Geoff Barrow (Portishead) interview/battle!

0:00Hey, one song, nature, we've got an exciting episode for you today. We're unlocking the Patreon and releasing our already famous and contentious interview, which Jeff Barrow, a Portis headbeak and scores of classic films like X-Mac and Ensemble War. That's right. This conversation began after Jeff Barrow, from Portis head. One of my favorite bands got a little beefy in the DMs underneath one of our one-song videos. And it turns out we have pretty different views about breaking down music. Like, even should it be done? Should the show exist? Hey, and for the record, I have your back, Lux. I appreciate that. Enjoy the most polite fight of the century, and let's read versus Jeff Barrow. One song, Patreon, people in the red corner in a really cool designer T from a really cool band, whispering a interpolation to himself over and over the man so hardcore he rocks double X's

1:00in his own name luxury. And in the blue corner, a musician, producer, remixer, and film score from the band Portis head, the record label Invana, and films such as X-Mac and a Civil War and the upcoming game. The one, the only Jeff Barrow. Why are these music legends fighting? It all started in the DMs. The question, does breaking down music ruin it? We're getting into that today only on the one song Patreon. Let's go! It's great to have you on, and I love the origin story that people need to know how we got here. So let's get into it. Besides being fans, you commented on a video wonderfully about a month or so ago. One of our episodes that we did, the far side episode, we talk about Dilla.

2:13And that was one of those in the weeds breakdowns. We do them every episode, but that was especially in the weeds. And perhaps in that moment, I mean, I want to hear from you, so I won't pre-set it up too much. But something... Oh man, this fight is already going horribly. You're way to polite, Blake. You're way too polite. Something trapped your hide. You jumped in the comments. And you wanted to discuss whether this was the best thing to do with music. Talk about it at this level. Tell us more about what prompted you to jump in the comments and say, are we sure we want to break down music this much? I spoke first of all, I didn't ask how are you guys? It's been one of them weird days. I'm at the end of the working week. And it's just been a bit full-on, and I've just realized that I've got to now talk about this thing. And I didn't ask how you guys were. Now it was your weeks. You know, and I was... We've had a great week. We've had a great week. And part because

3:17we've been looking forward to talking to you, Jeff, when I say... We don't say this to everybody we talk to. I feel like your music has meant so much to us for decades. And so just the idea that, like, you know, you might leave a comment that Blake would take it terribly. And that we would end up on the Zoom together. I'm going to keep making him the bad guy. It's just amazing to me that we get to talk to a person who we have so much respect for. And I'm not going to... And with that, I'm not going to, like, put you, like, on this pile. Yeah, please, please stop. It's a weird feeling, you know, I mean. Well, now you're just... Now you're just a friend of ours, so we won't say anymore. Yeah, that's all right. Yeah, so we can insult each other quite freely. Listen, if you like, I'll actually answer your question really honestly to give you a bunch of opportunities to find really soft, vulnerable spots. Terrible week. Not in a good mood. Other than talking to you, you know, a little bit distressed about what do musicians do for money at a certain

4:22point. Like, all of that's really on my mind. So this is a great distraction that we are going to break down, breaking down music with a legend. That's so exciting to me. Well, so, so, I mean, I know what your week's been like. I mean, I've run... I run our label over here in Vader. And, and I've been part of indie music, even though it was signed to a major. I don't know how we got there in the end, but I mean, ultimately, you know, everything we did was always kind of... All the music we ever loved was all kind of indie stuff, you know what I mean? Whether it be on Stone's Roll, whether it be on whatever, you know what I mean? It was like, you know, but so, so yeah, it's tough at a moment. I was just talking to an artist now and it's tough out there. So it's pretty mean at the moment, you know. Like, people are really concerned that, I mean, like they put all their heart and soul into a record and then it can just be someone just swipes

5:23past it, you know what I mean? It's like, it's pretty demoralizing, you know. And if you take it that way, it can be really bad, you know what I mean? So you have to find some joy. You have to find some joy somehow, you know. You have to find some joy. Yeah. And it's interesting that you mentioned that because obviously just for people who don't know, since Portis Head, you have been doing, you have continued to make music under various guises from Beek, which is one of the great, maybe underrated. I mean, maybe you feel like you're wonderfully perfectly rated, but I love Beek. And Beek is, for anyone who loves Portis Head and hasn't discovered Beek, do that next. You will love it. And I don't know about that. Oh, no? You think Portis Head fans are disappointed?

6:28You can say that, but I think that most people that actually listen to Portis Head would just go, what the living fuck exists, you know what I mean? But yeah, no, I have been, we made third in 2008 since then, I've not really stopped. I've kind of like, you know, so I sat up in Vader, which mainly do film scores. It's kind of my main kind of day job now, it's doing film scores. But we release other people's, we just, you know, we do Stranger Things and Karla Michael and all that stuff. Yeah, and we do Netflix stuff and drive the soundtrack. We release out on vinyl and it's mainly vinyl stuff, but yeah, we just did an amazing film, Surat. I don't know if you've seen a film called Surat, yeah. No, it's about the pictures. One of the most devastatingly amazing films out there. It's just like, it won't allow awards. It's like a techno score, but as a film,

7:32it's astonishing. It's just like, and that's what really, we have filmed really good at floats my boat, you know, music, of course, but I feel like I've been in the trenches with that for far too long. I have a lot of questions about that, but you've just your about to release, I think your first film. Is that right? That you actually co-wrote and produced? Yeah, I sat up in Vader films based off of Vader records. Like, we've made a film 150 grand with a bunch of friends. It's getting, it's coming out on a, a, a, a, a, a, a, a, a, a, a scope industries, which was, the Beastable was film company. That's going to be coming out in the States. So I'm just, I'm absolutely amazed that someone over there actually saw it and really liked it. So, so a younger to come and, and hopefully, it'll be in some cinemas. So I mean, it's a tough game, but we're in it, you know. That's incredible. That kind of brings us full circle. So maybe we can back up and we'll get to the fight in just a second. We'll get to the arguing. And it may not be contentious at all, unfortunately, because we're friendly, polite people. And actually, it was

8:36even fun in the comments. I mean, like, I never, Diallo was being funny, but like the back and forth was extraordinarily just gentle and like, academic, like it wasn't. Look, I introduced this with a boxing, with a boxing sound. So we have to keep it contentious. Right. Yeah. What are we up for that? We'll play it up in a second. But because you've mentioned it, to me, what's interesting, and I'm already going to analyze you. Sorry. Just momentarily, in a small and bloody obvious way, clearly cinematic music has been a driver for all the music I've ever heard by you. There's, clearly, there's been something about sound and e-oking maybe visuals that's been there since the earliest portest head videos. Wasn't it music about a film that was ever made or something like that? Yeah. Yeah. Really. Yeah. Tell us about that. I think basically it's like, when you write scores, you're not tied down to the traditional songwriting kind of, you know, set up. So, you know,

9:38chorus bridge, you know, just arrangements. And then also with sounds like, you know, you're not chasing like a popular sound. You're actually trying to get, if you're doing a psychological thriller, you're trying to get, trying to basically explain, it was in someone's head to a sound. I mean, so for me, it always was like, you know, the most amazing stuff. If you listen to experimental kind of, you know, and everybody was doing it as well. So people like in film music were taking from pop music, they were taking from like music, you know, they were just like everything really. And yeah, so it's always been, it's always been a thing that most of the samples from portest head really come, usually come from films, you know. And now it's so it made sense when I moved into film scores. And I started working with Alice Garland, you know, and did X-Mac and civil war and stuff. Amazing work on this. It just made sense. You know, I mean, this is, you know, the idea of writing a song

10:43kind of, it was, I was kind of over it, you know. Yeah, I just wanted to take a step back. And I remember Melody Maker describing your first album is music noir for a movie not yet made. I came to you via hip hop because, you know, people were early on in the 90s were like, yo, there's like this music that's primarily coming out of the UK that sounds like kind of sounds like hip hop, but it's got like white people singing over it. You know, it's out of describe to me. But, you know, to this day, I can talk to people who are hip hop DJs and like people who don't really listen to a whole lot of, like non, you know, black American music, who will still talk about portest head in the same tones that they'll talk about DJ premiere DJ shadow and stuff like that. I do want to bring up, you know, did you, would you start transitioning to, you know, exit out of the get shop and some of these other things? Did you find it was a completely different process or was it sort of like

11:48pulling together the music that you had done before? Yeah, that was an interesting one because I started started on that film as just like as a kind of a music supervisor really. And then, but the realize that we could just make or you know, we could just make our own, you know, music that sounds like it's from like, you know, like wild style or kind of, and so that was, it was an amazing thing for me to just kind of just experiment and go, oh man, how did they do that and more do they do that? And now I'm now I'm getting into this kind of conversation where basically you're going to have me over with because I've just told, I've just said that I was really into the finding out what production actually happened in things like wild style. And then the other day my comment on your post was was, was, was literally, don't reveal the magic, don't pull back the curtain. No, exactly. So anyway, going back to what you're saying about, you know, you've discovering what was head through hip hop. For me, that was the greatest thing that ever, that ever happened to me

12:52basically was the idea that, you know, I was just kid from like just outside of Bristol in a pretty rural town made some, made some beats and made some music. The, the, the people that I'd, I'd absolutely, you know, they were my gods, you know, like I can remember, you know, someone saying that did you premiere, I played one of our tunes and I was like, oh my god, I'm finished, I'm done, I'm done. I can retire. I can retire now, you know, and you know, meeting kind of, you know, the fireside or what, and you just think, and you know, all the guys on Stone's Road as well, it's just, I've been, I feel like I've been incredibly lucky, you know, but, but yeah, I mean, just for me, that was the greatest thing ever, can I happen to you? Before, before we move on from your influences, I promise, we will get to the, to the punching and the kick. Yeah, yeah, but I do want to ask you like, you know, it seems to me that the 90s was a time when there were a lot of people who were, whether you were in hip hop or whether they were artists like you, I remember more Chiba

13:54was another one that a lot of us hip hop guys were the same too. Like it seemed like you guys were, there's a lot of like, I had to call it audio collaging going on, like there was like a sample from here or sample from there. There's a lot of talk about postmodern music and I wonder in this time now when like people sample a lot less, I just kind of want to get your read on like, where the music is now because I feel like people don't sample the same way they don't, there's, there's a lot of just creating on laptops and computers and all the sounds coming from one place. What should we do? It's weird because Madlyve made that record on an on an iPad, and he like on one of I think one of his new new tune and newer things and he's just got, so he's just got talent that transfers to any type of, you know, like hardware, software, whatever, you know what I mean. But yeah, I don't know, it's a funny one, you get like a lot of the MP6, MPC60 boom back merchants, you know, you know, still plugging it, you know, sampling like Indian tunes

15:03and putting a big kind of kick and snare over the top and I mean, but you know, music moves on doesn't it? So it doesn't surprise me that there's no samples so much. I know the guys are actually writing, getting AI, you know, prompting to make, you know, soul tunes and then sampling them, you know, which kind of like in the line of hip hop doesn't really surprise me and it doesn't make me frown it's just like, you know, I mean, it's like, it's kind of a weird thing, that's a collage anyway, it's a combination of people, yeah, it's a tough one, I don't support it, I don't support AI, but but if you're a dude and you've just got your computer and you've got like, you know, UDO or whatever and it's coming out with some mad 60s organ thing, you can sample it and then strip it into AI kind of beats, bass and keyboards, then you're going to do it, and you know what I mean? It's a millennial of that production tradition of like taking stuff that already exists,

16:06recordings, drum machines and transforming it, reusing it in a new way. It is just kind of the latest version of that. Absolutely, yeah, I mean, I suppose that thing of like, I've always paid for my samples, but you know, the majority of the world hasn't, you know, so I suppose it's the same thing, people who, you know, there's those, you know, kind of the people that AI are ripping off are still on getting paid either. That's true, that's true. And by the way, hip hop and music production has always, to a certain extent, been about, hey, what do I have access to? So, a lot of kids and the Bronx didn't have instruments to play, so they started playing records. Punk rock. Yeah, it's usually just like, what do I have access to? I'm going to make the music that I want to hear using that. Now, exactly. And what has been one of the baddest things is hip hop and sampling portals that was like, that's been a mental, I mean, like, I think, Rizz at Rizz at samples like one of our tunes. And I'm like, you know, what the hell, you know,

17:11like, and, but, but the thing is, we've always had a policy. If a hip hop band samples portals that we don't charge them, but if basically if the weekend or someone wants to, like, wants to do that, they can pay for whack. The week in his park, the week in his park is your case. Yeah, well, no, it's just that anyone who's signed to a major label and they're just, oh, got you. Okay, got it. Okay. They can afford it. But if you're a, you know, an actual hip hop crew, like, you know, and you've got no money, then take it. That's it. That's great. I love that attitude. And I think that's really healthy. And also, you know, maybe, maybe reasonable based on your own history. However, as you, you know, you do clear your samples to be clear, you know, to give you proper credit. Well, the ones that they can find anyway. Wait a second, scavenger hunt alert. We want to ask you to reveal your new source. See, that's my problem. Let's get into it. Let's get into it. Go ahead. Here we go. Perfect. Say great. Let's do it. Right. That's my problem with guys like you. Oh, guys like me. What the juice? Do you know what I mean? Do it's like you

18:14just basically breaking everything down, removing all the, all the, you know, the magic the guys into making music, you know, let's, let's, let's, okay, here we go. We're going to get into it. I actually wanted to start by reading your actual comment. I'm going then. I'll be going to be drunk. Here is with Jeff Barrow wrote, I feel weird about the whole breaking stuff down. I find when people find their own way, it leads to more interesting music because they get it wrong, which I think is so interesting. And I agree with that part one. Let's put a pin in that. You got, you went on to say, if it's laid out on a chart, the sounds are available. You end up with a photo copy. And then last but at least, Porta said sounded like it did because that stuff wasn't available. I'm not knocking what you do. It's really interesting. Thank you for the compliment. I just worried we've lost some magic. If you want to live argument about it, you'll come on the show. And here we are. So here we are. Yeah. Well, I didn't want to, I didn't want to kind of,

19:16you know, support the thing of breaking down what it was at songs, you know, I mean, like, yeah, we were originally, I was asking if we could do that. You're like, no, let's not do that. No, because that's doing exactly what I'm against. Right. But where is the line? So like, let's talk about that because as you just alluded to, I'm not going to put one over on you, but you're right. It is in your own history to try and figure out how something you liked came to be. So at what point does it? What is the, what is the line where it's too much breaking down, where the magic is getting lost for you? I saw a breakdown just literally 20 minutes ago of, of old dirty bastard, do you know what I mean? Jimmy Jimmy, you know, I think I know the one you're talking about. Okay. Yeah, and it makes sense. You know, someone's broken down, someone's got that, someone's got the break, someone's got the snare drums. Like, you know, I mean, and they broke it down, right? And that's obviously going to happen, right? But basically, if you turn music into process and maths, right, I think that that's why,

20:26why people have ruined music historically, right? Yeah. Because, because you only got to look at what happened to rock, what happened to jazz. Yeah. What happened to, you know, to metal, or what I just said, rock, but, you know, almost like, and what's happening to hip hop, you know, it's just like, well, in the kind of boom back world, you know what I mean? In that still kind of like that East Coast kind of thing. And then, and then you look at trap, you know what I mean, and you look at basically how many, how many kind of plates you can get as the trap hi-hat and like, you know, and like a thousand trap beats you can buy. And I mean, I get all that, but it's kind of like, it's kind of turning music into maths and turning it into like, it like jazz turns into fusion, do you know what I mean? And now you've got these kids out of Berkeley playing like, and now you've got, I mean, you know, what's that, what's that band from LA that just do all that mad, um, oh,

21:31Oh, was that a car on the band? Yeah, Wolfpack, you know what I mean? Oh, oh, yeah, I mean, and you just go, what the, you know, this isn't, it's just about how many notes you can play, right? You know what I mean? But can I come up with, we're going to slow this down because there's so many things to invest in. I want to ask a lot of impact there, specifically about, um, basically instrumental skill as a precursor, as a requirement. We, first of all, all three of us on this call probably are super aligned on how that not only isn't a precursor to good music, it may be a barrier to it. You mentioned fusion, Wolfpack, I imagine a shared thesis among us is if you know too much, your music's going to get crappier and crappier. Like, there's a degree to which the more the faster you can play and the more

22:32scales and modes, you know, and I was just talking about this with my friend Brad, who's also a composer. Yeah, you tend to use that and your music tends to become prog or really complicated and it loses some of the innocence. But at the same time, it's not like an if then statement. It's not the case that if you learn stuff, you will make bad music. So is it or not that it is? No, no, I think, because also I think there's some really good music in that world as well. You know, I mean, I think, you know, in the math rock world, there, I mean, you know, kind of speed metal, whatever you want to call it, you know what I mean? There are some really good things. But what I'm talking about is this general move of people just to kind of when someone just plays a thousand notes, it's just like, it's kind of like, well, they're better than someone who plays too. Right. And also, we all know, I know that you guys know that as well. You know what I mean? I'm not, you know, not saying that. It's all it does is it's part of the world that then breaks down

23:33the production of songs, you know what I mean? It's like, I can remember like about 10 years ago, I've got a friend Craig Sylvie who's a brilliant producer, Mixley does Arcade Fire and stuff. And he was, he collects all those all the original recordings of the Bee Gees and, you know, you know the ones that you know, I mean, you've got them all somewhere on some hard drive. I do too. Yeah, I'm the same guy. Yeah, exactly. And when you heard those things, you were like, wow, this is amazing. That extra little pick in Stayin' Alive or whatever it was that didn't sound like Stayin' Alive unless you put the little guitar on it. Right. And so there is this thing as a musician where you kind of, and a producer, you get drawn to these magic moments, like emptying, you know, seeing behind the curtain, you know, the magicians, you know, watching the magician from side of stage, you know what I mean? And part of that is the humanity and imperfection

24:33that actually turns out to be behind the curtain. That's part of what I think the lesson is of our show is like, guys, you don't have to be perfect. In fact, you don't try not to be. No, I know. I'm not, I'm not sure though. I think, I think that might be your, what you want to do, but so many people that watch it will take it as basically, if I get that plate and, you know, like, and that script or those notes. And I know that the J. Dele moved his snare drums to there or played them live or whatever, then basically I will be, I will be him, or I'll be as good as him, right? And, but that's kind of almost like some weird mass test, your touch. Like, you know, it's- But we both know that that'll never happen too. We both know that there's always a gap. There's always something that you do either wrong or wonderfully human or wonderfully you where you're attempt to recreate whatever it is. Turns into that that's,

25:35I mean, at least in my own personal experience, my efforts to be, you know, a little bit new order, a little bit sisters and mercy, whatever, whatever, all the things that went to pot. The result was just luxury. It was just the music I made and then maybe later on I could point out where I thought I was, you know, yeah, but that's the right thing. But that's yeah, that's great. But did you, when you were doing that, were you using your ears and also loving sisters and mercy or or or the sisters and mercy, whatever? And then were you kind of just your brain would take you off on something and then you would play music. You wouldn't actually kind of go, okay, this is a mercy, they played this, this is the point, this is the, that's the pedal and that's the thing. Well, a little bit of both in my case, in my case, a little bit of both. Yeah, but there's always a bit of that, right? Right. There's always a bit of that. But when you just remove all mystery, you know, I mean, and I think at the moment that's where we're at. But here's my hypothesis. I don't

26:36think that you're wrong or that I'm right or vice versa. But what I do think potentially is in the mix here is that different people's reaction or use of whatever we're breaking down is maybe going to reflect just who they are and how their rain works. And maybe some high percentage of it will be crap. But that's just kind of how it always is. And there will be some enough of a percentage of people who get something new, a new idea or a new inspiration. And this by the way, there's no right or wrong answer like in our humble opinion, we haven't stopped the show yet. Because we think whatever percentage of people get something useful from the breakdowns and make good stuff from it is worth continuing the show. Even if it's absolutely. And I'm not, and I'm definitely not saying you should not stop the show. I'm just saying that it's a more overview of the whole industry. It's the whole is the overview of basically of like, no, you have to have this bit of care if you're going to do this. You know what I mean? And there's a lot of, you know, and where a lot of kids are going to be making beats on on their iPads and, and like,

27:41you know, we had a whole thing in the UK where people, oh, you've mostly really did it over there, where people are using play stations to make beats. And it's like that thing. It's just like creativity will come out of somewhere. It's not like, oh, no, yeah, but that's not going to, that's not going to sound any good because you're not using this brand new mini NPC. Do you know why? This is why this is why I agree with that. And to be honest, I don't think that's anything new because we just were talking about metal. And we were talking like in the 80s when I was growing up and learning guitar, it was in way, it was Eddie Van Halen. And one would feel as a guitar player, really insecure and lesser than if one could not do that. And then thank God for punk rock as a discovery in my life because that just changed the game as far as like what was considered, like how much skill you needed to have to be legitimated as an artist. Has it not always been so? That there are going to be intimidating rules that are bullshit that you need to rail against

28:43and say screw you Berkeley School of Music, you know. Yeah, but not even that. I mean, I think it's just the point of the industry and the manufacturers of music gear and microphones and everything else, like, you know, it doesn't fuck it. It doesn't matter what you record your vocal on. If it's a tune, it's a tune. If you've got talent, it's a talent. It's just like, it just doesn't matter if you listen to old rock and roll records, they sound shit. You know what I mean? And that's great. Could we love that sound? You know what I mean? It's just, yeah, anyway, I'm getting on, sorry. No, so Deala, please jump in. Yeah. No, I look a couple of things real quick. I want to make a couple of things I wanted to dress real quick. Number one is that obviously we're only talking about tools here on the show. And you know, I'll never forget my father saying that, you know, there was a whole generation of guys in New York who bought, you know, a trumpet or a saxophone started taking heroin and they thought they're going to be Charlie Park. That was their breakdown. That was their tool. And then, and then all they turned out to be were

29:47junkies and they figured out that he was a genius who happened to use heroin, not a, not a person who used heroin to become a genius. And so I think that one thing that I love about our show and to be clear, is something that we do enjoy doing is that I think sometimes by removing the mistake on a song like, you know, the example I use is Let's Go Crazy by Prince is that, hey, when you listen to the stems and you, you know, here's some of the story about how I got made and some of the ideas that were rejected, you realize that as genius as Prince is, there may be something inside of you that can, you know, begin to approach this greatness in the sense that like, you know, nothing arrives perfect that you have to like work to get there. I think that's an important part of what we do. But listen, I totally also understand the viewpoint that because of social media, I'm learning, sometimes I feel like I'm learning too much on how the sausage got

30:50made. Like, you know, it doesn't even have to be music related. There are so many videos where they talk to actors about their famous scene in that movie and you find out, oh yeah, you know, I, I had, I had things stuffed in my ears. So I could actually hear the other actors and that's why like not reacting to what he said in that scene or you'll be like, oh, the director started throwing pepper at me and that's the real reason why I look so agitated. Like we are finding out sometimes, I think, maybe more than we want to know about some of our favorite art and I ended, I totally gif, because I feel it too. Sometimes I'm like, we're finding out too much. I didn't want to know that. I just wanted to exist as the perfect piece of art that I've grown up with and known and so I think we sort of understand that and I also think there's a third rail that none of us want to go near. I know the, I know the breakdown that I think you started this whole conversation with about a certain song by Old Dirty Bastard and I'm like, oh, I think that sample snitching because that is not on who sampled, you know, Blake and I go out of our way to make sure that we never bring

31:51up a sample that's not sort of public, publicly known, already identified on who sampled with the lawyer so about because we aren't trying to mess up anybody's retirement plan by having somebody come at you in a lawsuit. So I think there were actually quite aligned on most of this stuff and I think it's just sort of at the end of the day, like Blake was trying to say, I think it is case by case because sometimes you just want to know that, you know, as an as, because I think a lot of inspiring musicians and producers do listen to our show. I think they want to know, hey, it doesn't have to start off perfect. I just have to work towards it. And for that, I think removing the mistake around some of our favorite songs is sort of a good thing because unless you know, hey, you can do it too. You just got to set aside the time to do it and don't do heroin. It's another. No, and it's also very self, I just want to quickly add to that. I don't know what a hear you response. And selfishly, it's because it's what I wish existed when I started because I took, because of what I just described, my 80s, like the, the pressure on having to be instrumentally,

32:51like insanely great, stopping from making music for too long. So a lot of this show in some ways, it's sort of maybe me talking to a younger version of myself saying, there's a lot of ways in, you can be inspired by something. And that also includes kind of some of the copyrights, don't there's a lot of fear even now in the songwriting community about like, you can't be inspired by something. Well, we need to break that that's bullshit. Everything is inspired by something else. So what we try to do on the show is, habit is demystify is is is is lower the barrier to entry for creative people like that's exactly. And also a lot of stuff that that pushes on a genre of music is because they've been inspired by other genres. It's not like there is like a doggy in their own share. You know what I mean? It's like, what you've seen before and you do not want to go there. But that's what, but that's what happens is if you get, if you only ever listen to hear pop radio, you only listen to rock, you know what I mean? It's like the people that kind of out there really doing stuff are listening to everything, aren't they? And just like, you know, it's a

33:58weird one as well. I mean, I know what it's like to hit kind of like a block in music as well. I mean, like, you know, from our second album to our third album, it was 10 years, you know, I didn't release a record in 10 years because I didn't feel good enough. I didn't feel I was ready enough or I had enough to say or, you know, I had to relearn, I had to relearn everything that I had done, you know what I mean? Like not relearn, I had to learn other skills. I had to try and find other skills and learn. And it was weird because even I don't think there wasn't this kind of, this is how Jackie recorded the drums on Vitamin C in, you know, in, it cans album, you know what I mean? It's not, I didn't know how to do it. So it's just experimentation. And like I said, you kind of get it wrong and it becomes something else. And that, that is ultimately my point. It's like, if you go, if you're a guy in a band and you just go, right, I want to, I want to sound like can,

35:03right? And then basically now, you know, there's going to be reddits of like what they recorded in this, you know, they recorded in a cinema. And then the cinema, the dimensions of the cinema, on the walls, they were kind of carpet and then this and he was in this area of the room. And it didn't have a base, you know, trap. So basically that's the reason why there was this flat back. And and it's like, yeah, I get it. Yeah. But, but, you know, you're not going to find your own way. You're not going to sound like yourself, you know, but I don't, I don't know that I agree that the result of trying to recreate is at a Connie Plank, whatever recording. I don't know. If you're trying to get that, that's that that 1970 crowd rock, if you're James Murphy, I'm saying, because that's what he, yeah, but I mean, it sounds like it sounds like presets to me. Okay, well, I guess what I was going to say about that comparison is that James Murphy,

36:06is obviously, you know, his references are not only audible, they are also part of the stick, right? Him pointing out that he is influenced. So, you know, losing my edge and all that. But James Murphy, LCD sound system is a little bit can meets the fall with the vocal delivery. And you never got that at all. I just saw them as I just saw them as an awful band. Okay. Well, I didn't know we were going there. My point was going to be that he failed to properly, you know, quote unquote, failed to quote unquote properly rip off the bands. His influences are obvious, but the result is is a new thing, which I have. Yeah, he's kind of, you know, his people, the drink is Starbucks and, and, you know, I mean, I like it. Jeff's come to fight several people today and I like it. I love it. I've always thought people, I mean, I don't really think I'm great. So I'm not saying, look, I'm better than any of these people. And I know James Murphy is a really talented producer. And I think the early stuff on DFA was really, really interesting and great.

37:06But I just, but the, the whole idea, I don't really know enough about him. I just don't like him. You know what I mean? I thought I was setting them up as a counter example of what you were saying. But in fact, they are a good example of what you were saying. They did try to recreate the Kendrum sound. And to you, I think they did. I think they're just a, I think, don't they, aren't they just a band that says words and people go cool? Like, you know, they say reference words and it's cool. And they do know them. They're the same age as me and, and all of us. And so it's fine. I just think their music sucks. And so I'm sure they're lovely people. Hey, I thought it was going to be you versus luxury. It turns out it's you versus LCD. No, no, no, no, no, no, no, I thought I'm going to gangster mothers and the music. That is so funny. Listen, can I ask you a question? I want to go back to something you said just a second ago, which is, yes, you waited a long time in between the, um, Portus head album and the follow up in 2008. Yeah, yeah. Yeah. Exactly. And, and did you feel,

38:12I mean, basically there are only a couple of bands I think they can pull that off, like to wait that long in between, you know, albums. But the fact is it has the result of you only releasing a few very, very great albums. Was that always your intended? You know, I imagine the answers no, but I would ask, did you know that there would be that big of a gap coming in? And it was an intentional. And otherwise you weren't chasing the gold like some of these bands. You were like, hey, we'll come out with a new album when it's ready. Or was it just the pressure of how well those first two records were received? Yeah, the first one went really well. I don't really, I stand behind the first and the third one. I don't stand behind the second. I don't like, really? Oh my god. That's why I love the second album. No, no, no, no, it's nothing wrong with it, but it wasn't what I wanted to be, you know, um, it was too, it was too much like the first in the sense of production. It was like, okay, it's supposed to have moved on. It really

39:13is supposed to have moved on by that point. And it just, but it didn't, you know, it was, it was horrific experience right in that record. And recorded in it and promote it in everything. It was terrible, you know, I will say sometimes it pays to have an awful experience because sometimes it can lead to somebody's favorite. I'll say that all mine is a damn perfect song to me, you know. Yeah, no, I did that people did it and it's really great that it meant, it meant some, you know, something to so many people. It was just it wasn't why I intended it to be. And, and, um, I mean, so much so I quit music for five years after that record, you know, that's the other reason it took 10 years is because I didn't want anything to do with music anymore. And it was like, you know, the I'd seen the industry for what it was. I like, we weren't really an industry band. We've just kind of been thrust into it. We have made a record that people bought, you know, yeah. And, um, and we, and we wanted full control over our career. So that meant

40:19everything that was that ever did had to be controlled by us. It wasn't like, we had to make our own videos. We had to do our own artwork. We set, we kind of pretty much wrote the market in strategies. You know what I mean, it's like, um, and it was, it was just exhausting, you know, what I mean, when you also the artist doing doing the, um, you know, the, all the interviews and all that crap. What was the reason of the experience between, um, of making the second record? Um, because it came out three years later, was that a sort of, was time pressure and label pressure, or any sort of external needs. It wasn't any external pressure at all. It was just ourselves. It was just, just ourselves. Yeah. Interesting. What was the key? What, looking back maybe, with the hindsight of 2020 vision, looking back, well, if you didn't have that pressure, because that, that's what I would have assumed. I think a lot of people would have assumed, um, given what you just said was the, um, experience. What was it that was trouble? That was hard. Why was it hard? Um, because I, I just had an empty tank. I mean, just like, so basically,

41:23I put everything I had ever learned and loved into dummy. And I think, you know, I bested it as well. And Adrian, you know, obviously, um, and then, and then basically it was just like, right, you've got to do it again now. It's the classic thing, really. You know, you're not a machine. You're not, you want to, you want to change what you do. You want it to develop. You just don't want to copy yourself because that would be awful. Um, and, um, the tank was empty. I had, you know, my record box was, was, was, you know, I did, I haven't been, yeah, I've been out playing live and doing press and, and, and doing the whole promo thing for dummy that lasted three years, really. And then your drum, drum, you know, pushed in, what not pushed, then you're into the studio, which I thought I had to do, but I had nothing in my time. I like, it's, it's one thing that Tricky said once was the basically took his whole life and he puked it out. Like, was puked it on his first album. And then he had to do it again. It's just like, I've not had any life experiences.

42:27I've not had any, how am I going to talk about, you know, um, and that, and that is the truth. Was there a similar version of that between that and the third album, or was it a different story that time for the 10 year gap there? I, they take, yeah, the 10 year gap, I just hadn't achieved, I felt, I felt like I failed on the second album. And, um, so, so basically that's the reason I just quit. I mean, we did a tour, we did this really, it was really weird. We did this tour. We ended up not, we ended up being the headline of loads of festivals where we were never supposed to have been the headliner, but we never got the headline of money because all the bands that were supposed to headline split up. So basically, okay. So, so we ended up doing, we ended up losing 300 grand each, I think, on a two year, like a year and a half tour. Like, it was just, then we sacked on management. Um, and then I'm, I moved to Australia and, you know, sat up in Vader and started Quakers and stuff like, but just kind of like, just forgot about what was it, really? That was like,

43:28it was done. That was the end of it, you know, until 10 years later. Until 10 years later, when I think I saw you guys at, uh, at your, you were, do you play Coach Shell in 2008? Did you not do that? Yeah. Yeah. That was, it was, it was oddly a really good gig. Yeah. No, it was great. That was out there. This is my, this is my, pulling my hair out. Yeah. It was, I mean, I just never thought that we would go down well, like, and it was just one of the best gigs I've ever been part of ever. I'm not, I'm not saying it as an old man. I do think that, you know, for the first 10 years, it was around Coachella was really something special. It does feel like a different thing now when I see it on, on YouTube for my home. Uh, but I remember that it was a, it was a very special time. I think it's a combination of kind of commercial, commercialism and us being really old, I think. It's probably so. And just, you know, this actually gives a good transition to a question that I had. It's, it's almost sort of an outlier. You mentioned, um, Stone's throw before Chris peanut butter wolf is a friend of mine.

44:30Uh, friend of show. We, we were talking to this here. W great guy. He's actually mentioned you before. I'm so glad to finally be talking to you directly. But he, um, when I toured, um, the, uh, Stone's throw offices and he, we went to the vinyl vault. He gave me a whole bunch of great stuff from their incredible incredible catalog. And one of them is the record that you made, which has turned out to be like a late discovery. It's, it's, it's, it's Anika. Anika, is that do you say your name? Yeah. Anika. Yeah. Anika's, uh, 2010 record, which has all these incredible, like you covered, I go to sleep by the pretenders and masters of war and there's even a, a yoga ono song yanging is on there. I'd love to just ask you about that record. Like, how did that come about? Cause like I said, I, I played almost every week on my show. It's 15 years old, but I just discovered it. And it's so, so good. Lots of people haven't discovered it and, and, and I've discovered it over, you know, slowly over many years. It's really, it's really strange.

45:31I mean, so basically, beek after I, after I've kind of finished reports, basically what happened was that, um, I wanted to just enjoy music again, really. And, um, and I, and I've done, so I've done third and we recorded it. And I thought, I really want to do something else, which is just me playing drums like I used to when I was like 16, like a 15 16. Like, is that your first instrument? By the way, is that what you started? Yeah. Yeah. I'm not a great drummer. It doesn't really matter. We're just, and so, so I got this brilliant bass player who's basically, Bill, who's amazing, he plays a broad, broad, plant and stuff, but he's an incredible bass player and holds the band together. Um, and this guy called Matt, who's this Noisah from Bristol, who's now, I think this year's release in his eight-years album, I think. Um, but, but, and he's just like amazing. And then we went, we went to a room, we formed Beek, um, and we just started playing music, put, put the mics up,

46:34didn't matter where they were, as long as it was being captured. And, um, and we, we wrote an afternoon of music and that became the first three tunes off the beat album. Are you, when you say you wrote music, you're jamming or do you, do you have a starting point? Yeah, we're just jamming. Yeah. Yeah. We're not, we're just gonna write someone's set down, you play a beat and then they follow kind of like that. No, no. It's more likely Matt will play an organ piece and then I jump in and Bill, you know, I mean, and then, then we would put it together through edits, you know, I mean, there's a session, you know, and what it was, it was a way that I didn't have to care about music production anymore. I didn't have to care about compression and, and any of that shit anymore. And like, I, I just, it could sound crap at it just didn't fucking matter, you know what I mean? But it didn't sound crap, but it sounds good. And that, is that what I'm hearing on the record, mostly for the, on the instrumental, on the non vocal side of it? Is it, is it those sessions then edited pretty much? Yeah. And then a lot of the vocals were actually in the room at the same time.

47:48So it was like, you know, it wasn't like, I got off and write lyrics on top. It was just, on the later albums, it became a lot more like a band and more organized than everything else, right? But anyway, so from when did you say it was 2015, Anika record? Yeah, I make back in the date. 2011. 2011. I think 2011. So either way, this is one reason I like doing the show because luxury and I have never discussed that album. And yet, I'm a big fan of Masters of War. I love Terry. Yeah, you know, this is a great, this is a great album. Yeah, well, that is, what it is, is that basically so be cad is kind of sound or whatever. And then I thought it would be really good to do, just to be like a band for a, for a singer, right? So I phoned my mate up who runs a, a gig in Bristol, runs a pop and I said, do you know anyone who can, who's a bit of a singer who but can't really sing, do you know what I mean? Like someone who's just doing it. Yeah, it's

48:52the, I didn't know anything about Nika. I didn't know, I knew about Nika, but I didn't, I wasn't aiming for that. Okay. It was more like, it was more like early on you sound. Do you know, I don't know if you know, Adrian Sherwood, right? It was a massive influence for me. Me too. And the new age, the new age stepper stuff is that what you mean? Yeah, with RIO. So, so Adrian, so yeah, Adrian Sherwood is basically, I think one of Britain's greatest ever music producers. Hands down. Right? Absolutely. Nobody knows who he is really, except from like, nerds and dudes, but honestly, his, his work, his work, you know, there wouldn't be LCD sound system without what he does, you know what I mean? Yeah. And obviously, you know, there's all the liquid liquid stuff that was, you know, like there is those, all those other things. Yes, but he's, yeah, but the whole thing of like reggae industrial, like disco, dub, I mean, it's like, yeah, he's done it. So, so I thought, so he said, yeah, I know this singer

49:57called Anika. She works beyond the bar. She's not really a singer, but she kind of does, you know, does, you know, does poetry and stuff. So I got her over to the studio and she didn't know who any of us were. She was kind of like, she was English German. And, um, and then we just started doing tunes together. And, um, and we put out this album eventually. Nobody, everybody hated it. Like really, like, couldn't get it, yeah, couldn't get it reviewed. Wow. Couldn't, couldn't, couldn't do anything with it at all. Like literally struggle to get anyone to go to the gigs. There were a few heads who dug it, right? And then Chris being one of them. And he said, and this is easy to go. He goes, can I license it? And this was a way after. I went, man, you do what you want with it, you know, I mean, and, um, and it's been great because she's really had a career out of it. She's gone on to do lots of really cool stuff, you know.

51:04Yeah. So just instrumentally, it's the same, it's beak with Annika on vocals. Essentially, is that sort of what we're hearing. Yeah. The only difference is, it's an Iple drum machine. I don't know where it is. So it's a metal drum machine, it's like a kid's drum machine with four pads on it. Yeah. And, and, and we were playing as a band and it was like, it was missing something. It was missing some glue, right? Like the thing to go, okay, this is the Annika sound. So it got air and got a mic out of it and stuck it into a twin reverb, put the reverb on. And that was it. That was the sound of the album. It's on every track pretty much, this drum machine. And it, you know, and that, you know, that's, that's it. End of the story, really. It's so good. And just one last thing to kind of,

52:10I questioned since we're, I get to talk to you about this record. That's so wonderful. And hopefully a bunch of people listening to this will discover it. And then it's life will continue to be discovered item. Yeah. It does, I can't not hear a little bit of sonic glue with the rest of your catalog going back to dummy and, and probably whatever you were doing in high school that led to portus said being formed. When you think about that question, is there, or rather that phenomenon? Like what is the, the, you're called BAS apparently to your, to your mates? Is that what we should be calling you Jeff? No, that's not, I don't know why that's just really old. It comes as bad. When it's asked me my name on stuff, I just put BAS sometimes. Yeah. Is there a Jeff Barrow? Is there a kind of like for me, I'll just answer and let's see if you have a version of this for me hearing Georgia, I'm a rotor as a kid with 16th notes, da da da da da da da da da da da da da. That's like my whole life is looking for whatever that feeling was. I'm sort of chasing that. Is there anything from your earliest musical experience? Is that you're like, that was a sound, a record, a label, whatever,

53:15that just did me in. And I am part of, I'm not, okay, this goes back to our other conversations. It's not that you're chasing it or trying to deconstruct it to recreate it. But is there something that did your head in similarly at an early age? Yeah. So, so basically the record that absolutely changed my life is, is Robert Outer Paul's public enemy. It's just, it's, I used to go to an under under age nightclub. It was four people under 18. So, I would have been 15, 14 and a while back. And I used to get the bus from Port Worthhead to the centre of Bristol. And it was like a big kind of, it was a big nightclub. It was kind of like where guys used to turn up, wearing shirts, you know, and the weekend and like, you know, it was like,

54:22it would have been big, you know, a big nightclub in the disco years. And then would be kind of Durandaran and kind of that stuff, you know. And then it, and it hadn't gone into kind of house music really. It hadn't discovered club culture as such. It was still really just like where you go to pick up girls and drink and fight. Not me. And then, yeah, well, yeah. And but they used to do an underage once. He wouldn't allow to drink alcohol because it's 18 here. So basically, but there was a guy called Tristium B. He was a local DJ, radio DJ, like really important guy in the south west of England. And he was on radio Bristol and he said, he was a DJ that night. And he was on stage with his decks. And then I could remember basically kind of being, I used to go there. I was in bands. I was into hip hop and everything else. And it was this thing of like, I was wearing stupid clothes because I thought that, you know, I would get me a girlfriend and so on. You know,

55:22like, it was around that time. And I was stood upstairs and I saw this guy run across the dance floor and then hand him a record, like in a bag. And he literally pulled it open. I got the record, stopped the record that was playing. And he just said, you got to hear this and played it. And it was rolled out of pause. It was like a white label or whatever. And they had a massive sound system there. I mean, it was like a big like really expensive sound system. So hearing something like that on a massive system is some, and it just broke me. I was like, right, I have no interest in clothes or girls at the moment. I just wanted to do music for the rest of the day. I'm done. I'm done. I'm fucking done. The sound of public enemy at that age through that sound system just changed the trajectory of your life. It sounds like massively. Yeah, it was just it was honestly, I just, my head exploded basically. Yeah, no, it's just funny because, uh, like, no, this, the first,

56:24you know, I loved the British stuff growing up. I was a weirdo black kid at an all black school, but I loved all the like British, I called it British R&B, but really it's like new wave and British pop. The thing that made hip hop my favorite music form was the first time a buddy of mine popped in the CD for fear of a black planet. Yeah. Contract with a world love jam came on. And about the time brothers want to work it out started. I was like, Oh, hip hop is my absolute favorite genre of all time. And it was for many, many years. And now it's like electronic and a bunch of other stuff. But I bring all that up just to say that I find it so interesting that we've spent a lot of time today talking about hip hop. And you discovered new music by going to the club. I got it from a friend. And I have to ask you because I wanted to ask you for quite some time this conversation. Yes. Um, my beef with the music nowadays is not with the music itself is the way we get music. It seems really hard to discover new music. You know what I mean? Like there was a time when I used to stream BBC Radio One and artists like Jal's Peterson and Ben G. B over there

57:29because I felt like they were playing new music that was really into I have to ask of somebody who came at a brand new genre to a certain extent through hip hop. Where do you get your new music from now? Do you still get from radio? Do you get it from friends? Unfortunately, I don't. Um, yeah, I really, really don't. You make crazy. Yeah, it is. I don't know whether that's my age and whether I've just kind of, I've just, you know, I don't, I just don't. I was talking to a friend friend about this the other day. I don't know how so many people that are into into new film and new books and new art and new music have nowhere to go to really trust people just to kind of just as a, I mean, a million podcasts, right? About how to fix your toilet, right? And fucking whatever it is, but ultimately it doesn't seem to be one that resonates with people that actually just want to hear

58:35is I'm not talking about radio. I'm just like just people going, yeah, this is great. Check this out. You know, I don't find one is mental. I just think we used to go into record stores and people in the record store would be like, Hey, you should check out that album over there. There's so many places radio record stores where we don't go anymore for so literally the algorithms are feeding us. I don't want my recommendation from robots. I think that we have to restore the human touch to the song recommendation. Yeah, absolutely. I mean, if you've got like a weekly podcast and you've got someone like, I don't know, like Mike D or you got someone like, you know what I mean? You got somebody just, you just go, okay, yeah, he's been there and done it. And like, or someone who's just like, you know, it's cool or not cool, you know what I mean by cool, you know, like, just like not up themselves and whatever. And they just go, yeah, these are the records that are out. This is like, you know, this isn't being paid by some massive corporation. And it's like with with bots kind of,

59:40you know, and, and I mean, we know that there's going to be a new gorilla's record out, right? I mean, you know, we know that. Yeah. So just maybe some other records. You know, I mean, it's just like, you know, I mean, not to pat ourselves on the back, but hopefully the reason why I joined KCRW is some crazy faith, which is like maybe delusional that because that is what Chris and I do on air with our fellow KCRW DJs is try to be what you're saying. I don't know if we succeed, but we are trying to be. Yeah. Yeah. I think that what you're doing is right. But I do wonder whether it's that thing of just like, if you've got a listenership, which you guys have, it's just like, do, you know, do a half an hour side joke or the review and just like tell us what, I mean, it's from this podcast, we have a thing called One More Song, which is supposed to be me and luxury saying, hey, here's a song that I like that you as a listener of one song, I'd also like. Yeah, it hasn't got to be new. It's just like, it's just whatever. But I just think

1:00:42that there's a lot of that, we're, you know, we're films as well. I mean, I just put out my own film and God, that that's hard. You know what I mean? It's just trying to get into cinemas, you know, like going up against going up against like James Bond, you know, I mean, Marvel. Right. You know, man, it's just like, you've got one, one guy going, yeah, I really like the film. I'll give you Tuesday at midnight. You bring it up, you bring it up. So let's bring it up now. We were going to bring this up to the very end, but your first feature film called Game, has this US release early next year via a telescope. Anything you want to tell us about it? I, um, yeah, I mean, you want us to see it, you know, with no expectation. No, no, absolutely. I mean, basically, it's basically 1993. It's about a dude, these two old raves. He goes to a rave outside of Bristol. Um, he finds a guy that's kind of passed out and then steals his drugs and money, gets back in his car, but on the way back from the rave, he's been drinking. He turns his car upside

1:01:47down and then he flips it into into the woods and then he's stuck. He's just, and so it's about a survival film about a guy in 1993 with no phone being upside down in a car. Something happened, something happens and then he meets someone else, but it's not the person that he wants it to be. And, um, I can't wait to see it. And ultimately, but what's really interesting, that other person, I don't know if you know a bank called Sleifer Mods, yeah, so Jason from Sleifer Mods is the other person in it. So it's his first, is he a bad guy? Oh, you can't reveal that. I feel like he might be a bad guy. Yeah. Yeah. Yes. But, but it was amazing. Fun. Like I said, we made it for 150 grand. It was all the money that invaded records had in our bank account. And, um, my business partner kind of agreed for me to do it. And now he regrets it. I'm sure. But, um, no, no, no, we're going to come out and mass to see it, my friend. Yeah. Yeah. Congratulations on that. Huge. Thank you. I'm going to come to L.A.

1:02:52for the screening when it comes out. Anyway, let's say no. That's awesome. Yeah. Listen, as we wrap up, I don't know if we, if there's enough blood was said today, I think maybe any listeners who are excited by the initial setup, maybe disappointed that we're all just kind of talking like friendly people. I think it's disappointing for people wanting blood, you know, I mean, but just like return to the original question just to summarize, would you, does breaking down music, ruin music? Did we change your mind? As a mother, it's the time. It might, the moment it does, because unless, unless you're kind of like the trouble is that you like musicians are kind of like a kind of toll they need to steam break down these things more than actually just play the music themselves. It's kind of like, you know, this is, this is going to make you famous. If you break, if you break this stuff down, it's like hip-hop guys, you know what I mean? It's like, you know, it's, it's weird. I think it's the whole thing. It's just weird. And I don't blame you for it,

1:03:58really. I just saw it and just went, what, like more of this stuff, and I shouldn't have, you know, no, no, no, no, no, please, I'm not, I'm not, I'm not judging for it. Well, I think we should agree to disagree. And so far as I think it's, I think it's a matter of degree personally. I hear everything you're saying, but I also think you kind of bring to a breakdown, you bring to any education, you bring to any book, anything that's explaining something else, you're going to bring to it a little bit your own experience, and you're going to take away from it, either something useful or not. And then at the end of the day, you're either going to make something good or bad. And those are not all controllable. But none of them are the faults of the breakdown itself. It would be my, it would be my case. I don't believe that. He is so blunt. I think you should, obviously, you're going to continue to do it, but it should come with a warning. Okay. What's the, what's the, what's the, I don't know, you'll come up with that.

1:05:00I think the warning you want is us to say, Hey, we're going to show you how Dilla did it, but even if you won't do it, like, you ain't going to be Dilla. Exactly. That's exactly it. And sometimes stop looking, stop looking at the production. Yeah. And like how many milliseconds of the snare drum is, you'll put your headphones on and find it for yourself. We, we can only agree on that 100% and to just to put, you know, I don't, I don't expect that you've listened to all 138 hours of our podcast with our 38. But frequently, we frequently pause at some point during the breakdown to say, listen, we just want to reiterate that just because you have the ingredients and the recipe in front of you, your cake is not going to taste the same as this. I'm not barking at you. I'm like, honestly, it was just one or a random thing. I think it was just like, I was like, oh, man. You have fun today. And I think that proves our point that talking about music sometimes is a lot of fun.

1:06:00Yeah. I mean, I suppose I've not talked about the Anica record in a very long time. You know, so, um, and, and lecturing, and I have never talked about it. So I think we're going to have a lot of fun. You know, this conversation leads to a lot more fun conversations. I think we're out of time, Jeff. But we want to thank you for coming on the show. It means so much to us. And thank you for giving us your time. No, thanks for having me on. It's really glad to meet you guys, you know what I mean? And, um, and I'll let you know when I'm over for the film and we can get a beer somewhere. That would be amazing. Thanks, Jeff. Thanks for your time. No, it's the same to you. Have a great weekend. Hey, one song, nation. We've been away for a little bit, you know, replaying a few of our classic episodes, but we're excited to announce that a whole spate of new episodes of one song is coming to you starting October 15th. That's right. October 15th market calendar. That's right. Y'all. And we're also excited to announce that we've got a new partner for the upcoming season. That's right. We are now part of the campsite media family.

1:07:01Kip site. Woohoo. Kip site. I don't know if I just probably shouldn't probably shouldn't come up with hand signs for a new partner. Now with a C at least. Dude, we've got some great episodes hitting your feet soon, breaking down everything from the reminisce over you by Pete Rock and see all smooth, closer by nine inch nails and the queen of the mall sharday smooth operator and many, many more. There's so much good stuff coming and remember, you can always join our Patreon at patreon.com one song to get early access to episodes, add free and uncut. Plus bonus episodes on new music and interviews with some of our favorite artists. So get ready for the new season of one song starting October 15th. We'll see you soon. Be there.