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Other Voices S24E02 Episode 2 Engsub
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00:01¡Dingo!
00:34Hue, come on.
00:36Oh, sorry.
00:37Camera's rolling.
00:37Just enjoying the beautiful view of the Dingle Peninsula.
00:40And the sandwich.
00:41And the sandwich.
00:42Welcome to Other Voices.
00:43We've got another incredible show in store for you tonight.
00:46We do.
00:47Some amazing performances in the church.
00:49You're going to see Shame, who caused nearly a riot in the church.
00:52They were amazing.
00:52We also have Doug and we have a beautiful soul singer from Reading called Jessie Blakemore.
00:57But to kick things off, playing music from their incredible third album, this is Dry Cleaning.
01:02You can finish it now.
01:03Thank you.
01:03In peace.
01:04Where's my sandwich?
01:04In peace.
01:11I'm not ashamed.
01:13It happens in the time.
01:15Just out to a charm.
01:17Nice.
01:19Very best.
01:21And never enough.
01:23I mean I've lost a message of peace.
01:28You always want to be.
01:34You always dress in me.
01:39Don't press me.
01:41Yeah, you, you.
01:45Press me.
01:48Don't press me.
01:51I'm not afraid.
02:08¡Gracias!
02:49¡Gracias!
02:54¡Gracias!
02:55¡Gracias!
02:57I am wildly excited about this next act.
03:01They are truly one of the best live acts on the planet.
03:04They're here in St. James' Church for other voices
03:06to play music off their four incredible records,
03:08including their latest masterpiece, Cutthroat.
03:11As the band say themselves, this is not performance art.
03:14These shows are direct, raw and confrontational.
03:17Are you ready, Dingle?
03:19This is Shame.
03:24Dingle!
03:53Shining out what's more fun than you are.
03:57Getting good and getting thought.
04:02They like the boys and the girls.
04:05They like having fun with everyone.
04:09They like the boys and the girls.
04:13They like having fun with everyone.
04:17And why not do what you want to do?
04:24And why not do what you want to do?
04:40I know you want to win.
04:42You want to take her like this.
04:44You don't never know that you want something like this.
04:47You don't think like wrong and you know what's wrong.
05:00¡Gracias!
05:48¡Gracias!
05:50¡Gracias!
06:38¡Gracias!
07:05¡Gracias!
07:09¡Gracias!
07:10¡Gracias!
07:33¡Gracias!
07:50¡Gracias!
08:39¡Gracias!
08:49¡Gracias!
09:26¡Gracias!
10:04¡Gracias!
10:24¡Gracias!
10:30¡Gracias!
10:41Jessi Bakemore, ¿cómo describiste lo que te hace?
10:43Yo siempre diría que es como R&B.
10:46Es como indie-leaning, como folk-leaning.
10:49Sí, tú eres una buena guitarra.
10:51Oh, gracias.
10:51Entonces, ¿cuándo fue a la primera guitarra?
10:53Cuando yo era muy joven.
10:54Mi padre ha jugado a las guitarras alrededor de mí desde que era un niño.
10:57Yo siempre tenía eso alrededor de mí.
11:00Yo me quedé muy shy de performar, así que me quedé por un par de años.
11:03Y luego cuando yo era 15, 16, yo pensé,
11:06¡Oh, yo realmente disfruto de esto!
11:07Así que me dejó de mí mismo.
11:09¿Y were tú escribiste entonces también?
11:10Sí, sí, sí.
11:11Yo creo que son probablemente malas, pero sí, siempre escribiste.
11:15Yo me amo, como, como, poetas, así que siempre escribiste.
11:19Y siempre escribiste, escribiste mi pensamiento.
11:20¿Y fue un momento cuando te hiciste que hiciste algo?
11:26¿Cuándo te sentí que esto podría ser algo?
11:28Sí, sí, es raro porque creo que mucho de eso ha sido online.
11:32Así que, como, performing en mi celular, que es un raro.
11:35Y hay un par de videos que he posted a un par de años atrás que me hacía un poco
11:38de atención.
11:38Y yo pensé, ok, esto realmente feels good.
11:40Esto podría ser algo.
11:53Y yo pensé, ok, esto es un par de años atrás que me hacía un par de años atrás que
12:11me hacía un par de años atrás.
12:13Y yo pensé, ok, esto es un par de años atrás.
12:38Y yo pensé, ok, esto es un par de años atrás.
13:37¡Gracias!
13:52¡Gracias!
14:32¡Gracias!
15:06¡Gracias!
15:33¡Gracias!
16:07¡Gracias!
16:37¡Gracias!
16:53¡Gracias!
16:53Johnny, Conor, Doug, how are you both?
16:55How's it going, man? Nice to be here.
16:57So, give us the Doug backstory,
16:59because you're Scottish.
17:01Yeah, I grew up in Scotland, yeah.
17:01You're Californian, but you met here in Ireland?
17:04Yeah, yeah, yeah. Well, my mum's Irish,
17:06so that was kind of my connection to Dublin.
17:09But yeah, I moved back,
17:10I was in the States for ten years, in upstate New York,
17:13and then I moved to Dublin,
17:15kind of because of the music scene, honestly.
17:17I came over for a weekend just after Covid,
17:19and I was like, hanging out with all these
17:21just amazing music. There was so much music.
17:22The Wallopers were just starting to come up, they were around,
17:25our friends Lemoncello were playing,
17:27Lancôme was around,
17:29Scratch, it was just, I was like,
17:30wow, what is happening here?
17:32And it was a lot more exciting for me musically
17:34than New York was, so I moved
17:36in 2022.
17:38I came here in 2016
17:40to do a Masters at UCD
17:42in music, and
17:45I was just like so into
17:46Trout that I wanted to come to Ireland,
17:48hear it, and just learn more about it too.
17:51Originally the idea was to
17:52exchange a banjo lesson for a guitar lesson,
17:54which never happened, we just started kind of noodling.
17:56And then, a friend of mine had lent us, or lent me a car battery and a little PA,
18:03a really shitty little PA,
18:04and we went and we played outside the Burger King on Grafton Street.
18:06And we just started busking.
18:07There was never any real goal other than like,
18:10it was sick being able to make rent busking.
18:12It's like we didn't have to get jobs, you know what I mean?
18:14That was kind of the end goal.
18:16And the result is Have At It.
18:19Yeah.
18:20The brand new, the record from Doug.
18:23Can you tell me a little bit about that transatlantic sound that's on the record?
18:28Yeah, I wouldn't call it trad music per se.
18:30Like, we're inspired by, you know, Love Planksy and stuff,
18:33but we're kind of not really welcomed into any of the groups fully.
18:36You know, and that's okay.
18:37Like, when we're in TSA, and they're asking about the banjo or whatever,
18:41and they say, what kind of music do you play?
18:43We just say Americana folk music.
18:45We really like songs a lot.
18:47And we're very into writing songs, too.
18:52Well, here's to love and here's to hope.
18:55Here's to loss and letting go.
18:58Here's to hitting off the mark.
19:00Here's to the changing of the guard that comes around.
19:07Here's to shame and here's to glory.
19:10Here's to brand new origin stories.
19:12Here's to taking flight and falling.
19:15Here's to getting back up and walking.
19:17We'll come around.
19:20Well, can't you feel it?
19:23Can't you see?
19:24It's the year of jubilee.
19:27Grab your shovel, let's get going.
19:29There's no one weighing on.
19:31Can't you feel it?
19:33Can't you see?
19:34It's the year, the year of jubilee.
19:55Well, here's to hurting.
19:59Here's to traveling.
20:00Here's to building and dismantling.
20:03Here's to holding your composure.
20:05Here's to letting the instinct take over.
20:07It'll come around.
20:12Here's to swinging at operations.
20:15Here's to hitting the dog and missing.
20:17Here's to wiping off your brow.
20:20With a bloody butcher's towel.
20:22It'll come around.
20:25Well, can't you feel it?
20:28Can't you see?
20:29It's the year of jubilee.
20:32Grab your shovel, let's get going.
20:34There's no one weighing on.
20:36Can't you feel it?
20:38Can't you see?
20:38It's the year, the year of jubilee.
21:00Well, here's to endless conversations.
21:05Here's to late-night observations.
21:07Here's to plans made in the dark.
21:09Here's to hitting off the mark
21:12It'll come around
21:16And here's the lines
21:18And here's the clues
21:19Here's the love I made for you
21:21Here's the home we'll build together
21:24Here's the door we'll paint bright yellow
21:26It'll come around
21:30Well, can't you feel
21:32Can't you see
21:33It's the year gently
21:35Grab your shovel and skip on
21:38There's no one playing on
21:41Can't you feel it, can't you see
21:43It's the year
21:44The year of jubilee
21:48Can't you feel it, can't you see
21:50It's the year
21:52The year of jubilee
22:12Suburban nightmares
22:13The city's a start
22:14You went to school
22:15But you never got tired
22:17Nothing worth teaching
22:18Nothing worth knowing
22:19You never go anywhere worth going
22:22You just have nothing better to do
22:24See you hang around
22:25Piling up people
22:26Who want to get high
22:28In the afternoon
22:29And tell you that the office is flat
22:32You always doing nothing
22:35Spursor ain't nothing better to do
22:37You always doing
22:41Spursor ain't nothing better to do
22:48You've been waiting on the wrong side alive
22:51Finding too much enjoyment in pursuing strive
22:53Hugging all your thoughts onto the internet
22:56You've been bought so long
22:57You've started to forget it
22:58There's more to lie in your right hand
23:01And you can make God laugh
23:02If you tell him your plans
23:04I was going in and complaining
23:06That's why you suck shit
23:08Crack of the pub
23:09You always doing nothing
23:12That's just a way
23:13Nothing better to do
23:14You always doing nothing
23:17That's just a way
23:18Nothing better to do
23:19Getting high
23:21In the afternoon
23:22Spending money
23:23You ain't got
23:25That's why you suck shit
23:29Crack of the pub
23:37You say you wanna come out tonight
23:40For what?
23:42Nothing at all
23:43Sheetalk and expensive heights
23:45For what?
23:47Nothing at all
23:48For what?
23:49Nothing at all
23:51For what?
23:52Nothing at all
23:53For what?
23:54Nothing at all
23:55You always running and complaining
24:23¡Gracias!
24:41You guys, both in the way you talk in interviews and the way you write music, have spoken a lot
24:46about the omnipresence of hypocrisy and cowardice around the world.
24:51So, in that context, let's talk about Cutthroat, which is such a banger of an album. It's restored some of
24:57the fight in me, for sure, and I was feeling a bit lethargic.
25:00I'm glad.
25:01So, will you talk to me about the approach to Cutthroat and your wonderful producer?
25:05I mean, I think, yeah, John Congleton, who's the producer in the record, really steered the ship. I think in
25:11the studio, when we were kind of shaping it, it was all quite excessive, I think.
25:18You know, like with the title track, Cutthroat, we were just like, well, let's go all the way. Or Lampiao,
25:24you know, let's go sort of all the way with that, you know, where it's sort of with the Brazilian
25:28Portuguese.
25:29And then with the electronic side, it was all a big combination. But yeah, I mean, Sean, you know, did
25:34a lot of the writing, so.
25:36Yeah, I think it's funny, I find, especially with our process, we usually have a thing where we think about
25:42things too much for about a six, seven month period.
25:45And we kind of don't get anything. I'm sure you've experienced this yourself, you know, and we kind of, we
25:51don't do it. We don't, we don't do anything.
25:53Everyone's miserable, nothing good's coming. And then we kind of, you know, especially when John came in, I think his
25:58ethos is very much.
25:59I think we need this a lot, which is someone to kind of make decisions, because I think we're so
26:03democratic and there's five of us that it can quite quickly grind to a halt.
26:07And so he kind of came. Democracy is overrated. It is, it is, it is, it is overrated. Yeah.
26:12And he kind of just came in and, you know, I think he just really pushed us to just not
26:17think about it and just write songs and finish songs.
26:20And that's kind of, you know, so it feels like the album took a year and a bit to make.
26:24But really, it was probably like a three month period where it just kind of, we were just like, oh,
26:28for fuck's sake, let's just stop overthinking all this.
26:31And we just kind of got it done really quick. But it was a, it was a really nice kind
26:34of cozy album experience.
26:36And it was really, there was no stress, there was no fighting. It was the most easy album we've ever
26:41recorded, I think.
26:57Well, let me tell you a little story about a big bad motherfucker called Lampiole.
27:02The governor of the backlands, the sailor of the black sands, with a fit of knife and a strong hand,
27:09he copped out a lot most won't ever understand.
27:12And if you want to go out looking for him, you can still hear his name once he flew to
27:16the northeastern terrains of Brazil.
27:20Olympia, where are you now?
27:25Olympia, where are you now?
27:31And military operations tries to conquer his vocation, where the good doing bad, all the bad doing good.
27:37I'm not here to say, there was a bullet in him from both sides.
27:41And later not by candlelight, he writes stories, as he lays beside his lord, Maria Benito.
27:46Silver turns to gold, with a poor birth and a rich soul, that motherfucker's called Lampiole.
27:53Olympia, where are you now?
27:58Oh, Olympia, where are you now?
28:04Back for the Maria Bonita, the banter by Fazer Café.
28:12Oh, gee, I jump in the air and go in, after we see the chata-chipin.
28:22Oh, they caught him in the end, executed him as lovin' his kangaseros.
28:27They let their heads hang for public display on the streets of Salvador.
28:31The long will its name remain in the stories of folklore.
28:34And in that place where the water runs white, some say his gunshots are still lightin' up the night.
28:44Olympia, where are you now?
28:50Oh, gee, I can't wait in the fridge.
29:26¡Suscríbete al canal!
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36:27You let go, I let go too
36:36See, no one's hurt me more than you
36:43And no one ever will
36:47No matter how I think we grow
36:51You always seem to let me know
36:55It ain't working, it ain't working
37:01And when I try to walk away
37:06You urge yourself to make me stay
37:09This is crazy, this is crazy
37:17Care for me, care for me
37:20Said that you're there for me, there for me
37:23Said you would cry for me
37:27But would you live for me
37:32Care for me, care for me
37:34Said that you're there for me, there for me, there for me
37:38Said you would cry for me
37:41But would you live for me, would you live for me
37:50Would you, would you cry
37:53Yeah, yeah, yeah, yeah
37:55Yeah, yeah, yeah
37:56Yeah, yeah, yeah
37:58Yeah, yeah, yeah
37:59But would you live for me
38:03Me
38:06Ooh
38:10Would you live for me
38:12Would you live for me
38:13Thank you so much
38:15Cheers
38:16Cheers
38:17Cheers
38:18Cheers
38:26Cheers
38:46¡Gracias!
39:26¡Gracias!
39:41¡Gracias!
40:26¡Gracias!
40:38¡Gracias!
40:57¡Gracias!
41:49¡Gracias!
41:57¡Gracias!
42:30¡Gracias!
43:06¡Gracias!
43:41¡Gracias!
43:58¡Gracias!
44:10¡Gracias!
44:14¡Gracias!
44:16¡Gracias!
44:16Tom and Lewis, have you spotted any wild animals this morning?
44:20So far.
44:20Jeff's in a hybrid of a duck and a seal.
44:22I reckon two ducks actually.
44:23We don't have much wildlife where we live.
44:24Where do you live?
44:25Because you formed in South London.
44:27Are you actually from there as well?
44:29Yeah.
44:29I grew up around there.
44:30You grew up around the corner.
44:31That is a seal, seriously.
44:32You reckon?
44:33No, it's not really.
44:34Take us back to the origins then of dry cleaning.
44:38Were you all friends?
44:40I imagine you all grew up in nursery together.
44:42You were all mates since birth.
44:43That's when the band started, wasn't it?
44:44Like rugrats.
44:47So I met Flo at art college and she introduced me to my partner
44:53who was friends with Lewis and Nick.
44:57And so we just started hanging out as a social group really.
44:59Probably for about three or four years before we even talked about doing a band.
45:03I feel like there was a moment where we were all in lots of different projects.
45:06And there was a moment where we were all freed up.
45:09We had free time.
45:09Yeah, they were all sort of ending naturally.
45:10At the same time.
45:11So it was like, let's just have a jam, the three of us.
45:13So we used to go for Sundays over at his mum's, in his mum's garage.
45:17And she'd cook us a Sunday dinner.
45:18We did like ten minutes of playing and about four hours of eating.
45:21Yeah.
45:22And then eventually your mum started going,
45:23are you going to do any work today?
45:25Yeah.
45:26So that's when we took it seriously.
45:28Yeah.
45:29Florence's lyrics are sometimes hilarious, sometimes deeply, deeply intriguing.
45:35When do you hear Florence's lyrics for the first time in the band?
45:40It varies a lot.
45:41So it depends on kind of the room we're rehearsing in.
45:43A lot of times we're in a room where we can't really hear much, right?
45:46It's like a really small room.
45:48So Flo might actually have some in-ears in and be hearing herself.
45:51And then now again, we're projected to the room.
45:53But you can only hear like rhythms and kind of like slight melodies
45:56and kind of, and you play against that.
45:58So a lot of times it's not to the studio.
45:59But it kind of varies record by record and song by song.
46:02Sometimes you get it really early.
46:03Sometimes you don't get it until you've recorded it.
46:07Yeah.
46:07And when it comes to playing live then,
46:09I'm guessing there's no room for like lyrical improvisation from Florence, is there?
46:15It depends.
46:16When we sort of do like a headline tour,
46:19it does open up a bit more
46:21because you sort of get a chance to sort of know where you're at with songs.
46:25Songs naturally sort of stretch.
46:27Because when you record a song, it's still quite early in the song's life.
46:30Yeah.
46:31So you get, when you play it live, it comes back to life again.
46:34It has a whole other life as a live song, not a recorded one.
46:37So there is room for improvisation, yeah.
46:39Yeah.
46:40Thank you.
46:41Thank you.
46:45I'm a great shit designer.
46:52I'm striking, by the arms fought.
46:55Helping the most, with a bad situation.
46:59It's all new business.
47:00I don't press me like them.
47:02But I'm leaning to serve a useful purpose.
47:29¡Gracias!
47:41¡Gracias!
48:16¡Gracias!
48:54¡Gracias!
49:29¡Gracias!
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