Plants & Animals

0:01Alright, you got a nice seat. Let's see. Thanks for your exhibition, Dan. So great area. Yeah, we were just talking about the room. We're at the Legion in Calgary. It's very far away from Montreal. Yeah, yeah. Quite a while. Four days, four days of credit, four and nine days. But a good tour so far, my friend. Yeah, yeah, all the Navy Ward. Pat, nice people. So, it's good and incredible. It must be different releasing Lala Island than Park Avenue, because now people know who you are. Yeah, it must not be as much work for you. Yeah, it's been easier. We do same primacy, like a concert concert, but it was funny because last night, the Canadian go-and-senspitude, there was a pyramid that came to work first, that's a cool show. And the first time we played there, there was a barrier for other people.

0:48It's fun to go back and play to what's sold out of ground. Yeah, that's really exciting. It must make you feel like you did this for the right reasons. Yeah, totally. I think there was a lot of work, but a lot of luck involved in that music world. So many kind of took part in that, that we were able to tour and sustain that sound as a musician. So it's pretty fun. Especially when you're doing something that's so far out of the mainstream, like you guys are doing, you guys are really, it's a cool record. So it's so spark-out to you, but this one did a really dirty guitar sound. Yeah, yeah, we went for it. We went for that horror. I think it's closer to what we are now. When we did the park, we did a tour a lot, we were kind of cool. Studio gigs, yeah, yeah.

1:35A lot of improvisation playing once a month in Montreal without having a song, like you just gently, you know, and stuff like that. We started doing the record and the sounds came to mind. We had like after a period of two and a total act with vocals and then started to just go with the whole whole material. Right, like a song like, whoo, right? Yeah, yeah, yeah. That's it. But it felt like it made more sense to us to go there. I think we were just taking some of the school training, like, off-air shoulder and then going with what we were passionate about. But touring, we became, I guess I think we became a musician with a lot of touring together and so we could interact more together and figure out songs from Park Henry that were our group

2:21who had some of the arrangements sometime. And some of the arrangements just didn't work like that. Right. Because we're just three, but sometimes I think that basically we started doing something that we liked better, like maybe we'll get more, say, a rock version of it. Still with a lot of dynamics, I think, and one of the one for the studio and the studio for that and it's more of your approach to like just the three of us. Still with a lot of element to it, but like trying to get something that worked right with the people and then we had, like, we had them in the way and figure out they were out and they had a play with life. Did you ever want another person in the band to maybe pull out the Park Henry stuff? Yeah, we thought of a few times and it's funny we have a lot of musician-friend effect. We were really mad at it and I was fortunate to think about that.

3:07If you are a friend, a piano player, and a southern one, and then we kept saying, don't do this, this is a mistake, I just need to be a few. And then we thought of friends that could join in and see more recently in the fact we thought about that. There's also a financial issue. More spring, someone else, but there's also artistic, yeah, much. We were never convinced. I guess if someone popped out and when I got that person was amazing, that's do it, but there's a strong chemistry. I think that we developed over the year. I don't know if it would unbalance it, we'd have to try to see it, but I think it works and I feel that people, then with people that I talk to after shows, I appreciate that. We're kind of like a circus without a myth, we're playing the hype, and we've been on certain stages. We've been arguing a little bit about it, but it sounds really clear.

3:54If one of us makes a mistake, the songs fall apart. It's really challenging as a musician, and sometimes it's art and sometimes it would be fun to be in the corner of the axe and have someone else feel some of the part. I think it works. At the same time, I'm sure there are some people who come to see a show and who wants to hear the record with all the arts. I don't think personally I'm interested in doing that. I don't think it's something as a musician and I like to try to redo every night. The same thing, I'd rather try to be honest and play what I want to do that night and do that. Give the best show I can instead of trying to recreate something in a box or the limits that you can do. It sounds like that. Just listening to the records too, because it's very different than the first one.

4:41Yeah, yeah, but we explored a lot and let ourselves try anything we wanted. It's basically the same approach and part of the new in the recordings, similar type of way of working, but we try to do as much experimentation we wanted and try to work a lot on guitar sound too, and on the guitar department. It was something we wanted to be more really excited about, the guitar tone that we could recognize when they saw an eye, but someone would be like, oh yeah, that's the tone from that sound. Trying to get strong sound. Same thing with the drum, we'd be exploring a lot of weird beat. I think it's as much as people are pointing the guitar,

5:26but for the few of you I rarely, people talk to me about it. They say, yeah, I think guitar more rock and roll, but I think it's a drum record. I think it was a really cool drawing about that. I was really, really, really creative thing. I think it came up with some really, sometimes we didn't know what he was doing, and that was too, like, that little little sense. And at the end, something came that was really cool. And even with the vocal one, we wanted to explore, like, it was more experienced as a singer and I think wanted to explore some kind of an motif, like some emotion in the singing, but also playing with the rhythm core, explore that he's a strong little little person, and I think he wanted to push that force.

6:12If you guys write together, you write separately, but you write stuff for each other. Yeah, but usually Warren comes in the studio with kind of the blueprint of a song, like, because I'm kind of idea of the structure, chord. Not necessarily vocal men, but ideas, and then we work on it all together and we bring this to view around it, change things around it, and build the song from there. So I consider there's something coming in. Sometimes it stays close to what it was at first, and it's really different, but I think it's easy to bring this article, and then we play around with it. Nice. Why go to pause? We were invited by the guy who was in the studio, Olivier, he's a guy who lives in Montreal, the record label, and he's sent another artist there, Patrick Watson,

6:58and he really liked it because he was in incredible extudium. It's kind of a small, it's kind of a small mention, but precious, I believe, in and outside of Paris, and owned by this guy in the new, who lives after the year, after the year in France, and he saw one of our show at the exhibit, in Montreal, a year in Africa, I guess, or two years ago, and he really liked it, and he kept saying, well, I like most of my background, and the label, he worked something out, and he went there, just to try something else, we pretty liked it, he was really working in Montreal, but I think it was good for us to get out of our comfort zone, and we went there for five days, I think, and tracked five songs, and it was re-inspiring,

7:43because you're recording a basically a house, so every room is set, so you can record every number of hours. So you're really going deep into music, because you're always thinking about music, and there's a lot of, it's second of a little joke, people are being free, but as you open the microphone, you see this tape delay that's probably worth, like, I don't know, $1,000 or something, right? There's stuff everywhere, and he has a really special console for recording, but a little more technical, I speak of it, but it's a really old console that was built, especially for a barcode, which was a French home home, it was still still active, but I had a job for it, and a lot of French artists in the 60s and 70s,

8:28and a barcode, the owner of the barcode was a crazy accent parade, and we went out with like 60 years old, real friend when he was 17 years old. Main-ask group work need was a famous magazine board, and they were like, that specific console, and the stories that I did, was this studio, Nick on that card, went to an action, when he was 20 years old or something, and just raised his hand when the console was for sale, joking around and got it for like $1,15,000, which was the console's fun work, and it's funny, crazy way, and yeah, please, tend to do it, at the time, what did you think of that, but at the time it was just a kid, you don't know what to do with it,

9:16and ended up buying a mansion, and I know the story's pretty long, but that console, that was magical, was in a space man, for his personal news, and then he started opening it up for a man, and recently there was a Gansadas for it, with Fais, there's a lot of people that I didn't think of any credits, even though they were there, maybe you lost a mirror, you were there, probably, I think it was there just the day before we arrived, which is funny. What did you start playing first? Guitar, movie guitar, movie guitar. When you played more in the band, you know? Yeah, I played live, I played, I ended up playing synthesizers some time, and kind of, like, drawing stuff just to make it work-by, and I just, I'd funnily think so,

10:01and just feel at least about the hits and crumbets warrens, and it's me, and live some time I play bass, and I'm often playing a bass player, which I don't know, I never play bass, and they weren't played all the bass on power, or they were, I don't play bass that well, but I do it live, because it's some time there, we have a song, and it's a tune where, so, and maybe a bass player, and that's it, sing, and then, it's basically... It's like, Oh, I'm currently, wasn't supposed to be bass player, but that is an incredible bass player. That was now me, and he was there too, actually. What did you listen to? Was it from the front record? My dad is actually talking about a lot of Beatles, but I was a little kid, so I wasn't listening, and I was like, Beatles, Tracy Chutman,

10:47I remember Tires Straight, and then when I got older, I was in high school, I was in a friend of mine, and I went to model, I was in Santa Fe, and I got a lot of credit, and crime was, and changed that mixture, and there was a lot of that music, and it was like, too much or something like that. That's it, and then I would listen for, I think for five years, I kind of skipped everything that came out, and just as into free jazz and improvised experimental music, and just that, so I can guess, like, in terms of record and discover analysis. And then, well, good, because in opportunities, I was given radio head, I know where I was, but I was listening to it. I don't know. We were in music, and I never told them that. You're getting a lot of fans, I know Danger most took you out for a few shows, and I can see two of you do an record

11:34really well together. Yeah, it's a nice guy, and it was lucky. Again, the funny story just called us out of the room. We were at Hillside, and called to do an opening show in Colonel Musuayu, just bought a music. But I didn't even know what it was. I kept calling him, and he was standing low, I'll bark him. Then the other guy, like, man, it's not a bark, that's you. He's like, I don't know what it is. And we drove there, did that show, and he realized, invited us, because he liked the music. He was like a music. I think it was really inspiring to see someone that you take his above everything, who still liked this cover band, and get excited about this cover, and so we were on out with him,

12:19sometimes when we go to the end, which is complete. Never discussed working again? Kind of. Yeah, we had a few times, we thought about it for that record, and he basically said, he didn't think we needed him. We never really opened, like, not like that, but we set a few times on, and he would do a song or two, and he said, I don't know what I could do to help you out. I liked what you're doing, so it's kind of, it's really good. It's really good, really lucky. I think we'd eat up more than one, so we'd want to know more. And still, we thought for that record, we knew what we were. Basically, I think we, without something for them, we knew what we are doing in this studio, so I think it would be good as a stamp,

13:04as a business stamp, to make the producer, but I think, artistically, I think we would need to do what we're doing, and the doors not closed, like, everyone thing will do something, very challenging to do something totally different, somewhat of a thing, or whatever that would work. Still, we could be able to do this last guy, so, yeah, I used to say that we played with him, and we were sent to the lawyers for the funding, and I think that the broken balance is better because you have records. We haven't, I don't know. Well, you know, you're not listening to your stuff. That's right, I know, I listened to it, yeah, but I saw this show, we had so many people, so many synthesizers in this stage, but it's pretty cool that they're really nice guys, the idea is, in private, I don't really know, but the guy about the brother,

13:49and brother, and your mouse is really nice guy. Really helpful. Talking about the future, what are your plans? So you're on the road for another month or so? Yeah. One and two actually. Yeah, and this, we do finish Canada as states, a month of the states, and then we'll do some shows at some festival this summer in Canada, the states, Europe. Yeah, I think we'll do our, probably the fall, we'll probably tour again, North America, and North America. Right? I think we want to start recording this summer, and we'll do more ourselves. Oh really? We'll start working while we're excited and it's fresh, and just get the stuff when we have, we have like, you know, not necessarily like, finish a record, but when we take four days, try some stuff, have this in the band, try,

14:34like, go instead of saying like, let's do it now. I think it's a dream we all had to be able to put out record fast instead of like, following the industry back there. Well it used to be that way, right? Yeah, it was very accurate. Yeah, it was like, even if it would be once a year, or, you know, once a year and a half, it would be incredible. And so, I understand that the business point of view, or the people we work with, they don't want to, they're investing their time, their G, they want to mess around with their, but at the same time, there's a way to do it faster. I'd like to do that, because it's what we do, so it's our job, like, and really like, doing that on sale, and adding all those ideas in the way for six months,

15:20or it comes out. Right. Well hopefully we see you again in the fall. Yeah, sure. Don't say good-go. Messing with who?