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Welcome back, Kevin.
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It's really good to see you. Uh, I love this album.
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I want to get that out in the open right now so we can just so we can just get past it. I think top to bottom.
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It's a really, really amazing fresh feeling for the band and for what you've been making.
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Um, you know, on your own terms and I'm excited to talk to you about it. Um, so let's begin.
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The album Deadbeat, brand new TM parlor record.
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It's been a minute and I know people are going to keep going on about that, but you were playing shows after the last album came out and whatnot, but rather than make a big deal of the time between albums, I'd rather sort of ask you kind of like what life has been like because it was non-stop for Tame Parlor for some time and you know, I don't you tell me whether or not it felt like you were able to pump the brakes a bit.
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By the time it was 5 years, it was like, "Oh, that it that really snuck up on me," you know?
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Um because you know like every time I do an album the cycle goes longer than it was supposed to.
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You know like albums just the tours and sort of for some reason for whatever reason I guess like just my albums they they take a long time for people to like digest and so you know they they only sort of reach their peak sort of a couple of years after the albums come out.
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So we were still doing slow rush stuff a couple years after. Yeah.
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And then there was sort of other stuff going on.
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Um just me wanting to do some more productions.
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I did the Dual Leap album. Yeah.
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>> Um and then it was like, "Okay, now I want to do an album of my own."
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I was like, "I'm ready now." You know? >> How did you know?
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>> Um it's kind of just like a sixth sense really.
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I was um >> I was, as you can imagine, >> really into just making techno music for a while.
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I kind of just I was like I was dead set.
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I was like, I just want to make a techno album.
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>> Would it have been a Tina parlor record or were you were going to come up with a different thing?
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>> Yeah, I was going to come up with maybe it was just going to be an anonymous >> but was something I always wanted to do for my own my own spiritual being, you know?
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>> Made a bunch of that kind of music and >> I think it was just sort of like focusing on that one sound.
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It made me go like, "Oh, I wish there was a little bit of chords."
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I just sort of like started that sort of like um tame and parlor thing and so it kind of just sort of I guess stopped that and started and decided I want to make a tame and par.
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>> What a great way to reset. >> Yeah, exactly.
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It was it was like a was like a sort of a um it was like a a retreat, you know. >> Yeah.
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Because you don't want to pick up where you left off. That's the thing, right?
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I mean, if you if you sort of gone back and listened to some songs that didn't make the cut of some ideas were kicking around from Slow Rush era, people do that.
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they feel like they have an opportunity to to extend the thought process.
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But and the thing is when you when you first put the end end of summer out as the first song off the record.
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Was that a really important statement and statement is a strong word, but did you want people to like reset like you had?
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Did you want people to kind of cleanse the pallet and be like whatever you were thinking you were going to get, this is this is what I made on that day?
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>> I mean that's always something that I get a kick out of >> is like just shaking up expectations.
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Even though even though like at this point I was pretty sure it wouldn't like it was kind of just like it was obvious that I was going to do something electronic, >> you know, like to me it was it just sort of made sense, you know?
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I don't know what I don't know what the fans kind of think and what they think the trajectory that I'm on is but um you know for me it was kind of like obvious even though >> it's like you hear Ta sort of like techno and it's like oh >> it definitely didn't feel like it was coming from from a from a far away place but it felt like you had gone all in. >> Yeah, exactly.
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>> You know which was really >> Well, I mean like it was never it was never meant to be the first song released.
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I don't know what was but it sort of like like uh the the choice of what song to drop first came after the album was finished.
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So was like finish the album and say okay what do we start with you know there was even talk of just dropping the whole thing at once you know all those sort of conversations were happening. >> Yeah. Yeah. Yeah.
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And I mean it's that's a thing and I don't know man sometimes it works and sometimes it feels good especially if it's like there's a there's a desire to immerse yourself in the record and not actually sort of give people a hint.
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I loved what end of summer did.
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I love that it got everybody going, "Holy shit."
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You know, it's peak dude's at peak of the night.
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Like, >> it's like that moment where it's like, "Okay, it's all kicking in in all the right ways."
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>> It just uh it just felt right.
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It just felt like it just felt right, you know?
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Uh like so much of this album roll out and process for me has just been going on what feels right rather than what sort of intellectually seems like the smart thing to do.
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I love how um our fa our our favorite act acting rock star these days uh Joe Kerry got a chance to be in the video as well having just done the pavement.
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This guy is literally you know the rockstar chameleon at the moment.
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He's just like I'm sure I can be entertainment bal pavement. I'm totally fine. I can do these things.
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>> Yeah, it was really touching how um just just like ready and willing and and excited he was to do it.
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He's like, "Yeah, I'll come over."
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We were like, "But you're in Chicago or New York, whatever."
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He was like he was like, "Yeah, I'll fly over."
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He just flew over and did it.
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you know, he was like had such a great energy on set.
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It was really, really, really nice.
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And he's just like so good at what he does.
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I sort of drunkenly said to him that the other day I was leaving this party that he had and I was like I was like, you know, my chat was good all night.
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You know, I just left him.
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I was like, "Man, I just want to say go."
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>> You know, when I was watching you, I was like, "This is acting."
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And he was like, "Oh, come on, man."
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>> I was like, "No, I'm blew at the end."
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cuz he's like sitting on the side of the street just like just like you know >> and I was just kind of like wow he's really good isn't he sing this >> and he was like the the least challenging acting role of his career you know I was just so amazed by Imagine Yeah.
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Anyway, cuz I don't get to see a lot of >> actors act. >> Yeah, dude.
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Enthusiasm is enthusiasm. it.
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Like I just love the fact that my chat was good all night and then as I was leaving I finally >> Yeah, that's that's the story of my life.
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>> You got back to who you are. I'm the same. I'm the same.
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I, you know, I found the GQ piece really moving at times because of how open you were about the fact that, you know, um, you know, you came out as tame and parlor.
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Everyone fell in love with your music.
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Everyone got an idea about who they thought you were based on what we were listening to.
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And it was like, no, that was a reaction.
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>> That was a reaction to almost the opposite.
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>> That confidence came through the music, but it wasn't necessarily there before that.
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That's always been the thing of my music, I guess, is that it has it's it's always led the way for me in terms of like confidence and and like >> Yeah, I guess. Yeah. Confidence and ego.
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Like the music like music for me is is the part of me that is that is like >> Yeah.
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>> bold and confident and my personality cuz kind of always like just caught up.
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What is that combination of experiences like when you know for a few hours a day when you're on tour or perhaps when you're making a record you get a sense of of who you who you can be versus the times when you're not and you have to kind of like marry those two over time, right?
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Because it's because it's hard walking the line between between the sense of like who you were raised at that time and the challenges that kind of ultimately form your identity and then this identity of being this dude on stage with a guitar in your hand like I got this. Yeah.
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I mean, weirdly for me, I guess I'm kind of uh one of the lucky ones that like uh being on tour, um there's there's no other like activity or what do you want to call it?
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No other thing in my life that gives me such a sense of purpose, >> you know, like I I love just sort of like uh you know, in in the time between shows like if if we've had a run of like so many good shows that like I've just really felt the audience. It's been great.
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You know, I've just sort of like that's that's kind of like the best that I've felt.
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That's some of my most sort of like good feeling times, you know, cuz like making music making making music is touch and go in the studio.
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It's like there's highs and there's there's like extreme highs and there's extreme lows >> and you know, rest of life also has those highs and lows, but and you know, so does tour.
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But I guess it's just like being occupied and feeling feeling like you have a purpose. >> Yeah.
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and keeping you present, too. >> Yeah, exactly.
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>> You can't take that on stage. >> Yeah. >> Whatever's going on. >> Yeah. Exactly.
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>> It's a circuit breaker, right?
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I mean, I'm an anxious person and radio has been that for me.
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Live radio has been that for me.
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>> Y >> bad days I'm like, it doesn't matter, man.
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Two hours you guys going to get on. >> Totally.
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>> That's what I This is a total segue, but I that's kind of what I loved about SNL. >> Yeah.
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>> It's like every other TV late night TV show we've played, it's made me nervous as hell, but like SNL just had this like tranquility, you know?
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It's like you just you're playing to the people across America right now and that's and it's you know it's obviously going to be on YouTube until the end of time.
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But I don't know there was kind of just this sort of like this nowness.
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>> I have a feeling about that cuz I got a chance to see SNL being well not even recorded.
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I saw it go out live from inside the building.
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I went with Timothy Shalamé was doing it.
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So I got to see them move all the sets around. >> Mhm.
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>> And there's something just incredibly um homely about that whole thing.
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It's much smaller than people realize.
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They are literally moving pieces of wood and pieces of like polyyrene around. It's chaos, man.
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I mean, it's an old school theater production. >> Yeah.
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>> So, how can you be really nervous when everyone else is just like walking around with a tool belt on just trying to make sure the new set looks half decent?
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>> That was probably it, too.
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It's just like everyone else is just as frantic. >> Yeah. Yeah. Yeah. Great. Okay, cool. Thanks for coming, guys. Okay, car's outside. Thanks for coming.
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Yeah, I mean I really lent into that with SNL um in that I like I didn't have lyrics ready for the song um that we played on SNL.
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I was up till 6:00 in the morning trying to record the song and I just didn't finish it.
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So to this day um border lines lyrics are mumbled on SNL.
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I'm just saying gibberish.
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You know how artists do in the studio before they have lyrics they just sing whatever. I did that on SNL. >> Okay, man.
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There's a lot to unpack here.
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So, if that shows just how much of a mental state I was in at the moment, I didn't care.
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>> That was going to be my question.
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At no point did you think like a quick swerve into an older song or something we know like quick a quick rehearsal we're good. >> Didn't care.
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I was so preoccupied with like the song and the album and everything else.
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I think Coachella was coming up then.
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>> It didn't seem absurd to me that I was going to do that.
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I was like, "Oh, just sing whatever."
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You know, >> I tell people that story and they just don't believe me.
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I have to show them the YouTube video.
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>> Well, I'm literally like I'm going to a as soon as conversations, I'm going to watch the YouTube video and but but before we do, I'm I'm still going to hold on to this story for just a little longer.
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So, how much did you actually know versus how much did you were you making up?
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>> Well, you had to submit the lyrics to SNL for sort of like, you know, censoring.
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>> That's the next question.
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How the what did you even show them?
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Because they can't just let you go on air and sing whatever you want.
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>> Remember I was someone reminded me this a tour manager.
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Um she was like I was telling the guys that in the car we were talking about it and she was like oh yeah I had to submit the lyrics and I had nothing.
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>> So she just wrote them.
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>> Yeah she wrote something out.
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I don't remember what it was. >> Amazing.
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>> I don't but but I remember she was like yeah the the crew came to me for dress rehearsal and they were like this is not what he sang.
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>> You know I didn't know this is all happening.
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I guess she was trying to sort of like keep that from keep it smooth whatever >> and no one called you on it afterwards.
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Everyone was like that was amazing.
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You know how the internet is.
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I remember that being a triumph. >> Yeah. No, no, it was good.
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It was like I I sang words, >> but just the not the words, >> you know.
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It's like, yeah, it's Yeah, I've done that before with songs like the the Let It Happen Like Vocod is is that is just gibberish.
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It's kind of just like me just >> singing in tongues really.
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>> Well, dude, I mean, I love, you know, I love that song and I and I sing along to it.
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it becomes mine anyway at the end of the day.
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Once you put it out and I put it in my car and I listen to it, I'm like, it means something to me.
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Whatever you it is you're saying, >> that's one of the craziest things about releasing music.
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I realized the other day um and I didn't I never realized how powerful an emotion that is is the idea of a song going from being your song to everyone's song. >> Yeah.
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>> You know, >> it can feel good.
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>> it can feel good. It can feel like I'm sharing it and it can also have this weird weird sort of violating feeling like like your um WhatsApp chat has just been leaked, >> you know, because suddenly it's like, you know, I just I just sort of I don't consider >> when I'm writing lyrics or making music,
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I don't consider people pulling them apart, you know, instead of like I just like, well, these are these are I'm just singing, you know, and then it goes out and it's like, you know, I I I I don't pay attention to too much stuff of like people trying to work out what the means of the songs are, >> but it's like every time it just catches me off guard. >> Yeah. >> Yeah.
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>> And um you know that's again that's kind of just part of the big beautiful beast.
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>> Well that speaks to also how you sort of approach the entire process which is to really not get too cerebrally in front of it. >> Exactly.
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Well yeah because if you do that it will it can derail the the project. >> Do you ever get lost?
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I think last time we spoke on Slow Rush, you you told me when we were when we hung out at your house at the time, where were you living?
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And you told me that, you know, you you at the end of that album, you felt like you were getting a little lost in it.
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>> I think you have to you have to get lost in it.
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>> Uh if I don't if I'm not completely consumed by it and like just sort of felt like I've dropped off the the face of the earth in doing it, >> then I haven't gone deep enough, you know?
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Um, I honestly thought this album was going to be the album that didn't take years off my life. Like, like mentally. >> Yeah. But you know what?
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Four on the Floor is a hard beast to tame.
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Everyone thinks you just put a donk on it and you're off to the races.
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And it's just not how it is. It's not how it is.
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All that space needs to be occupied even if it's with nothing. >> Yeah. Yeah. Exactly.
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>> These are tough decisions and it's it's like, man, you've I I love this album and I love how it starts my old ways.
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It's a very intimate kind of like off-the- cuff way that you introduce the album which is kind of like this is just me.
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I'm just writing I'm you've got capturing this on a phone or whatever some kind of recorded device and then all of a sudden we're in four high fidelity.
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So it does feel a little conceptual in that regard and I know people get quite obsessed with your albums as concept albums but it does feel like you want it to have a start.
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>> I guess that's another example of um me just sort of going with what feels good.
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I was listening to some voice memos in the car just from my iPhone of me like plunking around on the piano and like just sort of singing >> and I sort of I'd go between like listening to full demos that I had and then just voice memos to see if something grabbed me.
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>> And I just loved how that sort of suddenly sounded it.
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I was like, "Oh, you know, maybe that's the start of the album. it." You know?
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>> Uh so that was kind of one of those things about I guess Yeah.
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I guess what I'm saying is um it's just that uh that idea of not trying to pre- orchestrate everything which as a producer you sort of are supposed to do you know. >> Yeah.
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>> Like >> that's the fun part. >> Yeah. Yeah. Yeah. Yeah. Exactly. So >> hard man.
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So you're in reverse psychology mode on this album as much as you can be. >> Sort of. >> Yeah. In a sense.
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So, okay, let's talk about environment because the first time you showed us that you had anything going on was you gave us a beautiful carousel of life as you've been living it.
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And it was a combination of family time and and things that had been going on and the fact that you were about to become a dad again.
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Congratulations to you and your wife, man.
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>> But there was also sort of really beautiful images of you just sitting on the floor surrounded by cables and and and boxes. >> Yeah.
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>> Which just to me looks like heaven. >> Yeah.
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That's it's it's that's my kind of heaven, too. >> Just heaven.
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>> Uh that's that's Wave House. >> Yeah.
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>> It's this place that I've recorded.
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Um, this will be the third album that I've done there, like some of there. >> Is it remote?
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>> Yeah, it's this place down south from um Perth, my home city.
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>> Um, that I actually ended up buying uh during the pandemic cuz it's kind of like this rickety old um >> you know, sort of house on the on the coast.
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>> Um, just it's just completely remote.
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It's I've it's always been it's been my spiritual home since the first time I went there. >> Okay. Okay.
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Can we talk about the first time you went there and what it felt like? >> Well, yeah.
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I was uh recording Inner Speaker.
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So, um my first album uh basically said to the record label, I was like, just f find me a shack on the beach.
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Cuz they were like, who do you want to produce your album?
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Do you want like Dave Sardi or you know, >> and I was like, uh I'm going to do it myself.
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Just use that money on like just buy me a just just rent me a house, sorry, on the on the on the beach for like a month and I'll do the album there.
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>> Uh and that's what they did.
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They found me like we sort of well Jody my manager spoke to someone who knew about Wave House which is kind of like it's this now legendary um you know place.
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It has this big natural amphitheater where they had raves in the ' 90s and um like everyone's been there at some point, you know, >> and now your name's on the lease. >> Yeah, that's cool. >> Yeah. Yeah. Um >> that's cool.
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It's funny because it's always been this sort of like house of, you know, craziness and deborty um for a lot of people.
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Everyone's had sort of like >> Oh, so it's a pilgrimage. >> Yeah.
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Everyone's had wild times there.
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I I but I didn't really know about all that.
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For me, it was always this like sanctuary.
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So peaceful and like all I could hear was like the sound of me playing drums, you know, like birds tweeting outside.
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>> And you did it and you did that on your own primarily and a speaker. >> Yeah.
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Like in terms I know you made it all on your own, but I'm saying who else was like living with you at the time?
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>> Uh there's a couple of other people like Dom was there.
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Um there was we had an engineer there.
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>> Um but it was only ever sort of like three or four people.
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>> I'm really fascinated by isolationists and I know that's an extreme way to describe it cuz you know you you've got a family and you live in Los Angeles so it's not like you're living in the middle of nowhere but you clearly are comfortable being isolated and creating and not feeling like that's a strange environment.
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I find I think based on some stuff I won't go into from my upbringing which is for a conversation over wine if we ever have it that I find the idea I find the idea of being careful.
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I find the idea of isolation to be sometimes really scary.
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Like I was just up in Seattle quite isolated a lot of pine trees and I was like yo this is end of the earth and and it was eerie to me. It felt eerie to me.
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So I'd love to just talk a little bit about kind of what draws you to your own your own environment away from things.
18:30
I thrive on it because um it's extremely recharging for me >> and um it's a time of reflection and I know that sort of like it it took me a long time to realize how there would be some people who don't enjoy that. Yeah.
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>> You know, some people are just like, "Oh no, that sounds like my worst nightmare." Boom.
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>> But yeah, for for me, I just need to um gather my self. >> Yeah.
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>> You know, >> and just sort of like spending days on end with one purpose, and that's just to sort of like capture a musical idea as it floats by. >> Yeah. Yeah. Yeah. >> Is nice.
19:14
And it's kind of it's kind of just like what I need to sort of like I always just sort of >> I'm always like in the car driving home wherever it could be like an Airbnb in Malibu or something, you know?
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Yeah, >> I'm always sort of driving home just feeling like I'm ready to face the world again. >> That's beautiful.
19:32
>> And hopefully music happens during all that time. >> Yeah, exactly.
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>> Which isn't a given, by the way. >> It's not a given. No.
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>> Do you experience writers's block or something akin to that?
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>> I don't like that word.
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>> Yeah, cuz it's That's why it's a terrible term. No one likes that word.
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No one's like, I love writer's block. But whatever. I agree with you. I know what you mean.
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know what you mean. So another >> I mean I think it's I think from what I understand writers block >> I can make it worse by the way the pipes get clogged get way worse than writers block >> oh I mean like what I understand writers
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block to be and like sure I've had my I've felt I've felt sort of stifled >> creatively before but I think it's a combination of many things um like do I think that your own mind is capable of stopping you from from doing the thing that you love? >> Yep. Abso fuckingutely. >> Yep. Abso fuckingutely. >> 100%. >> Abso lutely.
20:20
Um, but yeah, I Yeah, I think with anything there are remedies, you know, and and ways to um, yeah, rediscover what you love about what you do.
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>> Let's talk about the early days of Wave House on this album and and, you know, what you brought with you and what you set up.
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And I mean, just get nerdy cuz it, man.
20:39
People love your records and it's not just a it's not it's never a passing fancy, bro.
20:42
Like, we really dive in and we really listen to what you've made and we're interested.
20:46
So, you know, how did you sort of go into this experience out there in a place you've been to many times before? Did it feel different?
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Did you like the comfort of it of it being feeling the same?
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And what did you bring that you know, how did you get yourself into a place where this room made gave birth to this?
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>> Actually, it the the the album officially started in um Monteceto >> cuz I you know, like my thing is I just I just get an Airbnb.
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>> That's a beautiful part of the world >> somewhere on the coast.
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Well, I actually don't care where it is.
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It's like I I I get on the Airbnb app and I just find where there are places literally like as close to the water as you can get.
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I want to be I want to be right there.
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>> I that you you can't get me closer to the water, you know?
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>> I will spend money on a place that sucks.
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>> Um if it's closer if it's like 100 meters closer to the water than like a mansion, you know?
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I I'll I'll go the place that where I can hear the waves. >> What? Okay. What is that?
21:42
That's obviously always been the case.
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Look, growing up in Perth, you know, you're near you're very close to the ocean and it's like I'm from New Zealand. I get it.
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I'm always drawn to the coastline as well, but I often find that the the waves can be I can get an anxiety from waves, too, if they're really close, you know? >> Not me. Not me. >> The douche.
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>> Uh I think it's the And I don't want to be too like dramatic about it, but I think it's something to do >> I just told you I was scared of waves, bro. You just get dramatic. >> Okay.
22:12
I think that it's um it's the abyss >> and like staring out at the abyss especially at night time or like the end of the day staring at the ocean for me is just um it helps me get lost and it just there's a tranquility that comes along with it um and and an inspiration.
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I also think like hearing just white noise >> um triggers musical ideas for me on like a cerebral level.
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Um, but uh I like I've always loved >> the ocean.
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I just, you know, I've always just been obsessed with it.
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I just can't get I can't get close enough to it, you know.
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>> So, Monaceto, >> well, uh, yeah, that was it was like it was like a little sort of beach house in a run of like family other houses.
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I can hear kids playing and stuff during the day while I was recording. I don't care.
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>> It was almost kind of nice to just hear this like life going on, you know, family life going on while I'm while I'm this sort of like guy.
23:06
They must have thought they were some weirdo just like there's some weirdo in our run of like family holiday homes.
23:14
And what's this guy doing anyway?
23:16
>> Well, the term weirdo is a is a hierarchy, right?
23:18
I mean, depending on where you exist depends on how weird you're considered to be.
23:21
I mean, those families where their kids are running around living an idealic life on the coast up up in California.
23:25
You're probably right to assume that you were a weirdo because you're very out of step from the Monteceto life. >> Yeah. Yeah.
23:32
I think it was Monteceto anyway. I might have that wrong.
23:34
But then um sea cliff or something. It's up that way.
23:39
>> Yeah, I got a I I rented a place in Malibu for a few days a few weeks after that.
23:43
You know, like I just I just I just find somewhere to go.
23:46
>> It must have been really strange.
23:46
And I mean, we're not going to drag the whole city through trauma again, but you had been through a significant drama, fire related drama sometime before that.
23:56
>> Didn't you lose some stuff? >> All my gear. Yeah.
23:58
Well, in from an Airbnb that I was at in in 2009 to 18 whenever the like the Walsy fight. >> Yeah. Whenever that was. >> So, you had to run.
24:08
You weren't packing stuff up and chucking it in the car ready to go. >> No. No. I jumped in the car.
24:12
I grabbed my Hoffner base and my laptop >> and uh I was out of there. Yeah.
24:16
I could see smoke and flames from the driveway.
24:20
Anyway, >> I've been through that by the way.
24:21
So, just so you know, it's like, you know, uh and again, this is just this is a factual representation of what happened.
24:28
I mean where we live was right on the doorstep of the Runan fire from earlier this year gone.
24:32
Uh so going back back to Malibu in between then and what subsequently happened it's like hell.
24:41
>> I get existential when I think about that I'm just like wow Neil Young caught it man between the fire and the floods. >> What are we doing? >> Mhm. Yeah.
24:49
There's definitely a lot of um uh yeah a lot of that kind of thinking >> after stuff like that.
24:55
Where does the world factor into the making of music?
24:59
Do you try to stay as internal as possible and process what you're feeling or do you find that the world creeps into what it is that you're making?
25:06
>> I'm a This is how I kind of see it.
25:06
Like I'm a I'm a human in the world today.
25:09
Um so whatever I feel like expressing uh is going to be a product of you know whatever else is going on. Yeah.
25:23
you know, um, yeah, just the the general psyche going on.
25:28
I don't I don't try to sort of like put that into words, but, you know, I just let it come through in the way that it does, you know?
25:33
I mean, like calling an album Deadbeat, you know, uh, like I've sort of thought that maybe that's a result of masculinity today.
25:44
I don't want to I don't want to, you know, analyze I don't I feel like it's not my job to analyze it, but I hope someone does.
25:51
>> And it definitely has a strong There's a strong sensation that comes from that term >> and the songs reflect that on the record for sure.
26:01
So again, I'm not trying to paint you into a concept here cuz it's you make beautiful music and we should just embrace it in our life, whatever it means to us.
26:09
>> You got an album called Deadbe.
26:09
The second song's called Loser.
26:11
There's a sense of sort of I guess ownership >> over these terms that get thrown at us rather than we absorb them willingly.
26:22
Like no one goes, "I'm a deadbeat."
26:24
Someone calls you that and then you like, "Oh, I guess I am." >> Yeah. Like Yeah. You're spot on. You're spot on.
26:29
Ownership is a good is a good word.
26:31
Um like there's there are some people that have spoken to me and gone like, "I don't know why you called your album that, man."
26:37
Like waving so down on yourself.
26:39
Like why so self-degrading?
26:40
But like I just don't see it like that.
26:42
For me, it's like it's like a celebration, you know, of the of of the feeling of being these things like a like a loser or you know, >> that being checked out isn't necessarily as bad as people like it's it's okay.
26:57
>> I've always had a a sick satisfaction from um from being hard on myself in my lyrics, you know.
27:04
I guess that's that's no secret really.
27:06
Um, >> but for me it's like it's freeing, you know, to make to make beautiful music and then put a sticker on it that says that like piece of >> Um, it just to me it's like it gives all of that meaning, >> you know?
27:21
It's like it it gives all those feelings that have sort of like followed me around my whole life.
27:26
>> Um, it gives them purpose and and sort of like flips them around. You know what I mean? >> Yeah. Yeah.
27:30
Take the power back a little bit from that. Yeah. Exactly.
27:31
Yeah, cuz that's what those terms those words and those terms are designed to strip you of any real sense of selfworth in order to create a power dynamic with the people using them so that they can feel like their life is less Exactly.
27:44
>> Cuz they just called your life And guess what? That's fine.
27:46
You can call me that, but I just made a fifth album >> and like I'm going to play stadiums and like festivals.
27:54
>> Own that >> That's it.
27:55
>> Let's talk a little bit about the um >> success is a strange word, right?
27:59
because it depends on what you deem it to mean.
28:02
>> But let's just put it through the more conventional filter of like from the first song you ever put out in the EP right through to to now, you've become one of the most conventionally successful bands making music.
28:11
You are a genuine festival headline act.
28:13
You know, you can play any arena globally, by the way, which is a really amazing thing.
28:20
You can go all over Europe and all over parts of the world that can't can't really do.
28:23
you know, you've made a a really justifiable and successful profit off of your songwriting in recent years.
28:30
So, >> sort of how do you translate all of these things?
28:35
Because >> I can imagine that you you could sort of like just try to get past them all, but you are still making decisions to say, "Yes, we will headline Coachella.
28:42
Yes, I will sell part of my catalog.
28:44
Yes, I will do these things."
28:47
>> I think we can all agree that there is no one way to measure success.
28:49
You know, like in the >> back when like CDs were around like >> Yeah. Yeah.
28:56
It was like that was the last time we had a way of quantifying success. >> Insync it. >> I don't know.
29:04
I don't know why he singled them out, but >> cuz they sold 2 million albums in their first week and the next week Napster started.
29:10
It was like the end of the empire literally at exactly the same time.
29:14
>> I mean like it's which is not to say that there isn't success these days.
29:18
It's just whatever you want it to be, you know.
29:20
I truly believe that just comes back to >> success is what you make it.
29:24
It sounds cheesy and sort of, you know, all that kind of stuff, but I mean, anyone who is in the industry knows how sort of like um how how how unclear all of those sort of things are.
29:43
Like like take sort of streaming numbers.
29:45
It's like, "Oh, my son streamed like a billion times." What does it mean? >> Yeah.
29:50
>> Well, it's like it's like there's a lot that goes into that, you know.
29:52
Um what playlist did you get on?
29:55
Who who whose hand did you shake to um get, you know?
30:00
It's like there's so much that goes into every so you can you could you could take every like like metric as they say of success and pick it apart.
30:05
And for me like again like like Grammys, it's like like to win a Grammy, you don't just you don't just make the art and then you win a Grammy.
30:14
It's like there's stuff that goes into it, you know? >> Yeah. Yeah. Yeah.
30:17
>> So, I guess what I'm saying is um it's it's it's like a personal thing, you know, and I just I've learned to like um to like find those moments where I feel successful.
30:30
It might be like someone stopped me on the street and told me that like my music um changed their life, you know, like to me that's that's it.
30:38
>> And what about a Grammy, which you just won one for with Justice and that song is and that must be kind of really fun for you as well because it's not just about tame and parlor.
30:44
you you you produced the Dual Liper record.
30:45
I spoke to Dora about that experience and obviously she you know more than anyone how much she loved working with you on that album and that album's been great for her and for her whole her whole life cycle.
30:55
>> Um you know and then you've got this Justice record which just doesn't stop.
30:59
>> It just doesn't go it just doesn't stop.
31:01
Yeah, it was really it was really uh it's one of those things where it's like it's really enlightening to like peak behind the curtain with those guys because their music is so you know when you listen to like the early stuff it's like how did they make this?
31:15
>> How do they get it to sound like that? >> Yeah. Yeah.
31:16
So it was nice just to sort of like be able to stare at their laptop screen and see >> I mean you just you just literally blew my mind telling me it was even made on a laptop screen to me is like no laptop is actually strong enough to like even handle that They're a total DJ's nightmare because whenever they make anything, there's nowhere to put it in the set without demolishing whatever came before or after.
31:34
It's just like >> Yeah, exactly.
31:38
>> And they got a Grammy with Justice on it, too.
31:40
>> Yeah, the Grammy The Grammy was nice.
31:40
Um I I was I was more proud to win it than I thought I was going to be. >> Oh, that's cool.
31:51
>> You know, by the I've been nominated a bunch before and I've kind of got to the point where like, okay, you know what?
31:56
I'm not going to get my hopes up anymore. Whatever.
31:57
anymore. Whatever. And um and you know like I woke up in the morning and it it already happened because I was in free I was in Australia so the time zone you know like I just woke up and there was like a bunch of messages on my phone
32:09
going like oh my god you know and um they sort of like kept coming through the day and I I guess with things like that um the nice the nice part of it is is is what you understand people to, you know, like like like your friends going like, "Ah, nice work, bro." >> It's funny. It's kind of for everyone >> It's funny.
32:33
It's kind of for everyone else.
32:35
I always think like >> it's Sorry, that's what I'm trying to say.
32:37
>> It's kind of for everyone. >> Yeah, exactly. Exactly.
32:40
>> I want to get back to um a little more sort of like specific as we go through the record as well because we've been kind of all over the road, which I love to do.
32:46
But, uh, you know, we also have songs to talk about. Um, >> let's do it.
32:50
>> I want to talk about uh Not My World, which is one of my favorites on the on the album.
32:54
I just love a story about that and just what was going on when you made that music.
32:57
And >> that one was kind of like that was one of the ones that even though it's not like a a fullyfledged it's not like a song, it's kind of just this stretch of music. >> Yeah.
33:09
>> In in a lot of ways that was um kind of the blueprint of the album.
33:14
>> It's like really raw just like singing into a mic that's plugged into a guitar amp.
33:18
It just I I wanted it to feel spontaneous and just sort of like in the moment and not really >> having this sort of like um in the moment kind of feeling just like like I don't want to say throwaway cuz it's kind of like >> No, it's vicarious in the best way.
33:34
It's I feel like it's like um >> like when I listen to like when >> like when I listen to Rez by Underworld, I feel like I'm literally hearing them just capture it in the club on one night. >> Yeah. Exactly.
33:48
Like I almost kind of wanted it to feel like Yeah.
33:49
You like you you just sort of seen someone playing in some sort of small town hall with a few people, you know? I don't know. I don't know. It's kind of weird. >> Um but yeah. Yeah. I I love that one, too.
34:04
>> One of the ones that really kind of jumps out just just purely because it's like so unashamedly in its bag is Piece of Heaven.
34:10
It's so it starts in a way that's like, okay, >> this makes sense to the album.
34:16
Then I'm I'm halfway through and just over halfway through and then when the drums kick in, I'm like, oh, you just went there.
34:22
Like you just really fired up those sounds and we're like just I'm not going to replace them.
34:26
I'm just going to I love where this sits.
34:27
But I think for a long lifelong T parala fan, it's like a really lovely it feels like a lovely separation if that makes sense. >> Yeah, totally.
34:36
That one came quite late in the in the piece.
34:38
Like it was it was one of the ones I spent the least time on in a good way cuz it's like songs like Dracula that have been around for like a year and a half by that point.
34:45
I sort of picked them, >> you know, some songs can can die the die the death of a thousand cuts, you know. >> Sure.
34:53
>> And Piece of Heaven just sort of like happened.
34:54
I just sort of went with it and it was done in a few days.
34:55
Um it was my Yeah, it was it was it was my favorite thing I'd done for a few days.
35:01
I was like, "Oh, I'm just so happy with this."
35:03
What's the song if you if one comes to mind that you've that that that just literally scraped onto the one of your albums that was nearly just absolute exhaustion mode on that that people all love now.
35:18
Thank god you put it out.
35:18
But at the time you were like, "My god, if I have to do one more reference mix of this thing, >> I'm going to literally throw it against the wall."
35:25
Every song, every single song has been deliberated over and and um and it's I've like loved it and hated it, you know.
35:37
>> When do you get to love it again?
35:37
Once it's finally done and you can't fix it anymore.
35:41
>> H two years after >> two years. That's crazy.
35:46
>> Uh I tell you what, a new person saved Mom Mistakes.
35:47
Almost didn't make the album. >> Wow.
35:49
>> Uh last song on Currents almost didn't make the album.
35:52
Um yeah, a bunch of songs that Elephant almost didn't make the album.
35:56
>> Yeah, there's some gaporing going on here in the room.
35:58
>> Yeah, there's some real like shock and a >> man.
36:01
Uh every artist has those stories >> for sure. I just wanted yours. >> Yeah.
36:06
No, no, it's it's crazy how many of those like huge hits.
36:08
Not saying that those songs of mine are huge hits, but >> Yeah, they are.
36:12
Cuz you go and see you live in front of 60 70,000 people and it's going to definitely do what it's designed to do.
36:18
The fact that could be sitting on a hard drive somewhere is just so make or break. I love it. >> I know. I know.
36:24
>> Some skin of the teeth going into all this. >> Yeah. Yeah.
36:26
Uh the song on on this album, Afterthought. Second last track. >> Yeah. I love that.
36:32
>> Um so I started that song.
36:36
>> Really love that song. >> At 5:00 p. m. on day two of mastering. >> You're so funny.
36:42
So, um, so we mastered the album over two days. Yeah.
36:45
And each day I had to hand in that sort of like that half of the album at 4 4 p. m.
36:51
cuz that's when it became 900 a. m.
36:53
in UK where I was getting mastered.
36:58
>> And um I was like, "Oh yeah, I've got this this sort of demo that I'm going to work on."
37:01
You know, I was like, "Oh, yeah. I'll get to it later."
37:02
You know, cuz I was still just sort of mixing and, you know, working the other songs.
37:06
And uh I didn't get to it until an hour after everything was due on the second day. So 10 p. m.
37:12
I handed it in for mastering.
37:15
I tweaked the mixes after that.
37:17
But like honestly afterthought is >> that is >> it's still it's my favorite song on the album. >> Yeah, man. I love that song.
37:23
I can't believe that you could took that down to the wire so hard.
37:26
Did it replace something?
37:28
>> It was either going to be just this sort of like two-minute interlude or a proper song.
37:32
It wasn't even going to be a proper song.
37:33
I was like, "Oh, I hope it turns into a real song, but I'm really I'm really running out of time here."
37:37
The additive is fine, but when you're actually cutting something to make room for something else. >> Yeah.
37:41
>> You really like you're dicing with history there with with, you know, because in two years time you go back and listen to that song, you're like, damn, what the did I leave that off? >> Yeah.
37:48
Well, that's the that's the stuff that can really screw with your brain when you start thinking about um you know, the history that's going to not be made by not releasing.
37:58
You know, it's like you can't you can't go down that rabbit hole.
38:01
It'll it'll turn your brain brains to scrambled eggs.
38:03
Um, but after thought it's still it's still kind of like it's it's it's the most effortless on the album and and and like that's kind of something like I was saying to Glenn and like afterwards was like >> I I I spent I spent sort of like two years working on the album like uh um waiting for a chorus hook that felt as felt as effortless and and free and easy as Afterthought.
38:30
It work on the second day of mastering just like it put it on. Put it on lyrics. Don't think about it. Finished it.
38:39
I was like, it's my favorite song.
38:41
>> It's just so funny, isn't it?
38:41
I mean, it's such a rewarding rewarding moment, but at the same time, such a probably a grim reminder that, you know, that's what you're searching for at all times.
38:49
And it's just it's so fleeting. >> That's it. That's it.
38:51
Yeah, >> it's so fleeting. What a great life, dude.
38:54
I mean, this is like so much, if you say so. >> I mean, okay.
38:59
It does take its toll because you give a and it's it is an intensely personal experience.
39:05
There's no one else around you that can ultimately cuz the way you've designed it is that that can kind of ease your pain, right?
39:11
You're in it until you're not. >> Yeah. Exactly.
39:15
>> But you probably never think about this, but I mean Tment Parley, you could have ridden the first couple of albums into oblivion.
39:21
You could have just that's what we are. That's who we are. People like it. We'll get better at it.
39:25
and you've made some really really great risk risk.
39:30
You've taken some really great risks to be able to free yourself up to do whatever you want.
39:33
Like >> someone I was in an interview the other day and someone asked me what I thought about the idea that fans think that I um that I've sort of like turned my focus to like commercial or like what whatever it's going to sound.
39:51
>> Was this a print interview? >> Uh yeah.
39:53
They just get to ask the harshest questions in print. >> That's okay. I like them. I like the harsh.
39:59
If you've got any harsh questions you're holding back on, ask them.
40:02
>> I think you know me pretty well, bro.
40:03
I'm not in print for a reason. >> Sure. >> Okay.
40:06
>> And I I immediately realized while I was like the way I answered the question was like if if I didn't care about the music anymore and I just wanted to make money and sell albums.
40:15
The way that you would know that is if I just did the same thing again because I would know exactly what's gonna happen.
40:24
>> I would know what radio station's gonna play it.
40:25
I would know how it's going to perform.
40:27
I would know who's going to like it, what like demographics or whatever.
40:29
It would all be so planned out for me.
40:31
Um like like making the currents again, making each making the album that I that previously made again would have just been, you know, making a bunch of elephant sort of like, you know, redos would have would have got me on every like car commercial in like America, you know, >> for real.
40:48
And here's the thing, you know where the mics go.
40:50
You know how to capture that room. You know what to do.
40:52
You know where everything is.
40:52
All you got to do is just write a better one.
40:55
>> Oh, on a on a on a recording level. Yeah.
40:57
Well, that's the other thing.
40:58
>> Cuz that's cuz that's the thing.
40:58
Like you had to kind of listening to this album.
41:01
There's a whole lot of learning here too. >> Yes.
41:03
Well, I'm all I'm learning as I go.
41:05
That's like like you know releasing currents was like oh god am I doing the right thing?
41:11
You know like this is this feels risky.
41:13
>> What felt like the big biggest risk there for you at that time? >> Uh the whole album.
41:16
The whole the whole album cuz it was like there weren't many guitars on it.
41:19
I was using drum machines.
41:22
>> Um it was like electronic in some parts.
41:24
It was like electro in some parts.
41:27
any time that I decide not to do the same thing again, it's unknown.
41:30
It's unknown and um it's scary and all that kind of Um but but I but I remind myself that I would far rather it this way than than the way that's where I know what's planned out ahead of me. >> Why do you know why?
41:51
>> Because it I just have to.
41:53
>> Yeah, that's what I'm I just have to any close to knowing why or is it just literally compulsion?
41:57
>> I would just feel defeated if I decided to do the same thing again or if I decided that I want to I want to I want to go down the path of knowing what's going to happen.
42:07
I I I want control and I want um predictability here.
42:12
>> If I if I did that, that's how you would know that I've given up as an artist.
42:15
>> Well, we we'll park that until that day comes or hopefully it never does. >> Yeah.
42:18
And I'm like, >> well, well, I mean, yeah, if I do, if I do, it's cuz I felt like it.
42:24
>> I was going to say, there you go.
42:26
That's exactly the point.
42:26
It's the narrative I choose it to be.
42:30
If I choose to make the second album, the next album exactly like this one, it's a punk rock experiment. Go yourself. >> Yeah.
42:38
It's because it's because you're expecting me to not do the thing that I >> Yeah. Yeah.
42:43
>> Nicely played, Parker.
42:46
Um, can we talk a little just a little bit without getting too personal because I'm a family ma'am and we're both at this point in our lives we're building families just about like how that balance has has what a joy that's been to kind of like realize that there's something in your life that doesn't just revolve around Wave House and you and your own sort of musings and that there's there's other reasons.
43:03
>> It's been an interesting perspective shifter.
43:05
I mean like one of the things one of the biggest things about having kids is how it shifts your perspective. Yeah.
43:15
>> Um, in ultimately the best way because it makes you realize that you're not the center of the universe.
43:22
Even though it's like there are many things in life that sort of like teach you that, but having kids is like, "Oh, no, you are very much." >> No, you're next.
43:30
Here's what happens, right?
43:31
You have kids and then your parents get old and then if you're lucky, the order of things, they they check out and then you're next.
43:37
And so when you have kids, that's the beginning the beginning of that realization.
43:40
They're like, "Holy like I'm no longer the wonder kind here.
43:44
Like I have to give way >> I have to give some space over and some time over that doesn't just belong to me anymore. >> Yes.
43:50
And also just on a sort of a momentary uh scale it's like uh just just sacrificing yourself and your time in the moment and you're you know you've got vomit and food on you and stuff.
44:04
It's like it's like my t-shirt being clean is not what's important here.
44:09
So yeah, and and and like it's like anytime you shift your perspective, it's good for creativity and and art and all that kind of stuff.
44:18
>> There is also like feeling like you're the center of the universe when you make art.
44:22
Like >> you know, you know what I'm saying?
44:24
It's like there's there's there's something um >> you know I hate to I hate to reference Kanye but like you know there's a there's a little Kanye in the what am I trying to say?
44:39
The essence of being an artist is like is like I am this you know >> I am a god. >> Um yeah I'm a god.
44:45
I'm I'm the god of this universe.
44:48
>> What the hell is my damn croissant? >> Yes. Exactly. Um that's very powerful.
44:53
Yeah, Tyler Tyler described it as you have to have some like some delusion. >> Delusion. Exactly. Exactly.
44:58
And like being a parent really switches you on to to to like you you've got to be aware of what's going on here, you know?
45:07
You can't be you shouldn't be delusional.
45:10
>> So I think for me like >> Yeah, it's a shift, right? It's a balance. >> It's a balance. Yeah.
45:14
I like to sort of switch off from I just like like to remind myself that I am like an inner an inner child, an inner sort of like just just free floating entity.
45:27
>> Well, it's a band and it's not a band. It's you. We all know that.
45:29
Someone made a joke this morning like breaking news.
45:32
Tam Parlor is Kevin Parker. I don't know. I found it so funny.
45:35
>> Oh man, I've been I've been getting used to that for many years. >> I know.
45:38
It's just the way you said it was just it was a giggle for me. Sure.
45:41
But uh but when it comes to playing live, I mean it is the is the collective experience.
45:45
Is it the same collective experience?
45:47
I mean is it do how important is is is consistency for you when it comes to bringing this music to the stage? >> We do our best.
45:53
Um we like to I like to sort of straddle the line between making sure it's like quality and just sort of keeping the chaos.
46:02
I think with this tour, more than ever, I'm trying to embrace the chaos >> and just sort of spontaneity and and like, you know, you know, when you go and see a concert and you get the feeling that like they're not really in control of what's happening and anything could happen >> and it's like scary, but it's also kind of like, oh, this is exciting.
46:21
>> You know who's really good at that?
46:22
And and and the dawn of that era was when they leaned into their techno bag as well as Radio Head. >> Okay.
46:27
>> Okay. There's a sense when I see them that they are like it could spiral off into outer space at any given moment but somehow they keep it grounded just when you think like oh like this is not a radio head concert anymore and then it's like oh yeah it is and so I wonder
46:40
whether kind of the introduction of like a full scale kind of like you said like was obvious to you and probably to most of us that you were going to make a much more electronic and technobased record >> that whether that's kind of inspiring that that thinking like okay well we've got this this. We've got the grounding
46:56
We've got the grounding here. What do we do with it? Is like uh who knows?
47:00
>> Well, it's it's it's been fun to like imagine just try and come up with ways to do it, you know?
47:06
Like for me, for me, uh, we're a collective and you know, like I would never want it to be not that, you know, I never want it to be just sort of like techno music sort of on the backing track and then I'm just sort of singing, you know, like it's got to have this sort of like >> organism feel to it.
47:25
Um, >> you love that experience of being a band. >> I do. I do. I always have.
47:30
It's kind of one of the the things I longed for, you know, when I was a kid.
47:34
I just all I wanted to do was be in a band.
47:36
I just want to feel that connection musically.
47:39
>> How has that been over the course of of your journey, wanting that in all honesty and in an earnest way, but also knowing at the end of the day that you're better served making the records on your own and the balance between wanting to foster the community of a band experience versus the reality of how the music gets made.
47:55
>> It was just something that I um like making music by myself was like a last resort, you know? I was like, "Fuck it.
48:04
I got to do it by myself.
48:06
>> That was born out of my frustration of like sort of like making a band.
48:08
And like I never realized until later that I'm like a bad leader.
48:16
You know, some people are good at like like like rallying the troops like we got to do this.
48:19
It's you know being a being a you know like yeah being a great sort of public speaker and getting everyone excited.
48:25
Um that just wasn't me you know.
48:28
I was kind of like, "Yeah, you guys want to be in a band?" You know, got this song. So, all right.
48:32
You know, that doesn't do very well in sort of, you know, getting people excited, making a band.
48:39
So, um, so I was like, "Oh, I'll just do it myself."
48:43
You know, and I I I had I had sort of bands going at the same time, but playing in a band has always been this sort of like >> social um hanging out with friends. >> Yeah.
48:55
um thing for me rather than like a deep musical >> Yeah. Yeah. Yeah. >> exploration.
49:02
>> Man, best of both worlds. >> Of course.
49:03
I I feel very blessed that I get to have the best of both worlds. For sure.
49:07
Cuz when we play um live, I I get that, you know.
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Obviously, I'm like selfishly like, isn't this great?
49:13
Cuz like they're my songs.
49:16
>> I was going to say the best of both worlds. You let me finish.
49:18
The narcissist is satisfied. >> I know. I know.
49:21
And the and the desperate social animal also gets to lay touch it a little bit here and there as well.
49:26
>> Yeah, I know it's very self-centered but >> well only 50% of the time >> people are paying money so there you know you got a show to put on guys.
49:34
>> That is a metric of success right there. >> Yeah, sure. Exactly.
49:37
Not to get too far ahead of myself, but obviously, you know, we have this Tala album and it's more focused on Tam Pala, but um you know, early in the conversation we spoke about you working with Dual Lipa and you know, you are a a well-renowned, very generous and great collaborator.
49:51
People queue up to work with you.
49:52
So, I just wonder like if there's like I don't think I've ever asked you like who you would love to collaborate with that you have yet to collaborate with or what >> you know what what sort of what comes to mind.
50:04
I mean, my dream for a while has been to do something on like a Rosalia album if you know like just like I I got on board with her stuff quite late.
50:14
Everyone else was kind of going crazy.
50:16
I was kind of just got on board late and it was like I kind of just like had the moment everyone else had with Rosalia kind of just late and I was kind of just blew my mind, you know?
50:24
>> So, if I could ever do something on her album that would be incredible.
50:26
I'm like at the moment I'm like I'm not worthy.
50:29
But >> uh I can't be too far out of reach, man.
50:33
at some point because I mean I'd imagine she's a fan of yours as well.
50:35
I mean that's like I think >> I don't really know how I don't know how these things work these days and most people talk about the DM >> but uh I imagine for you guys being and because you know you're on the same label there's probably a much easier way of doing it than that.
50:48
>> I really love I'm really intrigued by like the K-pop world.
50:52
>> Have you dabbled in that? >> No. No, not yet.
50:53
I mean it's kind of just like this it seems like this universe that's sort of like hard to sort of penetrate and get into. Yeah. Um, uh, yeah.
51:02
I'm just like like for what I love about pop music, like K-pop just seems to really So I like Yeah, I love um like like Black Pink.
51:09
Like Lisa, I really love her kind of like >> her thing. It's really cool.
51:16
>> I mean, with a tamement parlor album done and with you thinking about how you want to bring it to life and go on tour and reach people, like can you find room for that?
51:24
Like can you can you still make room if someone calls you up or you or you know? Yeah, of course.
51:28
I mean, uh, for me it's like it's always like the grass is always greener.
51:32
Like when I'm producing I'm like, "Oh, this.
51:35
I just want to go back to my studio and make my own music."
51:36
And when I'm making my own music, I'm like I'm sick of being the center.
51:40
I'm sick of being the center of my own universe.
51:41
I just want to I just want to be someone else's.
51:43
Like I just want to help someone else.
51:46
>> So, uh, you know, I'm sort of like my pendulum is starting to swing back the other way.
51:50
>> And was still the last project you that you sort of worked on? >> Yeah. Yeah. Last last proper one. Yeah. >> Yeah.
51:56
Um, but yeah, I I'm looking forward to whatever is next.
52:01
>> Well, man, I I'm I'm very very happy as a fan with this listening experience, man. Awesome, man.
52:08
>> It's going to be an album I personally would listen to a lot. >> Great.
52:12
>> You know, you just know when something's sticky and it's going to come back and it's going to come back and it's going to come back and I think >> I don't know what what magic you put in it.
52:19
I wouldn't actually want to know that.
52:21
That's not a question I'm going to ask you.
52:22
I'm really really uh I'm looking forward to to to seeing how you put all this together. >> Thank you, man.
52:28
>> You bring the techno to the people.