February 5, 2024 • 30 mins
Celebrating the release of their new smash "Blame You", Dan from NERO joins us for the first time on AD30, and shares how the song was born, how many Vs there were of it before it was released, and what's different about this song compared to past NERO releases.
We also get to know Dan & NERO better w #FinkysFirsts!
Find out about:
Follow: @AmericasDance30 on all socials!
Count down the biggest dance songs in the country every week with Brian Fink on America’s Dance 30; listen on stations around the world!
We also get to know Dan & NERO better w #FinkysFirsts!
Find out about:
- what he first wanted to be growing up
- the first song they produced
- the first dance song that made him fall in love w EDM
- how they first decided on the name 'NERO', and if there were other names being considered
- the first show they did
- the first discussions on the return of NERO
- the first thing Dan admits to loving too much
Follow: @AmericasDance30 on all socials!
Count down the biggest dance songs in the country every week with Brian Fink on America’s Dance 30; listen on stations around the world!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Dan Nero. It is an absolutehonor finally meeting you, But I gotta
be honest with you. I wishthis conversation was happening ten eleven years ago
because I just want to ask everythingabout promises. Crush on you. Guilt
must be the feeling all the neuroclassics. That first album had a lot
(00:22):
of singles. It's when you justsort of drilled them off like that.
It's crazy so good. But I'mgoing to fight that urge because this is
all about your brand new smash BlameYou, dan Nero. Welcome to America's
Dance thirty for the first time.Thank you for having me dance counting down
(00:55):
the biggest dance songs in the country. This is America's Dance thirty Now.
Your latest smash, Blame You,is kind of a return to your drum
and bass route, even though youknow you're pretty much a dubstep group.
But one thing that hasn't changed ishow incredible Alana's voice sounds. Yeah,
(01:18):
she's she sounds great, and she'skind of what makes a Nero song recognizable
as Nero sort of quite quickly,you know, I think as soon as
you hear Alanda's voice especially when weplay When we play shows and we're testing
out the new material, obviously newstuff that people haven't heard before is never
going to get like a reaction asmuch as say, I promises where everyone
(01:41):
knows it, you know. Butbut actually as soon as people hear Alanda's
voice and they know, oh,I've never heard this, this must be
you. And that's that's great becauseit just means that, you know,
we're able. We don't have tosort of we never really we never get
on a microphone that shows us up, so we have to like flag up
like, oh, this is anew thing when we're testing out. You
know, it's called people know.So it's nice. It's like a cool
(02:04):
it's she's she's very much like asort of cooling card and a sort of
usp as well. I think.Really yeah, and I was deep diving
some of your posts leading up tothe release of Blame You, and pretty
much all the comments were, ohmy god, Alana sounds so amazing.
Yeah, it's great, it's great. It's great. It's great for her
(02:24):
to see that. You know,she's been she's been just a full on
mob life, you know, Like, so we've got two kids and a
third on the way and we are, you know, we're just very much
like coming out of this just beingparents now and sort of feels like we're
really dipping our toe back into youknow, into bad life. So it's
(02:49):
it's great. It's great that thereactions there's been like that, you know,
It's it's so nice, and it'sgreat for her because she's obviously always
going to be a little bit like, oh my god, my goodness,
this is you know, this isthis is so different to what I'm used
to for the last you know,six years or whatever, and that's that's
really great. It's like really nicethat she's there's been that reaction and she
is just like she's got such aunique sounding voice, like I honestly think,
(03:13):
you know, like you could youcould hear Alana very quickly because I
guess it's the slight British twang helps. And then she's got kind of an
eighties she doesn't have that kind ofreally over overly worked sort of modern pop
sound. It's more than eighties kindof like raw kind of like voice,
you know. So that's that's reallycool. It stands out from from sort
of a lot of a lot ofthe other sort of pop singers, I
(03:36):
guess, or that kind of popsound. Oh, it definitely does.
And early congratulations on the kid onthe way because I'm sure I'm not chatting
too closer. Now I can't waitto find out how blame You was born.
But before that, let's get toknow Dan and Nero a little better
with Finky's first Okay, yeah,so I love finding out the origin story
(04:02):
of artists. Now, you playedcello at a young age, right,
that's correct? Yeah, well Isaw I was. My dad's a musician.
He's a double bass player. He'sclassical and playing a lot of jazz.
He was, you know, verybig in the London jazz scene.
So there were always instruments in myhouse. I grew up with just being
(04:24):
surrounded by instruments. I got myfirst drum kit when I was three,
and then I started playing cello atabout ten, and I went to a
music school and studied cello and pianofor about ten years. But I was
always just picking up everything, youknow. I picked up a bass and
guitar, and I mean, I'messentially like a rhythm section roll into what
(04:46):
I plus the cello, you know. But so yeah, very musical upbringing,
and I was always surrounded by instrumentsand just like really interested in making
sounds noises, and so I pickedthat up. This is probably gonna be
a stupid question then, but wasmusic the first thing you wanted to get
into or was there something else youwanted to be when you grew up?
(05:10):
It was always music, I think, But I don't know, like it's
hard to remember what you thought,you know, really in the early days
when like when I started picking upinstruments, I was three or four,
so I guess I didn't really knowwhat I wanted them, but I felt
like an affinity to I got diagnosedrecently with the autism and ADHD, and
I sort of like, I thinkin a way like that was my early
(05:30):
kind of point of just sort oflike going into my own world, you
know. It enabled me to sortof go to my own place when I
sort of struggled with socializing a bitas a kid, so I I had
music instead basically. But yeah,i'd say by the age of like by
the age of fourteen fifteen, Iwas just I wanted to write music,
(05:53):
you know, I wanted that's whatI wanted to do, being a band
or I was probably about fourteen whenI got interested in computer music, you
know, synthesizers and stuff. Gotcha. Now, as I mentioned, you
have some incredible classics. You know. I can listen to the remix of
Promises on repeat, over and overtwenty four seven, three sixty five and
(06:17):
the return of Nero with RL Grimelast year with Renegade, I personally think
that should have been a number onesong, but I guess that's a bug
in my pay praide. It kindof stuck under the radar that one,
actually, but I think it's youknow, everyone always just don't release a
deer might that might be part ofit. But we're actually we've got another
(06:41):
version of it on the album.We've like reworked it, so it'll becoming
a slightly different version of Renegade willbe on the album, so that'd be
cool. People will sort of anyonewho hasn't found it, you know,
might find it through to the album. So that's great. Well, I
hope the rest of the radio programmersfind it and it does climb the charts,
because so was amazing. But doyou remember the first song you produced?
(07:04):
Yeah? I remember, well,I remember the first song Joe and
I produced because we we were writingseparately. At first, we were kind
of like it was a bit competitive, so among our group of friends we
were sort of compete for who whocould write the sickest be you know so,
and then and then, like Iguess fairly soon we realized, oh,
(07:27):
we should just let's just try andwrite something together. And so the
first song we ever wrote was I'veStill Got It. I found it recently
on a CD and it's it's terrible, but it's you know, it's it's
great to hear, you know.So that would have been in the year
two thousand or two thousand and one, I think, and it was called
(07:47):
AK forty seven because it had likea gun sound. It was pretty basic,
man, pretty basic. But itwas only three years later we put
out the first, our first everNero song, Wow, in two thousand
and four. It's crazy. It'stwenty years of Nero this year. That
is so amazing. Congratulations on that. Now, thinking back, do you
(08:09):
remember the first dance song that madeyou fall in love with d M?
Yes? I do. It wasincredible by being a general Levy so old
jungle song from nineteen ninety four,and it was on a the first ever
high Fire I got was in ninetyfour, and so I got a CD
with it, and the CD wasnow Danced the Best of ninety four and
(08:33):
a lot of it was a lotof music on there was kind of trash.
There's a few like things that arestill club club classics, you know,
like stone Cold, but incredible.That song for me was just like
oh what is this? And Istill play that song in my sets now
to this day. You know,it's it's just it's the one that got
me into it. But very shortlyafter that, the Prodigy like very big,
(08:58):
you know, like I sort ofvery soon after that, I went
back to the Experience, which wasthere. I think that came out in
ninety four or maybe it's ninety two, but it's the first Proj album,
and that was just like mind blowing. Yeah, and that again, just
so many classics on that on thatalbum, it's insane. I'm just thinking
back to Firestarter and Breathe Yeah,yeah, exactly. Yeah. I mean
(09:20):
that's so that's a third album,but they've already had two like sick albums
by that point them. So that'slike the first album is like really old
school rave certainly, it's it's kindof like what's happening now. You know
a lot of people are looking backto that, to that sound, I
think, but then yeah, theyjust obviously yeah, when you drop your
third album but it's got things likeBreathe and bitch Up and all of that
(09:43):
stuff, it's like, wow,exactly, that's so good and dark punk
again, very you know. Iremember like when Around the World dropped,
just like that was a game changerfor me as well. And then I
loved like stuff like Square put Sureand Aphex twin like the more kind of
like crazy, you know, likemangled up, like every bar is different,
(10:05):
you know, like the drum padin every bar changes and it's just
wild. I got really into that, you know, like just geeking out
and just being right. You know, how could I just basically spend like
a day just on a on adrum pattern. It's incredible how eclectic your
taste was, from Prodigy to DaftPung to Jungle. Yeah, well,
(10:26):
I guess like that was definitely likethe the dance stuff was very much like
stuff in the UK and like thestuff coming out front. But but like
probably my main musical like influence,the thing that started it all for me
was the Beatles, So I was, I was. I got my first
Beatles like album when I was three, about the time I started playing drums,
(10:48):
right, so I was, Iwas just doing ringo beats, right,
you know, That's how I learned, just doing some of the simple
ringo beats. And yeah that theBeatles still to this day, you know,
there's They're just a very special,very special for me. But Joe
and I also bonded on a loveof rock, like we're both we were
both massive the bar effects and yeah, just like that kind of a lot
(11:09):
of that nineties grungy rock, thelike some great stuff that Radiohead, you
know, bands like that. Wehad very similar taste in electronic and then
very similar taste in outside electronic aswell. You know, now, when
(11:33):
you guys were deciding on an artistsname, was Nero the first name you
guys were going to go with?Or were there other names on the list.
There was a lot of names onthe list. I remember, I
remember it just being like it wasit was like the night before the artwork
for our first single had to behad to be printed, right, and
so the label manager just like,guys, you need just give me a
(11:56):
name, Just give me a namenow because we need it, you know,
and we had loads, but Nerojust kind of near stuck because it
was just short and we wanted tolike a one word, simple name,
but also it sounds familiar because ofunfortunately there has been used a lot in
terms of obviously the Emperor being themain one, and they used to I
guess there's still is a CD burningsoftware, but that's I don't know how
(12:20):
many people in the background exactly.And there's also like a chain of coffee
shops in the UK called Nero,And there was definitely a time where we
actually really grew the decisions called ourselvesNero, maybe about ten years ago,
and it's like, ah, youknow, like you knows there's other Nerors,
(12:41):
but at the time we didn't reallyactually know. It wasn't. It
was based purely just on it's familiar, it's short, and it's when you
hear it, you're gonna be like, so I must know there because I
recognize the name kind but not muchand really like just it's Italian for black.
We were always sort of that kindof thing was we used to be
(13:03):
quite sort of dark in the stuff. Well, actually, I don't know
the first few things. Our firstfew releases were kind of bordering on comical,
but then we went quite quite dark, you know. But I started
I was listening to sort of ourold stuff recently because we might put up
like a little retrospective of like,well, this is how we got to
(13:24):
this point, you know, Andit was it's funny listened to those old
things. But actually it's interesting becausewe just we didn't really care then it
was it was just fun. Itwas a hobby, right and then and
then you can you can hear that, you can hear what was the point
we listened when you listen to ourold stuff? But oh, okay,
a job, yeah exactly. Now, can you give us one other name
(13:48):
that was on the list that youguys were possibly going to be called.
I don't know if I can.You know, there's some names that I
sort of remember, but I don'tknow if they were on the list.
I think they were like kind ofof comedy names that might have been on
the list ironically, or that wemaybe we were like we might put out
a couple of things under studio.One day we had was Rogue and Josh,
(14:09):
because there's there's a there's a oneof our favorite like Indian dishes,
it's called a Rogan Josh, butlike we were the big rogue and Josh.
I mean, like it's just sosilly, but that was that was
like, you know, we're like, if we ever just put out some
some music that we don't want toparade name to, we'll do it under
you now we know. Yeah.Actually one of our one of our one
(14:31):
of our friends was was like reallyinto kind of like silly, silly names,
and he was like, but hewas also like a massive drummer based
fan. He liked the kind ofhe loved those kind of MC names and
stuff of that era. I rememberhe was told he kept on saying Nauseelles,
hydro Man, and Compressor. Itwas just it's a very early naughty
(14:52):
drummer based kind of name. Andwe were like, it's it's hilarious,
but I'm just glad you guys decidedon neuro Yeah exactly. Yeah. I
was sharing with Aiden how I gotthe amazing opportunity to see you guys opening
up for K five last year atRed Rocks, which was just an unbelievable
(15:13):
show. Do you have a greatidea? Oh? That was my first
time there, so not only seeingthe return of you guys seeing K five,
but also being my first time,so it was amazing. Do you
remember the first Nero show you guysdid? Yeah, I did. It
was in Leicester, which is likea city sort of their midlands, middle
(15:33):
of England. I was going touniversity in Leicester and Joe was at Oxford.
I was at Leicester and we werewe were right, we were like
sort of writ and there was adrum based label called form Bason Records based
in Leicester. I found out thatthe label manager, guy called Alex,
was coming in to give it likea lecture at the university and I was
(15:56):
like, I was a sleep atthe demo and and so we got signed
for me Records and they had theyhad a night in a cool little club
in Leicester that and that was thatfirst of a show. So it was
right around the time our first song, which is called Space two thousand and
ward came out and that was thatwas great, But it really dates it
because you know, we were allon vinyl back then, and I remember
(16:18):
they had actually they managed to getsome CDJs because we had a bunch of
unreleased music we wanted to play.And I was like oh, can you
get can you get some of thosepioneer CDJs? Because we wanted to play
some new stuff and so so yeah, and that was like amazing. I
was like, oh my god,these things are these things incredible? Now
they're just right. You don't seevinyl anywhere, and you know, you
don't see twelve tens anymore, youdon't see CDs anymore. Exactly, yeah,
(16:42):
exactly, So that really dates it. You know. It's like those
old days turning up with a recordbag and then a CD wallet, you
know, and now it's just youturn up with a USD. So I've
been doing a mixed show on Saturdaynights for a little over twenty years,
I think, and I remember bringingin a huge Duffel bag just full of
(17:03):
books of CDs, and we wouldhave to bring that Duffel bag everywhere we
were doing shows. Yeah, Iknow, I know, it's crazy.
I have a recurring panic dream thatI probably have like three times a year
maybe, and I'll turn up toa gig and I've got my old CD
wallet full of CDs and I'm justverdically searching for you know, that's basically
(17:26):
the last time I probably played aCD in a club was in putting out
two thousand and seven. So I'mverdically searching for something that just sounds relatively
current, you know, and Ijust put on an early Nearer song,
and then as I'm looking for somethingto play next, the song runs out,
and then everyone leaves the room.I've had a dream like that where
(17:48):
there's dead air and I can't figureout on the radio and I can't figure
out what's going on. Man,those are the worst dreams. Yeah,
the horrible. Now, as Imentioned, last year mark the return of
Nero. But what was the firsttext or call between you guys kind of
discussing the return. I think itwas probably around twenty nineteen. We we
(18:12):
decided it was you know, we'dlike, well, we decided to said
to each other a few things.So after the second album, we just
toured like so much, and thenwe were like, well, let's just
take a break now from from touringand gigging. And actually, you know,
with the with lockdown and COVID,you know, kicking it in twenty
(18:33):
twenty, it was like, well, we finally got some time to get
into the studio. And obviously it'sweird because it's a very difficult, you
know, tough time. So thento try and be creative during that was
was it was kind of hard.But then I guess kind of inspiring for
us because you know, Nero's sortof all about the apocalypticbes a moment.
(18:56):
Yeah, exactly exactly, that's it. So so yeah, there was never
really like a call that's like right, let's we'd never say right, let's
start doing an album. I guesswe just send enough stuff back and forth
and like liking enough of each otherstuff to feel okay, let's we're starting
to hear a sound and a concepthere. Let's let's just start working on
(19:18):
it. You know. So therewas no text like what are you doing?
What are you up to? No? No, no, no,
no new phone. No we're notWe're not that together. Man, it
would be great if we could belike, right, let's do it now.
It's much more like just very verysort of gradually dipping our toe in
the water until until we feel likeright, you know. I mean,
(19:40):
it's just, you know, that'skind of a thing with a production duo.
You know, Joe and I wereyou know, we're from being best
friends, just being in this youknow, this band that blew up,
and it's it sort of changes thedynamics so much that sometimes as friends would
be like, yo, what's goingon, let's write a tune. But
then suddenly like it's kind of thisother thing. And so, you know,
(20:00):
we're still obviously still very close friends, but it's it's like now you
kind of just it's like a bitmore tensative of like, well, what
are we doing next? You know, you know, you know to kind
of you know, there's also thatthing when you start talking business. It's
kind of like, oh, right, we're going up. The friendship hat
comes off and the business hat goeson. So it's never like bang,
we're going to do this. It'skind of just gentle, gentle, you
(20:22):
know, easing our way into it. Not along the same lines, but
it's kind of like I moved inwith my best friend at the time and
that killed our friendship. Like wewere great before we moved in, but
then once we moved in, it'sall business and it's like, oh man,
this ruins everything. Oh yeah,it puts pressure on it friendship,
you know. But like with withWelcome Reality, we were not expecting that
(20:45):
to, you know, that tohappen, and it just blew up out
of nowhere. You know a lotof you know, just right time and
right place, but the right soundfor that time and stuff, and it's
and it just really likenocked us forsix and we were they we're thinking,
you know. So then when itcomes to the second album, it's suddenly
it's like there's so much pressure,a lot of pressure of what was like
(21:07):
felt like it's just like, oh, it's doing our things. So it's
like you question everything. And thenthat is obviously difficult to then balance a
friendship and a business partnership when there'sall that pressure on it. And obviously
Elanda and I are married, sothat's sort of that's pressure itself. Well,
(21:36):
finally, in Thinky's first, inhonor of your news smash blame you,
what's the first thing you admit toloving too much? Oh? My
goodness, I love I love agood a good wine. I love a
good bottle of wine, a nicea nice brandy or a whiskey. You
know, it's probably like one ofmy little guilty things of just like probably
(22:00):
too often setting down and evening witha with a nice brandy or something just
like right, you know, Ifeel like you know it when you know
your age. You know, liketen years ago, I wasn't sitting down
in an evening with a with aglass of brandy. It's become a little
a little guilty pleasure. Well,let's talk about this brand new smash.
How was Blame You Born? Weknew for this album we wanted to do
(22:23):
some druma bass because it felt likeit just been such a long time,
and it was never that we sortof you know, didn't want to write
druma base. It just it didn'thappen, you know. So when we
were doing the other two albums,well, there is actually a druma based
track on the There's My Eyes onWorking Rights, so there is a bit
of drum based on that. Butwith Between Two Worlds, yeah, it
(22:45):
just kind of didn't really happen onthat album. We just we were just
sort of working on other stuff.We had other ideas we wanted to try,
and this time with this album,it's it's the whole point is it's
kind of like it's bridges the gapa bit, I think between Between Two
Worlds and Welcome Reality, and sowe wanted to expect sort of go back
(23:07):
to some of that, like goback to our roots go back to some
of those sort of like darker soundsof that UK kind of like early sound
that got us in to dance music. So yeah, we were we were
like, we should definitely some drumbass on this album, and we were
working. We worked with a coupleof producers on this album, which we've
never done before. It's like areally new thing for us. Everything was
(23:30):
just Joe, Alanna and I andwe like to down to just you know,
top lines, lyrics, everything,and it puts it puts a straight
on things as well, you're doingeverything yourself, you know, and and
so so we were like, well, it'd be great just to like have
other producers to bounce off and towork with. So it's just not always
(23:52):
me and Joe just sort of likelosing our minds and like is this good?
I don't know, I've lost allperspective, you know. So so
we'd sort of like, so we'reworking. We're working with a guy called
Adam who is also amazing graphic artistgoes under the name so Hood Limb and
uh and a producer called Francis Lavotaniand uh he's also incredible, And we
(24:18):
were like when we were speaking tothem, We're like, it'd be great
to do great to do drum basssong and blah blah blah, and so
actually blame you. The first thingfor that was Adam came up with like
sort of the top line, butwe're like, we wrote the lyrics for
it, and he had a hehad a version. It wasn't didn't have
like all the kind of raby arparpeggios and stuff and it that it had,
(24:41):
but it had the kind of thosekind of like chords that was really
the starting point was those was thoselike chords in the drop, and from
there we built up you know whatyou hear now basically, But yeah,
it's been you know what that's been. Like. Something that's been so great
with this album is is actually likeopening near up a little bit working with
(25:03):
a couple of other producers. Ithink that's really freed us up actually,
and we we're better because of that. Now we're like writing joy Joe and
I are sort of writing the bestwe have in a long time. So
it's, yeah, what is it? Is it tough bringing other people into
that process only in that you know, I feel like we were so like
(25:26):
hands on, it was all sojust us that it felt weird. I
wouldn't say tough, but it feltstrange at first that we were working with
other people, sort of letting otherpeople in. But but but no.
In fact, if anything, it'sa lot less tough, because, like
I said earlier, if Joe andI are working on something and then we
(25:48):
kind of lose we kind of becomea bit deaf to it because we've overheard
it, or or if I'm like, yeah, I don't like that,
Jone's like what I do? Youknow, that is great to actually have
a bit of a sounding board oftwo other producers who we admire and respect
greatly. That's that's actually something that'sreally really, really beneficial, and it's
(26:08):
helped a lot because we trust theiropinion. And so if Joe and I
have slightly lost our way on onon the track, then you can step
out of it. Could we could? Yeah, we could? What we
could just say guys, what doyou think and either get feedback or say
why don't you just try it?Or something? On this one, you
know, we're sort of a bitstarck here. What can you do?
You know, what can you dothere? And so that's yeah, that's
(26:33):
it's it's really nice, man,it's it's it's felt really good now.
Something that I love to find outabout songs is how many different v's there
are from when you start working ona song, all the tweaking that goes
on to when you finally master itand put it out. Do you remember
what the final v was or blameyou blamey might not have been too bad,
you know, I think all Iknow is the final, the final
(26:56):
master mixed down is called final isblamey final final, So that means,
you know, it's been a fewfinals until it gets to final final,
right, But it wasn't too badfor Blake, you know, we we
are the worst. It like there'stracks from Between Two Words where there were
it was you know the thrill youknow, like the thrill version like fifteen
(27:22):
b then then like different blah blahblah, you know different twelve final seven
or something. You know. Itwas like just absolutely crazy. And actually
with Between Two Worlds, maybe oneday we'll put them out. They were
it was like we were just doingdifferent versions of we were just changing the
track on all of those tracks overand I remember there must be about twenty
(27:45):
versions of Two Minds that are completelydifferent. It is just like the vocal
is pretty much anything that's the same. But it's kind of the only way,
you know, if it's right,that you have to almost go through
that absolute despair and see the belike, no, we've worked, We've
come to the best point now orwith the thrill, we ended up almost
(28:06):
back to the version it was bytwenty twelve. That song was basically kind
of there, and then we changedit, changed it, changed it,
changed it and eventually ended up beinglike the twenty twelve version, but just
better produce. Really, so yeah, believe me, I totally get it.
The final master of this video willprobably be Final, Final, Final,
(28:26):
Final, Final fee five. Well, congratulations, I'm sure all producers
are prone to it. I'm surenot just it's so annoying being a perfectionist.
Congratulations on the brand news smash.What's next for Neiro? So another
single after this one. It's calledtoo Many Questions, but we're putting the
(28:48):
final touches on that now and actuallythe final touches on the whole album.
It's sort of very much last Week'sTime and then then yeah, album out
April. I hate committing to adate. I'm still wanted to go back
or to change, but like Aprilthe latest really you know, like it's
like I said, we are verymuch across pretty much across the finish line.
(29:11):
So so yeah, and then uh, tall end of this year and
we're going to do know what aswell. Actually it's been so long since
we've played the UK, and we'rejust we're talking about just going out and
doing a load of UK shows,like little sweatbox clubs, you know,
like just small little things just forjust for vibes and to get back again.
(29:32):
It's like, you know, reconnectingwith our roots. We were that
was that was us like two thousandand nine, twenty ten. You know,
we were just like every weekend playingthree shows and little sweatbox clubs.
And I missed that. I missedthat vibe, man. So I'm yeah,
I really want to do that again. I want to I want to
get out there, get into someclubs, do those little shows, and
(29:56):
then yeah, end of the year, you know, like a proper,
proper by tool. Well, Iknow you're talking about the UK, but
I can't wait to see you backhere in the US as well. It's
gonna be amazing, Dan Nero.It is an honor finally meeting and chatting
with you. Thank you so muchfor your time with us on America's Dance
thirty. Thank you so much,by thank you much. America's Dance thirty.
(30:18):
Counting down the biggest dance songs inthe country. America's Dance thirty
Dan Nero. It is an absolutehonor finally meeting you, But I gotta
be honest with you. I wishthis conversation was happening ten eleven years ago
because I just want to ask everythingabout promises. Crush on you. Guilt
must be the feeling all the neuroclassics. That first album had a lot
(00:22):
of singles. It's when you justsort of drilled them off like that.
It's crazy so good. But I'mgoing to fight that urge because this is
all about your brand new smash BlameYou, dan Nero. Welcome to America's
Dance thirty for the first time.Thank you for having me dance counting down
(00:55):
the biggest dance songs in the country. This is America's Dance thirty Now.
Your latest smash, Blame You,is kind of a return to your drum
and bass route, even though youknow you're pretty much a dubstep group.
But one thing that hasn't changed ishow incredible Alana's voice sounds. Yeah,
(01:18):
she's she sounds great, and she'skind of what makes a Nero song recognizable
as Nero sort of quite quickly,you know, I think as soon as
you hear Alanda's voice especially when weplay When we play shows and we're testing
out the new material, obviously newstuff that people haven't heard before is never
going to get like a reaction asmuch as say, I promises where everyone
(01:41):
knows it, you know. Butbut actually as soon as people hear Alanda's
voice and they know, oh,I've never heard this, this must be
you. And that's that's great becauseit just means that, you know,
we're able. We don't have tosort of we never really we never get
on a microphone that shows us up, so we have to like flag up
like, oh, this is anew thing when we're testing out. You
know, it's called people know.So it's nice. It's like a cool
(02:04):
it's she's she's very much like asort of cooling card and a sort of
usp as well. I think.Really yeah, and I was deep diving
some of your posts leading up tothe release of Blame You, and pretty
much all the comments were, ohmy god, Alana sounds so amazing.
Yeah, it's great, it's great. It's great. It's great for her
(02:24):
to see that. You know,she's been she's been just a full on
mob life, you know, Like, so we've got two kids and a
third on the way and we are, you know, we're just very much
like coming out of this just beingparents now and sort of feels like we're
really dipping our toe back into youknow, into bad life. So it's
(02:49):
it's great. It's great that thereactions there's been like that, you know,
It's it's so nice, and it'sgreat for her because she's obviously always
going to be a little bit like, oh my god, my goodness,
this is you know, this isthis is so different to what I'm used
to for the last you know,six years or whatever, and that's that's
really great. It's like really nicethat she's there's been that reaction and she
is just like she's got such aunique sounding voice, like I honestly think,
(03:13):
you know, like you could youcould hear Alana very quickly because I
guess it's the slight British twang helps. And then she's got kind of an
eighties she doesn't have that kind ofreally over overly worked sort of modern pop
sound. It's more than eighties kindof like raw kind of like voice,
you know. So that's that's reallycool. It stands out from from sort
of a lot of a lot ofthe other sort of pop singers, I
(03:36):
guess, or that kind of popsound. Oh, it definitely does.
And early congratulations on the kid onthe way because I'm sure I'm not chatting
too closer. Now I can't waitto find out how blame You was born.
But before that, let's get toknow Dan and Nero a little better
with Finky's first Okay, yeah,so I love finding out the origin story
(04:02):
of artists. Now, you playedcello at a young age, right,
that's correct? Yeah, well Isaw I was. My dad's a musician.
He's a double bass player. He'sclassical and playing a lot of jazz.
He was, you know, verybig in the London jazz scene.
So there were always instruments in myhouse. I grew up with just being
(04:24):
surrounded by instruments. I got myfirst drum kit when I was three,
and then I started playing cello atabout ten, and I went to a
music school and studied cello and pianofor about ten years. But I was
always just picking up everything, youknow. I picked up a bass and
guitar, and I mean, I'messentially like a rhythm section roll into what
(04:46):
I plus the cello, you know. But so yeah, very musical upbringing,
and I was always surrounded by instrumentsand just like really interested in making
sounds noises, and so I pickedthat up. This is probably gonna be
a stupid question then, but wasmusic the first thing you wanted to get
into or was there something else youwanted to be when you grew up?
(05:10):
It was always music, I think, But I don't know, like it's
hard to remember what you thought,you know, really in the early days
when like when I started picking upinstruments, I was three or four,
so I guess I didn't really knowwhat I wanted them, but I felt
like an affinity to I got diagnosedrecently with the autism and ADHD, and
I sort of like, I thinkin a way like that was my early
(05:30):
kind of point of just sort oflike going into my own world, you
know. It enabled me to sortof go to my own place when I
sort of struggled with socializing a bitas a kid, so I I had
music instead basically. But yeah,i'd say by the age of like by
the age of fourteen fifteen, Iwas just I wanted to write music,
(05:53):
you know, I wanted that's whatI wanted to do, being a band
or I was probably about fourteen whenI got interested in computer music, you
know, synthesizers and stuff. Gotcha. Now, as I mentioned, you
have some incredible classics. You know. I can listen to the remix of
Promises on repeat, over and overtwenty four seven, three sixty five and
(06:17):
the return of Nero with RL Grimelast year with Renegade, I personally think
that should have been a number onesong, but I guess that's a bug
in my pay praide. It kindof stuck under the radar that one,
actually, but I think it's youknow, everyone always just don't release a
deer might that might be part ofit. But we're actually we've got another
(06:41):
version of it on the album.We've like reworked it, so it'll becoming
a slightly different version of Renegade willbe on the album, so that'd be
cool. People will sort of anyonewho hasn't found it, you know,
might find it through to the album. So that's great. Well, I
hope the rest of the radio programmersfind it and it does climb the charts,
because so was amazing. But doyou remember the first song you produced?
(07:04):
Yeah? I remember, well,I remember the first song Joe and
I produced because we we were writingseparately. At first, we were kind
of like it was a bit competitive, so among our group of friends we
were sort of compete for who whocould write the sickest be you know so,
and then and then, like Iguess fairly soon we realized, oh,
(07:27):
we should just let's just try andwrite something together. And so the
first song we ever wrote was I'veStill Got It. I found it recently
on a CD and it's it's terrible, but it's you know, it's it's
great to hear, you know.So that would have been in the year
two thousand or two thousand and one, I think, and it was called
(07:47):
AK forty seven because it had likea gun sound. It was pretty basic,
man, pretty basic. But itwas only three years later we put
out the first, our first everNero song, Wow, in two thousand
and four. It's crazy. It'stwenty years of Nero this year. That
is so amazing. Congratulations on that. Now, thinking back, do you
(08:09):
remember the first dance song that madeyou fall in love with d M?
Yes? I do. It wasincredible by being a general Levy so old
jungle song from nineteen ninety four,and it was on a the first ever
high Fire I got was in ninetyfour, and so I got a CD
with it, and the CD wasnow Danced the Best of ninety four and
(08:33):
a lot of it was a lotof music on there was kind of trash.
There's a few like things that arestill club club classics, you know,
like stone Cold, but incredible.That song for me was just like
oh what is this? And Istill play that song in my sets now
to this day. You know,it's it's just it's the one that got
me into it. But very shortlyafter that, the Prodigy like very big,
(08:58):
you know, like I sort ofvery soon after that, I went
back to the Experience, which wasthere. I think that came out in
ninety four or maybe it's ninety two, but it's the first Proj album,
and that was just like mind blowing. Yeah, and that again, just
so many classics on that on thatalbum, it's insane. I'm just thinking
back to Firestarter and Breathe Yeah,yeah, exactly. Yeah. I mean
(09:20):
that's so that's a third album,but they've already had two like sick albums
by that point them. So that'slike the first album is like really old
school rave certainly, it's it's kindof like what's happening now. You know
a lot of people are looking backto that, to that sound, I
think, but then yeah, theyjust obviously yeah, when you drop your
third album but it's got things likeBreathe and bitch Up and all of that
(09:43):
stuff, it's like, wow,exactly, that's so good and dark punk
again, very you know. Iremember like when Around the World dropped,
just like that was a game changerfor me as well. And then I
loved like stuff like Square put Sureand Aphex twin like the more kind of
like crazy, you know, likemangled up, like every bar is different,
(10:05):
you know, like the drum padin every bar changes and it's just
wild. I got really into that, you know, like just geeking out
and just being right. You know, how could I just basically spend like
a day just on a on adrum pattern. It's incredible how eclectic your
taste was, from Prodigy to DaftPung to Jungle. Yeah, well,
(10:26):
I guess like that was definitely likethe the dance stuff was very much like
stuff in the UK and like thestuff coming out front. But but like
probably my main musical like influence,the thing that started it all for me
was the Beatles, So I was, I was. I got my first
Beatles like album when I was three, about the time I started playing drums,
(10:48):
right, so I was, Iwas just doing ringo beats, right,
you know, That's how I learned, just doing some of the simple
ringo beats. And yeah that theBeatles still to this day, you know,
there's They're just a very special,very special for me. But Joe
and I also bonded on a loveof rock, like we're both we were
both massive the bar effects and yeah, just like that kind of a lot
(11:09):
of that nineties grungy rock, thelike some great stuff that Radiohead, you
know, bands like that. Wehad very similar taste in electronic and then
very similar taste in outside electronic aswell. You know, now, when
(11:33):
you guys were deciding on an artistsname, was Nero the first name you
guys were going to go with?Or were there other names on the list.
There was a lot of names onthe list. I remember, I
remember it just being like it wasit was like the night before the artwork
for our first single had to behad to be printed, right, and
so the label manager just like,guys, you need just give me a
(11:56):
name, Just give me a namenow because we need it, you know,
and we had loads, but Nerojust kind of near stuck because it
was just short and we wanted tolike a one word, simple name,
but also it sounds familiar because ofunfortunately there has been used a lot in
terms of obviously the Emperor being themain one, and they used to I
guess there's still is a CD burningsoftware, but that's I don't know how
(12:20):
many people in the background exactly.And there's also like a chain of coffee
shops in the UK called Nero,And there was definitely a time where we
actually really grew the decisions called ourselvesNero, maybe about ten years ago,
and it's like, ah, youknow, like you knows there's other Nerors,
(12:41):
but at the time we didn't reallyactually know. It wasn't. It
was based purely just on it's familiar, it's short, and it's when you
hear it, you're gonna be like, so I must know there because I
recognize the name kind but not muchand really like just it's Italian for black.
We were always sort of that kindof thing was we used to be
(13:03):
quite sort of dark in the stuff. Well, actually, I don't know
the first few things. Our firstfew releases were kind of bordering on comical,
but then we went quite quite dark, you know. But I started
I was listening to sort of ourold stuff recently because we might put up
like a little retrospective of like,well, this is how we got to
(13:24):
this point, you know, Andit was it's funny listened to those old
things. But actually it's interesting becausewe just we didn't really care then it
was it was just fun. Itwas a hobby, right and then and
then you can you can hear that, you can hear what was the point
we listened when you listen to ourold stuff? But oh, okay,
a job, yeah exactly. Now, can you give us one other name
(13:48):
that was on the list that youguys were possibly going to be called.
I don't know if I can.You know, there's some names that I
sort of remember, but I don'tknow if they were on the list.
I think they were like kind ofof comedy names that might have been on
the list ironically, or that wemaybe we were like we might put out
a couple of things under studio.One day we had was Rogue and Josh,
(14:09):
because there's there's a there's a oneof our favorite like Indian dishes,
it's called a Rogan Josh, butlike we were the big rogue and Josh.
I mean, like it's just sosilly, but that was that was
like, you know, we're like, if we ever just put out some
some music that we don't want toparade name to, we'll do it under
you now we know. Yeah.Actually one of our one of our one
(14:31):
of our friends was was like reallyinto kind of like silly, silly names,
and he was like, but hewas also like a massive drummer based
fan. He liked the kind ofhe loved those kind of MC names and
stuff of that era. I rememberhe was told he kept on saying Nauseelles,
hydro Man, and Compressor. Itwas just it's a very early naughty
(14:52):
drummer based kind of name. Andwe were like, it's it's hilarious,
but I'm just glad you guys decidedon neuro Yeah exactly. Yeah. I
was sharing with Aiden how I gotthe amazing opportunity to see you guys opening
up for K five last year atRed Rocks, which was just an unbelievable
(15:13):
show. Do you have a greatidea? Oh? That was my first
time there, so not only seeingthe return of you guys seeing K five,
but also being my first time,so it was amazing. Do you
remember the first Nero show you guysdid? Yeah, I did. It
was in Leicester, which is likea city sort of their midlands, middle
(15:33):
of England. I was going touniversity in Leicester and Joe was at Oxford.
I was at Leicester and we werewe were right, we were like
sort of writ and there was adrum based label called form Bason Records based
in Leicester. I found out thatthe label manager, guy called Alex,
was coming in to give it likea lecture at the university and I was
(15:56):
like, I was a sleep atthe demo and and so we got signed
for me Records and they had theyhad a night in a cool little club
in Leicester that and that was thatfirst of a show. So it was
right around the time our first song, which is called Space two thousand and
ward came out and that was thatwas great, But it really dates it
because you know, we were allon vinyl back then, and I remember
(16:18):
they had actually they managed to getsome CDJs because we had a bunch of
unreleased music we wanted to play.And I was like oh, can you
get can you get some of thosepioneer CDJs? Because we wanted to play
some new stuff and so so yeah, and that was like amazing. I
was like, oh my god,these things are these things incredible? Now
they're just right. You don't seevinyl anywhere, and you know, you
don't see twelve tens anymore, youdon't see CDs anymore. Exactly, yeah,
(16:42):
exactly, So that really dates it. You know. It's like those
old days turning up with a recordbag and then a CD wallet, you
know, and now it's just youturn up with a USD. So I've
been doing a mixed show on Saturdaynights for a little over twenty years,
I think, and I remember bringingin a huge Duffel bag just full of
(17:03):
books of CDs, and we wouldhave to bring that Duffel bag everywhere we
were doing shows. Yeah, Iknow, I know, it's crazy.
I have a recurring panic dream thatI probably have like three times a year
maybe, and I'll turn up toa gig and I've got my old CD
wallet full of CDs and I'm justverdically searching for you know, that's basically
(17:26):
the last time I probably played aCD in a club was in putting out
two thousand and seven. So I'mverdically searching for something that just sounds relatively
current, you know, and Ijust put on an early Nearer song,
and then as I'm looking for somethingto play next, the song runs out,
and then everyone leaves the room.I've had a dream like that where
(17:48):
there's dead air and I can't figureout on the radio and I can't figure
out what's going on. Man,those are the worst dreams. Yeah,
the horrible. Now, as Imentioned, last year mark the return of
Nero. But what was the firsttext or call between you guys kind of
discussing the return. I think itwas probably around twenty nineteen. We we
(18:12):
decided it was you know, we'dlike, well, we decided to said
to each other a few things.So after the second album, we just
toured like so much, and thenwe were like, well, let's just
take a break now from from touringand gigging. And actually, you know,
with the with lockdown and COVID,you know, kicking it in twenty
(18:33):
twenty, it was like, well, we finally got some time to get
into the studio. And obviously it'sweird because it's a very difficult, you
know, tough time. So thento try and be creative during that was
was it was kind of hard.But then I guess kind of inspiring for
us because you know, Nero's sortof all about the apocalypticbes a moment.
(18:56):
Yeah, exactly exactly, that's it. So so yeah, there was never
really like a call that's like right, let's we'd never say right, let's
start doing an album. I guesswe just send enough stuff back and forth
and like liking enough of each otherstuff to feel okay, let's we're starting
to hear a sound and a concepthere. Let's let's just start working on
(19:18):
it. You know. So therewas no text like what are you doing?
What are you up to? No? No, no, no,
no new phone. No we're notWe're not that together. Man, it
would be great if we could belike, right, let's do it now.
It's much more like just very verysort of gradually dipping our toe in
the water until until we feel likeright, you know. I mean,
(19:40):
it's just, you know, that'skind of a thing with a production duo.
You know, Joe and I wereyou know, we're from being best
friends, just being in this youknow, this band that blew up,
and it's it sort of changes thedynamics so much that sometimes as friends would
be like, yo, what's goingon, let's write a tune. But
then suddenly like it's kind of thisother thing. And so, you know,
(20:00):
we're still obviously still very close friends, but it's it's like now you
kind of just it's like a bitmore tensative of like, well, what
are we doing next? You know, you know, you know to kind
of you know, there's also thatthing when you start talking business. It's
kind of like, oh, right, we're going up. The friendship hat
comes off and the business hat goeson. So it's never like bang,
we're going to do this. It'skind of just gentle, gentle, you
(20:22):
know, easing our way into it. Not along the same lines, but
it's kind of like I moved inwith my best friend at the time and
that killed our friendship. Like wewere great before we moved in, but
then once we moved in, it'sall business and it's like, oh man,
this ruins everything. Oh yeah,it puts pressure on it friendship,
you know. But like with withWelcome Reality, we were not expecting that
(20:45):
to, you know, that tohappen, and it just blew up out
of nowhere. You know a lotof you know, just right time and
right place, but the right soundfor that time and stuff, and it's
and it just really likenocked us forsix and we were they we're thinking,
you know. So then when itcomes to the second album, it's suddenly
it's like there's so much pressure,a lot of pressure of what was like
(21:07):
felt like it's just like, oh, it's doing our things. So it's
like you question everything. And thenthat is obviously difficult to then balance a
friendship and a business partnership when there'sall that pressure on it. And obviously
Elanda and I are married, sothat's sort of that's pressure itself. Well,
(21:36):
finally, in Thinky's first, inhonor of your news smash blame you,
what's the first thing you admit toloving too much? Oh? My
goodness, I love I love agood a good wine. I love a
good bottle of wine, a nicea nice brandy or a whiskey. You
know, it's probably like one ofmy little guilty things of just like probably
(22:00):
too often setting down and evening witha with a nice brandy or something just
like right, you know, Ifeel like you know it when you know
your age. You know, liketen years ago, I wasn't sitting down
in an evening with a with aglass of brandy. It's become a little
a little guilty pleasure. Well,let's talk about this brand new smash.
How was Blame You Born? Weknew for this album we wanted to do
(22:23):
some druma bass because it felt likeit just been such a long time,
and it was never that we sortof you know, didn't want to write
druma base. It just it didn'thappen, you know. So when we
were doing the other two albums,well, there is actually a druma based
track on the There's My Eyes onWorking Rights, so there is a bit
of drum based on that. Butwith Between Two Worlds, yeah, it
(22:45):
just kind of didn't really happen onthat album. We just we were just
sort of working on other stuff.We had other ideas we wanted to try,
and this time with this album,it's it's the whole point is it's
kind of like it's bridges the gapa bit, I think between Between Two
Worlds and Welcome Reality, and sowe wanted to expect sort of go back
(23:07):
to some of that, like goback to our roots go back to some
of those sort of like darker soundsof that UK kind of like early sound
that got us in to dance music. So yeah, we were we were
like, we should definitely some drumbass on this album, and we were
working. We worked with a coupleof producers on this album, which we've
never done before. It's like areally new thing for us. Everything was
(23:30):
just Joe, Alanna and I andwe like to down to just you know,
top lines, lyrics, everything,and it puts it puts a straight
on things as well, you're doingeverything yourself, you know, and and
so so we were like, well, it'd be great just to like have
other producers to bounce off and towork with. So it's just not always
(23:52):
me and Joe just sort of likelosing our minds and like is this good?
I don't know, I've lost allperspective, you know. So so
we'd sort of like, so we'reworking. We're working with a guy called
Adam who is also amazing graphic artistgoes under the name so Hood Limb and
uh and a producer called Francis Lavotaniand uh he's also incredible, And we
(24:18):
were like when we were speaking tothem, We're like, it'd be great
to do great to do drum basssong and blah blah blah, and so
actually blame you. The first thingfor that was Adam came up with like
sort of the top line, butwe're like, we wrote the lyrics for
it, and he had a hehad a version. It wasn't didn't have
like all the kind of raby arparpeggios and stuff and it that it had,
(24:41):
but it had the kind of thosekind of like chords that was really
the starting point was those was thoselike chords in the drop, and from
there we built up you know whatyou hear now basically, But yeah,
it's been you know what that's been. Like. Something that's been so great
with this album is is actually likeopening near up a little bit working with
(25:03):
a couple of other producers. Ithink that's really freed us up actually,
and we we're better because of that. Now we're like writing joy Joe and
I are sort of writing the bestwe have in a long time. So
it's, yeah, what is it? Is it tough bringing other people into
that process only in that you know, I feel like we were so like
(25:26):
hands on, it was all sojust us that it felt weird. I
wouldn't say tough, but it feltstrange at first that we were working with
other people, sort of letting otherpeople in. But but but no.
In fact, if anything, it'sa lot less tough, because, like
I said earlier, if Joe andI are working on something and then we
(25:48):
kind of lose we kind of becomea bit deaf to it because we've overheard
it, or or if I'm like, yeah, I don't like that,
Jone's like what I do? Youknow, that is great to actually have
a bit of a sounding board oftwo other producers who we admire and respect
greatly. That's that's actually something that'sreally really, really beneficial, and it's
(26:08):
helped a lot because we trust theiropinion. And so if Joe and I
have slightly lost our way on onon the track, then you can step
out of it. Could we could? Yeah, we could? What we
could just say guys, what doyou think and either get feedback or say
why don't you just try it?Or something? On this one, you
know, we're sort of a bitstarck here. What can you do?
You know, what can you dothere? And so that's yeah, that's
(26:33):
it's it's really nice, man,it's it's it's felt really good now.
Something that I love to find outabout songs is how many different v's there
are from when you start working ona song, all the tweaking that goes
on to when you finally master itand put it out. Do you remember
what the final v was or blameyou blamey might not have been too bad,
you know, I think all Iknow is the final, the final
(26:56):
master mixed down is called final isblamey final final, So that means,
you know, it's been a fewfinals until it gets to final final,
right, But it wasn't too badfor Blake, you know, we we
are the worst. It like there'stracks from Between Two Words where there were
it was you know the thrill youknow, like the thrill version like fifteen
(27:22):
b then then like different blah blahblah, you know different twelve final seven
or something. You know. Itwas like just absolutely crazy. And actually
with Between Two Worlds, maybe oneday we'll put them out. They were
it was like we were just doingdifferent versions of we were just changing the
track on all of those tracks overand I remember there must be about twenty
(27:45):
versions of Two Minds that are completelydifferent. It is just like the vocal
is pretty much anything that's the same. But it's kind of the only way,
you know, if it's right,that you have to almost go through
that absolute despair and see the belike, no, we've worked, We've
come to the best point now orwith the thrill, we ended up almost
(28:06):
back to the version it was bytwenty twelve. That song was basically kind
of there, and then we changedit, changed it, changed it,
changed it and eventually ended up beinglike the twenty twelve version, but just
better produce. Really, so yeah, believe me, I totally get it.
The final master of this video willprobably be Final, Final, Final,
(28:26):
Final, Final fee five. Well, congratulations, I'm sure all producers
are prone to it. I'm surenot just it's so annoying being a perfectionist.
Congratulations on the brand news smash.What's next for Neiro? So another
single after this one. It's calledtoo Many Questions, but we're putting the
(28:48):
final touches on that now and actuallythe final touches on the whole album.
It's sort of very much last Week'sTime and then then yeah, album out
April. I hate committing to adate. I'm still wanted to go back
or to change, but like Aprilthe latest really you know, like it's
like I said, we are verymuch across pretty much across the finish line.
(29:11):
So so yeah, and then uh, tall end of this year and
we're going to do know what aswell. Actually it's been so long since
we've played the UK, and we'rejust we're talking about just going out and
doing a load of UK shows,like little sweatbox clubs, you know,
like just small little things just forjust for vibes and to get back again.
(29:32):
It's like, you know, reconnectingwith our roots. We were that
was that was us like two thousandand nine, twenty ten. You know,
we were just like every weekend playingthree shows and little sweatbox clubs.
And I missed that. I missedthat vibe, man. So I'm yeah,
I really want to do that again. I want to I want to
get out there, get into someclubs, do those little shows, and
(29:56):
then yeah, end of the year, you know, like a proper,
proper by tool. Well, Iknow you're talking about the UK, but
I can't wait to see you backhere in the US as well. It's
gonna be amazing, Dan Nero.It is an honor finally meeting and chatting
with you. Thank you so muchfor your time with us on America's Dance
thirty. Thank you so much,by thank you much. America's Dance thirty.
(30:18):
Counting down the biggest dance songs inthe country. America's Dance thirty
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