Hiatus Kaiyote

28:14This is like...

28:27So it's the microphones down here.

28:33Yeah, that's it. So I've got that now and then you turn it off. It's a big difference. Yeah. How many sounds can you get out of your kit? you figure a lot probably 27 yeah I think 27 is the maximum number no more no more than that yeah I've got like I've got like Simmons over here that's got triggers to so that first row is a kick and I can change the pitch or the length of that and then like same with all the

29:12and then with all those guys I can mix over here that does the effects.

29:22That and then microphone over here to record. Stuff and then that kind of yeah. You were doing something to like mess with. Yeah. Can you only tell that from the Ineos blog? Oh if you don't have headphones you can't tell. Like you're showing them a thing that no one has headphones. No but I feel like they can hear it in the studio. yeah they can hear it yeah bet I was like it sounds so boring when I'm not actually doing what it sounds like

29:55it's happened before when I'm just hitting a tom and it's like oh shit but you know without the headphones on it just sounds like I'm doing nothing yeah it's crazy man because usually people have like big kits you know not to say it's necessarily overkill 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 he has a big kit yeah you're not like it's cool how you choose to use things and when you choose it's coming from like a production background and um like in the beginning like we didn't have any of this stuff and then we'd be playing like songs off choose your weapon and like i didn't have the simmons either so it would just be like chucking things on snares and symbols to try and create like a feeling of distortion or whatever and then eventually like you know found the simmons and 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 can 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 um notes and um the pitch and stuff at that and just keep adding on to this but yeah the actual drums is only like a three-piece kit really with cymbals and all the other stuff and what came first for you was it production like did you start producing stuff first or did you start drum like no producing really yeah so when did you pick up drums um or like i've i've been playing a hand percussion like for for a while um and then when i went moved to melbourne um i kind of like we moved down i was in another band and we moved down to Melbourne without the drummer.

31:35So we had another drummer, Lee Fisher, that was playing with us in Melbourne, but I would just pick up the drums because I knew the songs and I'm like, kind of get away with playing like basic patterns from just hand drumming and that's kind of how it started really. And that would have been like how? It was like 21, 22, yeah. Like where I really went in. And then I moved in with these guys and then like they're all amazing musicians and then I just basically like treated 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 he was initially like doing production and percussion or whatever and I was like actually you're the drummer now and so it's just like Nakamura was the first song or was it Lace Goal or something like that I don't remember from the first record?

32:23yeah maybe Lace Goal I was the percussionist that's around the time that you really started I mean it's we were supposed to get a drummer I was like, you were the drummer. Now you're trapped with us. Now I'm trapped. No, it's good. It's great. Yeah. It was a little bit later on, but I was a big believer in if you want to do it, then you can make anything possible. If you've got the drive to do it, then you can kind of achieve a lot. So I was kind of proved to myself and other people around me that it doesn't matter what age you are. you know you 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 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 i mean i guess think of like quest love has been playing since he was a toddler or like chris dave like you know what i mean like like here you are like 20 years after them you're picking the instrument it's it's nuts like it's uh but i mean those guys like paved the way like i listened to the records that those guys play it on and it's like um you know hearing just hearing how how it sounds on a record and that's where i'm listening i'm not listening to like what they're playing 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 and 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 formed my own sound by just making up what other people did and then just trying to achieve that that makes sense is that a different mindset then than when you're on the road and yeah yeah recording in the studio and playing live is totally different thing for sure how do you try or how do you what like how do you adjust um i don't know i feel like on on live gigs it's more about like being like a bit more of a timekeeper but also um i'm like i have them like i feel like i have a lot of freedom in the band because um 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 to 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 higher harder on this section but in the studio I would be taming it down because I can hear how it sounds and in the microphone so I'm like I don't want to play louder because it's going to fuck up the sound if that makes sense 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 25 cymbals and that's amazing but like like literally thomas pridgen the other day who's like such a g you know and he's he's the homie he's played with fucking everyone yeah and um 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 peel symbol it's like the thing that goes yeah yeah yeah and he was like and he was like losing his shit over pez's 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 of like who's the best drummer in the world and it's like none of that counts for 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 and i think yeah there's just like not gatekeeping music you know 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 never be the best that it's like just be yourself with it you know and explore it and be creative and pez is like so good at that to the point where these these amazing world-class drummers look up to him i like or respect what he does because no one plays drums like him because he plays drums like him you know and i think we're all like that it's like 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 yeah you know it feels like you guys let me show off 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 um i don't know it feels you guys are all virtuosic you know but it feels like the records showcase some of that the last two mood valiant and um love our cheat code but like there's still there's like a lot of emphasis especially on the new one like on song and the conciseness of the record just like 11 and it really moves like starting with dreamboat ending with white rabbit like the record really goes somewhere like it does it doesn't happen a lot on records these days i don't know people don't think about them that way but you really it's like i don't know like it's like a film that way or a story or narrative you know it is a film you know and i 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 and um and that's the most exciting thing about being in the studio man 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 yeah it was interesting you brought up thomas pridgen because i thought a lot about Thomas Bridges just for some like the way that it's uh just the heaviness but the creativity in really what also what you're doing well yeah Bender was Bender was the the main source of inspiration for that one and like you know like Bender was like also like I was never playing anything heavy until I met Bender like honestly like I 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 my ears to like those sounds and like um if you want to go forward from that because like yeah yeah definitely lightning bolt was a huge influence on that song there's a few main influences for me was lightning bolt um deer hoof and there's this particular form of west african music that like you showed me called to combo which is that's what i wasn't wanting to interrupt and say is like you say oh i wasn't really listening to every music it's like to complex some fucking northwest west african yeah records that just like recorded on the most distorted like fucking shit like that is hard oh it's so hard like abby nagano it's like just because it's not metal doesn't mean it's not fucking hard yeah totally i mean for me i grew up like the first band i was in you know that was the first music that i played was like punk and and metal and grunge and stuff you know just being in a band with my brother and you know covering you know nivana and pantera and slayer and you know metallica and shit you know just and um you know and it's it's like a kind of world that you know i i kind of drifted away from just trying to learn as much about as many things as possible and um kind of just coming back to just like you know you know distortion is really fun and you know just that kind of um that energy is really fun and i think i think um it's also really cool to play that stuff live because i feel like most people have a soft spot for it but it's it's not necessarily something they 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 barraged the whole time but if you hit them with like a couple of songs on the set that are just apeshit and just out of control then it's just like you know it's such a release it's very very therapeutic it's super therapeutic I just like release the pressure is one of the lyrics.

40:20It'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, yes, one, two, one, two, three, four, five, six. And you're just like, just fucking be in the room and give us love. Like we're human beings and we need that shit. You know, and sometimes like Cinnamon Temple can be like a palate cleanse. You know, heavy music. Yeah, 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 it's what like i don't know when i discovered lightning bolt and really got into them they like really blew my mind because i 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 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 um lightning bolt in Melbourne like many many years ago and they they set up on the ground like they don't they set up in front of the stage so it's just like a drummer and a bass player going full ape shit and everyone's just around them so at some point during the set i'm literally holding on to the drummer's floor tom while all these people behind me just like and he's like my god yeah it's just like it's just yeah it's just like it's just like someone driving as fast as possible you know uh 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 yeah i was so happy 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 right like i mean to your point i kind of i mean i grew rest in peace like dime bag daryl i mean i used to love pantera i grew up on that you know but spent three days at oz fest but i can't you know i can't i can't really i can't live there for too long anymore so but honestly like i don't know metalheads are all really nice people for the most part They have an outlet.

42:34I mean, yeah, apart from like crazy Norwegian, like church burning. The cannibalism. Like mayhem guys and stuff that are actually really hectic. But, you know, most of them are just like chill nerds, you know. Do you mind? Could you play a couple bars of Cinnamon Temple? I'll just have to put Eric down for a second. I mean, yeah. The shark can play along, please. So, yeah, it all just sort of started with this initial riff.

43:11Oh, yeah.

43:32It's a little taster. This is so fucking good. I didn't really get to hear it, but I was just hearing that. I didn't know. Oh, true. I didn't know. He hit the drama, go bang, bang, bang. You guys have been playing that for like almost 10 years now? Yeah, probably. We have like no concept of time ever most of the time. We're like, how long did it take you to make this thing? We're like, when the record label said it has to be finished. A while. Yeah, we haven't played for a while. It's been a while, yeah. And it's even the recorded version of it is actually quite old too. It's super different, right?

44:11Yeah, yeah, yeah. We've got another song that was recorded at the same time that's still not out you know like so that would probably be on the next record everything's everything's just a puzzle you know it's just like some puzzles you solve really fast and other ones you're like why is this not like it yet like why doesn't it feel the way i want it to make me feel yet you know so certain things are just like um take a little while to brew and then you step away from it and it's like what did we what did we record and you're like oh okay you 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 yeah that's the weird thing about recording because it's you know it's not it's just no 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 a illusion really you know even if you really record yourselves playing it you know you're not just standing in the middle of the room hearing it with two ears you know every microphone is a weird unique ear placed at 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 like the intention so you know sometimes that takes a while to figure out and does every song need require something different or is there that's that's the challenge i mean i feel like that's the great challenge of this project and why the records aren't aren't like you know made that quick because you know if it was it's not like one sound that suits all songs yeah exactly you know i feel like for example i don't know like someone like you know the dab kings who are all amazing players and you know just just incredible um you know they'll 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 all the tones are like in exactly the same universe and you just get to take to get takes to feel good and you know the whole record has that sound but for us it's like every track is like drawing from you know a different genre that has a different production and even process and style even different different sections as well yeah yeah exactly it might be like this you know i don't know like for example when we were making a song atari from choose your weapon it's like okay so this is kind of inspired by video games it's going to have all these kind of little you know eight bitty kind of feeling sounds and it goes into the chorus and that has this sort of drum and bass kind of inspired thing so then it's like well we now we have to embrace how that is put together which is like you know chopping up different drum breaks you know that are all slowing down 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 of that feel at a different tempo just get we got heaps of those together and then we changed the pitch of all of them so they're now all at the same tempo and then like kind of chopping between them it's like this one's kind of like being sped up this much little ride cymbal and this one's all like super tight and that's kind of being pitched down but it's just like yeah just embracing like how did people make stuff in the style that we're referencing sound like that style and it's all really different and it's super fun for us because it's like you know that's the the full experimental part of um 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 will bring something in someone bring something in it's like i really love this song on this moment and it's like cool like how would how 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're kind of like experimenting with that stuff and then you know we've built up a rep like a repertoire 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 was like we've we've kind of like we definitely have um 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 i think also another thing to mention is it like us working out this stuff is not like we're just like let's go and watch a tutorial 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 is also creative you know and like even the name hiatus coyote was kind of like a pun on that 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 and then you work it out and then you're a little tool belt and maybe it'll be the thing that you use later down the line or maybe you have to work out something new yeah i was tripping out that you said coyotes are made up word but you just mean like the the way it's spelled or is coyote actually no no it's it's hiatus okay yeah a lot of people say coyote and i don't like it's fine like it's whatever I like wolf dogs.

49:45No, but it's made up. I've been put on notice. I'll never say it wrong again. Sorry, guys. No, it's fine, dude. It's a lot to take in with y 'all. It's a stupid name. Yeah, we're elaborate as fuck. After this last break, we'll be back with the rest of my conversation with Hiatus Coyote. In today's super competitive business environment, the edge goes to those who push harder, move faster, and level up every tool in their arsenal. T-Mobile knows all about that. They're now the best network, according to the experts at an Oocla speed test, and they're using that network to launch Supermobile, the first and only business plan to combine intelligent performance, built-in security, and seamless satellite coverage.

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53:08Here's the rest of my interview with Hiatus Coyote. In terms of lyrics, like lyrically, I really enjoy this album. And I was wondering specifically for this album, when did you come in? And how soon do you introduce ideas, lyrical ideas? Or do you often just introduce vocal ideas? And how early in terms of building, constructing the tracks? Sometimes it's the first thing. Sometimes it's the last thing. There's no formula. It's like we all, 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.

54:01Or, yeah, I don't know. There's no set way that I go about it, you know. And sometimes, like, melodies will be based off melodic things, like, you know, like, instrumental things, sometimes the other way around where an instrument is playing what I'm singing. I think on like Dimitri you pretty much had like the lyrics and the melody straight up and then I sat down with Nane 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 the harmony that goes with this and you know so yeah it can be really any way it can be a million bajillion different things there's no yeah yeah I was listening to I've been listening to Steely Dan a lot lately and 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 I was had the same similar thought about you guys like has anyone approached you guys to like take it like or say like hey can you guys write us a song like the track the lyrics everything or have you guys thought about doing that for other people?

55:08Lots 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 yeah um we 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 sentimental and my shit is like very 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.

55:57But I mean realistically most people do that because they need to pay off a mortgage or something. True. But then you did, you used a little bit of like My Girl in Telescope. That's an interpolation. Smokey wrote, you know, I don't know if Smokey didn't write that necessarily for the paycheck, I don't think, you know? He also didn't write it for us. We interpolated it. That's a good point. Who's mad at the temps version? I don't know. I'm particularly touchy about this because I think it's a very L.A. thing to be like, you know, I don't know. That part of the industry might be like. Yeah. I don't know.

56:33Maybe the guys think differently about that. I think we just don't find enough time to actually make music ourselves. you know it's hard enough for us to get in the studio and create stuff let alone for other people yeah i think we we take that first yeah you know if you have the choice it's like you want to write some more hiatus shit or do you want to write shit for other people and it's just like yeah we're gonna write more hiatus shit i kind of think that too like because we do you know do stuff we each have a side quest outside of the bands yeah you guys do have side but i think you know as soon as it's like a thing that we were we're all writing we're all invested in we like wouldn't be able to give it away okay 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 yeah 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 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.

57:36And I think it's also, sorry, 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 like we all have a love for Miguel and would like, those kind of things all like. He's talking about Miguel, I would focus on, not the R &B. true true true true um yeah just kind of like having these instrumental um 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 on their records or if it's a collaboration but like yeah it is 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 yeah i also don't 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 pez said like you know like author verica who does like yeah exactly he's a good example you know orchestral arrangements for us or you know um 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 Bjork 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 colonize other I mean you know collaboration is 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 yeah reasons.

59:26I guess you're right. I mean, there is kind of like an industry overtone to that. It's very LA. We live in Australia. It's the other side of the world. People are way more chill. I mean, I'm not even just for the Australian. I don't know. You guys are so fucking good. I'm like, God, how many people could use what you guys have harnessed together for? You know what I mean? Hopefully it's inspiration for other people. That's the thing. I think that's how we contribute is like the amount of people, like we did a 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.

1:00:02And that's more exciting to me than me being like, hey, sing this thing that I made. You know what I mean? Yeah, yeah, okay. Yeah, but yeah, like Simon said, we have 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 shit 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. A lot of people do it. Stevie Wonder, Prince, like a lot of people write that. Yeah, look at, I mean, you know, and it's not in a crass kind of industry, you know.

1:00:38But it's natural probably. I mean, but we don't know because I don't know them personally. I personally love collaborating outside of the band. I love it too. But that's just me. I've been trying to rope lots of people into my side project that's sweet enough so we go around and tour. Which, by the way, fucked me up. When I first heard that, I really thought it was some old Polynesian style record. I was like, what the fuck is this? Les Baxter. Yeah. Me and Son have been working on the follow-up record, and we've got a lot of amazing people on it, which is fun. It's just something special about getting cool instrumentalists to just hang out and just make pretty stuff.

1:01:13Just like, we're just going to make pretty music now. and, you know, doing some palm trees, weighing energy and have a good time. Just have a really chill time, you know? Such a great chill record. Yeah, it's the best fun in the studio. You just, everyone's smiling and super happy. It's awesome. Not like a hiatus record. We're all pulling. We're all crying. I wanted to ask about, Simon, about the way you think about chord changes. Just generally, like, are there changes just when you sit down at the piano, you're prone to play more than others or 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 there's the popular ones that everyone kind of gets down so that they can play certain styles and that's cool but i i kind of prefer this sort of method of trying to figure out your own ideas of of changes and establishing your own concept of harmony and and sound and being able to hear and recall certain interval relationships because of emotional feelings that you connect with them as opposed to 36251 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 or emotional connections or you know imagery that you can attach to certain intervallic things that's the kind of shit that i'm really into 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 like play something or write something how often do you sit down just just to improvise and play yeah 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 piano and i was just getting back into playing the piano because I don't really play the piano that much anymore.

1:03:31I just play keyboards and synths a lot. So I've been doing that a lot over the last five, six months, which has been really lovely, just getting to know the instrument again. Has it changed the way you approach synth or a keyboard or anything? No, the piano is a different instrument for me. 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 this insane whereas this has only got maybe four or five different steps of velocity of the sample or or it's one with a synth or you know so like when you're playing a piano the 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 different because you've got 10 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 melody is super important but then everything that backs it up is also super important and you've got to get this delicate relationship between all your fingers.

1:04:53That's amazing. I don't know if you ever showed the Debussy that was in I think we lost that somehow. That's right. Perfect time.

1:05:09Something like that.

1:05:14Yeah, it's that kind of movement. And that was because I'm particularly obsessed with You love Debussy. 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 sassing him to put little things like that into things. Sorry, that was a terrible rendition of Debussy. That was, I apologize. I'll hear it later. I'll judge it 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 it's like it's actually the thing is it's just like refining shit and like the chord 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 i like single ladies from beyonce is like that's actually like a fucking weird ass song but it's like one of the most famous like pop hits or whatever i think david bowie was really good at that too oh yeah david david i mean david bowie changes like the start of changes like if you go to learn like so many people just like ch-ch-ch-changes and they know that shit but it's like try and learn how to play it and it's way more complicated than you think yeah it's so true um well cool i know you guys gonna do red room so i wanna um

1:07:25I've got a red room, it is the red hour when the sun sets in my bedroom.

1:07:37I've got a red room, it is the red hour when the sun sets in my bedroom. Feels like I'm inside a flower I've got a red group It is a red house When the sun sets in my bed Feels like I'm inside a flower Feels like I'm inside my eyelids And I don't wanna be

1:08:12Hey, anywhere but here I don't want to be

1:08:26Anywhere but here

1:08:32I got a red food, it is a red house Sometimes I'm a bad dream

1:08:44I got a red, red, red, red, red, hot When the sun sets in my bedroom Feels like I'm inside a flower Feels like I'm inside my eyelids And I don't want to be

1:09:09Anywhere but here I don't want to be

1:09:22Anywhere but here

1:09:27I got a red room It is the bright room There's something in my bedroom I got a red room It is the bright eye When the sun's in my bedroom I got a red room It is the bright eye When the sun's in my bedroom Feels like I'm inside a fire Feels like I'm inside my head Leaves and turns around me I'm anywhere but here I don't wanna be anywhere but here I don't wanna be anywhere but here When the sun turns in my bedroom

1:10:33When the sun sets in my bedroom I got a rhythm I got a rhythm When the sun sets in my bedroom I got a rhythm I got a rhythm

1:11:02Thanks so much to Perrin, Paul, Simon, and Napalm of Hiatus Coyote 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 Maia for getting the music in today's episode recorded, mixed, and mastered to perfection. To hear some of our favorite Hiatus Coyote songs and songs associated with the group, check out the playlist in today's episode description or at our website at brokenrecordpodcast.com. And of course, be sure if you want to see the full video of today's episode to visit youtube.com slash broken record podcast.

1:11:35And 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 help from Eric Sandler and Jordan McMillan. Our engineer is Ben Toleday. 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 that offers bonus content and ad-free listening for$4.99 a month. Look for Pushkin Plus on Apple Podcast subscriptions. And if you like this show, please remember to share, rate, and review us on your podcast app.

1:12:14Our theme music is by Kenny Beats. I'm Justin Richman.

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1:13:37Learn more. Visit BoschHomeUS.com. I'm Glenn Washington, the host of KQED's Snap Judgment podcast. And at Snap, we don't just tell stories. We live them. Every week, a different journey, like on a plane with Rihanna. A racetrack in Tijuana. A year inside an Oakland homeless encampment. Real people, real voices, with original music and cinematic sound. Snap Judgment from KQED. New episodes every Thursday, wherever you get your podcasts. This is an iHeart Podcast.