February 28, 2026 • 52 mins
Ever hear a sitar slice through a wall of guitars and think, this belongs in a film? We went deep with Helicon’s John Paul Hughes to map how a Glasgow psych band turns orchestral tension into thunderous finales, why beauty lives inside noise, and how structure makes chaos hit harder on stage. From the Beatles’ psychedelic turn to Brian Jones’s restless curiosity, we explore the instruments, scenes, and accidents that shape Helicon’s sound.
John shares an exclusive: the band was invited to help recreate and expand music from Brian Jones’s lost 1967 soundtrack, transforming fragmentary cues into fully realized pieces—one razor-bright sitar theme, one wild harmonica burner, and one dirge-like organ work—planned for release on Jones’s birthday. We also talk shop about curfews, timing, and rehearsing the “improvised” parts until they breathe, so finales land before the lights snap on. The conversation spirals through film culture—love for scores, skepticism toward biopics—and a candid take on authenticity, legacy, and why making music for yourself is still the only compass that lasts.
Looking ahead, Helicon is building a new chapter with LA producer Al Lover, blending breakbeats, dub textures, and electronica into their sitar-and-guitar surge—a lineage closer to Primal Scream’s XTRMNTR than purist psych. Along the way we shout out key influences and peers, from Spacemen 3, Mogwai, and the Jesus and Mary Chain to modern torchbearers keeping the drone, dream, and feedback alive.
If cinematic psych, lost soundtracks, and the craft behind explosive live sets light you up, press play. Then tap follow, share it with a friend who loves bold guitar music, and leave a review telling us which psych record you’d want scored for the screen.
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Episode Transcript
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SPEAKER_00 (00:01):
Attention all you fishes in the sea.
Come swim on in and check out myinterview with John Paul Hughes
from Glassglow's criticallyacclaimed shoe gate psychedelic
rock band Helicon, where we talkabout music, film, and his newly
released collaboration with AlLover called A Rise.
Come swim on in and give it alisten.
(05:10):
I'm uh let me know if I'mpronouncing this right.
Is it is it Heliconia orHeliconia?
SPEAKER_04 (05:17):
Uh Heliconia, yep.
SPEAKER_00 (05:19):
Okay.
SPEAKER_04 (05:19):
It's uh it's actually a plant.
SPEAKER_00 (05:23):
Oh, okay.
SPEAKER_04 (05:24):
Yeah, it's uh it's actually a uh a kind of exotic
plant.
But it's uh yeah, it to behonest, from the whole album
it's probably your favourite oneto play.
And works in those because it'sgot those two different
dimensions to it.
It's got the big the sort ofmore sparse orchestral opening
to it and the and the staccatostrings and everything, it all
(05:45):
builds out to it.
And then you've got the big kindof psych rock finish, you know,
that that that kind of kicks inhalfway through.
And uh we we we had uh a guestvocalist on that, Lavinia
Blackwall.
Lavinia is an incredible singerwho who sings in bands like
Trembling Bells and she's gotsolo work as well, so check her
out.
Our stuff's really, really cool.
More kind of she's from the morekind of psych folk side of the
(06:09):
psych rock.
And uh but yeah, we we lovethat.
We actually that that's theopening tune on our uh on our
live sets as well, just becauseit's a nice big slow builder and
you've got sitar, you've gotviolins, you've got everything
all going on to it.
It's super cool, man.
SPEAKER_00 (06:22):
First of all, I love and I'm instantly attracted to
any band that uses the centaur.
You know, I I'm probably gonnaget a lot of shit for this,
especially you being fromGlasgow and the UK area, but
it's it's my it might just be mymy how old I am and everything,
but you know, my my my parentsand my parents' generation talk
(06:47):
about the Beatles like being,you know, the the Beesneys, you
know, the the like oh my god,the fucking Beatles, you know,
and my my personal opinion onthe Beatles is that from
listening to like you know theirdiscography, they only got good
when they started doing drugs.
SPEAKER_04 (07:10):
They definitely get more interesting, that's for
sure.
They definitely get much moreinteresting.
And uh and then sitars come inthere, and then you've you've
got the Brian Jones influence aswell, who was who was uh who
played sitar.
In fact, well actually about twoyears ago.
Was it as much as maybe a yearand a half, two years ago, yeah,
yeah, maybe we were asked totake part in a a Brian Jones
(07:33):
project where I think the onlywhat was told at the time is the
the the only solo project hefinished before he died was the
soundtrack, the 1967 German filmMurder und Torschlag, I think
it's which is a degree ofmurder.
So the Anita Pallenberg movie, aGerman movie from 1967, and
(07:54):
Brian Jones did the soundtrackfor that, along with uh I think
Jimmy Page plays on it.
SPEAKER_00 (07:59):
Yeah, yeah, yeah.
SPEAKER_04 (08:00):
I think a couple of stones might have played on it
and blah blah blah.
But uh apparently the the mastertapes were lost, so they were
that they were gone, they werethat they were they've never
been recovered.
And we were asked about maybe asI said, about 18 months to two
years ago to take part in aproject where they were gonna
use different artists torecreate the soundtrack because
(08:22):
the master tapes were lost, butalso to take the soundtrack and
then expand it into your ownpieces of work.
So we were we were invited bythe person pulling that together
because we had a sitar player,because there's a sitar track in
the soundtrack where and it'sit's it's a scene in a train
station, uh so it's really sharpand zingy because the sitar
(08:45):
that's meant to sound like it'sin the train station, so it's
hitting off you know the brickwalls and the big high ceilings
and all that echo and reverbthat's all around it.
So we we we we did that and thenfrom that little bit that's in
the soundtrack, we then turn itinto this whole other thing so
it becomes a full song and allopens out.
And we've done three tracks fromthat that that soundtrack, and
(09:08):
uh originally there was I thinkthere were some people from The
Damned involved, I think Twinkwas involved, I think there was
someone from Public ImageLimited involved.
I'm not sure if that project isever going to see the light of
day now for several reasons, butwhat we are gonna do is we are
gonna release the three tracksthat we recorded for it.
So one of them is a big sitarpiece, which is super cool.
(09:28):
Another one is a kind of wildBrian Jones type harmonica
track, and then there's anotherone that is uh it's a kind of
church organ feel to it, butit's I think it's a scene from
uh I think it's the it's playedat the the funeral scene.
Uh no, is it a car crack?
No, it's a funeral scene.
But it's got the the kind ofchurch organ, we turn that into
a whole big piece as well, man.
(09:49):
So I think this is an exclusive,we haven't told any of this yet.
But I think for Brian Jones, Ithink Brian Jones' birthday was
something like the 28th ofFebruary, there or thereabouts.
So I think we're gonna releasethat on the 28th of February
actually for uh to mark hisbirthday.
SPEAKER_00 (10:04):
Awesome, awesome.
I am very excited.
I will try to have this out bythen or before then.
SPEAKER_04 (10:11):
Yeah, although we we did make a joke that uh I think
we'll call it Massacre and BrianJones.
SPEAKER_00 (10:20):
Yes, please.
SPEAKER_04 (10:21):
See if we can say a bit upset Anton, but we'll we'll
have a go anyway.
SPEAKER_00 (10:25):
Right, right, right, right.
Oh yeah.
Anton is someone I really wantto get on the show.
Um you know, the the massacreand the warholes have just been
like, you know, you talk aboutcreating consistent like music
throughout the years, the two ofthem, especially Anton, you
(10:47):
know.
As much as I love the Warhols,Anton has been a little more
consistent with like thecontinuing the the psychedelic
like sound, like like how thatthey're so like famous for.
The Warhols, I I love themequally.
(11:08):
They you can just clearly tellthey've been like experimenting
a little bit in more recentyears, and you know, some I like
more than than others, but AnAnton, I I don't know how the
hell he does it, but he he'slike I I wanna say like the two
of them remind me of like FrankZappa.
(11:31):
And like Frank Zappa was like, Imean, the only commercial album
he did was Apostrophe.
And even that was like to callthat commercial.
SPEAKER_04 (11:45):
You know, that's it's no pop record, that's for
sure.
SPEAKER_00 (11:50):
Right, right, right, you know, and then like just you
know, the different phases hewent through, especially as he
got older and everything.
I mean and that's what we talkabout.
SPEAKER_04 (12:01):
That's what we talked about earlier, was was m
making music for yourself, notnot for people.
And and then and if it's realand it's authentic and it's good
enough, then then other peoplewill catch it.
SPEAKER_00 (12:09):
Exactly, exactly.
And you know, god God bless theweasel for uh continuing his
father's legacy, uh you know,Torin playing his his dad's
stuff.
He's he's like the only likemusician child that I give a
pass for like for like payingplaying, you know, his his dad's
(12:32):
stuff.
His dad stuff, you know, becauselike you know, even on the topic
the Beatles, like, you know,Julian Lennon basically, you
know plays stuff that like JohnLennon would have played.
Dan Danny Harrison is prettymuch his his dad.
And the only other band that Ican think of, what is it?
(12:56):
Is it is it the wildflowers thatthat like the the lead singer is
the son of I forget whichmusician.
I can't I can't remember, itmight be the Wildflowers.
I just need I forget what bandit is, but it's it's a major
like 90s, 90s band.
That the it's like the theleader of the band is like the
(13:22):
son of some someone from likethe classic rock era.
I I I I'd have to look it up.
I forget who uh anyone who'slistening to this is gonna be
like, you fucking idiot, youknow.
You can't remember that famousone, but he he he's like the
only one that like I can thinkof like who's you know a child
(13:45):
of you know one of the majorlike classic rock musicians that
formed a band and made like atotally new sound that's totally
differentiates the son from thefather's music.
You know, it's awesome that youknow you get to be, you know,
the the son or daughter of youknow a major musician, but it's
(14:09):
hard I think it's harder foractually you know in the and
talk about the reversal of whatI said earlier where you know
it's easier for music to to getout there versus film, I'd say
it's harder for the child of amajor musician to clear up yes,
(14:30):
exactly, exactly, you know, toto how do you not you know
imitate your father or mother orboth parents depending on if
they're in a band together, youknow, wings uh uh you know how
how do you you know write yourown path in in the music
(14:53):
industry with you know wantingto separate yourself from you
know your your your parents toto write your own path in the
industry and it's it's veryhard.
You know, I I'd say it's a lotharder to do something like that
than than to than to just be a aa child of a an actor or someone
(15:13):
in the film industry where youcould, you know, go to multiple
different routes very easily,whether it's continuing in
acting, directing, and stufflike that.
I think it's much, much harder.
SPEAKER_04 (15:27):
People can't help but compare and and and and and
pull it and but in the musicside of it, then you've you're
gonna have to find an entirelyyour own path um that's uh as
you said, otherwise it's justyou know who who wants to be a
pale limitation or somebody thatwent before you, you know what I
mean?
SPEAKER_00 (15:42):
Exactly.
Exactly.
You know, I mean I I listened toDanny Harrison, I I listened to
Julian Lennon.
I personally thought, you know,the the two geniuses of the
Beatles were Harrison andLennon.
McCartney honestly didn't thinkWings was so great.
Um and uh Ringo is Ringo.
(16:07):
But those two were like the thesuperstars, the the creative
geniuses of of the band.
And just like I think BrianJones was pretty much the main
creative genius part of thestones.
I mean it's very clear to seethe the decline of the stones
(16:28):
after Brian Jones died, uh andthe like how they transition
into being a more and morecommercial and and stuff like
that.
But I mean Z Zappa, you know,very interesting guy, very smart
uh guy as well.
I mean, I I learned that he youknow, this is like before
(16:49):
computers and before, you know,the internet and all this like
technology stuff, and heapparently taught himself how to
be a conductor and and likeorchestrate an orchestra just by
reading a book on it.
SPEAKER_03 (17:04):
Really?
SPEAKER_00 (17:05):
You know, first checked it out from the library,
read it, taught himself, andthat that's how he was able to
do it.
SPEAKER_04 (17:13):
How did we learn anything before YouTube?
SPEAKER_00 (17:15):
Right, right, exactly.
SPEAKER_04 (17:17):
Exactly.
SPEAKER_00 (17:19):
You know, for us us us spoiled, you know.
SPEAKER_04 (17:22):
Uh how did he build a pellemeds without YouTube as
well?
SPEAKER_00 (17:25):
Right, right, right, right, you know.
But yeah, and then just like hisI mean, I I watched this whole
this whole uh interview clipwith him back before he was like
really big as Frank Zappa, andhe was on some some talk show,
and he was demonstrating how youcould and it was like a 1960s
(17:46):
talk show.
So it was like a 1960s bicyclethat that he was explaining to
whatever talk show hosts andaudience how you can make a
bicycle into an instrument uhand demonstrate it and uh the
fact that he didn't do any drugsyou know alcohol was his drug of
(18:08):
choice, but and and nicotine.
Yeah, yeah, but right.
You know, but it just is it'svery interesting to like see
where that mind with everythingthat he created and also talk
about being one of the bestguitarists uh fr from that era.
You know, shut up and play yourguitar.
SPEAKER_04 (18:29):
It's uh it it it it's and one of the things about
it is is is how hard it can beto to beef heart and stuff like
that as well, you know what Imean?
Right, right.
SPEAKER_00 (18:39):
Flow and Eddie, yeah.
SPEAKER_04 (18:43):
But when you find a way into it, then you tend not
to find your way back out of it.
SPEAKER_00 (18:47):
Right, right.
And you know, another thing thatI found about Zappa from
watching old interviews withhim, that I actually wanted to
ask you as a musician,especially playing live and now
in in modern times where youactually have I mean, I don't
know what it's like in in in theUK and in in Europe, but here at
(19:09):
least in in Pennsylvania, wehave like a like a cutoff of
when bands have to stop playing.
And and yeah, uh it sucks.
Um like they have to stop at 11p.m.
Yeah, um because of union lawsfor them to break down
(19:30):
everything and you know put itaway and all that, like the band
has to stop playing at 11o'clock or they'll be fined.
So having those restrictions andthis interview that I watched
with Zappa, they're asking him,like, you know, how can you like
(19:50):
basically play the music thatyou play with the songs that you
pick to play and essentiallyimprovise like a totally
different version of each songlive performed, and you know,
consciously like knowing thatyou have like this amount of
(20:12):
time to play each song becausethere's like you know, a cutoff
of when you have to stopplaying, like when when Hilacon
is playing live or any otherbands that I've mentioned or
that you've played with, how doyou like determine versus like
the studio version versus theplaying live and knowing like
(20:36):
the time to train?
SPEAKER_04 (20:38):
It's it's it's just working out, man.
You can sense it and you canfeel it and you and and you
practice the shit out of it.
So there will be um we tend towe tend to do less improvisation
than than the than probably somepeople might think, but even the
parts that do feel improvisedare usually pretty well locked
in and rehearsed and and you'vealso got that thing where it but
(21:00):
you're right, you know, youdon't want to overrun because
the last thing you've usuallyplanned out a live set with a
big finale that you want toleave people with.
SPEAKER_00 (21:08):
Right, right.
SPEAKER_04 (21:08):
So the the last thing you want to do is fuck
about on something a bitearlier, and then by the time
you get your big finale, they'vepulled the plug on you and the
lights are on and the soundsbeing cut.
Um so so you you it can be hard,but but it's the same here, you
know, it's a 10:30, 11 pm curfewthat that that the band has to
be finished by.
And uh and making sure that yourun to time and and and make
(21:31):
sure you get started on time,and making sure that it's it's
like anything else, man, as longas you've worked, as long as
you've done all your prep workbeforehand and you've really
practiced enough and you'veyou've got that set licked and
everybody knows exactly whatthey're going to be doing, and
nobody gets too drunk before theshow, then uh usually in pretty
good shape, it's fine.
SPEAKER_00 (21:50):
Awesome, awesome.
I I I had a question from beingfrom the UK.
What do you think of Simon Peggand Nick Frost?
SPEAKER_04 (22:01):
Not really my thing, man.
Um, I'm uh Simon Pegg and NickFrost are obviously huge stars.
Simon Pegg, I have heard, and Idon't know this, uh, this is
pure rumour bill, is apparentlya very, very difficult human
being to be a interesting.
Apparently he's not a very niceman.
SPEAKER_01 (22:17):
Interesting.
SPEAKER_04 (22:18):
Um Nick Frost to say the exact opposite.
Apparently he's he's really niceand he's he's he's a good guy.
But that was never I don't knowif obviously as they came.
They they did what what wastheir TV, what was this TV show
that Simon Pegg did?
SPEAKER_00 (22:31):
Yeah, I know, I know, I know what you're talking
about, where they got theirstart.
SPEAKER_04 (22:34):
Space and all that, yeah, uh, was kind of more my
thing, but by the time they hadmoved into the kind of movie
world and stuff like that andstarted doing those kind of
those kind of comedy horrors,what the uh Sean of the Sean of
the Dead and all that kind ofstuff as well.
I I I I it just wasn't really mything at all, man.
I I just never really connectedwith that, but it was maybe it's
(22:54):
probably a bit wrong if itbecause it's no, it's probably
not true.
It it just felt a littlequintessentially English for me
rather than being Scottish.
I just didn't really connectwith that kind of thing.
It wasn't my my kind of my kindof vibe at all.
Are you a big fan?
I take it.
SPEAKER_00 (23:09):
I I I like their movies, yeah.
I obviously being fromPittsburgh, aka land of uh the
zombies, Sean of the Dead, I Ilove.
I think it's hysterical.
When I went to college here inPittsburgh at Point Park
University, and a lot of myteachers and people who were my
(23:31):
teachers but taught there wereall like the George Romero
alumni.
So John Ampliss, who you knowplayed Martin and was in Creep
Show as in the segment of uh thethe Where's My Cake, you know,
he was he was the the the thezombie thing that came out of
the grave or whatever for thethe Father's Day thing.
(23:55):
And he he worked with Ramiro alot.
Marty Schiff was another teacherthere.
He's the guy at the end of CreepShow, the two garbage men with
Tom Savini.
He's the other garbage man.
And actually, here inPittsburgh, I I've covered it a
bunch of times because I kind ofconsider those people like my
(24:15):
family that's not my family.
And they have a convention herein Pittsburgh called literally
called the Living Dead Weekend.
And it's a whole conventionwhere like my friends run it and
they try to, they all thesepeople who are local that were
like a zombie, you know, just azombie or an extra or some kind
(24:40):
of zombie, and they try to trackdown as many people as they can
and get them to come.
And then they also book like afew other like bigger stars that
were in like you know, some oflike the the bigger movies, like
uh like Creep Show, Creep Show2, Return of the Living Dead,
(25:00):
you know, even though it'stechnically not Ramiro, they
it's like in the same universe,so they'll have people from like
you know, those movies come tothe convention and stuff.
So they have like a few actuallike celebrity celebrities like
Greg Nicotero and Howard Berger.
You know, Greg is in charge oflike The Walking Dead and stuff
(25:21):
like that in the creep showseries, you know, they always
come to those those conventionsas like the big, big you know,
guests.
And Greg is actually fromPittsburgh and was like an
apprentice to Tom Savini, whichis how he got to be where he's
at now.
But yeah, uh Sean of the Dead, Ialways that's that's why that
(25:41):
one, especially when they theysay the line, we're coming to
get you, Barbara.
Uh I lost it.
You know, because like I I'm I'muh I get all all the jokes that
that are in there becausethey're like specifically like
living dead, you know, jokes.
The the the later stuff theydid, like Hot Fuzz is probably
(26:06):
the other one I was thinkingabout yeah, that that one is
probably like my least favoritethat that they've done together.
The what is it, the world's end.
That one is probably my secondfavorite.
I would put Hot Fuzz you knowthird and Sean the Dead first.
But yeah, I I do like them, andobviously Nick Frost and Simon
(26:28):
Pegg have branched off to likedo their own stuff separate from
working with was it EdgarWright?
Right, right, and you know, havemade a name for themselves on
their own, especially peggedwith like working with Tom
Cruise on the Mission Impossiblemovies and stuff like that.
(26:49):
Another English director, writerwho I had a question about from
your opinion, is Guy Ritchie.
SPEAKER_04 (27:03):
Oh my god, I'd like anything Guy Ritchie has ever
touched has annoyed me more thanI could possibly find the
vocabulary to describe.
Um it had that one thing goingon, but but uh but I think I
watched maybe three or fourminutes of that.
I think was it the gentleman?
Is that what they call it?
SPEAKER_00 (27:21):
The gentleman, yeah.
SPEAKER_04 (27:22):
Uh and and I was just like, oh no, man, I kind of
do this.
He's uh guy that she can uhhonestly just disappear for the
face of the earth as could as asquick as possible, as far as I'm
concerned.
SPEAKER_00 (27:34):
Interesting.
I mean, I I I've been followinghim since like his you know, his
big hits with like logstock andtwo smoking barrels, yeah, and
uh and snatch and all that, andbasically making Jason Statham's
uh career.
SPEAKER_04 (27:50):
He's got that to blame for as well.
He's responsible for Jasonfucking Statham, you know what I
mean?
So that's is uh he should beheld in a court of law and
locked in a tower for the restof eternity.
SPEAKER_00 (28:01):
Oh that that's amazing.
It's very interesting to seelike the the the country
differences because I'm like Ilove Statham.
I I I I uh I really like GuyRitchie.
Um, you know, but like I Iwanted to hear like you know, in
terms of like authenticity.
SPEAKER_04 (28:23):
I think that's the word.
I think it's so inauthentic.
Everything that he does aroundall that Cockney geezer stuff
and all that is so talking whenwhen I think when Lockstop first
came, that was a hit where hewent, Oh, this is interesting,
this is quite new.
We haven't seen it done in thisway, and then it became such a
trope for him and for so manyother people as well.
(28:46):
That yeah, I think it is uh it'sso it's such an upper class,
kind of upper middle class, richperson, nouveau rich person's
view of what working class lifeis like for those people that
that it kind of it just likeauthenticity is the word that
(29:07):
just it lacks authenticity andand and and and more early the
early stuff not so much, but asyou get through it as well, it
becomes but but then that that'swhat it became, didn't it?
You know, a lot of these thingsbecame just you know big fucking
popcorn movies and and and andthat stuff.
And I I thought Snatch was quiteinteresting and quite funny, uh
and certainly had moments in itthat were there, but yeah, I
(29:27):
think uh I I kind of wish theyhad left Guy that chain in the
90s, to be perfectly honest.
SPEAKER_01 (29:32):
Interesting.
Interesting.
SPEAKER_00 (29:34):
I I will say after he did like the movies he did
post snatch, you can clearly seeare more there's more
blockbuster, you know, money,influence in them versus Snatch
and Lockstock.
(29:55):
I I will definitely say that.
SPEAKER_04 (29:58):
And say you can I can definitely understand you
know what you what you saidabout Simon Pegg kind of being
it's it's just not my it's justnot my yeah, it's just not my
field, it's just not my thing atall.
SPEAKER_00 (30:10):
Yeah, yeah.
On the subject of movies, whatare like some of your your
favorite films?
SPEAKER_04 (30:18):
Oh man, that's a deep question.
Um some of my favorite films.
I think probably the film I'vewatched most in my life,
unsurprisingly, would be wouldbe would be Pop Fiction.
I've probably seen that morethan the again because of my age
and when it happened and and andand the amount of times that you
had it on repeat and and thefact that you had these before
streaming sellers existed, youhad these things in DVD and you
(30:40):
would absolutely annihilate themand go back and back and back.
And I've always enjoyed whatTarantino's done and uh find
that trajectory.
But I I again probably mostthings, you know, the early work
is far more interesting than thethan the later work.
SPEAKER_00 (30:54):
Yeah, I agree.
SPEAKER_04 (30:56):
But but by a distance.
But I I've never really been amassive and I I enjoy movies,
uh, but I I've never been amassive movie buff.
I I I enjoy movies, I go there.
I mean I went to see the theNosferatu movie just recently,
and I I thought it was uh Ithought it was chronically dull.
I thought it looked absolutelybeautiful, but like you felt
(31:18):
absolutely nothing about any ofthe characters, like you you you
felt nothing towards any ofthem.
Like there was no you had noconnection, you had you had
nothing that goes on, but it wasit was it was uh an absolute
feast for the eyes.
It looked this it was gorgeous,you know.
But movies, I'm trying to thinkwhat would go back there other
(31:39):
than the the really reallyobvious classics that you take
them back to, but I do I do havea much more indie movie palette
than the big, big budget, big,you know, Hollywood blockbuster
stuff.
If there's one thing I I I can'tstart, I I don't think I've ever
seen a good music biopic in mylife.
I I don't think I've ever seenone that I've gone that was
(32:01):
fucking amazing and reallycaptured that person.
I recently started watching theBob Marley one that came out and
and again I latted about fiveminutes.
SPEAKER_00 (32:08):
That those yeah, I I I couldn't get into that one.
SPEAKER_04 (32:12):
The fake the the those some of those uh kind of
fake Jamaican accents, I wasjust like, oh this is yeah,
yeah, yeah, yeah.
Um but I from what I've heard,the the new Dylan movie, um
which only comes out in the UKat the end of this month.
I don't know if it's out in theStates already.
What's it called?
SPEAKER_00 (32:30):
Yeah, I I know, I I can't remember the name.
SPEAKER_04 (32:32):
Tim Timothy Chalamy, isn't it?
That's that's Dylan.
But yeah apparently Dylan hashad script approval on that.
So he's actually um uh worked onscript notes and had final
script approval.
So I think that'd be quiteinteresting to see how they how
they tell that story again.
But I I have to say music andmovies, it's been a long time
(32:56):
since I saw uh a movie that I Iabsolutely raved about and
really, really loved.
And and as as for uh as forthese kind of biopics and and
and and and of of musicians andbands and stuff like that, I I I
honestly like it always it neverceases to amaze me that they
still tried to make them afterthey made Spinal Tap.
You know what I mean?
(33:16):
Like like see what like as soonas that that that was done, you
think people just went rightjust don't do that, like let's
just stop making movies aboutmusicians because this is how
fucking ridiculous it alwaysturns out.
But no, they still keep doing itbecause I think there's even a
Michael Jacks.
I think there's even a MichaelJackson.
SPEAKER_00 (33:32):
Yeah, they're they they are doing a Michael Jackson
one that I believe the thefamily has to give approval for
so you so you can imagine howsanitized it's gonna be exactly
before it gets to man.
SPEAKER_04 (33:45):
So I you know interesting, but I I I must say
um composing music for formovies is something I would love
to do.
Like I would absolutely lovethat.
Obviously, we do a lot ofinstrumental stuff and it and it
keeps it quite interesting andand it suits its lends itself
quite well to use indocumentaries and all that kind
of stuff as well.
And there's actually hopefully ahelicon documentary coming out
(34:07):
next year.
Oh around the recording of ournew album.
But the getting into if we coulduh you know, scoring a movie, I
think is something I wouldabsolutely or a TV show or
anything at all, I think I wouldabsolutely love that.
But having that um being giventhat template to create around,
I think is is is is afascinating challenge for the
(34:30):
musician because uh how do youyou know I mean there's there's
no to it, you know, people atJohn Wow's not have been huge
influences on us, you know, likelike um you you can hear little
elements of that kind of work.
Right, right.
And uh and I think I you knowwhat has been visually presented
to you and finding a way toamplify the emotion in that
(34:51):
through music, I think is a uhis an it's a beautiful talent,
but a a fascinating challenge.
I would love to do it.
SPEAKER_00 (34:58):
That that's interesting because I have
several things to comment on inresponse to that, because one of
the things that I actually wasgonna ask you and suggest
actually is that your band'smusic is very cinematic.
So one thing I was gonna say asa suggestion or a question is
(35:23):
have you ever thought about likesubmitting your music to like
film licensing to put that infilm?
And then in terms of scoring, Ihave two things I wanted to say.
One, I am currently uh trying tofind, you know, hopefully
(35:43):
through being friends onFacebook with people like you
and all the bands that we talkedabout.
I was wanted to start like a newthing.
One for my podcast, like I needlike a musical intro, how a lot
of other you know, podcastshave.
And I wanted to network with youas well as all the other bands
(36:06):
that I just mentioned tohopefully start something where
you know you you can like I canswitch up the musical intro with
having different bands, youknow, yeah.
SPEAKER_04 (36:20):
Absolutely not a problem at all with that, no
problem.
SPEAKER_00 (36:23):
Awesome, awesome.
And then in terms of um scoringsomething, I have a script that
to know for future reference,that could be something I could
like put into the the pitchdeck, but it's it's horror
action script, and on thesubject of like Tarantino, like
we were talking about, it'sbasically like a combination of
(36:47):
this like B-grade horror moviefrom like the 90s called Highway
to Hell, mixed with like trueromance and the idea of like how
from Dust till Dawn to like a180, you know, like like you if
you didn't see the trailer forthe movie, you wouldn't know
that it's it's a vampire, yeah.
(37:08):
Yeah, but basically still tryingto do another rewrite with it,
trying to get it together.
But if you know, to know if youcould do like a score, that
would be cool.
I did just see a message that wegotta wrap up.
So uh I got two closer questionsfor you.
I know I've been talking aboutmusic and movies and everything,
(37:31):
but who are some of yourfavorite bands in general and
you know, bands that likeinfluence you?
And I know through email we werechatting that uh you have some
tour dates and tours andupcoming album to announce, and
then I uh just a personalquestion.
(37:52):
I was wondering if I mean we'llsee between now and then when I
get it posted, but if I couldpossibly sample a track from the
new album to incorporate thelistenership for the podcast.
Yeah, absolutely.
SPEAKER_04 (38:08):
I mean one of the things I think that that helps
Helicon have a I think certainlyuh a kind of distinctive sound.
You know, I I don't know ifthere's I think you can hear
influences on bands in ourmusic, but I don't think we
sound like other bands.
SPEAKER_00 (38:22):
Yes, yes, I will agree with that.
SPEAKER_04 (38:24):
And and that's because there's a pretty broad,
diverse range of influences thatthat come around that.
You know, Gary and my my mybrother and I who started the
band come from the same kind ofbackground where we we were, you
know, kind of introduced to tothe Beatles and the Stones and
the Verbo Underground and theDoors.
We came through that kind of youknow, 60s rock up through there
(38:45):
that was kind of big, you know,from the Stone Roses, then
through Nirvana, through to thenyou start to understand about
you know kind of the morepsychedelic side of things and
where that leads you to andtakes you down all those rabbit
holes.
I mean, Gary jokes sometimesthat um it's little wonder he
ended up fucked up in the headbecause I think for his about
his 10th birthday, I would be13, 14, he'd be about 10, 11.
(39:06):
I bought him Pike Floyd's pipeat the gates of dawn on cassette
tape.
SPEAKER_00 (39:09):
He's like, well, nice.
SPEAKER_04 (39:11):
He's like when your big brother gives you that 10,
he's like, no, I don't know youend up fucked in the head, you
know what I mean?
That's the your intro.
So things like that today, stilla you know, big fans of of
everybody from you know, ourplace to bury strangers and and
things that sit in there, AcidMother's Temple, a band that I
admire a lot, Primal Scream, andand the way that they've been
(39:31):
able to shape shift intodifferent genres and do these
things.
And actually, our next albumthat we're we're building
towards is probably more in thekind of primal scream
exterminator kind of kind offeel, where we're gonna be
partnering with with LA-based umDJ and producer Al Lover, who
did the recent permal remix, andI was working out with us.
(39:52):
So we're gonna be taking hiskind of electronica and trip hop
and breakbeat and dubstep andall that and bringing it to our
guitar, sitar-based psych rock,and see what we can what we can
come from that.
Whereas someone like Mike comesfrom very much the kind of the
prog influence side of things,massive fan of Gong and all
these kind of guys, you know, aswell.
And uh who he absolutely loves.
(40:15):
Um Seb the drummer, again,another really, really broad
array of influences, but has hasa lot of kind of uh traditional
music in his background, youknow, like Scottish trad music
and all that kind of stuff aswell.
And believe it or not, wasoriginally trained in the French
horn as his first instrument.
Um wow so he brings that.
And then Graham the sitarplayer, obviously, he comes into
it with bringing a huge broad,he's very, very much into 60s
(40:39):
counterculture and all that aswell.
But he brings all that Easterninfluence that we that we have
in there as well, which bringsthe guitar, and you know, we've
got a little Turkish saz sittingthere that we're starting to
work on some new tunes with aswell.
So a real eclectic mix of ofinfluences that come into that.
And and and I think you can hearthat, and and even you know,
that there's so many kind ofamazing bands that we get to
(41:01):
play with and see today thatstill influences very heavily,
you know, and that whether it'syou know the 13th floor
elevators and their legacythat's that that's ran all the
way through to today with bandslike the Black Angels, or you
know, if you see my hand tattooswith Space Men, yeah, yeah, um,
Spacemen 3 are a massiveinfluence on us, and and and in
my eyes, can do and never havedone any wrong.
SPEAKER_00 (41:23):
Um other bands that I that I forgot to mention, but
equally extremely awesome andpowerful and main influential
influences for exactly whatwe're talking about.
SPEAKER_04 (41:36):
Amazing.
And I I know you you talkedabout Dream Pop and you talked
about and obviously Mogwai arebig influences, or you know, I'm
good friends with Martin, thedrummer in Mogwai, and we
recorded our first album intheir studio and stuff like
that, and and and and their pathhas been uh has been a big
influence for us in the way thatthey've managed to to carve that
out themselves.
And then as you meant, you know,the Jesus and Mary chain, Gary
(41:58):
and I, my brother and I, we comefrom East Co Bride outside
Glasgow, which is the littletown that the Reed brothers come
from, and uh their kind of wholeaesthetic and and and and and
that adoration of feedback andnoise and and finding the beauty
in the noise, which I think wassomething that just pulled out
on headphones.
That that beauty and the noise,I think, is something that you
(42:20):
you learn to appreciate throughthings like Early Floyd and the
Velvet Underground as well, andthey carried that on.
So you know, anything thatanything that feels anything
that that deviates and and andhas a fr from the mainstream,
anything that that that shunspredictability and mediocrity,
anything that will push you intonew territories, you know,
whether it's the weirdness ofSid Barrett early on, right
(42:42):
through to today, with some ofyou know some some beautiful
abstract German artists andstuff like that as well.
We're just I I think that youknow the more you can you can
pour in them, but what can youpull from all these different
little elements and uh and andand start to create something
new?
And and I I mentioned the theshoe gays and dream pop thing.
Uh a band you should check outwho are who are very dear
(43:03):
friends of ours.
They're based in Paris inFrance, and they're called
Healy's H-E-A-L-E.
SPEAKER_00 (43:09):
I I I know them.
SPEAKER_04 (43:11):
You know Healy's?
I know Jason was working on therecord and lovely people,
really, really good friends ofours.
And we've played with them a fewtimes in Paris now.
I went down to London to seethem not so long ago, and
they've just released theirfirst album.
And and I would recommendanybody who enjoys shoe geys and
dream pop, uh they're supercool.
SPEAKER_00 (43:28):
Um yes, yeah, I'm I'm a I'm a big fan of theirs.
Uh yeah now, since you mentionedthem, I'll shoot them a message
to uh get them on the show aswell.
Yeah.
SPEAKER_04 (43:39):
Um Brian and Heli, the the the the the kind of
couple who Helivi's on base isSwedish.
Brian's actually from New York,I think, originally and now
lives in Paris, a a journalistin Paris.
Uh uh and um and the other guysin the band are from France as
well.
So highly recommend them.
But and then moving on to as youmentioned, we we are w with
SPEAKER_00 (45:50):
We are almost two-hour conversation.
That just shows how time swimsby.
SPEAKER_04 (46:00):
And the bowl, you can't see the bowl, you don't
say that.
Thanks for having us with me.
I really appreciate that.
SPEAKER_00 (46:07):
Absolutely, absolutely.
John, thank you so much fortaking the time to swim in the
bowl with me.
Again, I hope the temperaturewas just right.
SPEAKER_04 (46:16):
I was trying to keep the fish killing.
SPEAKER_00 (46:18):
Excellent, thank you so much.
Hey hey, all my fishes in thesea.
Thanks for listening to mylatest chat with John Fogus from
Helicon.
You can follow the Fishbowl onall major podcasting platforms.
Give us a follow on Facebook atthe Fishbowl, Instagram,
theFishbowl88.
(46:39):
I now have merch available forpurchase.
You can DM me personally onsocial media or friend request
me on Facebook, SamFish.
I'm also now accepting donationsto my BuzzSprout website from
all you generous scuppies in thesea.
Thank you again for yourlistenership and support.
And remember to hit that likebutton and subscribe.
SPEAKER_02 (47:31):
So much more what you have to say.
Attention all you fishes in the sea.
Come swim on in and check out myinterview with John Paul Hughes
from Glassglow's criticallyacclaimed shoe gate psychedelic
rock band Helicon, where we talkabout music, film, and his newly
released collaboration with AlLover called A Rise.
Come swim on in and give it alisten.
(05:10):
I'm uh let me know if I'mpronouncing this right.
Is it is it Heliconia orHeliconia?
SPEAKER_04 (05:17):
Uh Heliconia, yep.
SPEAKER_00 (05:19):
Okay.
SPEAKER_04 (05:19):
It's uh it's actually a plant.
SPEAKER_00 (05:23):
Oh, okay.
SPEAKER_04 (05:24):
Yeah, it's uh it's actually a uh a kind of exotic
plant.
But it's uh yeah, it to behonest, from the whole album
it's probably your favourite oneto play.
And works in those because it'sgot those two different
dimensions to it.
It's got the big the sort ofmore sparse orchestral opening
to it and the and the staccatostrings and everything, it all
(05:45):
builds out to it.
And then you've got the big kindof psych rock finish, you know,
that that that kind of kicks inhalfway through.
And uh we we we had uh a guestvocalist on that, Lavinia
Blackwall.
Lavinia is an incredible singerwho who sings in bands like
Trembling Bells and she's gotsolo work as well, so check her
out.
Our stuff's really, really cool.
More kind of she's from the morekind of psych folk side of the
(06:09):
psych rock.
And uh but yeah, we we lovethat.
We actually that that's theopening tune on our uh on our
live sets as well, just becauseit's a nice big slow builder and
you've got sitar, you've gotviolins, you've got everything
all going on to it.
It's super cool, man.
SPEAKER_00 (06:22):
First of all, I love and I'm instantly attracted to
any band that uses the centaur.
You know, I I'm probably gonnaget a lot of shit for this,
especially you being fromGlasgow and the UK area, but
it's it's my it might just be mymy how old I am and everything,
but you know, my my my parentsand my parents' generation talk
(06:47):
about the Beatles like being,you know, the the Beesneys, you
know, the the like oh my god,the fucking Beatles, you know,
and my my personal opinion onthe Beatles is that from
listening to like you know theirdiscography, they only got good
when they started doing drugs.
SPEAKER_04 (07:10):
They definitely get more interesting, that's for
sure.
They definitely get much moreinteresting.
And uh and then sitars come inthere, and then you've you've
got the Brian Jones influence aswell, who was who was uh who
played sitar.
In fact, well actually about twoyears ago.
Was it as much as maybe a yearand a half, two years ago, yeah,
yeah, maybe we were asked totake part in a a Brian Jones
(07:33):
project where I think the onlywhat was told at the time is the
the the only solo project hefinished before he died was the
soundtrack, the 1967 German filmMurder und Torschlag, I think
it's which is a degree ofmurder.
So the Anita Pallenberg movie, aGerman movie from 1967, and
(07:54):
Brian Jones did the soundtrackfor that, along with uh I think
Jimmy Page plays on it.
SPEAKER_00 (07:59):
Yeah, yeah, yeah.
SPEAKER_04 (08:00):
I think a couple of stones might have played on it
and blah blah blah.
But uh apparently the the mastertapes were lost, so they were
that they were gone, they werethat they were they've never
been recovered.
And we were asked about maybe asI said, about 18 months to two
years ago to take part in aproject where they were gonna
use different artists torecreate the soundtrack because
(08:22):
the master tapes were lost, butalso to take the soundtrack and
then expand it into your ownpieces of work.
So we were we were invited bythe person pulling that together
because we had a sitar player,because there's a sitar track in
the soundtrack where and it'sit's it's a scene in a train
station, uh so it's really sharpand zingy because the sitar
(08:45):
that's meant to sound like it'sin the train station, so it's
hitting off you know the brickwalls and the big high ceilings
and all that echo and reverbthat's all around it.
So we we we we did that and thenfrom that little bit that's in
the soundtrack, we then turn itinto this whole other thing so
it becomes a full song and allopens out.
And we've done three tracks fromthat that that soundtrack, and
(09:08):
uh originally there was I thinkthere were some people from The
Damned involved, I think Twinkwas involved, I think there was
someone from Public ImageLimited involved.
I'm not sure if that project isever going to see the light of
day now for several reasons, butwhat we are gonna do is we are
gonna release the three tracksthat we recorded for it.
So one of them is a big sitarpiece, which is super cool.
(09:28):
Another one is a kind of wildBrian Jones type harmonica
track, and then there's anotherone that is uh it's a kind of
church organ feel to it, butit's I think it's a scene from
uh I think it's the it's playedat the the funeral scene.
Uh no, is it a car crack?
No, it's a funeral scene.
But it's got the the kind ofchurch organ, we turn that into
a whole big piece as well, man.
(09:49):
So I think this is an exclusive,we haven't told any of this yet.
But I think for Brian Jones, Ithink Brian Jones' birthday was
something like the 28th ofFebruary, there or thereabouts.
So I think we're gonna releasethat on the 28th of February
actually for uh to mark hisbirthday.
SPEAKER_00 (10:04):
Awesome, awesome.
I am very excited.
I will try to have this out bythen or before then.
SPEAKER_04 (10:11):
Yeah, although we we did make a joke that uh I think
we'll call it Massacre and BrianJones.
SPEAKER_00 (10:20):
Yes, please.
SPEAKER_04 (10:21):
See if we can say a bit upset Anton, but we'll we'll
have a go anyway.
SPEAKER_00 (10:25):
Right, right, right, right.
Oh yeah.
Anton is someone I really wantto get on the show.
Um you know, the the massacreand the warholes have just been
like, you know, you talk aboutcreating consistent like music
throughout the years, the two ofthem, especially Anton, you
(10:47):
know.
As much as I love the Warhols,Anton has been a little more
consistent with like thecontinuing the the psychedelic
like sound, like like how thatthey're so like famous for.
The Warhols, I I love themequally.
(11:08):
They you can just clearly tellthey've been like experimenting
a little bit in more recentyears, and you know, some I like
more than than others, but AnAnton, I I don't know how the
hell he does it, but he he'slike I I wanna say like the two
of them remind me of like FrankZappa.
(11:31):
And like Frank Zappa was like, Imean, the only commercial album
he did was Apostrophe.
And even that was like to callthat commercial.
SPEAKER_04 (11:45):
You know, that's it's no pop record, that's for
sure.
SPEAKER_00 (11:50):
Right, right, right, you know, and then like just you
know, the different phases hewent through, especially as he
got older and everything.
I mean and that's what we talkabout.
SPEAKER_04 (12:01):
That's what we talked about earlier, was was m
making music for yourself, notnot for people.
And and then and if it's realand it's authentic and it's good
enough, then then other peoplewill catch it.
SPEAKER_00 (12:09):
Exactly, exactly.
And you know, god God bless theweasel for uh continuing his
father's legacy, uh you know,Torin playing his his dad's
stuff.
He's he's like the only likemusician child that I give a
pass for like for like payingplaying, you know, his his dad's
(12:32):
stuff.
His dad stuff, you know, becauselike you know, even on the topic
the Beatles, like, you know,Julian Lennon basically, you
know plays stuff that like JohnLennon would have played.
Dan Danny Harrison is prettymuch his his dad.
And the only other band that Ican think of, what is it?
(12:56):
Is it is it the wildflowers thatthat like the the lead singer is
the son of I forget whichmusician.
I can't I can't remember, itmight be the Wildflowers.
I just need I forget what bandit is, but it's it's a major
like 90s, 90s band.
That the it's like the theleader of the band is like the
(13:22):
son of some someone from likethe classic rock era.
I I I I'd have to look it up.
I forget who uh anyone who'slistening to this is gonna be
like, you fucking idiot, youknow.
You can't remember that famousone, but he he he's like the
only one that like I can thinkof like who's you know a child
(13:45):
of you know one of the majorlike classic rock musicians that
formed a band and made like atotally new sound that's totally
differentiates the son from thefather's music.
You know, it's awesome that youknow you get to be, you know,
the the son or daughter of youknow a major musician, but it's
(14:09):
hard I think it's harder foractually you know in the and
talk about the reversal of whatI said earlier where you know
it's easier for music to to getout there versus film, I'd say
it's harder for the child of amajor musician to clear up yes,
(14:30):
exactly, exactly, you know, toto how do you not you know
imitate your father or mother orboth parents depending on if
they're in a band together, youknow, wings uh uh you know how
how do you you know write yourown path in in the music
(14:53):
industry with you know wantingto separate yourself from you
know your your your parents toto write your own path in the
industry and it's it's veryhard.
You know, I I'd say it's a lotharder to do something like that
than than to than to just be a aa child of a an actor or someone
(15:13):
in the film industry where youcould, you know, go to multiple
different routes very easily,whether it's continuing in
acting, directing, and stufflike that.
I think it's much, much harder.
SPEAKER_04 (15:27):
People can't help but compare and and and and and
pull it and but in the musicside of it, then you've you're
gonna have to find an entirelyyour own path um that's uh as
you said, otherwise it's justyou know who who wants to be a
pale limitation or somebody thatwent before you, you know what I
mean?
SPEAKER_00 (15:42):
Exactly.
Exactly.
You know, I mean I I listened toDanny Harrison, I I listened to
Julian Lennon.
I personally thought, you know,the the two geniuses of the
Beatles were Harrison andLennon.
McCartney honestly didn't thinkWings was so great.
Um and uh Ringo is Ringo.
(16:07):
But those two were like the thesuperstars, the the creative
geniuses of of the band.
And just like I think BrianJones was pretty much the main
creative genius part of thestones.
I mean it's very clear to seethe the decline of the stones
(16:28):
after Brian Jones died, uh andthe like how they transition
into being a more and morecommercial and and stuff like
that.
But I mean Z Zappa, you know,very interesting guy, very smart
uh guy as well.
I mean, I I learned that he youknow, this is like before
(16:49):
computers and before, you know,the internet and all this like
technology stuff, and heapparently taught himself how to
be a conductor and and likeorchestrate an orchestra just by
reading a book on it.
SPEAKER_03 (17:04):
Really?
SPEAKER_00 (17:05):
You know, first checked it out from the library,
read it, taught himself, andthat that's how he was able to
do it.
SPEAKER_04 (17:13):
How did we learn anything before YouTube?
SPEAKER_00 (17:15):
Right, right, exactly.
SPEAKER_04 (17:17):
Exactly.
SPEAKER_00 (17:19):
You know, for us us us spoiled, you know.
SPEAKER_04 (17:22):
Uh how did he build a pellemeds without YouTube as
well?
SPEAKER_00 (17:25):
Right, right, right, right, you know.
But yeah, and then just like hisI mean, I I watched this whole
this whole uh interview clipwith him back before he was like
really big as Frank Zappa, andhe was on some some talk show,
and he was demonstrating how youcould and it was like a 1960s
(17:46):
talk show.
So it was like a 1960s bicyclethat that he was explaining to
whatever talk show hosts andaudience how you can make a
bicycle into an instrument uhand demonstrate it and uh the
fact that he didn't do any drugsyou know alcohol was his drug of
(18:08):
choice, but and and nicotine.
Yeah, yeah, but right.
You know, but it just is it'svery interesting to like see
where that mind with everythingthat he created and also talk
about being one of the bestguitarists uh fr from that era.
You know, shut up and play yourguitar.
SPEAKER_04 (18:29):
It's uh it it it it's and one of the things about
it is is is how hard it can beto to beef heart and stuff like
that as well, you know what Imean?
Right, right.
SPEAKER_00 (18:39):
Flow and Eddie, yeah.
SPEAKER_04 (18:43):
But when you find a way into it, then you tend not
to find your way back out of it.
SPEAKER_00 (18:47):
Right, right.
And you know, another thing thatI found about Zappa from
watching old interviews withhim, that I actually wanted to
ask you as a musician,especially playing live and now
in in modern times where youactually have I mean, I don't
know what it's like in in in theUK and in in Europe, but here at
(19:09):
least in in Pennsylvania, wehave like a like a cutoff of
when bands have to stop playing.
And and yeah, uh it sucks.
Um like they have to stop at 11p.m.
Yeah, um because of union lawsfor them to break down
(19:30):
everything and you know put itaway and all that, like the band
has to stop playing at 11o'clock or they'll be fined.
So having those restrictions andthis interview that I watched
with Zappa, they're asking him,like, you know, how can you like
(19:50):
basically play the music thatyou play with the songs that you
pick to play and essentiallyimprovise like a totally
different version of each songlive performed, and you know,
consciously like knowing thatyou have like this amount of
(20:12):
time to play each song becausethere's like you know, a cutoff
of when you have to stopplaying, like when when Hilacon
is playing live or any otherbands that I've mentioned or
that you've played with, how doyou like determine versus like
the studio version versus theplaying live and knowing like
(20:36):
the time to train?
SPEAKER_04 (20:38):
It's it's it's just working out, man.
You can sense it and you canfeel it and you and and you
practice the shit out of it.
So there will be um we tend towe tend to do less improvisation
than than the than probably somepeople might think, but even the
parts that do feel improvisedare usually pretty well locked
in and rehearsed and and you'vealso got that thing where it but
(21:00):
you're right, you know, youdon't want to overrun because
the last thing you've usuallyplanned out a live set with a
big finale that you want toleave people with.
SPEAKER_00 (21:08):
Right, right.
SPEAKER_04 (21:08):
So the the last thing you want to do is fuck
about on something a bitearlier, and then by the time
you get your big finale, they'vepulled the plug on you and the
lights are on and the soundsbeing cut.
Um so so you you it can be hard,but but it's the same here, you
know, it's a 10:30, 11 pm curfewthat that that the band has to
be finished by.
And uh and making sure that yourun to time and and and make
(21:31):
sure you get started on time,and making sure that it's it's
like anything else, man, as longas you've worked, as long as
you've done all your prep workbeforehand and you've really
practiced enough and you'veyou've got that set licked and
everybody knows exactly whatthey're going to be doing, and
nobody gets too drunk before theshow, then uh usually in pretty
good shape, it's fine.
SPEAKER_00 (21:50):
Awesome, awesome.
I I I had a question from beingfrom the UK.
What do you think of Simon Peggand Nick Frost?
SPEAKER_04 (22:01):
Not really my thing, man.
Um, I'm uh Simon Pegg and NickFrost are obviously huge stars.
Simon Pegg, I have heard, and Idon't know this, uh, this is
pure rumour bill, is apparentlya very, very difficult human
being to be a interesting.
Apparently he's not a very niceman.
SPEAKER_01 (22:17):
Interesting.
SPEAKER_04 (22:18):
Um Nick Frost to say the exact opposite.
Apparently he's he's really niceand he's he's he's a good guy.
But that was never I don't knowif obviously as they came.
They they did what what wastheir TV, what was this TV show
that Simon Pegg did?
SPEAKER_00 (22:31):
Yeah, I know, I know, I know what you're talking
about, where they got theirstart.
SPEAKER_04 (22:34):
Space and all that, yeah, uh, was kind of more my
thing, but by the time they hadmoved into the kind of movie
world and stuff like that andstarted doing those kind of
those kind of comedy horrors,what the uh Sean of the Sean of
the Dead and all that kind ofstuff as well.
I I I I it just wasn't really mything at all, man.
I I just never really connectedwith that, but it was maybe it's
(22:54):
probably a bit wrong if itbecause it's no, it's probably
not true.
It it just felt a littlequintessentially English for me
rather than being Scottish.
I just didn't really connectwith that kind of thing.
It wasn't my my kind of my kindof vibe at all.
Are you a big fan?
I take it.
SPEAKER_00 (23:09):
I I I like their movies, yeah.
I obviously being fromPittsburgh, aka land of uh the
zombies, Sean of the Dead, I Ilove.
I think it's hysterical.
When I went to college here inPittsburgh at Point Park
University, and a lot of myteachers and people who were my
(23:31):
teachers but taught there wereall like the George Romero
alumni.
So John Ampliss, who you knowplayed Martin and was in Creep
Show as in the segment of uh thethe Where's My Cake, you know,
he was he was the the the thezombie thing that came out of
the grave or whatever for thethe Father's Day thing.
(23:55):
And he he worked with Ramiro alot.
Marty Schiff was another teacherthere.
He's the guy at the end of CreepShow, the two garbage men with
Tom Savini.
He's the other garbage man.
And actually, here inPittsburgh, I I've covered it a
bunch of times because I kind ofconsider those people like my
(24:15):
family that's not my family.
And they have a convention herein Pittsburgh called literally
called the Living Dead Weekend.
And it's a whole conventionwhere like my friends run it and
they try to, they all thesepeople who are local that were
like a zombie, you know, just azombie or an extra or some kind
(24:40):
of zombie, and they try to trackdown as many people as they can
and get them to come.
And then they also book like afew other like bigger stars that
were in like you know, some oflike the the bigger movies, like
uh like Creep Show, Creep Show2, Return of the Living Dead,
(25:00):
you know, even though it'stechnically not Ramiro, they
it's like in the same universe,so they'll have people from like
you know, those movies come tothe convention and stuff.
So they have like a few actuallike celebrity celebrities like
Greg Nicotero and Howard Berger.
You know, Greg is in charge oflike The Walking Dead and stuff
(25:21):
like that in the creep showseries, you know, they always
come to those those conventionsas like the big, big you know,
guests.
And Greg is actually fromPittsburgh and was like an
apprentice to Tom Savini, whichis how he got to be where he's
at now.
But yeah, uh Sean of the Dead, Ialways that's that's why that
(25:41):
one, especially when they theysay the line, we're coming to
get you, Barbara.
Uh I lost it.
You know, because like I I'm I'muh I get all all the jokes that
that are in there becausethey're like specifically like
living dead, you know, jokes.
The the the later stuff theydid, like Hot Fuzz is probably
(26:06):
the other one I was thinkingabout yeah, that that one is
probably like my least favoritethat that they've done together.
The what is it, the world's end.
That one is probably my secondfavorite.
I would put Hot Fuzz you knowthird and Sean the Dead first.
But yeah, I I do like them, andobviously Nick Frost and Simon
(26:28):
Pegg have branched off to likedo their own stuff separate from
working with was it EdgarWright?
Right, right, and you know, havemade a name for themselves on
their own, especially peggedwith like working with Tom
Cruise on the Mission Impossiblemovies and stuff like that.
(26:49):
Another English director, writerwho I had a question about from
your opinion, is Guy Ritchie.
SPEAKER_04 (27:03):
Oh my god, I'd like anything Guy Ritchie has ever
touched has annoyed me more thanI could possibly find the
vocabulary to describe.
Um it had that one thing goingon, but but uh but I think I
watched maybe three or fourminutes of that.
I think was it the gentleman?
Is that what they call it?
SPEAKER_00 (27:21):
The gentleman, yeah.
SPEAKER_04 (27:22):
Uh and and I was just like, oh no, man, I kind of
do this.
He's uh guy that she can uhhonestly just disappear for the
face of the earth as could as asquick as possible, as far as I'm
concerned.
SPEAKER_00 (27:34):
Interesting.
I mean, I I I've been followinghim since like his you know, his
big hits with like logstock andtwo smoking barrels, yeah, and
uh and snatch and all that, andbasically making Jason Statham's
uh career.
SPEAKER_04 (27:50):
He's got that to blame for as well.
He's responsible for Jasonfucking Statham, you know what I
mean?
So that's is uh he should beheld in a court of law and
locked in a tower for the restof eternity.
SPEAKER_00 (28:01):
Oh that that's amazing.
It's very interesting to seelike the the the country
differences because I'm like Ilove Statham.
I I I I uh I really like GuyRitchie.
Um, you know, but like I Iwanted to hear like you know, in
terms of like authenticity.
SPEAKER_04 (28:23):
I think that's the word.
I think it's so inauthentic.
Everything that he does aroundall that Cockney geezer stuff
and all that is so talking whenwhen I think when Lockstop first
came, that was a hit where hewent, Oh, this is interesting,
this is quite new.
We haven't seen it done in thisway, and then it became such a
trope for him and for so manyother people as well.
(28:46):
That yeah, I think it is uh it'sso it's such an upper class,
kind of upper middle class, richperson, nouveau rich person's
view of what working class lifeis like for those people that
that it kind of it just likeauthenticity is the word that
(29:07):
just it lacks authenticity andand and and and more early the
early stuff not so much, but asyou get through it as well, it
becomes but but then that that'swhat it became, didn't it?
You know, a lot of these thingsbecame just you know big fucking
popcorn movies and and and andthat stuff.
And I I thought Snatch was quiteinteresting and quite funny, uh
and certainly had moments in itthat were there, but yeah, I
(29:27):
think uh I I kind of wish theyhad left Guy that chain in the
90s, to be perfectly honest.
SPEAKER_01 (29:32):
Interesting.
Interesting.
SPEAKER_00 (29:34):
I I will say after he did like the movies he did
post snatch, you can clearly seeare more there's more
blockbuster, you know, money,influence in them versus Snatch
and Lockstock.
(29:55):
I I will definitely say that.
SPEAKER_04 (29:58):
And say you can I can definitely understand you
know what you what you saidabout Simon Pegg kind of being
it's it's just not my it's justnot my yeah, it's just not my
field, it's just not my thing atall.
SPEAKER_00 (30:10):
Yeah, yeah.
On the subject of movies, whatare like some of your your
favorite films?
SPEAKER_04 (30:18):
Oh man, that's a deep question.
Um some of my favorite films.
I think probably the film I'vewatched most in my life,
unsurprisingly, would be wouldbe would be Pop Fiction.
I've probably seen that morethan the again because of my age
and when it happened and and andand the amount of times that you
had it on repeat and and thefact that you had these before
streaming sellers existed, youhad these things in DVD and you
(30:40):
would absolutely annihilate themand go back and back and back.
And I've always enjoyed whatTarantino's done and uh find
that trajectory.
But I I again probably mostthings, you know, the early work
is far more interesting than thethan the later work.
SPEAKER_00 (30:54):
Yeah, I agree.
SPEAKER_04 (30:56):
But but by a distance.
But I I've never really been amassive and I I enjoy movies,
uh, but I I've never been amassive movie buff.
I I I enjoy movies, I go there.
I mean I went to see the theNosferatu movie just recently,
and I I thought it was uh Ithought it was chronically dull.
I thought it looked absolutelybeautiful, but like you felt
(31:18):
absolutely nothing about any ofthe characters, like you you you
felt nothing towards any ofthem.
Like there was no you had noconnection, you had you had
nothing that goes on, but it wasit was it was uh an absolute
feast for the eyes.
It looked this it was gorgeous,you know.
But movies, I'm trying to thinkwhat would go back there other
(31:39):
than the the really reallyobvious classics that you take
them back to, but I do I do havea much more indie movie palette
than the big, big budget, big,you know, Hollywood blockbuster
stuff.
If there's one thing I I I can'tstart, I I don't think I've ever
seen a good music biopic in mylife.
I I don't think I've ever seenone that I've gone that was
(32:01):
fucking amazing and reallycaptured that person.
I recently started watching theBob Marley one that came out and
and again I latted about fiveminutes.
SPEAKER_00 (32:08):
That those yeah, I I I couldn't get into that one.
SPEAKER_04 (32:12):
The fake the the those some of those uh kind of
fake Jamaican accents, I wasjust like, oh this is yeah,
yeah, yeah, yeah.
Um but I from what I've heard,the the new Dylan movie, um
which only comes out in the UKat the end of this month.
I don't know if it's out in theStates already.
What's it called?
SPEAKER_00 (32:30):
Yeah, I I know, I I can't remember the name.
SPEAKER_04 (32:32):
Tim Timothy Chalamy, isn't it?
That's that's Dylan.
But yeah apparently Dylan hashad script approval on that.
So he's actually um uh worked onscript notes and had final
script approval.
So I think that'd be quiteinteresting to see how they how
they tell that story again.
But I I have to say music andmovies, it's been a long time
(32:56):
since I saw uh a movie that I Iabsolutely raved about and
really, really loved.
And and as as for uh as forthese kind of biopics and and
and and and of of musicians andbands and stuff like that, I I I
honestly like it always it neverceases to amaze me that they
still tried to make them afterthey made Spinal Tap.
You know what I mean?
(33:16):
Like like see what like as soonas that that that was done, you
think people just went rightjust don't do that, like let's
just stop making movies aboutmusicians because this is how
fucking ridiculous it alwaysturns out.
But no, they still keep doing itbecause I think there's even a
Michael Jacks.
I think there's even a MichaelJackson.
SPEAKER_00 (33:32):
Yeah, they're they they are doing a Michael Jackson
one that I believe the thefamily has to give approval for
so you so you can imagine howsanitized it's gonna be exactly
before it gets to man.
SPEAKER_04 (33:45):
So I you know interesting, but I I I must say
um composing music for formovies is something I would love
to do.
Like I would absolutely lovethat.
Obviously, we do a lot ofinstrumental stuff and it and it
keeps it quite interesting andand it suits its lends itself
quite well to use indocumentaries and all that kind
of stuff as well.
And there's actually hopefully ahelicon documentary coming out
(34:07):
next year.
Oh around the recording of ournew album.
But the getting into if we coulduh you know, scoring a movie, I
think is something I wouldabsolutely or a TV show or
anything at all, I think I wouldabsolutely love that.
But having that um being giventhat template to create around,
I think is is is is afascinating challenge for the
(34:30):
musician because uh how do youyou know I mean there's there's
no to it, you know, people atJohn Wow's not have been huge
influences on us, you know, likelike um you you can hear little
elements of that kind of work.
Right, right.
And uh and I think I you knowwhat has been visually presented
to you and finding a way toamplify the emotion in that
(34:51):
through music, I think is a uhis an it's a beautiful talent,
but a a fascinating challenge.
I would love to do it.
SPEAKER_00 (34:58):
That that's interesting because I have
several things to comment on inresponse to that, because one of
the things that I actually wasgonna ask you and suggest
actually is that your band'smusic is very cinematic.
So one thing I was gonna say asa suggestion or a question is
(35:23):
have you ever thought about likesubmitting your music to like
film licensing to put that infilm?
And then in terms of scoring, Ihave two things I wanted to say.
One, I am currently uh trying tofind, you know, hopefully
(35:43):
through being friends onFacebook with people like you
and all the bands that we talkedabout.
I was wanted to start like a newthing.
One for my podcast, like I needlike a musical intro, how a lot
of other you know, podcastshave.
And I wanted to network with youas well as all the other bands
(36:06):
that I just mentioned tohopefully start something where
you know you you can like I canswitch up the musical intro with
having different bands, youknow, yeah.
SPEAKER_04 (36:20):
Absolutely not a problem at all with that, no
problem.
SPEAKER_00 (36:23):
Awesome, awesome.
And then in terms of um scoringsomething, I have a script that
to know for future reference,that could be something I could
like put into the the pitchdeck, but it's it's horror
action script, and on thesubject of like Tarantino, like
we were talking about, it'sbasically like a combination of
(36:47):
this like B-grade horror moviefrom like the 90s called Highway
to Hell, mixed with like trueromance and the idea of like how
from Dust till Dawn to like a180, you know, like like you if
you didn't see the trailer forthe movie, you wouldn't know
that it's it's a vampire, yeah.
(37:08):
Yeah, but basically still tryingto do another rewrite with it,
trying to get it together.
But if you know, to know if youcould do like a score, that
would be cool.
I did just see a message that wegotta wrap up.
So uh I got two closer questionsfor you.
I know I've been talking aboutmusic and movies and everything,
(37:31):
but who are some of yourfavorite bands in general and
you know, bands that likeinfluence you?
And I know through email we werechatting that uh you have some
tour dates and tours andupcoming album to announce, and
then I uh just a personalquestion.
(37:52):
I was wondering if I mean we'llsee between now and then when I
get it posted, but if I couldpossibly sample a track from the
new album to incorporate thelistenership for the podcast.
Yeah, absolutely.
SPEAKER_04 (38:08):
I mean one of the things I think that that helps
Helicon have a I think certainlyuh a kind of distinctive sound.
You know, I I don't know ifthere's I think you can hear
influences on bands in ourmusic, but I don't think we
sound like other bands.
SPEAKER_00 (38:22):
Yes, yes, I will agree with that.
SPEAKER_04 (38:24):
And and that's because there's a pretty broad,
diverse range of influences thatthat come around that.
You know, Gary and my my mybrother and I who started the
band come from the same kind ofbackground where we we were, you
know, kind of introduced to tothe Beatles and the Stones and
the Verbo Underground and theDoors.
We came through that kind of youknow, 60s rock up through there
(38:45):
that was kind of big, you know,from the Stone Roses, then
through Nirvana, through to thenyou start to understand about
you know kind of the morepsychedelic side of things and
where that leads you to andtakes you down all those rabbit
holes.
I mean, Gary jokes sometimesthat um it's little wonder he
ended up fucked up in the headbecause I think for his about
his 10th birthday, I would be13, 14, he'd be about 10, 11.
(39:06):
I bought him Pike Floyd's pipeat the gates of dawn on cassette
tape.
SPEAKER_00 (39:09):
He's like, well, nice.
SPEAKER_04 (39:11):
He's like when your big brother gives you that 10,
he's like, no, I don't know youend up fucked in the head, you
know what I mean?
That's the your intro.
So things like that today, stilla you know, big fans of of
everybody from you know, ourplace to bury strangers and and
things that sit in there, AcidMother's Temple, a band that I
admire a lot, Primal Scream, andand the way that they've been
(39:31):
able to shape shift intodifferent genres and do these
things.
And actually, our next albumthat we're we're building
towards is probably more in thekind of primal scream
exterminator kind of kind offeel, where we're gonna be
partnering with with LA-based umDJ and producer Al Lover, who
did the recent permal remix, andI was working out with us.
(39:52):
So we're gonna be taking hiskind of electronica and trip hop
and breakbeat and dubstep andall that and bringing it to our
guitar, sitar-based psych rock,and see what we can what we can
come from that.
Whereas someone like Mike comesfrom very much the kind of the
prog influence side of things,massive fan of Gong and all
these kind of guys, you know, aswell.
And uh who he absolutely loves.
(40:15):
Um Seb the drummer, again,another really, really broad
array of influences, but has hasa lot of kind of uh traditional
music in his background, youknow, like Scottish trad music
and all that kind of stuff aswell.
And believe it or not, wasoriginally trained in the French
horn as his first instrument.
Um wow so he brings that.
And then Graham the sitarplayer, obviously, he comes into
it with bringing a huge broad,he's very, very much into 60s
(40:39):
counterculture and all that aswell.
But he brings all that Easterninfluence that we that we have
in there as well, which bringsthe guitar, and you know, we've
got a little Turkish saz sittingthere that we're starting to
work on some new tunes with aswell.
So a real eclectic mix of ofinfluences that come into that.
And and and I think you can hearthat, and and even you know,
that there's so many kind ofamazing bands that we get to
(41:01):
play with and see today thatstill influences very heavily,
you know, and that whether it'syou know the 13th floor
elevators and their legacythat's that that's ran all the
way through to today with bandslike the Black Angels, or you
know, if you see my hand tattooswith Space Men, yeah, yeah, um,
Spacemen 3 are a massiveinfluence on us, and and and in
my eyes, can do and never havedone any wrong.
SPEAKER_00 (41:23):
Um other bands that I that I forgot to mention, but
equally extremely awesome andpowerful and main influential
influences for exactly whatwe're talking about.
SPEAKER_04 (41:36):
Amazing.
And I I know you you talkedabout Dream Pop and you talked
about and obviously Mogwai arebig influences, or you know, I'm
good friends with Martin, thedrummer in Mogwai, and we
recorded our first album intheir studio and stuff like
that, and and and and their pathhas been uh has been a big
influence for us in the way thatthey've managed to to carve that
out themselves.
And then as you meant, you know,the Jesus and Mary chain, Gary
(41:58):
and I, my brother and I, we comefrom East Co Bride outside
Glasgow, which is the littletown that the Reed brothers come
from, and uh their kind of wholeaesthetic and and and and and
that adoration of feedback andnoise and and finding the beauty
in the noise, which I think wassomething that just pulled out
on headphones.
That that beauty and the noise,I think, is something that you
(42:20):
you learn to appreciate throughthings like Early Floyd and the
Velvet Underground as well, andthey carried that on.
So you know, anything thatanything that feels anything
that that deviates and and andhas a fr from the mainstream,
anything that that that shunspredictability and mediocrity,
anything that will push you intonew territories, you know,
whether it's the weirdness ofSid Barrett early on, right
(42:42):
through to today, with some ofyou know some some beautiful
abstract German artists andstuff like that as well.
We're just I I think that youknow the more you can you can
pour in them, but what can youpull from all these different
little elements and uh and andand start to create something
new?
And and I I mentioned the theshoe gays and dream pop thing.
Uh a band you should check outwho are who are very dear
(43:03):
friends of ours.
They're based in Paris inFrance, and they're called
Healy's H-E-A-L-E.
SPEAKER_00 (43:09):
I I I know them.
SPEAKER_04 (43:11):
You know Healy's?
I know Jason was working on therecord and lovely people,
really, really good friends ofours.
And we've played with them a fewtimes in Paris now.
I went down to London to seethem not so long ago, and
they've just released theirfirst album.
And and I would recommendanybody who enjoys shoe geys and
dream pop, uh they're supercool.
SPEAKER_00 (43:28):
Um yes, yeah, I'm I'm a I'm a big fan of theirs.
Uh yeah now, since you mentionedthem, I'll shoot them a message
to uh get them on the show aswell.
Yeah.
SPEAKER_04 (43:39):
Um Brian and Heli, the the the the the kind of
couple who Helivi's on base isSwedish.
Brian's actually from New York,I think, originally and now
lives in Paris, a a journalistin Paris.
Uh uh and um and the other guysin the band are from France as
well.
So highly recommend them.
But and then moving on to as youmentioned, we we are w with
SPEAKER_00 (45:50):
We are almost two-hour conversation.
That just shows how time swimsby.
SPEAKER_04 (46:00):
And the bowl, you can't see the bowl, you don't
say that.
Thanks for having us with me.
I really appreciate that.
SPEAKER_00 (46:07):
Absolutely, absolutely.
John, thank you so much fortaking the time to swim in the
bowl with me.
Again, I hope the temperaturewas just right.
SPEAKER_04 (46:16):
I was trying to keep the fish killing.
SPEAKER_00 (46:18):
Excellent, thank you so much.
Hey hey, all my fishes in thesea.
Thanks for listening to mylatest chat with John Fogus from
Helicon.
You can follow the Fishbowl onall major podcasting platforms.
Give us a follow on Facebook atthe Fishbowl, Instagram,
theFishbowl88.
(46:39):
I now have merch available forpurchase.
You can DM me personally onsocial media or friend request
me on Facebook, SamFish.
I'm also now accepting donationsto my BuzzSprout website from
all you generous scuppies in thesea.
Thank you again for yourlistenership and support.
And remember to hit that likebutton and subscribe.
SPEAKER_02 (47:31):
So much more what you have to say.
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