Django Django

0:00So, we don't know really much more than we knew then. Yeah, yeah, yeah. Not, yeah, we've just been selling check on stuff, so... It's a nice breakfast at Lady Marmalade and the record is growing now by... Yeah. Do you guys pick up any violin records around it? Yeah. Yeah, really? Well, let's start with that. Let's get that halley. Yeah. So what'd you pick up? I just got a guy in humans' first record. Oh, yeah. Is that a person or is it something? Yeah, it's got this one with cards, that's up there, and he's got his own violins and a lot. It's great. And where else did they get? Willie Nelson shot them, Willie. Oh, yeah. It's a classic. Yeah, it is. But we were just kind of going through, they've got this brilliant exotic section in the back, you know, we were just kind of going through it and

0:47trying to hassle the owner in it, playing it on his deck. Maybe she gets broadcast through the whole room, but there's not a few, really, that appreciative. But yeah, I think we're all, we kind of go to a record store every time we go. So I say, it's your really, really, really nice money. You go to the stores and check it's there, just see if it's... It's normally... It's normally... We know they see Kyle the second hand store, so we don't really be there any night. Probably not. Yeah, it's pretty good. It's just a land of John Candy, and you're a big fan. You're in the hometown, man. Wow, I do. I do my research. I love John Candy. I love Uncle Buck. I used to have a hat, you know, the hat, John Candy. Yeah, I used to have one, but I recently lost it.

1:33I'm absolutely good. What was it about John Candy? What was it about his humor that translates to England? Not England, but... All those, like, you know, the plenched trends and automobiles, all those films, these are totally brilliant. It's a totally amazing actor and just really funny. It's funny, I don't hear the John Candy influence into a lot of bands. I love it, it's great. Yeah, I don't know why I love him so much, but I do. It's funny. There you go. It's crazy. It's funny. Yeah, yeah. I'm going to start with something weird because, I don't know, just thinking about it, like, tell me you guys walk on stage that Quentin Tarantino, the Django song that he put in the beginning of the film. Do you use that as a walk on music? Have you thought about using it as a walk on the album? I've not seen it be great.

2:19No, I haven't seen it. I haven't seen it. And you're called Django Django. Yeah, yeah. Yeah, yeah. We must go. Yeah, we've been just brilliant. We'll get to the last one. Yeah, fair enough. You're on tour. Yeah. Yeah. Some, we're going to take off somewhere, hopefully, it'll probably be out of the cinema by the time now. Yeah, probably watch a flight back or something. Like a really, obviously little, yeah. Has that movie helped or harmed anything? Have you noticed, like, I mean, in terms of Google, search as it probably helps? I think we've been a few more of it. Yeah, people are kind of about the views to put it. I think, I mean, we knew it was coming for a long time, but I didn't think it doesn't really matter. I mean, it's, I think, like, people kind of like to watch onto it. And, you know.

3:05There's a number of Django and chains. You have to do headlines and then like that. Yeah, I'll keep it on Django and chain. I'll be helping a lot. You'll be helping a lot. Yeah. That's all right, since we expressed somebody else. Yeah. So, so what I've read a lot about is you guys trying to rework the record to play it live. And I mean, you've been touring this record for a year now or so. So you've managed to be able to figure out how it all works. But I haven't seen the show yet. I'm excited to see it tonight. So how does things change for the live show? Like the hook to default? I don't know how you do that unless you're playing like your vocal on the center or something. Really badly. We just spent the vocal like chop up sample. But it's not something much more garage. We just think of much more garage approach, haven't we?

3:50Yeah. To default anyway. A lot of the stuff is more kind of direct to suppose a bit more kind of a lot more but more energy to it than the record. Just by nature of playing it. And one people be kind of, you know, getting to and kind of dancing away. What songs took the longest to rework? What was hard? Or what came from the record? They're not really ever finished. They're still the stuff that we're like, it's just a kind of work in progress. And then we, so even for this tour we switched a lot of stuff when we added, you know, kinex down to the tune or, you know, the tracks and our kind of, that's the B sites. Yeah, it's just a lot of 12 inch just the way that it's in front of. Yeah. Yeah.

4:36You're going to hear it tonight. Yeah. So how do you know when a song is finished then in the studio? If these things are still working progress live, how were you guys able to say, okay, you know what? No, I don't think that's good. It's like, I was just going to mention a really wanky art reference. But the Francis Bacon like his dealer would have to come in as a studio and let's just take it. And without, without, you know, realize it, you know, you've taken it to the pub and then we're using the pub you've got to go to the studio. And I look for it, removed it. And so I think, I think a bit like that, this got to be a final, final, final deadline. Okay. So, what was the record? Was someone pushing you to the final deadline? Or did you? Well, we, we, we missed so many deadlines with that. But yeah. I think they're very, just because you, you know, you're, you're like,

5:22we can make it better. We can work it. We used to work it, work it, work it. Really happy with that. How it turned out. Really happy. I think we, yeah, we were given, we were given kind of pre-rein in terms of when it was going to be delivered. I mean, they would, they would say just take your time with it and finish it the way you want to do it. And then, so yeah, and they weren't really not. They weren't, you know, sort of desperate for us to get it done. So, not as good having that kind of freedom, not space to do it the way we wanted to do it. Is it that kind of freedom in this time? I've heard you guys have started kind of working on stuff. I don't know where you're up to in the process. Uh, it's probably, probably doing it faster this time around. Just, I think we've learned a lot, um, production wise. We've learned a lot of what an engineer can do and what you can do in the mix.

6:09You know, the final kind of mix with someone. And they can do a lot, you know, they can take a very kind of a home made recording and they can kind of enhance them to sound really good. So, I think if we had a no in that beforehand, it might not have taken that long thing. I think this album certainly for Dave, it was, um, also for Dave, because it was producing it. It's just like one massive learning curve. We're also starting from scratch. I'm only about not really knowing what we're doing. But by the end of it, it's like the best way of learning something is you just do it. Uh, I guess that's where we are now, where he's, he's much more more self-in with what's going on. Yeah, so we're, yeah, this sort of limits and the distillators that work in all this home studio. So the whole studio, so you guys are kind of, you don't have like a big place to do it.

6:56We've got, we've got, we've got a studio in our, it feels like, it feels like, it feels like a little man. Yeah, it's not any, it's not really concrete in terms of technology. We've got a slightly better mic. We've got two mics. And we've got same crappy PC. Well, no, we've got the same crappy sound card. So I think, I think it'll, you know, I think we can demo the sort of stuff like, you know, but I think that we're, I think we're happy to work with an engineer and still kind of keep control over what the general mix is like, but how somebody who's got do the equipment and things, you know, can kind of work fast. How do you guys write, how do you do songs, start to, start with someone bringing an idea,

7:43do they start with a beat, do they start with a guitar or a synthling? Um, do you think that typically gets a little bit of a, do you write together in just the M and wait for something to vibe? The second half of the album is mainly sort of written together. Second half of the album is out now. No, the new one. Yeah, yeah, yeah. The kind of, it's only the one album. Yeah, yeah. Okay. But the first recordings were all just, were just finny and davy. And it wasn't, it was through the success of those first recordings, like, because they put on my space and people got interested by them, started giving it like a, I can't get the credits. And it wasn't until then that, like me and Jim came on for it to flush out. I don't know, like I like that. So that would have been when those getting requests first started. This is the first man. Yeah, it would be, yeah. Two songs in and night? I think with, yeah, just to begin in 2009.

8:30And then it was just a bunch of like just UK tours, small gigs here and there. Like this is the first full year of like real, hardcore, so we're into them. So what's that been like? That's interesting. How's everyone adjusted to life on their own? Fair enough thought actually. Yeah, well for me I felt like I was quite like, oh, you know, how is this, what I'm going to like think about this. But it's great. It's like seeing only different places. Yeah, it's such an experience to feel quite, I thought you were really lucky. Yeah, we went to, I think we went to South by Southwest in March last year. And then we, that was the first time we'd been working to the US. And then I think the next time we got over in July, we could go to Montreal and Toronto. So now it's been, it's been great just going to Australia and not knowing if you, you know,

9:17what the reaction would be and getting, you know, we were getting like totally great, you know, loads of people were coming to the festival stages and going to Japan and stuff like that. It was all totally new to us. But yeah, it's been, it's been a total whirlwind, I don't know. And yeah, it's been nice to kind of go and see all these places and find out what they're kind of into, you know, do you kind of see them or is it just hotel venue, hotel, or I guess bus venue? Sometimes, you know, you get, you get a day off or something, but yeah, it's, it's very much kind of, you know, you're in the, you're off, you're finishing a gig, getting onto the bus and then you're waking up and sitting and then you're in a few hours and then sound checking. So yeah, it's, but we've been looking up to kind of have little holidays in Australia and Sicily

10:05and Costa Rica as well. So it's a good place to manage to wangle, wangle a little holidays here and there, which is good. Well, I've noticed that, I've been talking about just two rings, the bus, you go have the thing that extends. Yeah, yeah, yeah. So I've had a lot of little alcohol that happened. It's a little clobbing inside, you press the squat on it extends and you've got a little dance floor. Yeah, I was actually sitting on it so far when it happened. I thought I was like, I thought I was taking some, you could hear the noise of joys hitting the floor when it started, I kind of, yeah. That's crazy. I don't know how I'm going to add that into the article, I thought it was cool when I saw it up front. Why not bring laptops on stage? Why the desire to say we're not going to do that, we want to play it all for ourselves?

10:51Well, when, where do you start? Where do you start? I don't know, but I find it interesting. Yes, it's just, I mean, we made it definitely made it. Yeah, I said, you know, boy, really avoid it. We use a sampler, which plays some additional stuff, but the sampler itself has got, it's not really limited, like you can only hold like, you know, like five minutes of samples or something. You've got to be creative with how you use it and something that's important. Because you just, I don't know, angus is important. It's important to be playing as a band and not be following like, you know, like something that's, that you're kind of fitting around or whatever, you know. It's something, I think we're all just wanting to keep it as live as we could and not, you know, we didn't want to just try and replicate the sound of the album, you know, so which is why,

11:42you know, it's taken a while for getting, getting the live songs, you know, I hope to stand it and years, it's kind of playing them and changing them and playing, you know, doing another show and tweaking them here and there and stuff. So, I think it's just more fun doing it that way. You can be more creative with it as well, you know. Does that change the process of thinking about the next record? Because it seems like the record was an entity to itself this time and the live show was something else. Something else, something changed, they've morphed whatever happens. So do you approach writing that way? I think we'll, I think in many ways we made kind of a mistake. I don't know what to spell like a kind of a trapdoor. No, I think, um, so I think we, like me and Dave, but I would have like a song idea,

12:33I would take it to Dave. We'd kind of start recording it under the computer and he would start chopping it and jumping and stuff and then we'd come, you know, like months later we would play it as a band and then we'd realize there was some little missing and then we'd kind of come up with something on the spot and then it felt like the old recording had new, should have had that thing and so I think this time it'd be good just to play it, you know, if somebody has an idea, bring it, play this band and work out all the problems in a room and then go to a computer rather than kind of move the other way about it. So a lot of the stuff was really done almost direct in the computer from the moment it was kind of, you know, just see. That's interesting. Yeah. I mean, it's most books, books ways to get different results, you know, because if he started in a way,

13:23like the default probably wouldn't have happened if it wasn't done directly and the computer, it would light a kind of chop the stuff up and create this kind of weird sort of sound. So I think there's a bit of a give and take and things, you know, not changing things too dramatically but certainly we'd great to get out, you know, having our own space and being able to kind of record and come up with stuff will make the tracks kind of more holistic. Yeah, it sounds like you've almost discovered yourself as a band over the course of this. Yeah, you're touring that. Yeah, I'll wrap it up. We do something called Five Quick Questions, one more answers. Rode or Studio? Everyone can answer. Studio.

14:09Landon or McCartney? McCartney, Cotton. When you hear a song, it usually hits you first lyrics, melody or rhythm? Rhythm. Melody. Song you've written your most proud of. I know it's the pause. I say walk. War. Yeah. It was quite creepy. With an oh, like it was spelled. Yeah, yeah. Sex evil. Yeah, good for war. Oh, last one. In one word, Django Django. Oh, but jazz. We'll go with the hot. All right, wicked.

14:54Great guys.