh, okay."
25:17
You know, >> but [clears throat] I feel like that's some of that like we were talking earlier about it kind of relates like uh the thing about the fun and I think that when I sit down like I don't sit down sort of like I got to make this one's got to be a bang or this one's got to do this or that and it's got to have this or that impact.
25:30
It's just like what's fun and I haven't lost that, you know, just sort of >> um sit there with the music and kind of have no pressure from the outside.
25:39
It's just like what does this piece of what does these sounds want to become?
25:43
And and I think I've never lost that.
25:45
And I think also you said something earlier that was sort of would suggest that at some point we have to be constantly minding what does it mean for our career as we do this or that.
25:57
And I think we have been fortunate where it's like when we go into making a record, it's really always just been like what's cool >> and like what feels good because I think if you're trying to >> inform what you're doing creatively by being mindful of like what do we need to do >> I I think it would really like um >> choke me up >> and and impact like my creative flow.
26:19
Oh, and so I think also like as a as an artist over time, that's one thing I think I have refined is sort of how I access my creativity and how not to get in the way of my own creativity.
26:27
And I think a big one is like don't worry about what the single is.
26:30
Don't worry about like >> if people are going to like this one or that one and just, you know, the only true barometer and, you know, guide I have is what I think is fun and kind of gets gets my rocks off creatively.
26:43
that's on page number one.
26:43
I think I think you just gave anybody listening or watching this who's searching for a way to kind of lay out their stall and how they want to work for the rest of their life a proper page one observation.
26:53
I mean, in all the times I've spoken to people, it's like clear the decks and focus on what you like. >> Yeah. >> Yeah.
26:59
And I I think I remember when we um because this is like where I remember when we after Bright Lights had come out and then we were getting ready to do our second record which we did antics which we did very very soon after you know right finishing touring on Bright Lights we went right to basically writing for a few months and then recording.
27:15
So we had that, you know, it was came out within 2 years and I and those first 5 years when no one wanted to, you know, we didn't get to put out a record and we're just like kind of really hustling and trying.
27:26
At first it felt very frustrating like will we ever get to make a record you know is what's the point of all this even though the point was to do it for ourselves. >> Yeah.
27:32
But then it also made it very I think it gave you you know gave us a moment to sort of formulate and like to to be who we are and not really think about outside forces which becomes beneficial and then you build up this sort of system when you when you put yourself in the room to write you just all the noises just disappear.
27:45
You're not thinking about that.
27:47
And I remember clearly >> like even you know as far as like you know people talking about sophomore slump or any of that stuff being like you know what made people like the first record is is us just kind of just like really focusing what's going on in the room and not thinking about outside forces.
28:01
So as soon as you start thinking about >> anything like that, you're diluting it. >> Should we?
28:06
I mean, here's the thing, right?
28:07
You were carved out of stone in that time, too, because again, you know, this has been written about and documented.
28:10
I mean, you know, there was a scene and you really weren't in it.
28:12
I mean, you were, but you kind of weren't and it was like you were sort of your own thing and as and that must have been really reinforcing in terms of what you're saying, you know, the identity of who you are as a band and what you achieve, especially when we responded as people, but also at times really confusing of like, do we want to fit in?
28:29
Like why aren't we getting asked to play those shows?
28:30
And if we do get asked to play those shows, why do we sound so different to everybody? You know what I mean?
28:34
Like it's like being outsiders is awesome and weird, you know? >> Yeah.
28:39
I mean, and now now looking back, it's like also a different time was like, you know, preocial media, pre- everything where you could have all these bands coming from New York that have really were very distinct from each other.
28:47
That's I mean, obviously the countless >> from New York, I don't know, some of them from New York, some of them not, >> right?
28:52
>> But some got kind of like lumped in for the New York City scene from around that time.
28:55
But I think in in ways that's like a real blessing that was like before that so everyone could be doing their own thing and maybe some of those bands might have known each other or been you know very much like knew what the other person was doing.
29:05
person was doing. But in some ways like a lot of the bands I got kind of put together in the sentence you know in the media around that time like from the yes the strokes the TV on the radio walkman and so forth and countless others really tons LCD and so many others they're all really different from each other you know and it's really kind of cool that they all had their own path to this day
29:21
20 something years later you're like that stuff's aged really well you know and it's really incredible >> the album ends in a very moving way I almost couldn't get through the first time I heard sudden >> wow >> I really couldn't I almost had to stop it cuz it's so >> it's emotional piece of It's haunting in a beautiful way like like it it it is um that side of Interpol that's always been there. It is such a beautiful
29:42
It is such a beautiful statement.
29:45
And again, I don't want to know what it means to you, but I want to know how it felt to record.
29:51
And I know you like to have fun. >> Mhm.
29:56
>> You can't tell me you were did this one in the at Chuck-e-Cheese with a soda in [laughter] your >> No, but it's not, you know.
30:01
Yeah, fun can just be, you know, [laughter] >> Yeah.
30:07
I I've as a painter, like fun can be like mixing a really good black. >> Yeah.
30:12
>> It doesn't have to just be like that.
30:14
It's >> But um I think with that song, it was, you know, Daniel's piano part is so moody.
30:21
>> So moody >> and like it's not something that you would write, you know, I mean, maybe somebody else would do something completely different with it, but to me it was certainly evoking a sad and a kind of a nostalgia.
30:30
Was that the one that we recorded where the piano was upstairs and we recorded in the hallway?
30:35
>> The beginning of it was kind of fun because we actually were, this is before we moved to Andrew Andrew Wyatt, the producers proper studio was in his house and so we were in the basement making music which was already fun cuz it felt like very kid-like >> and I was upstairs in his living room and we were actually about to record the piano >> uh for Iron City.
30:52
Um, so I was upstairs and I was waiting for them to get the mics ready and I started playing that.
30:56
I I had like that that that song, but I didn't really know if it was going to become like something to present or not.
31:02
>> So, I was just kind of messing around and then Andrew was like, "Oh, that's really nice." Blah, blah, blah.
31:05
And then so we're like, "We record that one as well."
31:07
And it's and it's actually that take is actually a take from Andrew's house in his living room.
31:10
So, you can hear these birds. It was at dusk.
31:12
So, if you listen closely, you hear these birds that we all love.
31:16
So, in that way, it has that sort of like demo kind of DIY thing, which is kind of what you know when you get excited about like happy accents and things like that.
31:21
I didn't know that Paul and Brad were downstairs actually playing along to what I was playing.
31:26
So then like and so then there's like this kind of >> interesting.
31:30
So all those the sounds that she is like Paul from record the guitar and bass that's actually from Andrew's house too.
31:35
You didn't re-record that.
31:37
>> And that's Brad's base going through.
31:39
So you're literally just connecting the language is being formed in real time and Andrew is just present enough to capture it all.
31:44
And that's what we enthusiasm and even at the end of I mean but like the end of it I made sure that like Fredman kept it.
31:49
There's like you can hear Andrew like doing like a producer of kind of faux paw like the sound of the piano is like resin.
31:56
You hear like that's great or something like that.
31:59
[laughter] You have to like turn up.
32:00
I was like make sure you don't like everything cuz it's like you know it's it's if you know Andrew it's just sync to his sort of enthusiasm.
32:05
>> It's also a relief for all of us too cuz I'm literally just like oh my god and then it's like oh no it's okay life. There is another day. There is another moment. It's okay. We're going to be okay. >> Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
32:14
I didn't think that song too was actually going to end up on the I didn't I thought we'd probably redo it.
32:19
I redo the piano, but that one we kept we redid the other pianos.
32:22
>> There's something very whimsical and charming and almost like toy- like about the piano sound, I think.
32:25
But then I remember Paul did the vocals much later and I was in Barcelona and he sent the demo and I remember walk I know exactly where I was when I heard it and it hit me too.
32:33
Like it just like >> But this is where it's like emotal. >> I get emotional.
32:36
But to me this is what it's like what people sometimes you know when they talk about our music like dark and gloomy and so or or sad.
32:41
I I find it emotional expressive like truthful like something genuine like not holding back.
32:48
I was I was not sure I was ready to let go. >> Yeah.
32:52
It hit me hard >> in that moment.
32:52
And music will do that to you, you know, like you'll hear something and you'll be like, "Oh, fuck."
32:57
And it's it'll snap you and for a split second you can try to close the >> the the the dam, you know, >> and I was like, I don't know if I if I'm this is what I want to go through right now, >> but I did. And it was awesome.
33:11
And it's such an amazing experience, that song. >> Thank you.
33:13
Yeah, I I felt really inspired writing that one and that was didn't take a long time.
33:17
I think the the lyric came to me and then just it was another quick writing session.
33:20
I had some really good writing sessions in that that wind of time in Berlin by myself and just >> Yeah, I think it also comes from I'm I'm a lot more in touch with my emotions.
33:32
I'm a lot more in touch I think again as like a as a as a dad now.
33:33
like a as a as a dad now. I think I'm sort of like my my emotions and my love and my sense of like >> just um there's a word I'm trying to find that is not empathy but uh >> yeah I just care for other people but also like um I'm much more close to my emotions can really get the best of me a
33:53
lot more and I think that is reflected in some of the things that I'm writing about or like a deep sincerity or also having had enough life experiences now where I feel like sometimes I can say something that like the the weight of my experience is probably in the tone of my voice and not just in the word. >> It's the sweetest spot ever when you're
34:09
>> It's the sweetest spot ever when you're hearing you there as a fan because to your point, >> I'm not saying there ever was, but things can feel performative sometimes, you know, because the the groove takes you through.
34:20
It's like, all right, there's a little character going on here, whatever.
34:22
There's none of that happening on this at all.
34:23
To your point, it's the life lived meeting the the desire to continue to express.
34:27
And it's like it's that's a massive part of this record is is how present you are in these songs and how clear you are and what you're what you're feeling in that moment.
34:38
>> But sometimes, you know, there is there is still sometimes character or there's an amplification of a lesser part of myself or a kind of commentary.
34:44
So like in that song for instance, I I don't want to burst any bubbles by going too much into it, but like there's a line like I figured out how I'm going to feel.
34:52
M >> and if you think about that that's not really the way that one should go about life >> in my opinion.
34:59
So that's in a sense kind of like >> not a really first person sincere remark.
35:04
It's more of a >> it's a brain twist to that. >> Yeah.
35:07
It's kind of well but I feel like sometimes if we're afraid of newness, we might sort of want to brace ourselves and kind of like make some plans about how things are going to go.
35:14
So other lyrics like this is not sudden to me, you know, I've been through breakups.
35:18
I've been through admissions of having addiction issues, you know, things like that where it's kind of like there's a long thing going on internally that doesn't get externalized or communicated until like a certain point that's like >> again this might be new to you, but this is not news to me.
35:31
But on the flip, so there's parts of it that are very earnest and direct and related to my experience, but that one line I figured out how I'm going to feel is something that if that's part of me, that's something I would like to remedy rather than that that's sort of like my wisdom of the day.
35:46
You know, >> you're right. Parenthood will do that.
35:47
I mean, there are going to be movies and songs and artists that are going to go on a whole new life sort of list.
35:52
The way that I see it is that like I' I've never was felt safe enough to love with all of the love I have.
36:01
And I think once there's like a child there, it's sort of like this capacity within my soul to like love is able to just go to 11.
36:09
And I think >> wow, beautifully put >> with that freedom.
36:17
um everything is maybe a little bit raw and there's a little you know a lot of extra sensory openings to the outside world once that process happens but it's an incredible >> blessing too.
36:28
It also allows you to focus and this goes for any time in life as you continue to mature and and develop roots and new ways of living and how you want to do things.
36:36
It allows you to approach the travel and all the things that we look forward to with a real sense of kind of you know um focus and and and appreciation. Yeah. Yeah. Totally.
36:45
Like in the early days, I think it just goes by so fast and then you can be, you know, in the moment and then maybe, you know, Daniel, get in the car. We're going here. Sure. >> Exactly, man. >> Yeah.
36:55
And then as you, you know, as you've been doing for a minute, you realize like this is something to appreciate and something to be careful with like and and uh >> and and to really take those moments to be present as they're unfolding.
37:05
Don't let it go by so fast because like you never know, you know, and it's also it is a special thing.
37:10
And then just I mean, you know, I'm not sure if this completely relates to exactly what you're saying, but it's like such a crazy thing to be going on stage playing music that people are resonating with, that people came in to to see you to do.
37:21
It's such a human connection.
37:21
There's very few things like that have that humans to humans can have that thing. And it's it's not lost.
37:26
I mean, it's like it's it is magical. It is crazy. It is weird.
37:30
And but that's so beautiful.
37:32
And that like this can be this universal kind of connection.
37:34
And and the fact that people are vibing with the things that we've been, you know, making for all these years, it's like, wow, that that shouldn't you shouldn't be blas about that.
37:42
You shouldn't be too cool for school for that, you know?
37:44
>> I [clears throat] just love to see it, man.
37:45
Whenever I see cuz I watch a lot of stuff online if I don't get to see the shows or whatever.
37:48
And I think I watch one of your shows.
37:51
>> It was definitely this year, maybe a few months ago.
37:53
It was a recent show, relatively recent.
37:55
And I think you started with Untitled maybe. I can't remember.
37:59
But you came on and it was like it was just you looked so It was like, I know exactly what the I'm doing.
38:10
I know exactly what this is going to do and you know exactly how to respond.
38:15
>> And it's a really nice thing.
38:15
I mean, like with that song, all of our songs with that song, I I do feel every time that we play that song, I can tap into like the like why we wrote in the first place, the feeling >> I had in that rehearsal room in in Williamsburg.
38:28
I can really feel that every each and every time.
38:29
And I feel like that's uh all that, you know, this time later in life.
38:33
time later in life. sometimes you don't resonate with something that you did that you know earlier and so forth or you or just maybe clothing you liked or something like that but it's an amazing feeling to have that emotion like I can
38:42
feel that and I can really feel that with a lot of our music in that sense where you can tap into and that's that's what makes it like >> not doable but more like that's what I need to like kind of like focus on and that's just such an amazing powerful feeling. I would I would hate to just go
38:52
I would I would hate to just go like this is what comes next and this is what comes next.
38:56
I need to kind of go to that place cuz if not it's like something else.
38:59
And it's really easy to to to when I when I go to that place when I feel the emotion of the song and why you wrote in the first place.
39:04
It's like uh it's really being present in the moment and I it's like the best feeling.
39:09
So it's like it's too easy, you know?
39:11
>> That song has has is a landing song for me.
39:13
That song has of so many times I've gotten in a car in a different city mainly at night to go where I've got to go a hotel or whatever and I land and I'm jetlagged or whatever.
39:22
I'm in soul or I'm somewhere and I'll just go untitled.
39:25
put that on and then so my first impressions of a city a lot of times are to that song. >> That's super cool. >> That's super cool.
39:31
>> You know, because it is it does have that kind of like um feeling of like and the way it builds is almost how you're absorbing your environment for the first time.
39:39
It just builds and then when Carlos comes, it's like oh you know, I'm here now. I'm landed.
39:43
It's just it's cool that and wing victory for the sun.
39:47
Deep ambient It's great for landing.
39:48
I'm right for >> me stuff for just landing airports getting disembarking flights when everyone's being like a show like >> dude records [laughter] >> winged victory for the sun.
39:58
They're a duo of composers who have an ambient super group effectively. It's awesome.
40:04
It's on um ninja I think it's on warp or ninja tune ninja tune I think.
40:06
And um they make this really amazing sort of neocclassical ambient >> very very beautiful >> but it's kind of got teeth.
40:17
>> Did you know he knew that artist? No.
40:19
>> Well, look at you two. >> Sounds cool. Never heard of that.
40:24
nerds over here in the ambient [laughter] >> It's so true though.
40:26
On the plane like, "Give me my hand luggage.
40:28
I got to get two people in front of me."
40:29
And it's just like, "Let me put the ambient on." Right. Either that.
40:32
It's like It's like a pacify right away.
40:33
To me, I'm like [laughter] quiet down.
40:37
You're like, >> but for me it's either that or deaf tones. I'm just like, "Oh, you. One way. One way or another." >> Um, I was so bummed.
40:44
I missed those shows in New Zealand, man.
40:46
I I go home to New Zealand to see shows because I see my family of a certain age.
40:50
Uh you know, it's the order of things and so I go back regularly and I try to time it and I missed you guys by week and I was so bummed out.
40:57
>> I thought of you there though cuz I really New Zealand is such a special place and we hadn't been there since 2008 and which is criminal.
41:02
I really just really love that.
41:04
And so I was really excited that we got to go back there.
41:06
And then >> I mean Wiki Island that that place is like yeah I went there twice on this that trip and just that and I went there in 2008 too and I just remember being like and I spent the night there and it just really filled my soul.
41:16
It's a very special place and it was nice to go back there all these years later.
41:20
>> Well, thanks for going back.
41:20
I know people really appreciated it and love that place.
41:23
You know, I I I also just want to say, and it's it's it's not in direct comparison, but I'm I'm having such a good time watching watching, you know, Chino and and and the band and you guys have these amazing moments, like the most success you've ever had as a band right now at a time when you're at your best.
41:36
And it must be so nice to know that you're playing your songs at the best ever in front of the biggest crowds ever.
41:40
And like Mexico's off the That was off the hook. >> That was crazy. >> Yeah, it's >> Yeah.
41:46
>> Yeah. I mean, I think it's we've been saying like I think we don't take it for granted and I think that's kind of like where we're at is just feeling very very lucky and sort of aware that um >> who knows how many you know any >> I don't want to sound too dark but uh just being mindful that it's a real
42:03
privilege and it won't go on forever and like every time that we have a chance to play our music and have an audience that wants to be there that it's like a really wonderful thing and I think that's like a very good north star that we have is just like being in touch with uh that it's we're super fortunate. >> Well, I'd love to sort of just go back
42:17
>> Well, I'd love to sort of just go back there and celebrate that for a second and cuz we have this brand new album, but I I feel like that was quite a big turning point for the band in in a lot of ways.
42:25
I mean, how could it not be?
42:26
How could you not chalk that up as one of the great memories of this band's existence and what that felt like to play in front of so many people?
42:31
>> I mean, it was it was absolutely incredible.
42:33
It was just such a wonderful feeling of connection and I think a real kind of like just the the crown on that relationship that we've had with Mexico from the beginning.
42:44
you know, I finished high school in Mexico.
42:45
So, it's always and a lot of my the most influential friends I had during college were friends that had moved from Mexico City at the same time as I did to New York City.
42:53
>> So, it's just been like that culture and that place has been a really important place for me my whole adult life.
43:00
>> And uh and I think all of us have fallen in love with, you know, going there and the culture and the food and the people.
43:05
>> So, I don't know, it just couldn't be we couldn't wish for a better relationship with a particular audience, I think, than than what we have with Mexico.
43:10
And just it's just a incredible place.
43:12
And then also like the actual site of the Zokalo I my my history is terrible.
43:15
You know a little bit more but like it goes back like >> a thousand years or something historically like >> Aztec times. Yeah. It's a sacred site.
43:25
That's what made it like such an honor to get to to play there cuz it's like such an just to be invited to play somewhere with that >> rich history and you know so just as an auntie just to get to play there and then to play that audience to those incredible fans. And you're right.
43:37
incredible fans. And you're right. I think that's a great way of um describing like our fans there in the sense that it's like you you know it's the the fact that they are connecting to our music as well and it's like it's like a passion but it's like if our music sometimes gets put into like you
43:51
know dark and so forth then you're like looking at this audience that's like joyful you know what I mean I think that's like yeah music is expressive and that's what I feel like they're like yes >> um so now this album is complete and you're out here doing shows which is great what is the relationship like with touring and and you know, do we get another round? Are you do you make it up
44:09
Are you do you make it up as you go along? What will 2027 hold?
44:12
Like let's just talk a little bit about the next steps.
44:14
>> Whole bunch of touring.
44:14
I think you [laughter] are. You are. >> Yeah.
44:16
It's like we've been touring for a little while like already, but it's like I think it's like Yeah.
44:19
We we're >> we're we're touring, you know, the [clears throat] go. >> Yeah.
44:25
It's like it's definitely the most we've done before the release of record, but it's like that's usually when things really start up, so it's going to be a lot more touring stuff like that.
44:31
But it's >> like we've been saying, it's a it's the kind of thing that you you know, you you you embrace it, you know, and you're you're present while you do it.
44:38
So, it's um >> yeah, it's amazing that you get people want to come see you and see, you know, hear the new music and stuff.
44:45
>> So many of these songs are going to are going to I mean, I don't know how many of them you're going to be you're playing right now or want to play.
44:48
So many of them are going to bring new life to the existing ones.
44:52
It's like they they are really friends with the existing songs.
44:55
That's a fun part of like doing this is like you make a record even though we do go into the studio knowing how to play the songs.
45:00
studio knowing how to play the songs. So you don't just like >> write the songs and record them and figure out how well how do you actually play these like no we decided to go to the studio because we could play them >> but then you still have to take them out and obviously working with like Andrew
45:12
Wyatt who you know did all these keyboard arrangements and stuff like that amazing stuff on the record then you want to bring that live as well and so you want to do it justice but then you realize like what maybe you can't do the full version that's on the recording or maybe you shouldn't do the full version. you figure out like what is the
45:24
version. you figure out like what is the live version of it, but it's a fun thing to do and then you see how it all fits with the catalog of songs from the >> all the records and you try to do a little bit of all the records as much as you can and so but then you know we have eight records now and then you want to champion the new record but you also you have to make choices along the way about
45:39
what how it's going to work but it's nice to see how it all fits together you know >> you also got to figure out and I mean this with love and respect because you know I've always I've always loved Sam and also as far as drummers go I mean talk about the most unique sound your band could have I mean he is an essential part of the sound of the band but his choice was to not tour. I always
45:53
I always I actually think it's really great.
45:55
As a kid, I didn't understand and now I'm like, "Oh, it's a good sign of mature growth and relationships."
45:59
Like, "Yeah, of course we can still be a band.
46:00
You don't have to do it all. It's fine."
46:02
But how does that sort of affect the way that you approach the songs live knowing that the the player on the record is not the player on stage? >> There's a balance.
46:09
I think that, you know, you you work with a drummer to to fulfill that role who's technically >> good enough to do it um and who has, you know, is a talented drummer in their own right.
46:22
uh and you don't want to tell them like don't be yourself, but you do kind of want to honor what the audience is expecting and like what the record is.
46:28
And I think it's been really interesting >> conveying some nuances of Sam's performance style to we had Urine Hackne play with us and now we have Matt Bareric from from Walkman Walkman who's you know they're both legends.
46:40
both incredible artists >> and I think it's, you know, it's kind of interesting just because it has shown me just how like I' I've always known I wanted to say earlier like when we were starting out like one thing that was big with me in this band is just like how incredibly talented everybody >> is and was you know Carlos, Sam and Daniel like we're the band mates.
46:57
So it was just sort of like from my point of view I don't care what's happening outside what the scene is this or that.
47:03
It's like what these individuals are doing is inspiring to me and incredible.
47:08
So now fast forward to the present conveying to somebody else like I don't know Sam plays it kind of like this like you might think that the high hat would be like this but actually Sam kind of goes really heavy in this section and like this sort of standard drum
47:22
>> trope Sam inverts it this way you know just because that's Sam and you know you kind of come to realize like >> all the little things that make his style so signature and they're just little things that are always a little unexpected and a little different than what the norm would be. >> Definitely. So you just kind of convey >> Definitely.
47:36
So you just kind of convey that in a way that works with whoever you're working with to not offend them and not like, you know, stifle them, but also to get them sort of in the spirit of what the I think it's a little bit like a director working with an actor.
47:48
So you kind of like want to help them work on the accent of the character cuz that'll be to everybody's benefit.
47:51
And I think, you know, Urion and Matt have both been super open to that that process.
47:56
And I think the audience then benefits from hearing like a faithful representation of Sam's ideas, but then also the feel of these really unique and great drummers.
48:06
>> It really makes me think of a question that I've never asked you before, but I feel like this is the time to do it because you've opened the door a little bit.
48:11
Um the [snorts] idea of of cuz you mentioned Carlos and undoubtedly one of to me my favorite bass players of that era in music.
48:18
But when it came time for you to take over bass duties and be like, "All right, I'm now going to play the bass in this band."
48:23
You know, how interesting was that transition for you leaving behind what you loved about his playing and figuring out what you were going to replace it with without trying to be him. Does that make sense?
48:39
>> Well, there is no being him.
48:39
There is no I wouldn't there's no way to do that.
48:43
So, I think that was pretty >> obvious to me.
48:45
Um, >> so I it then it came down to kind of Daniel's writing these incredible chord progressions.
48:52
So there's always like there's like a baseline implied in a guitar progression.
48:56
>> So it's also like that's like a lot of the work is like I could just play the root notes of his chord progression and it would be a good baseline. It would be a cool song.
49:03
>> So then it was really more like okay, how do I interact with Sam?
49:05
And I think like I have my own rhythmic instincts and things that I find to be fun.
49:09
And so Sam and I generated our own rapport as a rhythm section.
49:15
>> And then it was just kind of like we'll see where it goes.
49:17
There wasn't like a real master plan.
49:18
It was like we don't want to fill that seat of Carlos's like immediately, you know, who knows what the future holds was sort of my attitude >> and I'm enjoying this and we're all liking what we're doing.
49:29
Like pretty early on we came up with like >> um what were the first my desire and anywhere >> uh came about in like the first writing session Daniel and I had before we really decided I would play bass.
49:39
And we didn't even know then that you were you came in with a guitar and I started playing those those those progressions and then uh you're like well actually I I write vocals to baselines normally.
49:51
And so that's kind of what I was like oh we never we never talked about it before.
49:53
We never said we should let's just get together.
49:56
>> And then the very next day I think you came in or maybe you just picked up bass right there and then and then right and then he wrote those two baselines right there and then.
50:02
I think you had the vocal lines too in that same moment as well and you're like okay so this is like we're off to the races.
50:06
We're going this [laughter] is going to be fine. Well, you never know. You never know.
50:10
And I don't think we said we have to continue.
50:12
We didn't have >> He could have picked the base up and gone and you're like, "Oh, fuck."
50:18
>> But if it's exciting, it was the thing is like the barometer is always like if it feels exciting and it felt exciting in that moment.
50:22
And so you're like, "Okay, so we didn't know what's going to happen, but this is exciting, let's just keep going that way, which is and and you if I go back in time, I was like, oh, this is, you know, that excitement is something that I felt in the other leaving other rehearsals during writing periods."
50:35
So, it's like the similar kind of >> feeling and as long as you have that feeling, you proceed.
50:38
You know, >> please proceed.
50:40
It's been so good to see you again.
50:42
Um, and like I said, I I'm I'm going to listen to this album as much as any of my favorite inter albums. No question about it.
50:49
This is not a a descending experience for me.
50:51
It's on the ascend as a fan.
50:52
So, can't wait to see the show.
50:54
Wish I was coming tonight, but I'll definitely see you on this tour.