Phoenix

0:05So you want to know how much money you have from the event, Phoenix? And you're watching Amazon X for this. Now see what we're doing with this. Thanks guys. Thank you. So you're playing bigger venues obviously. Things have gotten a lot bigger over the past few years.

0:50This Grove Festival is massive at those Shiyaga yesterday. So, writing this new record bank wrote, knowing that you'd be playing bigger crowds than ever before, does that come into the writing process? Do you guys think about making songs for larger rooms and larger venues? Never. Never. It's the enemy to do so. How come? The band who followed that route, they instantly became bad. You know that. We all know. So we know you shouldn't think about making it bigger, making it thicker. I don't know. We never think about that. So when you do play these rooms, do the songs need to be changed up to play for the larger rooms?

1:35No, a good song you can play here. Now, in front of millions of people, it doesn't really matter. It's more the choice of the set list, maybe, that would change smart. You know the fact that in a room you can keep the energy within, surrounded by walls, whereas outside you have to deal with other forces. So it's, but if you think about playing anthemic, you know, things for festivals, you're going to write very bad music, that the rule. That's the rule.

2:20Good to know for when I write the aesthetic music. You were talking about set list, and I can't remember who said it. I think it was that this record, oh no, it was YouToma. Everything on the album was a bit the opposite of Wolfgang. So how did the songs sit together in a set? Miraculously, it works. I think the records are different the way they are built, because I think Wolfgang is very pop in the way that each song can exist by themselves. And bankrupt is more one big thing. We wanted, we had this ideal that records like what's going on, you know, it's just one big piece and each song goes into the other one, and they have something really strong and common. But then live, somehow we have to find tricks, you know, we put them, there's a few songs that we change,

3:10we put them together. And then I was like, I know I was a bit after training Vico, and then I was a bit of bankrupt and like a sunset. So we, it's nice. You have to adapt. When you were writing the new songs that you know that the two would mow together, like love Sunset and bankrupt. No, no, no. That you realized afterwards. An album is too precious. You can't think of the life too much. Sometimes you allow yourself to, because sometimes it's bigger than the record. Sometimes you see what's going to happen. But you don't just, yeah, we have to focus on the record the whole time. So when do you start thinking about the live show long? When does that begin?

3:56As soon as the record is not, there's a time in between. No, it's kind of, when you feel at the end you begin thinking about how it can translate, you know, more visually, it's more for the visuals. And also the sequencing of a live show. We knew that we couldn't do love like a sunset and bankrupt because that would be two big pieces. So we are trying to, we have a few ideas to make it even more, It's going to change the next few months I guess. Oh really? Yeah, we are always trying to make it better. Is that for the audience or for yourselves to push yourselves and be more interested in the songs?

4:42Both, both. For the audience of course. I think for us first and then, yeah, and the audience eventually. Well, if you guys like it, odds are they'll win, right? Yeah, that's, I hope so, yeah. That's how it should work. Yeah. I want to play a little game before we get to some more questions because I was telling you guys before, France, French and Quebec, French are a little different. So I've got two games I'll let you guys choose which one. I can either give you a word in Quebecois and you try and guess what is in France, or I could give you Quebec slang and you can guess what it means. Ah. What do you guys want to try? We do a gig. What do you, what do I want you? I would love to do a bit of both. A little bit of both? We can do both. I'll probably do it. Okay, Quebec slang. We'll start with that. Yeah. The word blonde. Blonde. Blonde. Blonde is a woman.

5:27No? Girlfriend. What? Woman. Close. Copian. Wait. Wait. Yeah. Sure. That works. On the hablon. Yeah. On the opposite of that. Chum. Chum. Chum. Chum would be a boyfriend. Boyfriend. To nothing. He's beating you. I didn't know he was a game against. Now I'm going to be a game against. Now we're, now we'll make a intercomposition. All right. Posh. I'll give you a sentence. I'm forgetting words. I'm not forgetting. I'm posh. I'm kneejac. What is it? No. No. Okay. No. But kind of stupid. Ah. Stupid. Posh. Okay. P2 and P2 and that sounds familiar. Okay.

6:12It's funny because we, we, we, it's a different language. I'm tired. I know. It's crazy. P2 and I. But it sounds really. P2. Sarah right there is P2 and P2 and. She's a good looking girl. Ah. P2. P2. That's all. So we'll play the other one. We'll go the other one. Yeah. All right. So I'm going to give you the Quebec word. You tell me what you think it is in French. A French. A French. A French. A French. A French. Yeah. Why do I have to go with? Can't go with peanuts. Correct. Maybe you have some. This one. This one is pretty easy. B.C. Clat. B.C. We have a French. We have a French. We have a French. Because I saw Velo. Yeah. Velo yeah. We have a French.

6:57We have a French. We have a French. We have that too. Wikipedia is screwing me right now. I mean, maybe there's a new message. I had a French. I had a French. A French. No, no, no. You're right. Depends of a French. It's a different thing. Oh, it's a different thing. What's a Depe? He comes and fixes your car. Oh. Yeah. Okay. So this is like a convenience store here. Okay. Blude. It's a fruit. Yeah. Yeah. Let's see. Blueberries. All right. Back to... It's all right. It's different. It's great for English speaking of this game. Learning a little French. Yeah. Yeah. First time we came to Montreal, I remember I went to get cash at the ATM machine.

7:44And I got lost, you know, because I pushed. I didn't know what to... And to get the money, I saw Kuyat de Bier. And it took me a while to say, could it be harvesting the money? So I pushed and the money came. Kuyat. Kuyat. Kuyat. I like that. Sophia Coppola's Somewhere. How much did writing that music influence this record? Did it or was it looked at as a completely different project? I think that... That for us, it wasn't... It was really a separate... It was probably the easiest thing we've ever done. Really? In terms of writing? Yeah, the fastest. And because it was... I don't even think we can consider it as a score.

8:30It's more sound design. That's what we liked about it. You know, the sound of a Ferrari, a engine, you know, out of tune into... Like, there was something interesting walking with. It felt like something else than just a soundtrack. So is it something you want to keep doing? Is that in between records, maybe trying to find films kind of thing? Yeah, I mean, we have a close relationship with Sophia, so it's... Or as it's hard to work with other people, because we are friends. We've been friends for so long that we have problems communicating with the external, you know... So you said last time we were here on cue, it was just the four of you and you have trouble working with other people.

9:16Yeah, and actually we need to find the right person, but we would love to do more film music, because it's really... When you combine all those powers, you know, of visuals, music, dialogue, you can achieve some emotions that are so strong. Do you write with that in mind when you're... I don't know how you guys write lyrics if you write them? Yeah, I think sometimes it's even easier to be inspired by visual things and music. Can you give me an example on this record? There's a moment where I remember on the first record of the moment when we wrote Honeymoon, which was right after all.

10:02My parents just got a projector and we projected Buddy Double, the movie. And, you know, it's such a way of experience. And then we went down in the basement and we wrote that song. But there are some moments like that where it strikes you visually and sees you're too... Yeah, it makes you desire to write this song. We do something called Five Questions, five quick questions, one word answers. Road or studio? Studio? No. Leonard McCartney.

10:48I want to... I want to be with you. I will end my campaign. Go ahead. I'll put you. Ringo. Ringo. When you hear a song usually hits you first, lyrics, melody or rhythm? How many? How many? A melody for me. If someone's never heard Phoenix before, what song do they start with? It's tricky because it shouldn't be the best song I think. It should be... But what is the best song? I mean, I don't know, but I have a few friends that don't like Buck Dylan, for instance. And I feel like it's because they got in with the wrong songs.

11:38And I got in with the greatest hits. And I remember all this thing. The first song I heard was It Ain't Me, Baby. Which to me is not the best. It's a very good song, but it's not the perfect introduction to... So it would be R in Ami, maybe, which I'm not sure what it is. You know? You are gonna Ami, baby. Well, I love like a song sound. It's different. Maybe it's not the... If you're looking for a different one. Yeah, this one is... Yeah. Maybe it's not the best introduction. Maybe? No, it probably is not the right sound. Maybe. Maybe bankrupt the song, which is very unusual, but...

12:23Very instrumental. But with... Yeah, but some... It's... There are some... None of the other voice. I mean, they are vocal. At the end, yeah. So it may be give the right spectrum. I don't know. I don't know. It's very hard for us to say. Cool. That was a good answer, though. I like the Bob Dylan thing that made me happy. In one word, Phoenix. Sexy? Like that. I like... I have to put a... I can't beat sexy. Sexy is the best. Come... Super sexy. Super sexy. Let's go with that. Thanks, guys. Thank you.

13:09I'll see you in a minute. Thank you. I'll see you.