Yeah

... it's one of the, it's one of the most uncreative, unfulfilling things you can ever do, is make a record where you have to clear all the samples.

It, it, it, it was a massive bummer because, you know, these people don't have any-- If you were talking to the, to the artists, th- they would have a-- I know they would have a different perspective on it.

Because whenever I've seen people interviewed, they say, "Well, where do you think we got everything from? You know, we were standing on the shoulders of Chuck Berry or Little Richard or, or whatever, Elvis," whatever.

You know? They, they, there's this influence that goes through a conversation, that goes through music.

But yeah, these investment companies who own the pu- a lot of the publishing these days just see it as a, some massive grift.

Surprise, surprise in these times anyone would think that.

Is he like Weird Al?

What were those ru- uh, 'cause I'm getting the sense that you guys are process fiends.

We couldn't have used samples and got the sort of continuity we get by having Mary Lattimore playing on, she plays on four of the tracks.

Uh, or Daniel O'Sullivan, who does different bits of bass, flute.

Keyboards, little bit of drums.

He plays those drums on, uh, Revive Him.

I think, I think that gives it a different kind of texture because, you know, when you're using samples, these are all from totally different musicians and totally different bands and different years, you know? So I think that made a big difference.

And we decided when we first started talking about trying to do some stuff and seeing what happened, another experiment, same as Reset, really, we talked about Mary Lattimore because when we were doing Reset shows, uh, we did a show with her, and I was really impressed by her, really liked what she was doing.

The thing I'm most curious about is how thematically does it relate to the record?

But the, the recording of it all took place in a, a really brief period of time.

Yeah.

A- after, after we met Mary, I sort of kept in touch with her, and then she came over to Portugal.

She had a, a friend, or one of her, her close friends was living here at that time.

And so we hung out a bit, and then she said she had this show coming.

And I was like, "Okay, this is, um, this is too good to be true.

You know, let's, let- let's see if we can..." Because I knew Noah really liked harp stuff.

I agree.

Uh, so maybe you could, like, tell me, like, how exactly that started and how it f- formed into what it became.

Well, we had the loop, and, you know, it k- they kind of...

It's, it's the same always.

I make a really quite basic loop, a very...

A, a skeleton I would call it.

Um, not everything you hear that's on that track is, um...

And then, and then it very much is depends on, on what Noah does.

Okay