Hiatus Kaiyote

Hiatus Kaiyote is an incredibly talented group of four Australian musicians—vocalist and guitarist Nai Palm, drummer Perrin Moss, bassist Paul Bender and Simon Mavin on keys. But those aren’t permanent stations for any of them, they often move between instruments and all contribute to writing some of the most beautiful soulful music of the last decade.

Their latest album, Love Heart Cheat Code, came out earlier this year. It's the group’s fourth proper album and features some of their strongest songwriting yet while still managing to weave in some of the incredibly complex musical ideas they’re known for.

For today's episode, Justin Richmond met up with Hiatus Kaiyote at NRG Studios in Los Angeles, at the end of their US tour to talk through their new album. They also touch on their role as collaborators within—and outside of—the group, and we'll hear them perform a live set.

To see the full video version of this episode along with the band’s performance, visit YouTube.com/BrokenRecordPodcast.

You can hear a playlist of some of our favorite Hiatus Kaiyote songs HERE.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:15):
Pushkin.

Speaker 2 (00:20):
Today on the show, we have Hiatus Coyote in conversation
and in performance. This incredibly talented group of four Australians
have dazzled audiences, making fans of not only layman like myself,
but also have some incredibly interesting and accomplished musicians like
Erica Bado, Robert Glasper and even Willow Smith. They've also

(00:40):
been able to collaborate with giants of music like Q
Tip salam Remi in Brazil's Arthur Verocai. The group Hiatus
Coyote is vocalist and guitarist Napalm, drummer Paren Moss, bassist
Paul Bender and don keys Simon Mavin, but those aren't
permanent stations for them. Any of the four at any
time can move between instruments and all contribute to writing

(01:03):
some of the most beautiful, soulful music of the last decade.
Their latest album, to come out just early this year,
is Love Heart Cheat Code. It's the group's fourth proper
album and features, to my mind, some of their strongest
songwriting yet, while still managing to weave in some of
the incredibly complex musical ideas they're known for. I met
with the foursome at Energy Studios in Los Angeles at

(01:24):
the end of their US tour, to talk through the
new album, their role as collaborators within and outside of
the group, and to witness their magic up close and personal.
This is Broken Record liner notes for the Digital Age.

Speaker 1 (01:39):
I'm justin Richmond.

Speaker 2 (01:45):
To see the full video version of this episode, along
with the band's live set, including a version of their
songmak friends, visit YouTube dot com slash Broken Record podcast.
But for now, here's Hetus Coyote performing their song Dimitri.

Speaker 3 (02:10):
Bound down.

Speaker 4 (02:23):
Chi lots of things danger.

Speaker 5 (02:30):
My sick colors in the out further around and give.

Speaker 6 (02:35):
It about dry.

Speaker 7 (02:41):
Lots of thing danger my si colors now around and
now give it about.

Speaker 3 (02:54):
Up alone with the world man, fine, where have you teacher?

Speaker 8 (03:07):
Definition colling me aar s f W roll the dream
home way so I get try.

Speaker 7 (03:27):
Concert them to.

Speaker 1 (03:31):
I s t.

Speaker 7 (03:35):
Try it down. I'll give it up about Yeah.

Speaker 4 (03:39):
You try in a whole world.

Speaker 8 (03:50):
Jun down and now give it about to you if
it says too to your head time because you times if.

Speaker 9 (03:59):
You sit still to your head crime, I can't hear us.
Times your sid stoll to your head, I can't hear
us eight times. You may find an angel, he.

Speaker 7 (04:16):
Shut umble.

Speaker 5 (04:28):
Unto fry Jeezo, counter thinganger monteze intend Japan, londer down
and give it up, Bouser, you try to.

Speaker 4 (04:55):
Until they intend to.

Speaker 7 (04:58):
Well running down and half give it up.

Speaker 4 (05:02):
Bout you old.

Speaker 7 (05:06):
Lord the world world.

Speaker 10 (05:15):
Fine, well have beauties ibund to venish.

Speaker 7 (05:22):
Love joy you fack I have had the dream world
War of the swagon.

Speaker 11 (05:35):
You said, still digital head back mack out you, Joe said,
still Tito, head back, make out here three times to
persist digital heaven, Oh.

Speaker 7 (05:46):
Make out here three times?

Speaker 4 (05:48):
You may find as.

Speaker 10 (05:55):
He your sister didn't your head back tack came? He'll says,

(06:18):
my sister.

Speaker 4 (06:19):
Didn't your hair tack?

Speaker 7 (06:21):
He's a chap six in a home.

Speaker 6 (06:24):
Din't your hand back us?

Speaker 7 (06:28):
Did you had finger us your sister? Did you hair?

Speaker 4 (06:36):
Did you look at you use your.

Speaker 7 (06:39):
Sister to.

Speaker 6 (06:43):
Sing you ls?

Speaker 3 (06:44):
Sister?

Speaker 7 (06:45):
Did you tell us stoo.

Speaker 1 (06:55):
Whoa man? That was an incredible set, guys, you was beautiful,

(07:29):
maybe even more I was happy able to see it,
but maybe even more sad that there's not a l
a stop on the on the tour. Congratulations on the
new album. It's phenomenal. It is really good. It feels
like a perfectly sequenced record too, And hold on, guys,

(07:50):
was how many how many songs did you guys record
for the record?

Speaker 12 (07:55):
There's like a couple more extras. It didn't quite make it.
That's kinda happens every record. There's always a fear that
we were like, it's not quite it's not quite you know,
cooked enough, or we gotta, you know, maybe try to
reapproach it, so you know that, and they always usually
end up on the next record that always but not

(08:15):
always has been around.

Speaker 13 (08:17):
For a while.

Speaker 4 (08:19):
Also, the thing is like once you start the recording
process and trying to document the songs that we already have,
we also write a lot like Make Friends was a
very last minute addition to the record because we're just
like you know, in the mood to create, and so
there's always like something that just sneaks in, like Red

(08:41):
Room was like that on the last one, you know.
So yeah, it's never like a set amount of songs.

Speaker 1 (08:49):
How do you make Friends come together?

Speaker 4 (08:50):
Then Simon wrote the riff.

Speaker 14 (08:53):
Yeah, I was sitting at home on my upright piano
with my wife sitting on the couch and I just
started going.

Speaker 4 (09:02):
She was like, Simon made an unplugged.

Speaker 14 (09:05):
She was like, that's that was that's good and I
was like, all right, if if a non musician says
I like that, then generally that's a good thing.

Speaker 4 (09:13):
What was the turnaround on that? Because he just came
to the studio and was playing it and then I
literally wrote to it overnight. I was like, that's excellent.

Speaker 14 (09:19):
I didn't think it was going to be a higher
song really now, yeah, I didn't. I didn't hear it
to be a higher so he didn't present it that way.
I was just playing for the studio and then they
was like, what do you get this recorded on her iPhone?
And then at like three am sent me audio message
of her singing to it. Wow, And then it was
like all right, this is going to be a hiatus

(09:40):
And then we just went in the studio and it
just sort of came about really easily. Everyone just sunk
into it and we had it done in a few weeks.

Speaker 1 (09:49):
You know.

Speaker 4 (09:50):
We also like came up with the last vocal bit
after we recorded it, and we're mixing with Mario c
who is a legend. He produced like Beast Boys and shit. Anyway,
we're at his house and just kind of added that
in last minute, so he's singing on it, Scott our
managers singing on it. So we just kind of had
like a little party vibe in the answer. That was

(10:10):
a really cute addition to the song.

Speaker 1 (10:13):
What song were you guys recording when you started playing
that riff?

Speaker 15 (10:16):
Do you remember we're just probably rehearsing, We're just working
on the record, and then I think in your room room,
But it was like, I don't remember how it actually
came back because I didn't hear it, Like I only
heard it once and they had vocals on it, and
I think we were just jamming on it in my
room and then we just kind of pipped the microphones
up and just recorded.

Speaker 4 (10:35):
And it was telescope because it was like the Skulls
when I was recording the Skulls on that don't conkkunk.

Speaker 14 (10:43):
It was in that actual skulls.

Speaker 4 (10:48):
Telescope has witchy but no they what are they?

Speaker 1 (10:51):
Ik wood blocks, Alm sound way more bad ass. It's
a great remare was Dreamboat? Like? Was was Dreamboat done
before Telescope?

Speaker 14 (11:08):
Or did you Yeah, there's another song, Yeah, another one
that I didn't think would be a lot of the
things that I bring sometimes I'm like, this is going
to be the highest thing, and then all of a sudden, no,
it really.

Speaker 4 (11:20):
Is a highus song because everyone writes, you know what
I mean, like different bits and pieces, and that's what's
beautiful about this collaboration is it's like, I don't know,
all these like amazing artists want to work with us,
but I'm like so spoiled for choice because it's not
like people just playing instruments like everyone writes, so you
never really know what's going to develop into a hiatus song.

(11:40):
Sometimes it's just like a sound or like a little piece,
so like Cinnamon Temple, you know. So there's no real formula,
and I'm always like I'm like a spy. I always
have my voice notes like recording them.

Speaker 14 (11:54):
And then yeah, I think Dreamboat was earlier than Telescope
because yeah, we started playing it live as an intro
to the set before we did the record, so that
was the first kind of the I think the last
tour that we did in the States, that was kind
of our addition to open the set up.

Speaker 1 (12:13):
And then so was Telescope like an outgrowth from dream
because it's just no, no.

Speaker 13 (12:18):
It's a separate thing.

Speaker 4 (12:19):
Yeah, separate thing they both have concert harp on them though,
do you remember that's a thought also, so that kind
of ties it in Melina, Yeah, because it's like, I
don't know, when Simon showed us Streamboat, it had this
kind of like like Alice Coltrane elements, and I was like,
we should have harp on it. And I even like,

(12:41):
Dreamboat lyrically is inspired by a piece of hers called
Lovely Skyboat, and so like a dream boat is like
my version of skyboat. So we had harp on it
and then telescope sequencing coming after that is it's kind
of like it's a it's a boat, it's a dream boat,
a skyboat that takes you into space. So it made

(13:03):
sense to put telescope next, and then we're like, fucking
let's put harp on that as well. So that's why
it kind of seemed like sister songs.

Speaker 13 (13:11):
Yeah, and also once we heard the harp, it's like
he's kind of kind of.

Speaker 1 (13:16):
Who did the harp on that?

Speaker 4 (13:18):
Molina is something I played is a gijiang. There's like
a Chinese harp that There's just like there's heaps of
random instruments around the studio because the boys are nerds.
And collect things like harpsichords and stuff.

Speaker 7 (13:32):
So but that one was a jam as well.

Speaker 4 (13:35):
It was just like Simon found this like synth sound
and I was playing these gijang I can't actually play it,
but I was just like, you know, fucking about or whatever.
And on NASA's website, you can like type in your
birthday and it will show you a picture of what
the Hubble telescope took on your birthday. So each verse
is about like we just typed in each band member's

(13:57):
birthday and each verse is about that. Yeah, it was
very kind of just came together. I think that was
like during COVID when we were locked down and just
like being really creative and shipping away at stuff and
having a break.

Speaker 15 (14:08):
From mixing Mood Valiant. Yeah, just kind of came about
and then we're just like, actually, this is pretty cool.
Maybe next record potentially.

Speaker 1 (14:15):
And then I was going to ask about the lyrics,
like if you knew about like Einstein Ring, I was like,
this incredible stuff. I didn't, you know. I like to
look at space, but I don't really know space is
the place. I don't going on up there though, But
it's like, does anybody.

Speaker 4 (14:35):
Well, someone who does know who knows about Einstein Ring,
which is like maybe the coolest bit of trigger I've
heard about this record. But like a friend of ours
is doing an exhibition at the Planetarium in New York
and Neil degressed Tyson's office is down the hall from there,
and like I heard our friend playing it and like

(14:56):
walked in and was like, I think thing about Einstein Ring,
And I was like, who was the best?

Speaker 1 (15:00):
Like Coastline, you're joking, He's going to be.

Speaker 13 (15:05):
On our next record, going to get a collabor spoken.

Speaker 1 (15:08):
With this record and next record. I think that'd be
incredible because it's like it really is like a like
I mean, there's it's kind of like a dent lyrically,
it's a little dance but you but it's also like
the way you constructed it is it's concise too, Like
I don't know how you got away with it.

Speaker 4 (15:28):
It's I don't know how I get away with anything.
Just you know, raw dogging life right now, swing it.

Speaker 1 (15:37):
That's a good way to go for it.

Speaker 2 (15:41):
We'll be right back with more from hiatus Kyote after
the break. We're back with more from hiatus Kyote.

Speaker 1 (15:52):
How do you guys change things from like when you
guys are preparing to go out on tour and hit
the road, how do you like and what's the rehearsal
like for the album versus the rehearsal like for the
road and what are you guys looking for?

Speaker 4 (16:05):
They don't really rehearse for the album.

Speaker 13 (16:07):
We just make ye just.

Speaker 16 (16:09):
Make make things.

Speaker 12 (16:11):
And then it's like, you know, the sky's sort of
the limit, so you can just put any sound on
the record that feels right, and then and then it's
like cool, We've got to go on tour. And then
it's like, oh, ship, Like how do we actually execute this?
How do we do something that feels like has the
scope and the you know, and and the color of

(16:33):
the production that we've put together.

Speaker 4 (16:36):
So look how many fucking pedals?

Speaker 16 (16:38):
He has three boards and these.

Speaker 4 (16:42):
Got simmons and he's doing live effects as the drums,
which a lot of people don't really realize.

Speaker 16 (16:46):
Usually I have, like, you know, I didn't need for
the songs today.

Speaker 12 (16:50):
But there's sampler and bass synth, and he's got to
you know, JJ's got a sampler over there. So it's
just this puzzle of like you know, sampling stuff on
the record and making heaps of different sounds and trying
to figure out how to you know, encapsulate the energy
and the you know, the colors of what we did.
But yeah, it's always we did ourselves a pretty big

(17:13):
hole every time, at least at least some of the
tracks on the albums, like White Rabbit.

Speaker 4 (17:19):
White Rabbit was like hat like a fever dream. I mean,
it's supposed to be a fever dream, but basically, like Bender,
there was like an omnichord and we were running like
this shitty rhythm thing from it through his distortion pedals,
like his bass pedals, and like there was like a
mixer called it Alice.

Speaker 16 (17:41):
What is it Alice broadcast mixer?

Speaker 4 (17:44):
Yeah, and it has a little picture of a white
rabbit on it. So I just started singing what I
could remember of White Rabbit over this curse like distorted
rhythm thing of this like JANKI omnichord thing, and it
was just like an experiment, just fun, and then we
just kept like adding things and expanding on it, and
like Benders taught himself how to play Cello's there's like

(18:05):
cello on it, and there's a reference to like Dubussy.

Speaker 1 (18:08):
On it, and like what's the diversity reference.

Speaker 4 (18:10):
It's like claridalone is the B section because I didn't
love the B section similar cords.

Speaker 14 (18:20):
Oh god, I can't remember.

Speaker 1 (18:21):
I want to hear it, but the people, yeah, the.

Speaker 4 (18:27):
It and the cool thing is is like I never
really expected to a cover, but it just kind of
came together through playfulness, which is a big part of
our ethos. But also I like the idea that with
White Rabbit, it's kind of like, you know, it's it's
such a like iconic psychedelic moment in time, and when

(18:49):
people cover it, they kind of do like a throwback
psych thing, and I'm like, we have a whole new
level of psychedelia now.

Speaker 15 (18:57):
You know.

Speaker 4 (18:58):
It's like there is new drugs, there's new wars. There's
like there's like social media and like tech, you know, evolutions.
So there's like it's like what does what are those
themes that are still very much present today that will
probably always be present as long as humans are around,
because you know, but what was that sound like today?

(19:18):
And how how how do you like approach psychedelia without
referencing the sixties the sound of the sound of it
exactly so so we got real weird on it. But
that one's really hard to do live because there's just
so much going on.

Speaker 15 (19:37):
Do you know where we've got it together? We did
get it together so and then and then yeah, we
just we just stopped.

Speaker 13 (19:43):
We gave up.

Speaker 1 (19:44):
What's the part that like, fuck you guys up?

Speaker 15 (19:46):
Just sound wise, in headphones, it's really hard to like
get because we have so many variety of sound within
within all the songs. So like for White Rabbit, it's
a whole new journey for us, and we don't really
understand what we all need to be able to play
the song within the headphones. So it's kind of like
it's going to take a long time for us to
get it right. But in the rehearsal room we kind

(20:07):
of got it. But it's a different situation to how
we play live. Get there, Yeah, we'll get there.

Speaker 4 (20:13):
We'll get We have too much material as it is,
you know, like most people like make ship and then
gate keep it and then eventually show people. But we're
always just like whenever something's ready, we're.

Speaker 1 (20:22):
Like, you know, this is this is close enough. I
feel like to rehearsal setting right.

Speaker 15 (20:28):
It is, but there's so many sounds like I've got buttons,
JJ's got buttons, Bender's got buttons, and then we're all
playing as well.

Speaker 13 (20:34):
And then it's like he's got distortion.

Speaker 15 (20:36):
My ex law's got like reverb mix and there's like
a whole bunch of layers on.

Speaker 13 (20:40):
The song, and.

Speaker 4 (20:42):
Yeah, it's distortion.

Speaker 13 (20:43):
It's hard to get it right, but we'll get there.

Speaker 4 (20:46):
We also have like nearly any time we go to
the airport, like uber drivers just drive away. They look
at the sheer amount ship we have and they're like
it's not worth it.

Speaker 12 (20:56):
They just know.

Speaker 1 (20:58):
Way you guys don't have cars. I had a time
right with the amount of stuff required.

Speaker 4 (21:01):
Yeah, we do, but there's definitely been times where people
just like fucked off.

Speaker 1 (21:04):
And it's like, yeah, yeah, I could see that. It's
it's it's intimidating to see, like I was, I was
talking to you guys. Is a todo who does sound
for you guys, and like it's it's an ambitious you know,
getting this on the road.

Speaker 13 (21:20):
And he does such a good job.

Speaker 12 (21:22):
I mean, the the the obvious choice, you know, really
would just be like put a bunch of stuff on
a backing track on a laptop and just like have
a click track in your ears and just like do that,
but none of us want to.

Speaker 16 (21:36):
Do that about it, Like we we'd all just like
hate it and have the worst time possible.

Speaker 12 (21:41):
So you know, there's a lot of complexity and just
trying to recreate everything where everyone's playing as much of
it as possible and we're not like leaning on any
of that stuff. So you know, it's like, oh, I
need to have distorted like drums on this song, you know,
so that's a thing.

Speaker 15 (21:58):
Yeah, and that's I got a new toy here, which
is like Johnny who does find a house for us
and he recorded today as well. He gave me a
little distortion box and that's a new element, so like,
you know, just get it's like a tire a little box.

Speaker 13 (22:10):
And now I've got distortion of my drums so I
can dial.

Speaker 1 (22:12):
In continue to play with that so we can hear.

Speaker 13 (22:16):
Yeah, I'll show you how much what it does.

Speaker 4 (22:20):
Also, there's so much improvisation, Like it's very specific arrangements,
but like there's by not playing to a clicking track,
if you're feeling something or you want to loop something
or stand something, you want to improvise, like you have
the capacity to do that.

Speaker 1 (22:34):
I wanted to ask about that because I did. I
did notice that.

Speaker 13 (22:36):
So this is zero mm hmm. This is like.

Speaker 1 (22:55):
There you go.

Speaker 15 (22:56):
She said, it's the microphones down here. Yeah, that's it.
So I got that now, and then you turn an offense.
It's a big difference.

Speaker 1 (23:09):
Yeah, how many sounds can you get out of your kit?

Speaker 13 (23:12):
Do you figure a lot?

Speaker 4 (23:14):
Probably twenty seven?

Speaker 13 (23:16):
Yeah, I think twenty seven is the maximum number. No more,
no more than that.

Speaker 15 (23:21):
Yeah, No, I've got like I've got like a Simmons
over here that's got triggers to so that first row
is a kick and I can change it the pitch
of the length of that, and then like same with
all the and then with all those guys that can

(23:43):
can mix over here that does the the effects. And
then microphone over here to record.

Speaker 13 (23:55):
Stuff, and then.

Speaker 1 (23:57):
That kind of the year you're doing something to like
mess with.

Speaker 4 (24:00):
Yeah, yeah, I got like can you want to tell
that from the Indians?

Speaker 15 (24:04):
Oh, if you don't have headphones, you can't tell you,
Like you're showing a thing that No, but I feel
like they in the studio.

Speaker 1 (24:11):
Yeah yeah, they can hear it.

Speaker 4 (24:13):
Yeah, but.

Speaker 13 (24:16):
It sounds it sounds so boring.

Speaker 15 (24:18):
When I'm not so umb dum dumb exactly.

Speaker 13 (24:24):
It's happened before.

Speaker 15 (24:25):
When I'm just hitting at timents, it's like oh ship,
but you know, without the headphones on, it just sounds
like I'm doing nothing.

Speaker 1 (24:31):
Yeah, but yeah, it's crazy because usually like people have
like big, like big kits. It's like, yeah, you know,
not to say it's necessarily overkilled, but they do a
lot with it all the time. Like you know, I
guess you think of like a Neil Pert, you know,
and he's cool to listen to, but it is like
a lot that he's doing and it's a big kid,

(24:51):
you know. Like it is cool how you choose to
use things and when.

Speaker 15 (24:54):
You it's coming from like a production background, and like
in the beginning, like we didn't have any of this stuff,
and then we'll be playing like songs off choose your weapon,
and like I didn't have the Simmons either, so it'll
just be like chucking things on snares and symbols to
try and create like the feeling of distortion or whatever.
And then eventually, like you know, found the Simmons and

(25:14):
it was like I was able to tune the drums
and then it's kind of like then I'm kind of producing.
I've got my own little production world here, so it's cool.
And then I don't need as many drums. I and
just like these two drums can change pitch so and
that's why they're so dead. So like the deader they are,
the more I rely on the Simmons to change the
notes and the pitch and stuff like that.

Speaker 13 (25:35):
And just keep adding on to this.

Speaker 15 (25:37):
But yeah, the actual drums was only like a three
piece kit really with symbols and all the other stuff.

Speaker 1 (25:42):
And what came first for you? Was it production? Like
did you start producing stuff first or did you start
drum Like?

Speaker 13 (25:47):
No producing really?

Speaker 1 (25:48):
Yeah, so when did you pick up drums.

Speaker 15 (25:51):
Or like I've been playing a hand percussion like for
a while. And then when I went moved to Melbourne,
I kind of like we moved down. I was in
another band and we moved down to Melbourne without the drummer.
So we had another drummer, the Fisher that was playing
with us in Melbourne. But I would just picked up
the drums and because I knew the songs and I'm

(26:11):
like kind of get away with playing like basic basic
patterns from just hand drumming.

Speaker 13 (26:16):
And that's kind of how it started. Really.

Speaker 15 (26:19):
It would have been like how twenty one twenty two, Yeah,
like where we really went in where and then and
then I moved in with these guys and then like
they're all amazing musicians. And then I just basically like
tated like a day job and just did like eight
hours a day, just kept playing drums and learning so
much from these guys, and yeah, it was fun.

Speaker 4 (26:39):
It was initially like doing production and percussion or whatever,
and it was like, actually, you're the drummer.

Speaker 15 (26:45):
Now, and so yeah, Nakamara was the first song. H
it was a less Skull or something like that.

Speaker 13 (26:50):
Yeah, from the first record. Yeah, yeah, I was the percussionists.

Speaker 1 (26:54):
That's around the time that you really started. I mean,
it's that's we were.

Speaker 4 (26:57):
Supposed to get a drummer. It was like, yeah, we're
the drummer.

Speaker 7 (27:02):
How are you.

Speaker 15 (27:02):
Trapped with us now?

Speaker 13 (27:03):
I'm trapped. No, it's good, it's great.

Speaker 15 (27:06):
Yeah, it was like it was a little bit later on,
but I just like, you know, I was, you know,
I'm a big believer in like, if you want to
do it, then you can you can make anything. Anything's
Possiblely you know you've got the drive to do it,
then you can kind of achieve a lot. So it's
kind of proved to myself and other people around me
that doesn't matter what age you are. You know, you

(27:26):
can kind of get if you're really passionate about something,
you can just you can get it done if you
dedicate your like a lot of time to it.

Speaker 1 (27:33):
It's just crazy. I mean there's drummers who, like I mean,
who are big fans of yours who've been you know,
they've been playing make us think of like Quest Loves
and playing since he was a toddler, or like Chris Dave,
like you know what I mean, Like like you are,
like twenty years after them, you're picking the instrument. It's
it's nuts, It's.

Speaker 13 (27:50):
But I mean those guys like paved the way.

Speaker 15 (27:52):
Like I listened to the records that there's guys played
on and it's like you know, hearing just hearing how
it sounds and a record, and that's where I'm listening.

Speaker 13 (27:59):
I'm listening to like what they're playing.

Speaker 15 (28:01):
I'm listening to how it sounds on the recording, and
then I'm like making up my own mind of how
that's that's happening. You know, it's like naivety in a bit,
like you know, like just kind of going, oh, that's
probably how they did it, and it's most of the
time it's not how they did it. But then it's
kind of form my own sound by just making up
what other people did and then just trying to achieve that.

Speaker 13 (28:21):
That makes sense.

Speaker 1 (28:22):
Is that a different mindset then than when you're on
the road and.

Speaker 15 (28:25):
Yeah, yeah, recording in the studio and playing live is
a totally different thing for sure.

Speaker 1 (28:28):
How do you try or how do you like how
do you adjust?

Speaker 13 (28:33):
I don't know.

Speaker 15 (28:33):
I feel like on live gigs it's more about like
being like a bit more of a timekeeper, but also.

Speaker 13 (28:41):
I'm like I have them Like I feel like I
have a lot of.

Speaker 15 (28:44):
Freedom in the band because I don't have anything melodic,
so I kind of like can I've got to just
make it move, like I've got to move within everyone
and try and make it feel really good for people
to dance too. That's kind of like how I approach it.
But in the studio, I'm like, it's more tone and
what the song needs, you know. In the live it's
like I might hit the high harder on this section,

(29:05):
but in the studio I would be taming it down
because I can hear how it sounds in the microphone,
so I'm like, I don't want to play louder because
it's going to fuck up the sound.

Speaker 13 (29:14):
And that makes sense.

Speaker 4 (29:15):
Yeah, that's really very creative. I think the thing is
is like there's all these amazing drummers that have been
playing since forever, and they've got chops and they've got
twenty five symbols and that's amazing. But like like literally
Thomas Pridgin the other day, who's like such a g
you know, and he's he's the homie and he's played

(29:35):
with fucking everyone. Yeah, and we did a show I
can't remember where we were somewhere the other day and
he gave pez this like I call it the orange
pil symbol. It's like yeah, and he was like and
he was like losing his shit over Pezzy setup, and
it's just like this is the thing is. It's like
you don't It's like there is this like competitive thing

(29:57):
of like who is the best drummer in the world,
and it's like none of that counts for a shit,
you know. Like I mean, it's impressive and it's cool
and it's beautiful and you can get session gigs and
all of that, but like creativity speaks volumes and you
can like you can do so much with that, and
I think, yeah, it's just like not gatekeeping music, you know,

(30:20):
people like not wanting to like learn an instrument because
they didn't grow up with it. It's like I'm too old,
I'll ever be the best at is like just be
yourself with it, you know, and explore it and be creative.
And Pairs is like so good at that to the
point where these these amazing world class drummers look up
to him, are like or respect what he does because

(30:41):
no one plays drums like him because he plays drums
like him, you know, And I think we're all like that.
It's it's like we we value our craft and we
develop it. But at the end, like at the core
of it is just like what does the song need?
You know, let me show off.

Speaker 1 (30:59):
And it feels like you guys have even like you
guys have gotten to that place even more like on
the last two records, it feels like, I don't know,
it feels you guys are all virtue wassick, you know,
But it feels like the records showcase some of that.
The last two Mood Valiant and love our cheat code,
but like there's still is. There's like a lot of

(31:21):
emphasis especially in the new one, like on song and
like the conciseness of the record, just like eleven, and
it really moves, like starting with Dreamboat ending with White Rabbit,
like the record really goes somewhere like and it does.
It doesn't happen a lot on records these days. I
don't know if people don't think about them that way,
but you really it's like, I don't know, it's like
a film that way, or story or narrative.

Speaker 4 (31:40):
You know, it is a film, you know, And I like,
I don't know. I think a lot of people just
want like collaborations and hits and songs, and it's like
our attention span is just like shrinking, you know, and
like that's cool. But I think to be able to
create a whole universe that you can just put on
and like leave and experience something is also really valuable.

Speaker 14 (32:03):
And that's the most exciting thing about being in a studio.

Speaker 15 (32:06):
Man.

Speaker 14 (32:07):
It's like you can have so much fun and you've
got like this unlimited resource of sound that you can
play with. Especially these days, it's like it's crazy, It's
like why should you limit yourself.

Speaker 1 (32:23):
Just seeing you brought up Thomas Bridge, because I thought
a lot about Thomas Bridge just for some like the
way that it's just the heaviness, but the creativity in
really also what you're doing.

Speaker 15 (32:34):
Was Bender was the main source of inspiration for that one,
and like you know, like Bender was like like I
was never playing anything heavy until I met Bender, like honestly,
like I didn't wasn't listening to much heavy music at all.
And then he showed me like a band called Lightning Bolt,
and I remember that really opened up my ears to
like those sounds and like if you want to go

(32:55):
forward from that, because like.

Speaker 12 (32:56):
Yeah, yeah, definitely a Lightning Bolt was a huge influence
on that song. There was a few main influences for me.
It was Lightning Bolt, Deerhof and there's this particular form
of West African music that like you showed me called takamba,
which is like.

Speaker 4 (33:13):
That's what I always wanted to interrupt and says that
you say, I wasn't really listening to every music. It's
like to cop like some fucking Northwest African records that
are just like recorded on the most distorted like fucking
shit like that is had I mean Nakana. It's like
just because it's not metal doesn't mean it's not fucking yeah.

Speaker 12 (33:33):
I mean, for me, I grew up like the first
man I was in, you know, that was the first
music that I played was like punk and metal and
grunge and stuff, you know, just being in a band
with my brother and you know, covering you know, Varna
and Panterra and Slayer and you know Metallica and Ship.

Speaker 14 (33:53):
You know, just and.

Speaker 16 (33:56):
You know, and it's it's like a kind of.

Speaker 12 (33:59):
World that you know, I kind of drifted away from
just trying to learn as much about as many things
as possible and kind of just coming back to just
like you know, you know, just which is really fun,
and you know, just that kind of energy is really fun.
And I think I think it's also really cool to
play that stuff live because I feel like most people

(34:24):
have a soft spot for it, but it's it's not
necessarily something I want to listen to, Like, you know,
most people don't want to go to like a you know,
three day metal festival and just get barrags the whole time.
But if you hit them with like a couple of
songs on the set that are just ape shit and
just out of control. Then it's just like, you know,
it's such a release, it's very therapeutic.

Speaker 16 (34:45):
It's super therapy.

Speaker 4 (34:46):
Release the pressure is one of the lyrics. It's like, Okay,
here's a moment where you can just like shed the
fucking demons. And sometimes we'll be having a hard show
where people like me has one two, one two, three
four five six, and you just like just fucking be
in the room and give us love, like we're human
beings and we need that ship.

Speaker 12 (35:02):
Yeah.

Speaker 4 (35:02):
You know, sometimes like Cinnamon Temple can be like a
palt heavy.

Speaker 16 (35:06):
Heavy, you know heavy music.

Speaker 12 (35:08):
It's like it's a cathartic thing, you know, and a
lot of stuff gets kind of you know, very like
overemphasized with all the sort of kind of cliche satanic
imagery or whatever.

Speaker 16 (35:20):
It's what like I don't know.

Speaker 12 (35:21):
When I discovered Lightning Bolt and really got into them,
they like really blew my mind because they had a
really different take on it, even like you can kind
of see it reflected in their cover art and everything
where it's all like crazy like over the top like
rainbow explosion colors, because that's kind of what it's like,
you know, it's like you just get in there and
it's just like being on a roller coaster and it's

(35:41):
just fun, you know, being like elbow to elbow with
people while someone's just like going as hard as they can.
Like I was lucky to see them play Lightning Bolt
in Melbourne like many many years ago, and they they
set up on the ground like they don't they set
it in front of the stage, so it's just like

(36:02):
a drama and a bass player going full ape shit
and everyone's just around them. So it's some point during
the set, I'm literally holding on to the drummer's floor,
Tom or what all these people I like, and he like, no, God, yeah,
it's just like it's just yeah, it's just like it's

(36:22):
just like someone driving as fast as possible, you know,
for the whole set. So you know, there's something just
so joyous about that. You know, it doesn't have to
be like dark. It's just like yeah, you know, it's
like let's let's go.

Speaker 1 (36:36):
Yeah.

Speaker 13 (36:37):
I was so happy.

Speaker 1 (36:38):
I was so happy when it gets to that part
of the record because it just I hadn't even listened
to music that happy in a while. That's like, I mean,
to your point, I kind of I mean I grew
rest in peace like Diamonbag Daryl. I mean I used
to love Pantera. I grew up on that, you know,
but spent three days at ours fast. But I can't,
you know, I can't. I can't really, I can't live
there too long anymore.

Speaker 12 (36:57):
But honestly, like I don't know, mental heads are all
really nice people for.

Speaker 1 (37:00):
The most part, the most part.

Speaker 12 (37:03):
I mean, yeah, like crazy Norwegian like church guys and
stuff who were actually really hectic, but you know, most
of them are just like chill nuds, you.

Speaker 7 (37:12):
Know, do you mind?

Speaker 1 (37:13):
Could you play a couple of bars of the of
w Temples?

Speaker 16 (37:16):
Just have to put Eric down for a second.

Speaker 1 (37:18):
I mean, yeah, the shark can play along please, So.

Speaker 16 (37:21):
Yeah, it'll just sort of started with this initial riff.

Speaker 7 (37:28):
H uh.

Speaker 16 (38:00):
It's a little tyster.

Speaker 13 (38:02):
It so fucking good.

Speaker 1 (38:05):
I didn't even really get to hear it, but I
was just hearing that.

Speaker 16 (38:11):
Hit the drama go bang bang bang.

Speaker 1 (38:15):
You guys have been playing that for like almost ten
years now.

Speaker 13 (38:18):
Yeah.

Speaker 4 (38:19):
Probably we have like no concept of time. Ever, most
of the time, like how long did it take you
to make this thing? We're like when the record labels
and it has to be finished a while.

Speaker 15 (38:32):
Yeah, we have a while and it's even the recorded
version of it is actually quite old too.

Speaker 1 (38:38):
Yeah, it's super different, right, yeah, yeah, yeah.

Speaker 15 (38:41):
We've got another song that was recorded at the same
time that's still not out, you know, like, so that
will probably be the next record.

Speaker 12 (38:46):
Everything's just everything's just a puzzle, you know. It's just
like some puzzles you solve really fast. Another ones you're like,
why is this not like it yet? Like why wasn't
it feel the way I want it to make me
feel it? You know, So certain things are just like
take a little while to brew, and then you step
away from it and it's like what do we what
do we record?

Speaker 16 (39:06):
And you're like, oh, okay, you.

Speaker 12 (39:08):
Know you kind of figure out what it needs at
some point. We don't like to, you know, rush anything
or put anything out that doesn't feel right.

Speaker 13 (39:17):
Yeah.

Speaker 12 (39:18):
That's the weird thing about recording, because it's you know,
it's not it's just it's just sometimes it's really straightforward
and other times it's really not. You know, it's like
it's all kind of a sort of an illusion really.
You know, even if you really record yourselves playing it,
you know, you're not just standing in the middle of

(39:38):
the room hearing with two ears. You know, every microphone
is a weird unique ear placed it places that you
can't be at once, you know, and then you're just
trying to put it together in something that just feels right,
like feels.

Speaker 16 (39:51):
Like the intention. So you know, sometimes that takes a
while to figure out and.

Speaker 1 (39:56):
Does every song need require something different?

Speaker 12 (39:59):
Or that's the challenge that I mean, I feel like
it's the great challenge of this project. And why the
records aren't you aren't like, you know, made that quick
because you know I feel.

Speaker 13 (40:09):
Is there's not like one sound that suits allSome yeah.

Speaker 12 (40:12):
Exactly, you know, I feel like, for example, I don't know,
like someone like you know, the dap Kings, who are
all amazing players, and you know it's just just incredible.
You know, they will make a whole record that's like
all the songs are essentially the same sounds. You know,
it's the sound of this room, you know, with like
one or two mics over the drum kit. You know,

(40:34):
all the tones are like in the exactly the same universe,
and you just get to take to get takes to feel.

Speaker 16 (40:40):
Good, and you know, the whole record has that sound.

Speaker 12 (40:44):
But for us, it's like every track is like drawing from,
you know, a different genre that has a different production
and process and stuffs as well. Yeah, yeah, exactly, it
might be like this, you know, I don't know, Like
for example, when we were making the song Attari from

(41:05):
Jusual Weapon, it's like, okay, so this is kind of
inspired by video games.

Speaker 16 (41:08):
It's gonna have.

Speaker 12 (41:09):
All these kind of little, you know, eight bitty kind
of feeling sounds, and then goes into the chorus and
that has this sort of drum and bass kind of
inspired thing. So then it's like, well, now we have
to embrace how that is put together, which is like
you know, chopping up different drum breaks you know, that

(41:29):
are all recorded differently. So we literally got you know,
he has played a bunch of different breaks with different mixes,
like just going down like it's a stereo mix, and
the drums do a different mix, play a different variation
on that feel at a different tempo. Just get We've
got heaps of those together, and then we change the
pitch of all of them so they're now all at

(41:51):
the same tempo, and then it's like kind of chopping
between them. Like this one's kind of like being split
up this much as little ride symbol and this one's
all like super tight and that's kind of been pitched down,
but it's just like, yeah, just embracing, like how did
people make stuff? In the stuff that we're referencing sound
like that style, and it's all really different, and.

Speaker 15 (42:13):
It's super fun for us because it's like, you know,
that's the full experimental part of creating a record, and
we get to learn about it and go dive deeper
into it. And also like you know, like with this
all our inspirations musically, it's like nay, we'll bring something in,
someone brings something and it's like, I really love this
song at this moment, and it's like cool, like how

(42:34):
would they have done that? They might have like it
sounds like a microphone's all the way over there, but
like the singing is like all the way over here,
you know. And then you kind of like experimenting with
that stuff, and then you know, we've built up like
a reptile and like an arsenal of different sounds that
we kind of can create. And I feel like we
did a lot of experimenting on the first four records,
and and you know, the last one is like we're

(42:57):
kind of like we definitely have We've got a bag
and we can like pull sounds out of a bag
and put them on, you know, like which is cool.

Speaker 14 (43:04):
I think.

Speaker 4 (43:05):
Also another thing to mention is it like us working
out stuff and like let's go and watch a too
toori about this. Like a lot of it is just
listening and reimagining and it's a bastardization, but it's unique
because of that. It's like how like how you like
you can give art, but also how you interpret art

(43:25):
is also creative, you know. And like even the name
Hiatus coyote was kind of like a pun on that.
I was like, coyote is not a word. It's a
made up word, and like however you want to interpret
that involves your creativity, and I think that's a really
big part of like what it is that we do,
what we give to people, but also how we learn.
You know, it's just like listening and trial and error

(43:48):
and then you work it out and then you're a
little tool belled and maybe it'll be the thing that
you use later down the line, or maybe you have
to work out something new.

Speaker 1 (43:56):
Yeah, that you say coyote is made up board, but
you just mean like the way it's spelled coyote.

Speaker 7 (44:00):
Actually.

Speaker 4 (44:02):
Hiatus Kyote.

Speaker 10 (44:05):
A lot of people say coyote, and I don't like what.

Speaker 15 (44:11):
I like.

Speaker 4 (44:12):
I like boss made up.

Speaker 1 (44:14):
I've been put on notice. I'll never I'll never say
it wrong again. Sorry, guys, it's fine.

Speaker 4 (44:20):
It's a lot to take in with you our elaborate as.

Speaker 2 (44:27):
After this last break, we'll be back with the rest
of my conversation with Hiatus Kayote. Here's the rest of
my interview with Hiatus Coyote.

Speaker 1 (44:39):
In terms of lyrics, like lyrically, I really enjoy this album,
and I was wondering specifically for this album, when did
you come in? How how soon do you introduce ideas,
lyrical ideas or do you often just introduce like vocal
ideas and how early in terms of building constructing the tracks.

Speaker 4 (45:01):
And sometimes it's the first thing. Sometimes it's the last thing.
You know, there's no formula, it's.

Speaker 7 (45:07):
Like we all.

Speaker 4 (45:08):
Sometimes I write whole songs and bring it to the
band with guitar and it's like very very formed. And
other times it's a response to something like in Cinnamon
Temple in that middle bit, I literally had to count
out the syllables of each riff and then work out
what words would make sense within that, you know, or yeah,

(45:30):
I don't know, there's no there's no set way that
I go about it, you know. And sometimes like melodies,
we based off melodic thing like, you know, like instrumental things,
sometimes the other way around, where an instrument is playing
what I'm singing.

Speaker 12 (45:45):
I think, unlike Dimitri, you pretty much had like the
lyrics and the melody straight up. And then I sat
down with Name and we figured out the chords to
what was already there. It was like it was such
a strong idea melodically and lyrically, and then I was
just like, what are the what's with this?

Speaker 16 (46:02):
And you know, so yeah, it can be really any it.

Speaker 4 (46:06):
Can be a million but jillion different things. There's no Yeah.

Speaker 1 (46:10):
Yeah, I was listening to st I've been listening to
Steely Dan a lot lately, and I was, I was
like wondering why it's like as good as they are,
why didn't they write or like give tracks to other
people or whole songs, you know, like And I was,
I guess always had the same similar thought about you guys,
like as anyone approached you guys to like take it
like where to say, like, hey, can you guys write

(46:31):
us a song like the track, the lyrics, everything, or
have you guys.

Speaker 4 (46:34):
Thought people lots of really really famous people, but we
don't really care about that. You know, maybe it's I
don't know, the thing is, yeah, is the thing is.

Speaker 7 (46:45):
Yet we.

Speaker 4 (46:49):
Have so much to explore creatively together, and you know,
between like recording and writing and touring and photo shoots
and then a tiny slither of life where you're not
doing that, it's like there isn't a whole lot of
like additional time to just be like, you know, I'm
also very sentiment mental and my shit is like very

(47:12):
sacred to me. So the idea of like writing something
for somebody else's life experience is a little bit alien.
I mean like, yeah, I mean maybe one day, but
I mean realistically, most people do that because they need
to pay off a mortgage or something. True.

Speaker 1 (47:29):
But then you did you like, you know, you used
a little bit of like my girl in well, you know, look,
I don't know if they'smoking it write that necessarily for
the paycheck, I don't think, you know, I mean.

Speaker 4 (47:41):
He also didn't write it for us. We interprelated it.

Speaker 1 (47:44):
It's a good point.

Speaker 4 (47:45):
But I don't know, I'm particularly touchy about this because
I think it's a very la thing to be like,
you know, I don't know part of that part of
the industry and be like yeah, maybe things differently.

Speaker 14 (48:01):
I think we just don't find enough time to actually
make music ourselves.

Speaker 13 (48:06):
You know.

Speaker 14 (48:06):
It's hard enough for us to get in the studio
and create stuff, let alone.

Speaker 13 (48:11):
For other people. Yeah, I think we take that first.

Speaker 1 (48:15):
Yeah, we have choices.

Speaker 14 (48:17):
You want to write some more hiashit or do you
want to write it for other people? And it's just
like we're going to write more hiad shit.

Speaker 12 (48:22):
I kind of think that too, like because we do,
you know, do stuff with each other side quest outside.

Speaker 7 (48:28):
Of the band.

Speaker 16 (48:29):
You guys do have sac But I think, you know,
as soon as it's like a thing.

Speaker 12 (48:33):
That we're all writing, we're all invested in, we wouldn't
be able to give it away. But you know, it's like,
you know, it's like we're just one of us is
just making some stuff with another random person. It's like
cool whatever, Like it's you know, it's cool. But I
think once it becomes like collectively our thing, it's like no,
but we like we need to keep this this is

(48:54):
really good, like and if it wasn't really good, then
we wouldn't keep working on it, Like if everyone didn't
love it, it would sort of fall by the wayside.

Speaker 13 (49:03):
And I think it's also.

Speaker 15 (49:05):
I was going to say, like, you know, I think
we all like individually we all have like and also
collectively we have like inspirations musically, and it's not necessarily
like other singers, you know, like or it's more instrumentalists
and stuff like that, because.

Speaker 13 (49:20):
Like we all have love for Miguel and would like
those kind of things all like you're.

Speaker 4 (49:25):
Talking about Miguel.

Speaker 15 (49:26):
I would first, that's true, true, true, true, Yeah, it's
kind of like having these instrumental arrangers that like we
really respect, and then like you know, that's like definitely
a possibility and we would do that. And who knows
if it's on our records or like or in their
records or it is the collaboration, but like, yeah, it is.

(49:47):
I just wanted to say that, you know, like it's
like we do have those, we do have those collective
like oh my god, imagine working with this person or
this artist, like you know from the other side of
the world that is doing something so unique that like
you can't touch that, you can't recreate that, and that
would be cool to collaborate with that person, you know.

Speaker 13 (50:03):
Yeah.

Speaker 7 (50:03):
I also don't.

Speaker 4 (50:04):
Feel like like a lot of people like, oh, you know,
what's your dream list of collaborations, Like we've only really
worked with like like Pessa, like you know, like allth
the Erica.

Speaker 13 (50:12):
Does, Like yeah, exactly, He's an example, you.

Speaker 4 (50:14):
Know, Orchestral Rangers for us or you know. I think
just because I like something doesn't mean I have to
be a part of it, you know what I mean,
Like I love be York, but I don't know if
I would need to contribute something to it because I
can just like you know what I mean. It's like
I don't want to need to put my flag on
the moon all the time, and you don't want to

(50:37):
colonize others I mean beautiful, but I guess like, yeah,
it's like I have to be a part of that
because I like that. It's like you know, if it's
organic and it makes sense, sure, but not because of
any like superficial reason.

Speaker 1 (50:53):
I mean, there is kind of like an industry overtone
to that.

Speaker 13 (50:56):
I guess.

Speaker 4 (50:57):
It's very la in Australia is the other side of
the world. People are way more chill.

Speaker 1 (51:02):
I mean, I'm not even just for the like Australian
because I don't know that. You guys are so fucking good.

Speaker 13 (51:05):
I'm like, God, how many like how.

Speaker 1 (51:06):
Many people could use like you know what you guys
have harnessed together, you know what I mean?

Speaker 13 (51:13):
Hopefully it's inspiration.

Speaker 4 (51:16):
I think that's that's how we contribute. Is like the
amount of people like we didn't pop up shop the
other day. The amount of people that are like, seeing
you be creatively free together is like makes me want
to do that and that's more exciting to me than
me being like, hey, seeing this thing that I made,
you know what I mean. Yeah, But yeah, like Simon said,

(51:37):
we are so much like material and I'm always writing
and I'm just like waiting for us to like be
able to have the time to go home and work
on that ship because that's my favorite thing to do.
I love touring. But it's like, yeah, so it's like
that takes the top priority. But who knows, you know,
maybe I'll change my mind about that. Stevie Wonder Prince, like.

Speaker 1 (52:00):
A lot of people look at I mean, you know,
and it's not in a crass kind of industry, you know.

Speaker 13 (52:05):
But it's natural probably. I mean, we don't know because
I don't know them.

Speaker 12 (52:08):
Personal collaborating outside the band, that's just me. I've been
I've been trying to rope lots of people into my
side project this week enough so we go around.

Speaker 1 (52:15):
Yeah, but by the way, fucked me up for the
Like when I first heard that, I really thought it
was like all Polynesian style record.

Speaker 12 (52:24):
Yeah, me and some have been working on the follow
up record and we've we've got a lot of amazing
people on it, you know, just which is fun. It's
just you know, it's something special about getting cool instrumentalists
to just hang out and just like make pretty stuff.
Just like we're just going to make pretty music now
and you know, do some palm tree swaying energy and

(52:45):
have a good time.

Speaker 1 (52:46):
Just such a great chill time, such a great chill record.

Speaker 14 (52:49):
Yeah, it's really the best fun in the studio. Just
everyone's smiling and super happy, like this record.

Speaker 16 (53:00):
Stressful.

Speaker 1 (53:01):
I wanted to ask about Simon about the way you
think about chord changes just generally, like like are there
changes just when you sit down at the piano you're
prone to play more than others or.

Speaker 14 (53:14):
I feel like chord changes and harmony is something that
is you know, when you intellectualize it and when you
teach it, everyone kind of learns the same things, right,
because this is the popular ones that everyone kind of
gets down so that they can play certain styles. And

(53:36):
that's cool, But I kind of prefer this sort of
method of trying to figure out your own ideas of
changes and establishing your own concept of harmony and sound
and being able to hear and recall certain interval relationships

(53:58):
because of emotional feelings that you connect with them as
opposed to three six two five one or whatever, you
know what I mean. Yeah, And that's you know, when
you kind of think about it like that, you start
to explore it in a different way where you really
start to attach whether it's theoretical knowledge or emotional connections

(54:22):
or you know, imagery that you can attach to certain
intervelop things. That's the kind of shit that I'm really into.

Speaker 1 (54:30):
How often do you sit down just to just to play,
like just improvise for or you know what I mean,
not sit down to play something or write something. How
often do you sit down.

Speaker 14 (54:39):
Just just to improvise and play.

Speaker 13 (54:41):
Yeah.

Speaker 14 (54:42):
Yeah, I mean recently I've been doing it a lot
more because I just made it like a solo piano record.
Then I was doing some shows with that, so I
was playing like a full set of just you know,
a piano, and I was just getting back into playing
the piano because I don't really play the piano that
much anymore. I just played keyboards and since a lot,
you know, So that was I've been doing that a

(55:03):
lot over the last like five six months, which has
been really lovely, just getting to know the instrument again.

Speaker 1 (55:09):
Has it changed the way you approach synth or anything,
or a keyboard or anything.

Speaker 14 (55:14):
No, No, I just like the piano is a different
instrument for me. Like I sit on the piano and
that's what I grew up on. So when I start
playing that, it's you know, it's so much more complex
than these things, really, absolutely, Like the dynamic range on
a piano is like almost infinite. You know, you've got

(55:34):
this insane whereas this has only got maybe four or
five different steps of velocity of the sample or it's
one with a synth or you know, so like when
you're playing a piano, the velocity level for each finger
is crazy. So every time you play a song, and
if you get really into that song, you're playing it

(55:57):
different because you've got ten fingers on the piano that
are hitting the keys at different velocities. Every time, you know,
that kind of shit blows my mind. Yeah, man, So
then like the more you play, the more you get
into that mind space, and then the malady is super important,
but then everything that backs it up is also super important.
You've got to get this delicate relationship between all your fingers.

Speaker 1 (56:20):
That's amazing. And I guess also you didn't.

Speaker 13 (56:22):
I don't know if you ever.

Speaker 1 (56:23):
Showed the debusy that was in I think we lost
that somehow, that perfect time.

Speaker 13 (56:36):
Something like that.

Speaker 14 (56:41):
Yeah, it's that kind of movement, And that was.

Speaker 4 (56:43):
Because I'm particularly obsessed with you love as I love
him and like I love like romantic, like close harmony.
You know, it's just like super dreamy and beautiful. And
Simon has a lot of that going on in the
way he writes as well, and so I'm always assassing
him to put little things like that into things.

Speaker 14 (57:05):
Sorry that it was a terrible rendition of that wasize.

Speaker 1 (57:10):
I'll hear it later. I'll judge it.

Speaker 4 (57:12):
Later, but yeah, harmony is beautiful. Harmony is like rhythm harmony,
Like I don't know, just like there's so much you
can do with it, and like things like Telescope and
like Love Heart cheat Code. It's like a lot of
people like, oh, this album is so much more simple
than the other ones. Is like it's actually the thing
is it's just like refining shit, and like the chord

(57:34):
progression for Love Heart cheat Code and what I'm singing,
it's like, if you actually break down what is modulating,
it's actually kind of fucking weird. But if you commit
to it and you're like really strong in your idea,
then people go like just sing along. It's like, oh yeah, whatever,
like that's just how it goes. But yeah, if you
break it down, it's like more complicated than that. Kind
of like single Ladies from Beyonce is like that's actually

(57:57):
like a fucking weird ass song, but it's like one
of the most famous like pop hits or whatever. I
think was really good at that too.

Speaker 1 (58:04):
Oh yeah, David, I mean David Bowie.

Speaker 4 (58:06):
Changes like the start of changes, like if you go
to learn, like are people just like chi ch chitches
and they know that ship was like, try and learn
how to play it. It is way more complicated than
you think.

Speaker 1 (58:16):
Yeah, so true, well cool. I know you guys gonna
do red room, so I want to go. You got it?

Speaker 7 (58:53):
It is the red sons as.

Speaker 1 (59:04):
Got it.

Speaker 4 (59:05):
It is the red hot sounds as.

Speaker 3 (59:07):
A big.

Speaker 4 (59:10):
Feels.

Speaker 6 (59:11):
I come in inside of fly.

Speaker 7 (59:16):
I got a record. It is a bad house, so,
say's my bed feels.

Speaker 6 (59:23):
I come in inside of flya.

Speaker 7 (59:29):
Feels.

Speaker 6 (59:29):
I come in signmi ey.

Speaker 7 (59:32):
Least and I don't me hey anyway, buy, I don't
want me.

Speaker 4 (59:52):
Anyway, buy, I.

Speaker 7 (01:00:00):
Got a record. It is a bad out. Soon, say's
my bet. I gotta wed. It is a bad such
as a mo bedroom.

Speaker 1 (01:00:18):
Seems.

Speaker 6 (01:00:18):
I come be inside of the sees, I come be side.

Speaker 3 (01:00:29):
And SI wuld be.

Speaker 7 (01:00:35):
Nyway body I want be re bity way. Body got

(01:00:56):
a bedroom. It is the brown something the bedroom. I've
got a red room. It is the batrum something, the mopetroom.
I got a red It is the red out. When
the song is in my bedroom.

Speaker 3 (01:01:13):
Seals on the bedside of feels at the sermon.

Speaker 4 (01:01:25):
It lay.

Speaker 7 (01:01:33):
By the look anyway, I don't want to be in
the When the song says am persons out and when

(01:02:01):
the song says.

Speaker 10 (01:02:02):
To mc been, just like I gotta REAYTHM man, I
gotta d I got answers soon, says a Mapido.

Speaker 2 (01:02:29):
Thanks so much to Parn Paul Simon an Apalm of
Heitus Kyote for coming through Los Angeles to do that
live session and interview. I also want to give a
big thanks to Dale Hughes and Jonathan Maya for getting
the music in today's episode recorded, mixed and mastered to perfection.
To hear some of our favorite Hiatus Kyote songs and
songs associated with group, check out the playlist in today's

(01:02:50):
episode description or at our website at broken Record podcast
dot com, and of course be sure if you want
to see the full video of today's episode to visit
YouTube dot com, slash Broken Record Podcast, and be sure
to follow us on Instagram at the Broken Record Pod.
You can follow us on Twitter at broken Record. Broken
Record is produced and edited by Leah Rose, with marketing

(01:03:12):
help from Eric Sandler and Jordan McMillan. Our engineer is
Ben Tolladay. Broken Record is a production of Pushkin Industries.
If you love this show and others from Pushkin, consider
subscribing to Pushkin Plus Pushkin Plus is a podcast subscription
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ninety nine a month. Look for Pushkin Plus on Apple

(01:03:34):
podcast subscriptions, and if you like this show, please remember
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Speaker 1 (01:03:40):
Our theme music's by Kenny Beats.

Speaker 13 (01:03:42):
I'm justin Richmond.