00:00I want to ask one fundamental question, of which our televiewers may not be quite aware of the significance of it, because they didn't hear all of it.
00:08Why has it all got to be so terribly loud?
00:11For me, frankly, it's too loud. I just can't bear it.
00:14I happen to have grown up in the string quartet, which is a bit softer.
00:17So, why has it got to be so loud, so amplified?
00:21Well, I don't guess it has to be. I mean, that's the way we like it.
00:24And we didn't grow up with a string quartet, and I guess that could be one of the reasons why it is loud.
00:30And it doesn't sound terribly loud to us.
00:33Yes, actually, not everybody who hasn't grown up in a string quartet turns into a loud pop group, so your reason is not altogether convincing.
00:41But I accept that you like it.
00:42What I'm saying is that if one gets immune to this kind of sound, one may find it difficult to appreciate softer types of sound.
00:52Sit, yes, no?
00:54I don't think that's so.
00:55No.
00:56I mean, everybody listens. We don't need it very loud to be able to hear it, and some of it is very quiet, in fact.
01:02Right.
01:02Personally, I like quiet music just as much as loud music.
01:05We play in large halls and things where, obviously, volume is necessary.
01:09And when people dance, they like volume, you know, comes in on its own.
01:15Well, that's interesting. You see, when people dance, you did start, if I'm not mistaken, as a group which accompanies dancing.
01:22Is that it?
01:23Yeah, you could say that.
01:24And how did you turn into a concertizing group, if I may use the American term?
01:29Well, we've only done two concerts, in fact.
01:31Yes.
01:32Because the main scene with pop music, which I guess is what we are at the moment, is that you play gigs around ballrooms and dance halls and this sort of scene, because that's how it works at the moment.
01:44But we felt that there was no real reason, you know, why we shouldn't do an organized concert in a large hall where people came and sat and actually listened to what we do, because dance halls, generally speaking, are not very good places to actually listen to the music.
02:01Most people come along and the music, for most of them, has been, over the past few years anyway, just a sort of background noise that they can jig about to in certain sort of, you know.
02:12Were those two concerts successful?
02:15Yes, I think so.
02:16But us, I mean, when we play, I think the way they actually developed in the last six months has been influenced rather a lot by the fact that we've played in ballrooms.
02:25Yes.
02:26Necessarily, because, you know, this is obviously the first market.
02:30But I think concerts have given us a chance to realize that maybe the music we play isn't directed at dancing necessarily like normal pop groups have been in the past.
02:41Have you encountered any hostility towards your creation?
02:45Well, yes, we have.
02:46But, I mean, I guess there's been quite a lot of hostility going on in odd places in the country.
02:50I mean, the only hostility we've actually seen, of course, is that which has hit the national press and think the sort of professional knockers like Robert Pittman and people have had a go at it.
02:59Do you, in your turn, feel aggressive towards your audiences?
03:03No, not at all.
03:04In spite of all the loudness, you don't?
03:06No, not at all.
03:07Yes.
03:07There's not many young people who sort of cause, you know, who dislike it.
03:14No, there's no shock treatment intended.
03:16No, certainly not.
03:17You know, some people think that we deliberately try and sort of shock the audience and make them, you know, by the volume, keep them quiet sort of thing.
03:26But this isn't so.
03:27Well, there it is.
03:28I think you can pass your verdict as well as I can.
03:32My verdict is that it is a little bit of a regression to childhood.
03:36But, after all, why not?
03:37I think you can pass your verdict.
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