We were talking anyway probably, we had mentioned it when we first worked
together on Super Discount that we would eventually work together at some point. I
was just in Paris and I think I text you, and we quickly...we met up.
No, no it was just like let's have time in the studio and see what happens. BD: With each other.
Actually like the first session we had two or three songs...really good, and we were like...wow.
The game changed I think actually when Delilah came on really, I mean that's what we were looking for,
we had these sort of ok skeletons and when Delilah came it really made it
something special. DH: Thanks. BD: It's alright, it's true though, I don't...you know, I don't usually say things like that.
Yeah definitely, I like that philosophily, philosophily?…
That's like a Turkish dish but um... it's, I like that... I can't say
that word, philosophy. Generally with music I find I like to strip it all back
down, simple is best, when it works without
anything really happening I think it really works personally.
Yeah, but actually when there is not too much that happens that works always.
Yeah, it's like a small engine supporting... I was about to say a boring story, but not
only because of some of the stories I made up. It's a small engine supporting
an emotional narrative. Does that?...That doesn't make sense, sorry, I'm going to stop talking.
I tried to put more stuff in the production but it didn't work, every time you know
it's one sound too much. Then we threw everything away.
It wasn't they made me feel very welcome and, yeah I've had a lot of fun making the record.
Because they were laughing at my accent, that made the
sessions really easy. BD: I had to translate quite a lot in English, no one spoke French.
You mean for this project? Yeah I mean we were working together and then...No I don't remember how we did...
I think some of them happened in different ways,
some of them were based on like backing track ideas you had already, had
a few of those, and then some we'd just invent on the spot. It was all very
spontaneous and if it wasn't spontaneous we became tired and
basically, not even joking, went for lunch. If it didn't... something didn't
happen very quickly whether it was a story or a melody or a voice melody or
musically we just sort of stopped and we'd go on about other... you know we would
concentrate on other things we were doing. So it was just a
very quick process I think. It took a while for it to take shape, for us to
make the right decisions about what we liked and then it started to be very
obvious, and then it was quite quick. I think when you go into song world unless
you honor the singer with the music it doesn't work. So if you try and honor the
music more than you do the singer, depending on the type of music, the
balance isn't right so something like this was very story led so you had to
kind of honor the voice, so it became the very dominant feature...aspect. EDC: Yeah, and it's
easier to me you know when... it's easier because the focus is not on the music, the focus
has to be on the voices.
That was where we...Etienne was more adamant, he was stronger about the
idea of finding someone that wasn't... it wasn't whether it was a female or male
voice or something, just someone singing more melodic things, just
finding somebody different with a more unique voice and trying to
get away from a tradition of what people do a lot, kind of this soft male/female
vocal arrangement which is very traditional. Possibly quite
traditional in France I guess, that thing.
Someone introduced me to Delilah... and I just... Delilah's band is pretty
ferocious, I mean it's a pretty hardcore band, so you're doing something quite
different here than what you had done over the last couple of years,
right? DH: Yeah, definitely. BD: So, we didn't quite know what your singing voice was going to be like
in a way, because she gives it quite a lot when she sings in Skinny Girl Diet,
you know it's pretty hardcore sometimes isn't it? DH: Yeah we scream a lot. BD: Pretty intimidating for a couple of old dudes.
Yeah definitely, it's so boring just to have a closed mind and just make one particular
music, like life's too short to just do one thing.
Transgenre, I mean we are transgenre. BD: We are the future. Full stop.
Well...I mean the B.E.D and the, you know... It's about regret and things...it's not quite as... DH: That's really
interesting though, I love that concept. BD: It's not quite as callous as that, you know, not quite as
unemotional. DH: It could be seen as that though.
Well, it could've been, yeah. DH: I like it, it's definitely interesting. BD: It's a good French view of it.
Two minutes is perfect timing for a song I guess. BD: Yeah I think so, I think it's about raw...
that minimalist amount of data, it only should happen that quickly, you
don't need more than two minutes otherwise it becomes a responsibility to listen to it.
It's interesting to step out of your comfort zone. I'm a dictator,
you know, I've set up my... not dictator but I've set up my world where
I can control it, you know, and that's what I do and it's all about me and my...
cups with... like things with my face on them or whatever, you know, and it's interesting.
To see how that works, dynamics between more than just you making decisions, I think that's very
interesting. It's relatively pain-free, the actual experience of making
it has been really easy, wasn't it really? EDC: Yes we were mostly agreeing on
everything. There was not like hours of discussion:
"I like this hi-hat sound, I prefer this bass", that was pretty fast. For me
anyway, all the music I've made in collaboration with people I always
prefer to my own music. You know it's better to me because it's something
that's not for me, I prefer collaboration. But I have to
stand alone at my studio also.
Well like Baxter said I came from a punk band and I was in the process of making
my own solo project, so it taught me a lot about vocals and using like a higher
register and yeah just experimenting and just being free. And I never really
worked with anyone before so it was really fun to just work and write and, yeah
I love Etienne's music as well so it's been a great experience.
We talked about the more... not particular albums, I think we talked about kind of sonic stuff from
the 80s and... you know I kind of like what it sounds like. We used some of the
equipment that was from that era so we talked about kind of more European
hip-hop from the 80s almost sometimes badly done, or well done, or you
know mute records, things like Suicide and all those kinds of records. It
was a vague outline wasn't it? That we had when we talked about it and we talked
about hip hop quite a lot. EDC: Yes, yeah, yeah. BD: Naive hip hop. EDC: Hip hop
without samples, hip hop with just synthesiser and the rhythm box, really early hip hop.
But we didn't listen to a lot of music when we were working, we didn't have really
strong references. I've been working with a band called the Sleaford Mods and they
have a very simple set up and I was always quite inspired by that.
Just love, for me actually. BD: Yeah it was mostly fun actually. I mean some of
the things... I'm really impressed by the sound of the album generally so
that's down to Etienne and Delilah's singing is probably the best thing
I've ever worked with really. I mean singers, you know, when you think about
singing you start to worry about someone going "BLAH", you know like drowning
out the room. But singing in its truest sense is about understanding
words and melodies, just...it's like a wine
its got history to it and Delilah's voice is quite incredible I think like that.
Exactly, the first time you sing, you know when we did the session
with Delilah for the first time and we listened to her voice and that was
exactly the point you know, immediately that was wow, okay it's done. And we didn't make
many takes. It was right. BD: No, no, not at all no. It's the person that makes a good singer not the voice
or not the bellity or how long the notes are, it's something to do with the person and
that's why it's mysterious, but it's very good.
Thanks guys, wow, yeah I agree with these two it's just a
dream team and we just all complement each other so well. I think the thing I
hate the most is the fact that I've got to leave Paris and go back to London.
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