November 19, 2024 • 39 mins
Death! Like a begrudging respect for Robbie Williams, sadly, it comes to us all. Perhaps that's why Stuart has taken to asking our guests about the subject of the great beyond, which reminded us that there was a time when we asked a bunch of musicians what they thought was the perfect way to die, in a regular interview feature in Loud And Quiet magazine.
On this week's podcast we revisit those answers from 2014 - 2017, make our case for SZA to have another go at Glastonbury, review new documentary Boy Bands Forever, unpack the new proposed levy that supports grassroots venues and, somewhat tragically, discuss the new song by Mark Zuckerberg.
Further reading/listening/viewing
Sherelle Loud And Quiet interview
Mark Zuckerberg's horrible song
Listen to our new Beat the Algorithm Spotify playlist
Credits:
Editing by Stuart Stubbs
Mixing and mastering by Willem Olenski
Artwork by Kate Prior
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Good evening. I'm Greg Cochrane. Good evening, I'm Stuart Stubbs.
We are a couple of journalists who've been working in
independent music since the days of my Space.
Speaker 2 (00:10):
One night a week, we become your guide through the
week in music, because, let's face it, the algorithms have
stopped working for most of us.
Speaker 1 (00:18):
So we're here to share the best new underground music
and the news that you might have missed, as well
as discussing the week's biggest headlines and bringing you interviews
with some of our favorite alternative artists. The show is
called Midnight Chats. Guess what I did last week? Greg,
(00:38):
some gardening. This would take long, actually, wouldn't it. This
would take a bit too young. I voted in the
brit Rising Star cat ale, okay, which I've done for
the past I don't know, maybe five or six years,
maybe a bit longer. I'm telling you this and I'm
telling the listeners so it makes me look important, like
(00:59):
an important part of the music industry. I have never
once put down a name that has been shortlisted. Okay,
the rising Star is the one that that is announced
before the brit Awards for anyone. Yes, he's not familiar
with it. It's the New Artist Award next month. Everyone,
(01:19):
I'll be voting on the cat and the main categories
that are in. But within that one you're given a
shortlist and you pick who you want to win out
of the long list sorry, and then it goes down
to a shortlist. But the Rising Star you just have
to pick five British New Artists. It could be any
five you like. I'm guessing you can't tell us who
you voted for. Then I was thinking can I? And
(01:41):
I probably shouldn't, should I. I've not been told specifically
don't share this, but I imagine it is in some small
prints somewhere of something that I have clicked a button on.
What I'll try to do because I also, by the
time the Britz rolls around, I've always forgotten who I
wrote in that list. So I'm going to write down.
I'll write down and then wend the Brits. When it's announced,
we can compare who was on my list and see
(02:04):
just how wrong I got it. I mean, it's not
getting it wrong, is it. It's just suggesting people that
they then don't pick no one else suggests them, or
not enough people suggest them. I did that last week, Greg,
But here's something that I did at the weekend on
I watched boy Bands Forever.
Speaker 2 (02:20):
Oh, I need to catch up on this because I
have seen loads of people talking about it.
Speaker 1 (02:24):
This is a new documentary that was on the BBC
over the weekend. It's currently on iPlayer. It's a three
part nostalgia fest for boy bands of the nineties. It's
made by Right Up of Your Street, Right Up My Street.
It's you know, at first, I wasn't going to bother
with it because I thought, do you really need to
(02:45):
see another talking heads show of musicians talking about how
crazy it was like beatle Mania? People were crowding around
our hotels. You know, we've heard that story so many
times from from the point of view of boy bands
that I actually thought, what more are they going to
offer to this? But mate, it's good. You should. Yeah, juicy.
(03:07):
People should catch up on this. It is quite juicy.
It's just quite it's three parts. It's made by Louis
Throux's production company. Although you can't necessarily it's not got
like Louis Throux expos I vibe to it necessarily, but
it's just been very well put together. There's some great
old footage of these boy bands being put together, and
(03:29):
because it's also a time that doesn't exist anymore, isn't it?
Like boy bands, they used to be put together behind
closed doors until the X Factor, and then it was
all done in front of our faces, which became the
entertainment in itself more than the music. It was about
the journey of the band becoming the band. But this
is of a different time when it was all done spreadsheets,
(03:53):
working out what people want, you know, focus groups.
Speaker 2 (03:57):
Oh my god, So who are we talking about it?
We're talking about Take That. We're talking about who else?
Speaker 1 (04:02):
Take That? He's seventeen Blue five West Life. There's some
great talking heads on there. There's some really awful characters.
Simon Cowe's on it or an awful awful character. That
man is. Robbie Williams is on it. He's the only
member of Take That that would speak to them. But
he's good value on it and he's had a bit
(04:23):
of a ding dong on social media over here. Yeah,
I've heard about this with Take that ex manager who
was in it, who's a guy called Nigel Martin Smith
boy Bands Forever. I highly highly recommend it. It's just
got some great anecdotes and there's also some quite serious
underlying points in there about sexuality, race and particularly mental
(04:45):
health and the way that these young lads weren't actually
looked after very well by the music industry and those
who should have been looking after them.
Speaker 2 (04:52):
Oh, I'm going to that's my watching this in the
evenings this week. I'm going to hit up boy bands
forever well tonight on the podcast you I'm looking forward to.
I've got a really good recommendation for folks at the end,
by the way, so like that's me trailing stick around
folks because it's a good way.
Speaker 1 (05:09):
It's not a boy bad now, but.
Speaker 2 (05:11):
We'll have a top three and we've got we're going
to get morbid in an entertaining way later in the podcast.
I'll just leave it at that. But something that I've
been really interested in the news this week was that.
And excuse me whilst I get on my soapbox for
a minute. I don't know if you saw this to do,
but last week it was announced that basically ministers in
the UK government have backed a new thing, and it's
(05:32):
a voluntary levy on arena and stadium gig tickets. Basically,
financial contribution that then goes to support grass roots music venues.
Speaker 1 (05:43):
And this has been.
Speaker 2 (05:44):
Talked about, like you know, for quite a number of
years because essentially, what's you know, what's this all about
grassroots music venues in the UK in particular. I'm sure
that this might not be the case everywhere, but it's
definitely in the UK are in a lot of trouble,
so you know, you've got things like inflation, there was
like COVID nineteen, there's that skills shortage, and they've had
(06:05):
this really savage time the last couple of years. There
are some people that have done something about this last
couple of years, like Enter Shikari when they did their
arena tour, they gave like a pound from every ticket
went towards the Music Venues Trust. And then Coldplay we
talked about here on the podcast, given ten percent of
the profits from their stadium shows next year again going
(06:26):
to go back towards grass mutessroots music venues. And I
guess the point is it's like these venues are disappearing
if we don't have those Grassroots music venues are their
places for artists to cut their teeth, develop their skills
in order to go on to be the headliners of
our arenas and the stadiums of tomorrow. This thing has
come up, the government have got behind it. It's voluntary,
(06:47):
so like it's kind of like over to you. The
big promoters, i mean Live Nation Age haven't heard anything
from them just yet. Basically that'll be the next thing
that happens is they'll respond to the fact that the
government is saying we want you to do this. But
there's like a few things about it that like I
just I just wanted to mention. One, it's like voluntary,
so it's the government saying that, like you should do
(07:08):
this instead of them, you know, stepping and doing anything themselves.
And also they say that it should be within the
price of the ticket, So it's not like when you
go on and buy a ticket for a gig there'd
be a little box that says, like do you want
to add a pound for grassroots music venue. They're saying
that it should be contained within the price of the ticket,
which I think, you know, the promoters will have something
to say about. Look, I'm pleased that this has happened, right,
(07:30):
There's been a lot of interesting grassroots music venues the
last few years, like there's no doubt about it. They
need like support of some kind. This is like some
ecological thinking that I really really applaud because we don't
see an awful lot of that in music systems. But
it made me think that, like the government also, you know,
it's not just about grass music venues. We do need
like more music education support because like music education in
(07:53):
this country is absolutely shocking. Community spaces, Like it's not
just about the stages that these grass music grassroots music
venues like, we do need like decent community spaces where
people can even meet and collaborate and things like that,
and just some general like respect for the creative industries
would be nice, because there's been a complete failure of
that for the last like ten to fifteen years. So
that's me. I'll get off my soapbox. I'm glad this
(08:14):
has happened. We'll see what happens next. It could, in theory,
be a real game changer of an initiative. I just
I want to see more.
Speaker 1 (08:23):
I mean, I think, like the nail on the head,
there is the fact that it's voluntary, right, I mean,
I suppose the hope is that it will shame certain
people into being like we should do this now, because
it's official, we should do something about it. Exactly. I
think in terms of the levee coming in on within
the ticket price, my worry there is that they're just
(08:46):
going to increase the ticket price to cover that. I mean,
of course it will, so essentially it is the same
as ticking a box and I want to pay an
extra couple of quid for whatever it is. I mean,
let's see what happens on that. Also last week just
around it's connected to live music. The band Benefits, who
(09:06):
are a te side duo who made an amazing album
last year called Nails, which is very punk. They make
very abrasive industrial punk record, a very very angry record,
but a great record. They've announced they've got a new
album coming out next year, and what they've done is
(09:26):
they've gone to the fans. They're very much a DIY
band and they you know, their fans are everything to them.
So they went to their fans and they said, we're
going to be putting on a tour next year in April.
What can we do to make the tour better for you?
Considering the world we're living in right now and where
you're at financially and how can we make this a
(09:48):
better experience for you as a fan. And they they
asked their fans, and they heard, they listened to what
they said, and they are actioning all of those things.
So the things that they've that they've heard from their
fans were the tickets need to be cheaper. So all
of that number one, all of that tickets, which is
fair enough. Yeah, all of the tickets for that are
now twelve pounds, So they managed to make it work
(10:09):
on twelve quid. One of the feedbacks was make the
bill smaller. We don't need more than we're only three
or four banded bills when we're seeing artists, so they're
all two banned bills. Part of that is connected to transport,
they said. Fans have said that transport to get home
from gigs is bad. Oh yeah, especially you know when
(10:32):
you like you know, I live in London, so I'm
very fortunate, like the transport runs till midnight, public transport
even runs beyond then for buses. So it's fine for
people in big cities like that, but if you're in smaller,
smaller towns and cities, it's hard to get home f gigs.
Speaker 2 (10:46):
Yeah, the amount of times I've had to leave a
gig early to be able to get home, so annoying.
Speaker 1 (10:51):
So that are all of the shows are going to
finish at ten pm? I think goes later, which is
partly why they're also doing two bad bills twelve quid
two band bills, all done by ten o'clock. That sounds
ideal to me.
Speaker 2 (11:05):
Yeah, I'm into that, man, I mean what, I'm interested
to know what people make of this, Like let us know,
we're on midnight Chats pod on socials, like, let us know,
what do you think of these ideas that benefits fans
have come back to them with Does that sound like
does that sound like the dream to you? Is there
anything else that like, oh it could be doing that
would just make these things, you know, your gigging experience
(11:26):
that much better.
Speaker 1 (11:27):
Listen to you.
Speaker 2 (11:27):
I've got some breaking news for you on the Sky
is Blue and Glastonbury has sold out?
Speaker 1 (11:33):
Can you believe it? I know what, God, I didn't
see that come in.
Speaker 2 (11:36):
No, it's not really news, is it. It'd be news
if Glastonby didn't sell out. But this was really interesting.
Just before Glastonbury went on sale yesterday, did you see
this interview with Scissor. She's done with British Fogue. Yeah,
it's been doing the rounds, isn't it. So this was
a really in depth interview feature with Scissor that was
published by British Vogue last week, and I just thought
(11:58):
it was really interesting because she hasn't spoken that much
about Headline in Glastonbury, which she did this year twenty
twenty four, and so this is the first time we
got to kind of read some slightly more index comments
about her feelings on Headline in the show. I just
thought it was quite interesting hearing speak about it. She
said that, well, this is the quote from me. She said,
I just felt like nothing I could do would be
(12:19):
enough for Glastonbury, no matter what I did. It scared
me and I was like, well, I wish I wasn't
doing it, but I couldn't walk away from it, which
pretty sad to read.
Speaker 1 (12:29):
Really.
Speaker 2 (12:30):
She went on to say, I want to be the
second black woman in history to headline the festival there is,
but then it's such a fucking tall order. It's like,
no matter what you do here, you'll be subject to
criticism because of who you are.
Speaker 1 (12:42):
But that's life.
Speaker 2 (12:44):
So not surprising to see these This interview being Gunish
widely shared around last week because, like I said, it
was the first time I've really heard from Scissa about
that experience, and we talked about this at the time,
didn't we. When Glastonbury was on, like Scissor's headline show
on closing the festival out on the Sunday night, I
was kind of absolutely heartbroken for Scissor because of the
technical difficulties that she experienced.
Speaker 1 (13:05):
The first half an hour of the set was.
Speaker 2 (13:08):
Her vocal was bordline inaudible from watching from home, and
so it was just like such such a disappointment for
her because she fully deserved that slot, but also just
from like a watching back home, You're just like, I
just wish they could kind of resolve this, and I
just hope that Scissa gets another invitation to go back
to Glastonbury to be able to do it again, because
(13:28):
I think she fully deserves it. And when we're in
a world that Coldplay headlined that festival five times, or
Artim Monkeys has done it three or four times or
whatever it is, I feel like Scissor deserves another shot
at the Pyramid stage at some point. Absolutely she does.
There are so many things here, aren't there around race
and you know, people thinking that certain music does belong
(13:51):
at Glastonbury and doesn't belong at Glastonbury. But the fact
is we're now in a world where Glastonbury is the
biggest thing in the world. It needs to reflect a
young world. It needs to reflect the fact that we're
all listening to lots of different music. Foo Fighters shouldn't
be headlining Glastonbury every single year. Nobody would want that.
I don't think even food. I don't think even foo
Fighters fans would want that. And I think as fans
(14:14):
we need to just give other people the respect, even
if you're not necessarily into that music. Glastonbury is a
big place you can go and see something else that
you enjoy if you don't like the type of music
that's on the Pyramid stage. But shutting down it and
saying that it does belong or doesn't belong there is
obviously just complete madness. God knows who they're gonna book
(14:35):
next year. And maybe, you know, maybe the whole Scissor
thing has cleared the decks a bit for Glastonbury to
be able to say, you know what, maybe not every
headliner is going to have an absolutely jam packed stage.
Maybe every headliner doesn't need to be Elton John in
terms of the level of like what the wider public want,
(14:57):
and maybe that'd be able to take even more risks,
which I have been doing more more over recent years.
But maybe Scissor is actually going to end up being
a turning point where they go, you know what, We're
going to put Tyler the Creator on and we're not
going to expect it to be absolutely packed to the rafters,
but we know that the people there will love it,
and there's going to be something else on the other
stage or wherever, and maybe that's where it's going to.
Speaker 1 (15:16):
Go exactly, I hope.
Speaker 2 (15:17):
So I ape bit like in Boulders and to do
that definitely, now listen to you before we move on
to something else. This has got to be a highlight
of music in twenty twenty four, right track.
Speaker 1 (15:30):
I Know what You're going to say? Oh do you
want me to say it? Mark Zuckerberg has ruined music.
He's ruined many things I would say in the world. Yeah, hoodies,
mental health, lots of democracy, democracy, and now he's coming
from music. He released the song last week. It was
(15:51):
a cover of Get Low, Oh My God. The Lil
John song Let's Play here's the original of get Low,
(16:11):
and for some reason, Mark Zuckerberg, along with Tea Paane,
decided they should well, actually, we know why they've made
a cover of this song. An acoustic cover, of course,
because that's the only way you can make this more
naff than it already is. For Mark Zuckerberg's wife, I
think it was an anniversary present. It got a lot
(16:32):
of ship. I mean, this is why it sounds like this.
Speaker 3 (16:36):
Six damn you're hoping you can suck it to me
baby one more time, Gillo Gilow.
Speaker 1 (17:00):
And it's just horrible, isn't it. It's just horrible. But
I understand the argument that some people are like, hey,
you know what. And Tea Pain was defending himself on
social media this week saying, you know what, right, I'm
just having fun. Some people can't have fun. It's just
a bit of a laugh. And I sort of get that.
(17:20):
I sort of to get that, Like, you know, why
are we getting so upset about about this? But why
are we getting so upset about it? To one, it's
absolutely dreadful, sounds like fucking wheatus. Secondly, Jesus Christ, the world,
the world is on fire. Mark Zuckerberg, and you're can
you just keep this to yourself? That's the thing, that's
(17:41):
the thing.
Speaker 2 (17:41):
All means do it, But why go public with it?
Like if it's if it's the show affection for your
for your partner, fine, send her a private YouTube link
to it. Why do you have to do it publicly
and sound like Tenacious D on a bad day. Jesus,
that's exactly it. Why can't billionaires do anything quietly? Why
can't they just do anything quietly that calling themselves Z
(18:05):
pain or Z pain I imagine if it.
Speaker 1 (18:07):
Feels more like my pain.
Speaker 2 (18:09):
Oh listen, should we get some adverts? But this is
this is this is teasers up quite nicely for what
we're going to talk about next, which was something we
talked about on the podcast a few weeks ago, which
is the fact that you always talk about death on
the podcast, and so we wanted to revisit some of
the ways that we know that artists have said that
they would like to die. And this track that we
(18:30):
just heard made me think of that. So let's get
some adverts and we'll move on to that in a second.
Speaker 1 (18:41):
Welcome back to this week's episode of Midnight Chats. I
feel like before we get into this, Greg, I need
to defend myself a bit. I don't go on. I
don't feel I always talk about death with our guests
on the podcast, but I also appreciate I'm probably too
close to it to say that with any real you're
(19:02):
close to death or to my interviewing you, what are
you telling us?
Speaker 3 (19:09):
No?
Speaker 2 (19:09):
I think two's a trend on Midnight Chats, Isn't it
like if we do something twice, we're suddenly just like, oh,
we've been doing that a bit too doing that and
this is so this this discussion goes back to recent
episodes of Midnight Chats where you seemingly like to get
onto the topic of death with some of our guests.
Did it with Kaye Leones the other week? Who else
did we do?
Speaker 1 (19:27):
It? Was? Recently Laura Marlin just I think with Laura,
I just squarely asked her, how are you with death?
Speaker 2 (19:35):
Yeah?
Speaker 1 (19:35):
I think you did. That was the first question of
the book. I think that might be the best question
I've ever asked because it was it was direct, and
in my defense, I think talking about death with artists
is a good top tip. If you're listening and you
you're thinking of interviewing people, always ask them about death
(19:56):
because they will probably have something to say about it.
Speaker 2 (20:01):
I think, yeah, and it's quite revealing questions. Yeah, I
mean that's I mean, we should explain why we're talking
about this right now. Because it got us thinking, didn't it,
Like the fact that you've been going around asking famous
musicians about death got us thinking that we thought, hang on,
our listeners might be interested in something we've got here.
Speaker 1 (20:19):
Yeah, because it it felt a bit like deja vous.
Because we in our magazine Loud and Quiet, we don't
haven't done it for years, but we had a good
run of maybe a year or two years of asking.
We had this feature called getting to Know You. I'll
put a link below the below this podcast so you
(20:40):
can see the archive of these and you can read
the whole things. It was like a survey that we
would send We would send to artists and within it
there'd be all sorts of questions. They would normally they
would fill it out via email, and it would be
things like what's your biggest fear, what's your hidden talent?
Who would play you in a film of your life?
(21:02):
Quite frivolous, silly questions to just try and build up
a bit of a sense of character of who these
people are. That's not about their music, that's not asking hey,
tell me about your new record. And one of those
questions was how would you choose to die? Lots of
the lots of the questions on that on that so
quite revealing. One of them I had to routinely not print,
(21:26):
actually because a lot of the time it would be
the one that artists would refuse to answer, which I
think was telling in and of itself. But it was
quite a mean spirited question, and it was which famous
person pisses you off even though you've never met them?
And it was what it was worded that way because
I wanted to acknowledge how stupid it is, you know,
(21:50):
like like like like and and how there's not really
any malice in it. Like there's people there are famous
people that we'd see on TV and we're like, I
can't stand them, but you obviously don't know them, and
I'm sure they're lovely people, right but.
Speaker 2 (22:01):
Even but I guess they're thinking the Internet never forgets,
of course.
Speaker 1 (22:05):
And even framing it that way, they were like, nah,
not going for that nice try and not being baited
into saying I hate James Cordon. How would you choose
to die? Was answered quite a lot of the time.
Speaker 2 (22:18):
Look, this is so interesting, Yeah, go on now, lots
of people would say that they would like to just
die peacefully in that sleep, or they would say I'd
like to die at the age of one hundred and
fifty peacefully in my sleeps round? Can I just cut
in there and say so. The fact that we were
talking about how you always bring up death got us
(22:39):
thinking about We basically went back and revisited loads of
these answers because he was like, han, on, this is super,
super interesting. And the fact that there's this sort of
pile of magazine's stroke internet archive that tells us what
lots of artists feel about this topic, it was too
good not to go back and have a little look, right, yeah.
Speaker 1 (22:58):
Exactly, and and we we'd do it. We've got an
issue on this podcast of when we say in a
previous podcast would do that as in a future one,
we feel we have to come through on it. So
what is about to follow. It's all meant in nice,
in good humor, but fair warning there will be talk
of death here that we probably should probably should have
said that at the start of this section. So Stuart Brave,
(23:23):
Way of Maguay, Beth Orton, Wise Blood, Waxahatchie, Steph London,
James from Yard Act. They all want to die in
their sleep and I respect it fair fair well, not
together though, just just you know, yeah, I mean no,
I think it independent a hell of a pie. Yes,
Angus Andrew from Liars and Coulin o'mauri formerly of the
(23:47):
Smith Westerns. They both want to die from drug overdoses
because that rock and roll. Oh yeah, they're rock stars,
so you know that's how they want to go. And
the Dean Shah simply said, I'm not dying, which is
probably the best answer I think you can give. Yeah, yeah,
just carry on living forever. But I've picked out a
few that were like, maybe a little bit more inventive.
(24:07):
They okay, they just went with it, maybe a little
bit more, didn't take it, didn't take it as literally
as I probably would have, because I would have also said, peacefully,
what do you think? Mac DeMarco said, I think think
of Mac DeMarco as a character, think of his brand,
think of what he.
Speaker 2 (24:25):
Is, diving off of stage, diving off a stage, but
in the middle of a gig diving off a stage
and people not catching him when he does a stage
diving landing on the floor.
Speaker 1 (24:37):
I can see why you've gone. There is actually one word,
and it's chilling. He wants to die. Just chilling, chilling,
just relaxing, Yeah, just chilling. He said that in twenty
fourteen he had some really good answers in the question
because another one of the questions in that in that
feature what is your biggest disappointment? His answer to that
was my pini. I thought you were going to say
(25:01):
doing this interview. Yeah, No, he had some He had
some good questions. The absolute legend that is John Klee.
Oh yeah, of the Velvet Underground. I know him. He
would like to evaporate. Am I to evaporate? Yeah? And
(25:25):
I love the sound of that.
Speaker 2 (25:28):
Yeah, just I mean I kind of like, I mean,
all due respect to John Klee, like he's not not
a young man anymore, but I can't imagine the news
stories when he does go. It is a John Cale
formerly of the Velvet Underground dies age dot dot dot.
Speaker 1 (25:40):
From evaporation, evaporated. I like that, loved one. Loved one
said when they returned to John, a gas had filled
the room and they heard that does happen though, and
(26:03):
they just knew he had passed past past wind Do
you okay?
Speaker 2 (26:13):
So Mac tormarco Juhn Kale House House wants to die
in a spectacular way?
Speaker 1 (26:19):
Can I just can I just check in with you?
I think this section is going well. I do okay,
a couple more. I probably should have said, John, call
for the end. I think now, okay, LEAs from fat
White Family. This is obviously this is bleak, isn't it?
(26:41):
This one? Yeah, obviously I can't take a guess. Take
a get you're not going to guess it, but take it.
Take it. It does. It does include drugs to an extent.
Speaker 2 (26:51):
I bet he said something really like like exphyxiation or
something died from acted putting a plastic Aldie bag on
his head.
Speaker 1 (27:02):
No, I mean that is very on brand. You've lived
the character there. I know he said, I'd probably take
fifty valium and just start swimming. Oh Jesus, keep it light,
keep it lightly but very poetically put, very very poetically put,
(27:22):
but horrendous. Let's just do two more. One is that
John Grant would love to be eaten by Hyaenas.
Speaker 2 (27:32):
Oh yeah, that's a bit of a laugh, isn't it,
Because they notoriously for the cackle, don't they.
Speaker 1 (27:40):
Here's one for you, eldest harding. He's actually hit the
nail on the head of what my answer would be, genuinely,
what my answer would be?
Speaker 2 (27:47):
Has she okay? Do you want to take a guess
at that accidentally run over? No, that would be awful.
Let me try that again, freak accident in the kitchen?
Speaker 1 (28:06):
No, no, it is, I mean she has her direct
quote is I'd be shot in the chest by a
madman in a public park. Hardcore mine. Mine's always just
been simpler than that. I can narrow down to one word, sniper.
But let's finish with a more positive word from Alex Kapranos,
(28:27):
who said he would most like to die quote quickly, painlessly, unexpectedly,
and spectacularly in about sixty years time, whilst addressing the
un again, but this time from space. I think that's
enough Death Chat, probably for the rest of midnight Chat.
(28:53):
Thank you for indulging us. Let's have a few more
adverts and we'll be back after these with a top
three for Greg and be the Algorithm's recommendations.
Speaker 2 (29:06):
Welcome back, everybody, no more death talk on this tonight's
episode of Midnight Chats. She'll be glad to hear Stu
before we go tonight. Have you got top three for me?
You want to you want to put me on the
spot with something. I'm feeling confident after my incredibly pathetic
performances of recent weeks.
Speaker 1 (29:23):
I thought your last one was pretty good? Actually was it?
I can't remember what it was. By the way, if
anyone listened last week, do you know we were having
a laugh about I said Mary's Boy Child as the
bony m song, Yeah, and we weren't sure if it
was that the Christmas song. It is Mary's boy Child.
Mary's Boy Child is the name of the song. I
(29:45):
think it just sounded weird when I was saying it. Yeah,
but that is the name of the song. So it's
nice to have been accidentally correct on that. But here's
top three for this week. Who do you think are
the top three front men or front women of all time?
Of all time?
Speaker 2 (30:08):
I mean, I'm basically thinking that it's like an impossible question,
not trying and narrow down right now.
Speaker 1 (30:12):
No, it's not because you just have to go. I
think you just have to approach this instinctively, we're not
talking about best I think ultimately what we're talking about
here is best entertainer. Not we're not talking about best singer.
Necessarily they may be as well.
Speaker 2 (30:27):
Okay you know what, I'm literally just gonna say the
word that comes to mind, Yes, do it.
Speaker 1 (30:31):
Skin from Skunkin' Antsy, This is gonna be good.
Speaker 2 (30:36):
The absolutely zerra of our listeners would have fortcoming.
Speaker 1 (30:40):
What an incredible from women.
Speaker 2 (30:42):
She is perfect because I think one of the first
bands I ever saw and her presence, she's just like
she's incredible, like as a kind of leader of a band,
everything that you would want from a front person in
a band. Skin from skunkin Antsy, what a legend. Tim
Harrington from the Savvy Fans if La Samivavam not a
(31:03):
band that you know about. They are a there from
Brooklyn and they've been playing together for like twenty twenty
five years. They kind of just do this sort of
like post punk thing and they're like a sort of
cult band. But Tim Harrington is an incredible front man.
He's utterly ridiculous, slightly row turned man with a beard
(31:23):
and balding head who just I think approaches every single
gig as if it is just a pure entertainment experience
and does all sorts of ludicrous things. I've seen Tim
Harrington ride a child's BMX bike into a forest in
the middle of a gig. I have had my fingers
sucked by Tim Harrington. And also, my probably favorite Tim
(31:45):
Harrington's story is when I went to him at the
show they performed. It was brilliant the end of the
show by like CrowdSurf into the back of the venue
and sat on a chair at the little table and
asked people one by one as they left the venue
if they would like their money back. Final front past
(32:06):
me beat I know, I know, absolutely incredible front person
Debbie Harry for obvious reasons. Okay, what legend perfect?
Speaker 1 (32:19):
I think. I think that's a very good selection. Mine
would have been a lot more dull than that, would you. Yeah,
it would have been very obvious. Well, let's let's be
pleased it with me this week. Yeah, well done, well done.
When you started, I thought this is going to be terrible,
but you really pulled it off.
Speaker 2 (32:39):
Yeah that's what you said to me the first time
we met. But here we are these years later.
Speaker 1 (32:42):
Well done, Well done. You listen.
Speaker 2 (32:45):
We should give we should give listeners a recommendation of
something we've been listening to before we leave tonight. This
is this week's beat, The Algorithm.
Speaker 1 (32:54):
The Algorithm, The Algorithms. This week, I would like to
recommend probably the artist that I think is gonna have
a big twenty twenty five. You know. I think they're
gonna be in the independent music world. I think they're
gonna be very I think it's just going to go
very well for them in a very cool way. That
(33:17):
person is John Glacier. John Glacier is a female rapper
from Hackney who has been around a little while. Makes
experimental alternative hip hop. It's not quite I mean, it's
certainly not grime, it's not certainly not drill. It's not
British hip hop. It's like it's its own things. She
(33:40):
used to She's collaborated with Dean Blunt in the past,
so it's got an electronic experimental feel to it. It's
quite like woozy stuff. The track I'm about to play
is her latest single that came out last week called Found.
It's a debut album. It's coming out on Young, the
label Young. It's releasing Twigs and xx and lots of
very cool stuff. It's gonna be very cool and yeah,
(34:01):
it's called like a Ribbon Is. The debut album comes
out on the fourteenth of feb But in twenty twenty one,
I thought this was a debut album that came out
in twenty one called Shiloh Lost for Words, which I loved.
It was one of my favorite albums of the year.
I think that's now being considered a mixtape. I mean,
because this new one's being considered the debut album. But
(34:23):
go back listen to that record. There was an EP
earlier this year. I just love John Glaci's thing. I
don't think she's gonna necessarily be the sort of artist
that plays loads of shows and gives loads of interviews.
I think she's a bit more insular than that. I
think that she's probably more Frank Ocean than Tyler the
(34:45):
Creator say, like, in terms of putting herself out there.
But on record, I think it's gonna it's going to
land with people. This song Found is the first one
from it.
Speaker 4 (34:55):
Oh, when I start up, do stress out too much?
Let's trust when you get out the gone Dizzel Gone,
I do not. Then we get rounded anyhow, any means
how I get founded, how well at my feet me
(35:18):
when I step past the stress out too much? Let
us trust when you get out the gone dizzel gone,
do not don't we get rounded anyhow?
Speaker 1 (35:31):
Any means I get John Glacier, Greg. Who have you
got for this week's Beat the Outground? Well, Charelle's back
with new music stud I know you like Charrell London
born artist producer DJ. She has a track called meet
Me at the Temple and it features jungle Legend clips
have a little blast on this. So I absolutely love Charrelle.
Speaker 2 (36:25):
She's been making music for a number of years now,
but I really like that it's what I need to
just like blow the cob webs away tonight on the podcast.
I think she's also announced. Charrel she does these shows
called chirall Land.
Speaker 1 (36:39):
You heard about that.
Speaker 2 (36:40):
It's basically something that like they're kind of like raves
live show raves that basically in response to the fact
that you know, money is tight, the cost of living
has like been kicking most of our asses the last
few years, and so she started a thing where she
was doing parties, Like every party that she threw was
ten pounds to get in because she was like, you know,
a night out should not just be considered like a luxury,
(37:03):
Like we need this stuff, so like, let's make it
as affordable as she can, and she's doing. She's announced
the biggest ever Charrell Lounde show, which is going to
be in the sort of three sixty round at the
iconic Roundhouse venue in London in April. That sounds really
really good. If you're interested in reading more about her
in her background, go and check out an interview that
(37:24):
Loud and Quiet did feature that we did in the
magazine and online a couple of years back twenty twenty one,
I think it was. We'll stick a link in the
in the show notes for you to go back and
have a read about that, about how Charelle's building an
amazing platform for black and queer artists and yeah, love
this new music.
Speaker 1 (37:40):
Love Charelle. She's got a great label called Hoover Sound
as well, which she released. It's got lots of like
great jungle on it. Guy called Tim Reaper she released
her amazing Yeah, I love Charelle, good choice. Thanks Now.
Then that's the end of this week's podcast. We hope
it has been enjoyed. Boy it felts out. It's been
(38:01):
quite fun too. I don't know how much of this
is going to make the edit, Greg, but the long
version that we've just experienced was good fun.
Speaker 4 (38:09):
Well.
Speaker 1 (38:09):
We are Midnight Chats.
Speaker 2 (38:10):
We have the music podcast that dares to go to
places that other music podcasts don't, including How You Want
to Die.
Speaker 1 (38:17):
If you are not a follower yet, please give the
show a follow on whatever platform you're currently listening on,
you can always drop us a line at info at
loudon quiet dot com, or just via Instagram. Midnight Chat's
pod is where we're at. Thank you for listening. Please
do tell a friend. We will be back next week
with a new episode of the podcast. Until then, good night,
(38:39):
Thank you very much for listening.
Speaker 2 (38:45):
Midnight Chats is a joint production between Loud and Quiet
and Atomized Studios for iHeartRadio. It's hosted by Stuart Stubbs
and Greg Cochrane, mixed and mastered by Flow Lines, and
edited by Stuart Stubbs. Find us on Instagram and TikTok
to watch clips from our recordings and much much more.
Speaker 1 (39:02):
We are Midnight Chats pod. For more information, visit loudan
Quiet dot com.
Good evening. I'm Greg Cochrane. Good evening, I'm Stuart Stubbs.
We are a couple of journalists who've been working in
independent music since the days of my Space.
Speaker 2 (00:10):
One night a week, we become your guide through the
week in music, because, let's face it, the algorithms have
stopped working for most of us.
Speaker 1 (00:18):
So we're here to share the best new underground music
and the news that you might have missed, as well
as discussing the week's biggest headlines and bringing you interviews
with some of our favorite alternative artists. The show is
called Midnight Chats. Guess what I did last week? Greg,
(00:38):
some gardening. This would take long, actually, wouldn't it. This
would take a bit too young. I voted in the
brit Rising Star cat ale, okay, which I've done for
the past I don't know, maybe five or six years,
maybe a bit longer. I'm telling you this and I'm
telling the listeners so it makes me look important, like
(00:59):
an important part of the music industry. I have never
once put down a name that has been shortlisted. Okay,
the rising Star is the one that that is announced
before the brit Awards for anyone. Yes, he's not familiar
with it. It's the New Artist Award next month. Everyone,
(01:19):
I'll be voting on the cat and the main categories
that are in. But within that one you're given a
shortlist and you pick who you want to win out
of the long list sorry, and then it goes down
to a shortlist. But the Rising Star you just have
to pick five British New Artists. It could be any
five you like. I'm guessing you can't tell us who
you voted for. Then I was thinking can I? And
(01:41):
I probably shouldn't, should I. I've not been told specifically
don't share this, but I imagine it is in some small
prints somewhere of something that I have clicked a button on.
What I'll try to do because I also, by the
time the Britz rolls around, I've always forgotten who I
wrote in that list. So I'm going to write down.
I'll write down and then wend the Brits. When it's announced,
we can compare who was on my list and see
(02:04):
just how wrong I got it. I mean, it's not
getting it wrong, is it. It's just suggesting people that
they then don't pick no one else suggests them, or
not enough people suggest them. I did that last week, Greg,
But here's something that I did at the weekend on
I watched boy Bands Forever.
Speaker 2 (02:20):
Oh, I need to catch up on this because I
have seen loads of people talking about it.
Speaker 1 (02:24):
This is a new documentary that was on the BBC
over the weekend. It's currently on iPlayer. It's a three
part nostalgia fest for boy bands of the nineties. It's
made by Right Up of Your Street, Right Up My Street.
It's you know, at first, I wasn't going to bother
with it because I thought, do you really need to
(02:45):
see another talking heads show of musicians talking about how
crazy it was like beatle Mania? People were crowding around
our hotels. You know, we've heard that story so many
times from from the point of view of boy bands
that I actually thought, what more are they going to
offer to this? But mate, it's good. You should. Yeah, juicy.
(03:07):
People should catch up on this. It is quite juicy.
It's just quite it's three parts. It's made by Louis
Throux's production company. Although you can't necessarily it's not got
like Louis Throux expos I vibe to it necessarily, but
it's just been very well put together. There's some great
old footage of these boy bands being put together, and
(03:29):
because it's also a time that doesn't exist anymore, isn't it?
Like boy bands, they used to be put together behind
closed doors until the X Factor, and then it was
all done in front of our faces, which became the
entertainment in itself more than the music. It was about
the journey of the band becoming the band. But this
is of a different time when it was all done spreadsheets,
(03:53):
working out what people want, you know, focus groups.
Speaker 2 (03:57):
Oh my god, So who are we talking about it?
We're talking about Take That. We're talking about who else?
Speaker 1 (04:02):
Take That? He's seventeen Blue five West Life. There's some
great talking heads on there. There's some really awful characters.
Simon Cowe's on it or an awful awful character. That
man is. Robbie Williams is on it. He's the only
member of Take That that would speak to them. But
he's good value on it and he's had a bit
(04:23):
of a ding dong on social media over here. Yeah,
I've heard about this with Take that ex manager who
was in it, who's a guy called Nigel Martin Smith
boy Bands Forever. I highly highly recommend it. It's just
got some great anecdotes and there's also some quite serious
underlying points in there about sexuality, race and particularly mental
(04:45):
health and the way that these young lads weren't actually
looked after very well by the music industry and those
who should have been looking after them.
Speaker 2 (04:52):
Oh, I'm going to that's my watching this in the
evenings this week. I'm going to hit up boy bands
forever well tonight on the podcast you I'm looking forward to.
I've got a really good recommendation for folks at the end,
by the way, so like that's me trailing stick around
folks because it's a good way.
Speaker 1 (05:09):
It's not a boy bad now, but.
Speaker 2 (05:11):
We'll have a top three and we've got we're going
to get morbid in an entertaining way later in the podcast.
I'll just leave it at that. But something that I've
been really interested in the news this week was that.
And excuse me whilst I get on my soapbox for
a minute. I don't know if you saw this to do,
but last week it was announced that basically ministers in
the UK government have backed a new thing, and it's
(05:32):
a voluntary levy on arena and stadium gig tickets. Basically,
financial contribution that then goes to support grass roots music venues.
Speaker 1 (05:43):
And this has been.
Speaker 2 (05:44):
Talked about, like you know, for quite a number of
years because essentially, what's you know, what's this all about
grassroots music venues in the UK in particular. I'm sure
that this might not be the case everywhere, but it's
definitely in the UK are in a lot of trouble,
so you know, you've got things like inflation, there was
like COVID nineteen, there's that skills shortage, and they've had
(06:05):
this really savage time the last couple of years. There
are some people that have done something about this last
couple of years, like Enter Shikari when they did their
arena tour, they gave like a pound from every ticket
went towards the Music Venues Trust. And then Coldplay we
talked about here on the podcast, given ten percent of
the profits from their stadium shows next year again going
(06:26):
to go back towards grass mutessroots music venues. And I
guess the point is it's like these venues are disappearing
if we don't have those Grassroots music venues are their
places for artists to cut their teeth, develop their skills
in order to go on to be the headliners of
our arenas and the stadiums of tomorrow. This thing has
come up, the government have got behind it. It's voluntary,
(06:47):
so like it's kind of like over to you. The
big promoters, i mean Live Nation Age haven't heard anything
from them just yet. Basically that'll be the next thing
that happens is they'll respond to the fact that the
government is saying we want you to do this. But
there's like a few things about it that like I
just I just wanted to mention. One, it's like voluntary,
so it's the government saying that, like you should do
(07:08):
this instead of them, you know, stepping and doing anything themselves.
And also they say that it should be within the
price of the ticket, So it's not like when you
go on and buy a ticket for a gig there'd
be a little box that says, like do you want
to add a pound for grassroots music venue. They're saying
that it should be contained within the price of the ticket,
which I think, you know, the promoters will have something
to say about. Look, I'm pleased that this has happened, right,
(07:30):
There's been a lot of interesting grassroots music venues the
last few years, like there's no doubt about it. They
need like support of some kind. This is like some
ecological thinking that I really really applaud because we don't
see an awful lot of that in music systems. But
it made me think that, like the government also, you know,
it's not just about grass music venues. We do need
like more music education support because like music education in
(07:53):
this country is absolutely shocking. Community spaces, Like it's not
just about the stages that these grass music grassroots music
venues like, we do need like decent community spaces where
people can even meet and collaborate and things like that,
and just some general like respect for the creative industries
would be nice, because there's been a complete failure of
that for the last like ten to fifteen years. So
that's me. I'll get off my soapbox. I'm glad this
(08:14):
has happened. We'll see what happens next. It could, in theory,
be a real game changer of an initiative. I just
I want to see more.
Speaker 1 (08:23):
I mean, I think, like the nail on the head,
there is the fact that it's voluntary, right, I mean,
I suppose the hope is that it will shame certain
people into being like we should do this now, because
it's official, we should do something about it. Exactly. I
think in terms of the levee coming in on within
the ticket price, my worry there is that they're just
(08:46):
going to increase the ticket price to cover that. I mean,
of course it will, so essentially it is the same
as ticking a box and I want to pay an
extra couple of quid for whatever it is. I mean,
let's see what happens on that. Also last week just
around it's connected to live music. The band Benefits, who
(09:06):
are a te side duo who made an amazing album
last year called Nails, which is very punk. They make
very abrasive industrial punk record, a very very angry record,
but a great record. They've announced they've got a new
album coming out next year, and what they've done is
(09:26):
they've gone to the fans. They're very much a DIY
band and they you know, their fans are everything to them.
So they went to their fans and they said, we're
going to be putting on a tour next year in April.
What can we do to make the tour better for you?
Considering the world we're living in right now and where
you're at financially and how can we make this a
(09:48):
better experience for you as a fan. And they they
asked their fans, and they heard, they listened to what
they said, and they are actioning all of those things.
So the things that they've that they've heard from their
fans were the tickets need to be cheaper. So all
of that number one, all of that tickets, which is
fair enough. Yeah, all of the tickets for that are
now twelve pounds, So they managed to make it work
(10:09):
on twelve quid. One of the feedbacks was make the
bill smaller. We don't need more than we're only three
or four banded bills when we're seeing artists, so they're
all two banned bills. Part of that is connected to transport,
they said. Fans have said that transport to get home
from gigs is bad. Oh yeah, especially you know when
(10:32):
you like you know, I live in London, so I'm
very fortunate, like the transport runs till midnight, public transport
even runs beyond then for buses. So it's fine for
people in big cities like that, but if you're in smaller,
smaller towns and cities, it's hard to get home f gigs.
Speaker 2 (10:46):
Yeah, the amount of times I've had to leave a
gig early to be able to get home, so annoying.
Speaker 1 (10:51):
So that are all of the shows are going to
finish at ten pm? I think goes later, which is
partly why they're also doing two bad bills twelve quid
two band bills, all done by ten o'clock. That sounds
ideal to me.
Speaker 2 (11:05):
Yeah, I'm into that, man, I mean what, I'm interested
to know what people make of this, Like let us know,
we're on midnight Chats pod on socials, like, let us know,
what do you think of these ideas that benefits fans
have come back to them with Does that sound like
does that sound like the dream to you? Is there
anything else that like, oh it could be doing that
would just make these things, you know, your gigging experience
(11:26):
that much better.
Speaker 1 (11:27):
Listen to you.
Speaker 2 (11:27):
I've got some breaking news for you on the Sky
is Blue and Glastonbury has sold out?
Speaker 1 (11:33):
Can you believe it? I know what, God, I didn't
see that come in.
Speaker 2 (11:36):
No, it's not really news, is it. It'd be news
if Glastonby didn't sell out. But this was really interesting.
Just before Glastonbury went on sale yesterday, did you see
this interview with Scissor. She's done with British Fogue. Yeah,
it's been doing the rounds, isn't it. So this was
a really in depth interview feature with Scissor that was
published by British Vogue last week, and I just thought
(11:58):
it was really interesting because she hasn't spoken that much
about Headline in Glastonbury, which she did this year twenty
twenty four, and so this is the first time we
got to kind of read some slightly more index comments
about her feelings on Headline in the show. I just
thought it was quite interesting hearing speak about it. She
said that, well, this is the quote from me. She said,
I just felt like nothing I could do would be
(12:19):
enough for Glastonbury, no matter what I did. It scared
me and I was like, well, I wish I wasn't
doing it, but I couldn't walk away from it, which
pretty sad to read.
Speaker 1 (12:29):
Really.
Speaker 2 (12:30):
She went on to say, I want to be the
second black woman in history to headline the festival there is,
but then it's such a fucking tall order. It's like,
no matter what you do here, you'll be subject to
criticism because of who you are.
Speaker 1 (12:42):
But that's life.
Speaker 2 (12:44):
So not surprising to see these This interview being Gunish
widely shared around last week because, like I said, it
was the first time I've really heard from Scissa about
that experience, and we talked about this at the time,
didn't we. When Glastonbury was on, like Scissor's headline show
on closing the festival out on the Sunday night, I
was kind of absolutely heartbroken for Scissor because of the
technical difficulties that she experienced.
Speaker 1 (13:05):
The first half an hour of the set was.
Speaker 2 (13:08):
Her vocal was bordline inaudible from watching from home, and
so it was just like such such a disappointment for
her because she fully deserved that slot, but also just
from like a watching back home, You're just like, I
just wish they could kind of resolve this, and I
just hope that Scissa gets another invitation to go back
to Glastonbury to be able to do it again, because
(13:28):
I think she fully deserves it. And when we're in
a world that Coldplay headlined that festival five times, or
Artim Monkeys has done it three or four times or
whatever it is, I feel like Scissor deserves another shot
at the Pyramid stage at some point. Absolutely she does.
There are so many things here, aren't there around race
and you know, people thinking that certain music does belong
(13:51):
at Glastonbury and doesn't belong at Glastonbury. But the fact
is we're now in a world where Glastonbury is the
biggest thing in the world. It needs to reflect a
young world. It needs to reflect the fact that we're
all listening to lots of different music. Foo Fighters shouldn't
be headlining Glastonbury every single year. Nobody would want that.
I don't think even food. I don't think even foo
Fighters fans would want that. And I think as fans
(14:14):
we need to just give other people the respect, even
if you're not necessarily into that music. Glastonbury is a
big place you can go and see something else that
you enjoy if you don't like the type of music
that's on the Pyramid stage. But shutting down it and
saying that it does belong or doesn't belong there is
obviously just complete madness. God knows who they're gonna book
(14:35):
next year. And maybe, you know, maybe the whole Scissor
thing has cleared the decks a bit for Glastonbury to
be able to say, you know what, maybe not every
headliner is going to have an absolutely jam packed stage.
Maybe every headliner doesn't need to be Elton John in
terms of the level of like what the wider public want,
(14:57):
and maybe that'd be able to take even more risks,
which I have been doing more more over recent years.
But maybe Scissor is actually going to end up being
a turning point where they go, you know what, We're
going to put Tyler the Creator on and we're not
going to expect it to be absolutely packed to the rafters,
but we know that the people there will love it,
and there's going to be something else on the other
stage or wherever, and maybe that's where it's going to.
Speaker 1 (15:16):
Go exactly, I hope.
Speaker 2 (15:17):
So I ape bit like in Boulders and to do
that definitely, now listen to you before we move on
to something else. This has got to be a highlight
of music in twenty twenty four, right track.
Speaker 1 (15:30):
I Know what You're going to say? Oh do you
want me to say it? Mark Zuckerberg has ruined music.
He's ruined many things I would say in the world. Yeah, hoodies,
mental health, lots of democracy, democracy, and now he's coming
from music. He released the song last week. It was
(15:51):
a cover of Get Low, Oh My God. The Lil
John song Let's Play here's the original of get Low,
(16:11):
and for some reason, Mark Zuckerberg, along with Tea Paane,
decided they should well, actually, we know why they've made
a cover of this song. An acoustic cover, of course,
because that's the only way you can make this more
naff than it already is. For Mark Zuckerberg's wife, I
think it was an anniversary present. It got a lot
(16:32):
of ship. I mean, this is why it sounds like this.
Speaker 3 (16:36):
Six damn you're hoping you can suck it to me
baby one more time, Gillo Gilow.
Speaker 1 (17:00):
And it's just horrible, isn't it. It's just horrible. But
I understand the argument that some people are like, hey,
you know what. And Tea Pain was defending himself on
social media this week saying, you know what, right, I'm
just having fun. Some people can't have fun. It's just
a bit of a laugh. And I sort of get that.
(17:20):
I sort of to get that, Like, you know, why
are we getting so upset about about this? But why
are we getting so upset about it? To one, it's
absolutely dreadful, sounds like fucking wheatus. Secondly, Jesus Christ, the world,
the world is on fire. Mark Zuckerberg, and you're can
you just keep this to yourself? That's the thing, that's
(17:41):
the thing.
Speaker 2 (17:41):
All means do it, But why go public with it?
Like if it's if it's the show affection for your
for your partner, fine, send her a private YouTube link
to it. Why do you have to do it publicly
and sound like Tenacious D on a bad day. Jesus,
that's exactly it. Why can't billionaires do anything quietly? Why
can't they just do anything quietly that calling themselves Z
(18:05):
pain or Z pain I imagine if it.
Speaker 1 (18:07):
Feels more like my pain.
Speaker 2 (18:09):
Oh listen, should we get some adverts? But this is
this is this is teasers up quite nicely for what
we're going to talk about next, which was something we
talked about on the podcast a few weeks ago, which
is the fact that you always talk about death on
the podcast, and so we wanted to revisit some of
the ways that we know that artists have said that
they would like to die. And this track that we
(18:30):
just heard made me think of that. So let's get
some adverts and we'll move on to that in a second.
Speaker 1 (18:41):
Welcome back to this week's episode of Midnight Chats. I
feel like before we get into this, Greg, I need
to defend myself a bit. I don't go on. I
don't feel I always talk about death with our guests
on the podcast, but I also appreciate I'm probably too
close to it to say that with any real you're
(19:02):
close to death or to my interviewing you, what are
you telling us?
Speaker 3 (19:09):
No?
Speaker 2 (19:09):
I think two's a trend on Midnight Chats, Isn't it
like if we do something twice, we're suddenly just like, oh,
we've been doing that a bit too doing that and
this is so this this discussion goes back to recent
episodes of Midnight Chats where you seemingly like to get
onto the topic of death with some of our guests.
Did it with Kaye Leones the other week? Who else
did we do?
Speaker 1 (19:27):
It? Was? Recently Laura Marlin just I think with Laura,
I just squarely asked her, how are you with death?
Speaker 2 (19:35):
Yeah?
Speaker 1 (19:35):
I think you did. That was the first question of
the book. I think that might be the best question
I've ever asked because it was it was direct, and
in my defense, I think talking about death with artists
is a good top tip. If you're listening and you
you're thinking of interviewing people, always ask them about death
(19:56):
because they will probably have something to say about it.
Speaker 2 (20:01):
I think, yeah, and it's quite revealing questions. Yeah, I
mean that's I mean, we should explain why we're talking
about this right now. Because it got us thinking, didn't it,
Like the fact that you've been going around asking famous
musicians about death got us thinking that we thought, hang on,
our listeners might be interested in something we've got here.
Speaker 1 (20:19):
Yeah, because it it felt a bit like deja vous.
Because we in our magazine Loud and Quiet, we don't
haven't done it for years, but we had a good
run of maybe a year or two years of asking.
We had this feature called getting to Know You. I'll
put a link below the below this podcast so you
(20:40):
can see the archive of these and you can read
the whole things. It was like a survey that we
would send We would send to artists and within it
there'd be all sorts of questions. They would normally they
would fill it out via email, and it would be
things like what's your biggest fear, what's your hidden talent?
Who would play you in a film of your life?
(21:02):
Quite frivolous, silly questions to just try and build up
a bit of a sense of character of who these
people are. That's not about their music, that's not asking hey,
tell me about your new record. And one of those
questions was how would you choose to die? Lots of
the lots of the questions on that on that so
quite revealing. One of them I had to routinely not print,
(21:26):
actually because a lot of the time it would be
the one that artists would refuse to answer, which I
think was telling in and of itself. But it was
quite a mean spirited question, and it was which famous
person pisses you off even though you've never met them?
And it was what it was worded that way because
I wanted to acknowledge how stupid it is, you know,
(21:50):
like like like like and and how there's not really
any malice in it. Like there's people there are famous
people that we'd see on TV and we're like, I
can't stand them, but you obviously don't know them, and
I'm sure they're lovely people, right but.
Speaker 2 (22:01):
Even but I guess they're thinking the Internet never forgets,
of course.
Speaker 1 (22:05):
And even framing it that way, they were like, nah,
not going for that nice try and not being baited
into saying I hate James Cordon. How would you choose
to die? Was answered quite a lot of the time.
Speaker 2 (22:18):
Look, this is so interesting, Yeah, go on now, lots
of people would say that they would like to just
die peacefully in that sleep, or they would say I'd
like to die at the age of one hundred and
fifty peacefully in my sleeps round? Can I just cut
in there and say so. The fact that we were
talking about how you always bring up death got us
(22:39):
thinking about We basically went back and revisited loads of
these answers because he was like, han, on, this is super,
super interesting. And the fact that there's this sort of
pile of magazine's stroke internet archive that tells us what
lots of artists feel about this topic, it was too
good not to go back and have a little look, right, yeah.
Speaker 1 (22:58):
Exactly, and and we we'd do it. We've got an
issue on this podcast of when we say in a
previous podcast would do that as in a future one,
we feel we have to come through on it. So
what is about to follow. It's all meant in nice,
in good humor, but fair warning there will be talk
of death here that we probably should probably should have
said that at the start of this section. So Stuart Brave,
(23:23):
Way of Maguay, Beth Orton, Wise Blood, Waxahatchie, Steph London,
James from Yard Act. They all want to die in
their sleep and I respect it fair fair well, not
together though, just just you know, yeah, I mean no,
I think it independent a hell of a pie. Yes,
Angus Andrew from Liars and Coulin o'mauri formerly of the
(23:47):
Smith Westerns. They both want to die from drug overdoses
because that rock and roll. Oh yeah, they're rock stars,
so you know that's how they want to go. And
the Dean Shah simply said, I'm not dying, which is
probably the best answer I think you can give. Yeah, yeah,
just carry on living forever. But I've picked out a
few that were like, maybe a little bit more inventive.
(24:07):
They okay, they just went with it, maybe a little
bit more, didn't take it, didn't take it as literally
as I probably would have, because I would have also said, peacefully,
what do you think? Mac DeMarco said, I think think
of Mac DeMarco as a character, think of his brand,
think of what he.
Speaker 2 (24:25):
Is, diving off of stage, diving off a stage, but
in the middle of a gig diving off a stage
and people not catching him when he does a stage
diving landing on the floor.
Speaker 1 (24:37):
I can see why you've gone. There is actually one word,
and it's chilling. He wants to die. Just chilling, chilling,
just relaxing, Yeah, just chilling. He said that in twenty
fourteen he had some really good answers in the question
because another one of the questions in that in that
feature what is your biggest disappointment? His answer to that
was my pini. I thought you were going to say
(25:01):
doing this interview. Yeah, No, he had some He had
some good questions. The absolute legend that is John Klee.
Oh yeah, of the Velvet Underground. I know him. He
would like to evaporate. Am I to evaporate? Yeah? And
(25:25):
I love the sound of that.
Speaker 2 (25:28):
Yeah, just I mean I kind of like, I mean,
all due respect to John Klee, like he's not not
a young man anymore, but I can't imagine the news
stories when he does go. It is a John Cale
formerly of the Velvet Underground dies age dot dot dot.
Speaker 1 (25:40):
From evaporation, evaporated. I like that, loved one. Loved one
said when they returned to John, a gas had filled
the room and they heard that does happen though, and
(26:03):
they just knew he had passed past past wind Do
you okay?
Speaker 2 (26:13):
So Mac tormarco Juhn Kale House House wants to die
in a spectacular way?
Speaker 1 (26:19):
Can I just can I just check in with you?
I think this section is going well. I do okay,
a couple more. I probably should have said, John, call
for the end. I think now, okay, LEAs from fat
White Family. This is obviously this is bleak, isn't it?
(26:41):
This one? Yeah, obviously I can't take a guess. Take
a get you're not going to guess it, but take it.
Take it. It does. It does include drugs to an extent.
Speaker 2 (26:51):
I bet he said something really like like exphyxiation or
something died from acted putting a plastic Aldie bag on
his head.
Speaker 1 (27:02):
No, I mean that is very on brand. You've lived
the character there. I know he said, I'd probably take
fifty valium and just start swimming. Oh Jesus, keep it light,
keep it lightly but very poetically put, very very poetically put,
(27:22):
but horrendous. Let's just do two more. One is that
John Grant would love to be eaten by Hyaenas.
Speaker 2 (27:32):
Oh yeah, that's a bit of a laugh, isn't it,
Because they notoriously for the cackle, don't they.
Speaker 1 (27:40):
Here's one for you, eldest harding. He's actually hit the
nail on the head of what my answer would be, genuinely,
what my answer would be?
Speaker 2 (27:47):
Has she okay? Do you want to take a guess
at that accidentally run over? No, that would be awful.
Let me try that again, freak accident in the kitchen?
Speaker 1 (28:06):
No, no, it is, I mean she has her direct
quote is I'd be shot in the chest by a
madman in a public park. Hardcore mine. Mine's always just
been simpler than that. I can narrow down to one word, sniper.
But let's finish with a more positive word from Alex Kapranos,
(28:27):
who said he would most like to die quote quickly, painlessly, unexpectedly,
and spectacularly in about sixty years time, whilst addressing the
un again, but this time from space. I think that's
enough Death Chat, probably for the rest of midnight Chat.
(28:53):
Thank you for indulging us. Let's have a few more
adverts and we'll be back after these with a top
three for Greg and be the Algorithm's recommendations.
Speaker 2 (29:06):
Welcome back, everybody, no more death talk on this tonight's
episode of Midnight Chats. She'll be glad to hear Stu
before we go tonight. Have you got top three for me?
You want to you want to put me on the
spot with something. I'm feeling confident after my incredibly pathetic
performances of recent weeks.
Speaker 1 (29:23):
I thought your last one was pretty good? Actually was it?
I can't remember what it was. By the way, if
anyone listened last week, do you know we were having
a laugh about I said Mary's Boy Child as the
bony m song, Yeah, and we weren't sure if it
was that the Christmas song. It is Mary's boy Child.
Mary's Boy Child is the name of the song. I
(29:45):
think it just sounded weird when I was saying it. Yeah,
but that is the name of the song. So it's
nice to have been accidentally correct on that. But here's
top three for this week. Who do you think are
the top three front men or front women of all time?
Of all time?
Speaker 2 (30:08):
I mean, I'm basically thinking that it's like an impossible question,
not trying and narrow down right now.
Speaker 1 (30:12):
No, it's not because you just have to go. I
think you just have to approach this instinctively, we're not
talking about best I think ultimately what we're talking about
here is best entertainer. Not we're not talking about best singer.
Necessarily they may be as well.
Speaker 2 (30:27):
Okay you know what, I'm literally just gonna say the
word that comes to mind, Yes, do it.
Speaker 1 (30:31):
Skin from Skunkin' Antsy, This is gonna be good.
Speaker 2 (30:36):
The absolutely zerra of our listeners would have fortcoming.
Speaker 1 (30:40):
What an incredible from women.
Speaker 2 (30:42):
She is perfect because I think one of the first
bands I ever saw and her presence, she's just like
she's incredible, like as a kind of leader of a band,
everything that you would want from a front person in
a band. Skin from skunkin Antsy, what a legend. Tim
Harrington from the Savvy Fans if La Samivavam not a
(31:03):
band that you know about. They are a there from
Brooklyn and they've been playing together for like twenty twenty
five years. They kind of just do this sort of
like post punk thing and they're like a sort of
cult band. But Tim Harrington is an incredible front man.
He's utterly ridiculous, slightly row turned man with a beard
(31:23):
and balding head who just I think approaches every single
gig as if it is just a pure entertainment experience
and does all sorts of ludicrous things. I've seen Tim
Harrington ride a child's BMX bike into a forest in
the middle of a gig. I have had my fingers
sucked by Tim Harrington. And also, my probably favorite Tim
(31:45):
Harrington's story is when I went to him at the
show they performed. It was brilliant the end of the
show by like CrowdSurf into the back of the venue
and sat on a chair at the little table and
asked people one by one as they left the venue
if they would like their money back. Final front past
(32:06):
me beat I know, I know, absolutely incredible front person
Debbie Harry for obvious reasons. Okay, what legend perfect?
Speaker 1 (32:19):
I think. I think that's a very good selection. Mine
would have been a lot more dull than that, would you. Yeah,
it would have been very obvious. Well, let's let's be
pleased it with me this week. Yeah, well done, well done.
When you started, I thought this is going to be terrible,
but you really pulled it off.
Speaker 2 (32:39):
Yeah that's what you said to me the first time
we met. But here we are these years later.
Speaker 1 (32:42):
Well done, Well done. You listen.
Speaker 2 (32:45):
We should give we should give listeners a recommendation of
something we've been listening to before we leave tonight. This
is this week's beat, The Algorithm.
Speaker 1 (32:54):
The Algorithm, The Algorithms. This week, I would like to
recommend probably the artist that I think is gonna have
a big twenty twenty five. You know. I think they're
gonna be in the independent music world. I think they're
gonna be very I think it's just going to go
very well for them in a very cool way. That
(33:17):
person is John Glacier. John Glacier is a female rapper
from Hackney who has been around a little while. Makes
experimental alternative hip hop. It's not quite I mean, it's
certainly not grime, it's not certainly not drill. It's not
British hip hop. It's like it's its own things. She
(33:40):
used to She's collaborated with Dean Blunt in the past,
so it's got an electronic experimental feel to it. It's
quite like woozy stuff. The track I'm about to play
is her latest single that came out last week called Found.
It's a debut album. It's coming out on Young, the
label Young. It's releasing Twigs and xx and lots of
very cool stuff. It's gonna be very cool and yeah,
(34:01):
it's called like a Ribbon Is. The debut album comes
out on the fourteenth of feb But in twenty twenty one,
I thought this was a debut album that came out
in twenty one called Shiloh Lost for Words, which I loved.
It was one of my favorite albums of the year.
I think that's now being considered a mixtape. I mean,
because this new one's being considered the debut album. But
(34:23):
go back listen to that record. There was an EP
earlier this year. I just love John Glaci's thing. I
don't think she's gonna necessarily be the sort of artist
that plays loads of shows and gives loads of interviews.
I think she's a bit more insular than that. I
think that she's probably more Frank Ocean than Tyler the
(34:45):
Creator say, like, in terms of putting herself out there.
But on record, I think it's gonna it's going to
land with people. This song Found is the first one
from it.
Speaker 4 (34:55):
Oh, when I start up, do stress out too much?
Let's trust when you get out the gone Dizzel Gone,
I do not. Then we get rounded anyhow, any means
how I get founded, how well at my feet me
(35:18):
when I step past the stress out too much? Let
us trust when you get out the gone dizzel gone,
do not don't we get rounded anyhow?
Speaker 1 (35:31):
Any means I get John Glacier, Greg. Who have you
got for this week's Beat the Outground? Well, Charelle's back
with new music stud I know you like Charrell London
born artist producer DJ. She has a track called meet
Me at the Temple and it features jungle Legend clips
have a little blast on this. So I absolutely love Charrelle.
Speaker 2 (36:25):
She's been making music for a number of years now,
but I really like that it's what I need to
just like blow the cob webs away tonight on the podcast.
I think she's also announced. Charrel she does these shows
called chirall Land.
Speaker 1 (36:39):
You heard about that.
Speaker 2 (36:40):
It's basically something that like they're kind of like raves
live show raves that basically in response to the fact
that you know, money is tight, the cost of living
has like been kicking most of our asses the last
few years, and so she started a thing where she
was doing parties, Like every party that she threw was
ten pounds to get in because she was like, you know,
a night out should not just be considered like a luxury,
(37:03):
Like we need this stuff, so like, let's make it
as affordable as she can, and she's doing. She's announced
the biggest ever Charrell Lounde show, which is going to
be in the sort of three sixty round at the
iconic Roundhouse venue in London in April. That sounds really
really good. If you're interested in reading more about her
in her background, go and check out an interview that
(37:24):
Loud and Quiet did feature that we did in the
magazine and online a couple of years back twenty twenty one,
I think it was. We'll stick a link in the
in the show notes for you to go back and
have a read about that, about how Charelle's building an
amazing platform for black and queer artists and yeah, love
this new music.
Speaker 1 (37:40):
Love Charelle. She's got a great label called Hoover Sound
as well, which she released. It's got lots of like
great jungle on it. Guy called Tim Reaper she released
her amazing Yeah, I love Charelle, good choice. Thanks Now.
Then that's the end of this week's podcast. We hope
it has been enjoyed. Boy it felts out. It's been
(38:01):
quite fun too. I don't know how much of this
is going to make the edit, Greg, but the long
version that we've just experienced was good fun.
Speaker 4 (38:09):
Well.
Speaker 1 (38:09):
We are Midnight Chats.
Speaker 2 (38:10):
We have the music podcast that dares to go to
places that other music podcasts don't, including How You Want
to Die.
Speaker 1 (38:17):
If you are not a follower yet, please give the
show a follow on whatever platform you're currently listening on,
you can always drop us a line at info at
loudon quiet dot com, or just via Instagram. Midnight Chat's
pod is where we're at. Thank you for listening. Please
do tell a friend. We will be back next week
with a new episode of the podcast. Until then, good night,
(38:39):
Thank you very much for listening.
Speaker 2 (38:45):
Midnight Chats is a joint production between Loud and Quiet
and Atomized Studios for iHeartRadio. It's hosted by Stuart Stubbs
and Greg Cochrane, mixed and mastered by Flow Lines, and
edited by Stuart Stubbs. Find us on Instagram and TikTok
to watch clips from our recordings and much much more.
Speaker 1 (39:02):
We are Midnight Chats pod. For more information, visit loudan
Quiet dot com.
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