 All right, here we are. Another episode of Let There Be Talk today. Once again, I'll be celebrating some new music and it's New Music Monday with a fantastic band on today, or one human from the band, Mr. Matt Burr of the Black Delta Movement. How are you, buddy? I'm good. How are you? I'm great, man. Where are you at in your studio? Yeah, just in my studio in whole England, Yorkshire. So, yeah, I'm just getting ready for the launch gigs. We've got the launch shows for the album this week. So, getting everything ready. I got to tell you, man, it's like May 1st and we're early in the year, but you may have made my favorite record of the year. No way. Thanks, man. Yeah, it's really wild because somebody sent it over to me and I think you heard, I was promoting it on the podcast a couple of weeks ago where they said, hey, kind of like Brian Jones Town Massacre, I think you'll dig it. And I put it on. Usually when somebody says that somebody sounds like somebody, it's going to be a bummer, you know? Yeah, yeah, completely. Yeah, yeah, especially when it comes to like desert rock, when people send over like desert rock. Oh, yeah. I already got kaius. I'm good. Yeah, exactly. Exactly, man. But I put it on and it absolutely blew my mind. And of course, it got me digging down the rabbit hole and I would say that your debut record for 2018 would have kind of a Brian Jones Town flavor and a kind of a Brit rock vibe. But this has especially the first track on the record for it. What is it? 4th, 4th. Yeah, man. That actually to me had some flavors of like soul coffin back in the day. Yeah, well, the producer Malcolm Carter is, I don't know how familiar you are with him, but he's, he's a genius. There's no two ways about it and you'll probably hate me saying that in public. But there's just this real magic way why it's because the album really, when I demoed it up and everything, it was very shoe-gazy and very psych. It was like kind of really is as close to middle of the road psych as you could really say. But Malcolm comes in and we play through it and he goes, what's fucking wrong with it? So he goes, just try this and I've got a 1967 Vox ultrasonic and it's got built-in fuzz on it. And it's the best fuzz I've ever heard and I got it because of the Brian Jones domestic. And he said, get that fuzz on and just do it. And I kind of did it in for a while because I've been so used to the song for four years. And it just didn't sound right to me, but he said, no, no, no, keep going with it. And he kind of got us all playing. And he just turned the groove of the song on its head. And there was one bit when we were doing the solo at the end and we all started kind of wigging out a little bit. And he comes in after we finished the take. He was like, it was good, but you all got a bit too flowery and spoiled it. So we just kind of, he said, just settle back into it, just the way I can, we can layer whatever we want onto it. And he just, he just added so many different kind of feels into it that I've never even considered before. It's really wild because the record kind of dances around between kind of some upbeat kind of 60s psychedalia. And then what I would call some straight up just David Lynch rock, you know, and this is kind of the second slight comparison that I've had in a few weeks. I had spotlights on a couple of weeks ago, but there is some kind of swans vibe and like hiding in the tall grass, you know, some real dark cool shit. Yeah, well that that one. I suppose you always have a bit of a vision for it. And tall grass really, it nearly didn't go on the album. But when I wrote it, I wanted it to be a really dark and horrible song. Because there's elements of the album which are quite dark, you know, like, like fourth pass and. Yeah, photograph. Yeah, because that's that's quite a retrospective song as well. But then with them with having this tall grass, I just wanted it to be really dark and I've got just over there. I've got an electric tempura, which is basically like Indian detergents. And I said to Malcolm, I really want to use this on something said, put it through a wild pedal, man. And we got it through the wild pedal and a load of reverb and it just got that really kind of wow. And yeah, it was a real nice kind of groundwork to twinkle everything else up kind of thing. This record is, I mean, I can't even tell you how much I've been playing it. And one of the hats off to you is something that me and my buddy Joey talked about a lot of bands that just put way too many songs on a fucking record. And, you know, it's all and and stuff that you're not even going to care about in a couple weeks. But you went with eight tracks and and some people's minds back in like maybe right now would think is this an EP but in the 70s and the 60s records were six seven eight songs. Yeah, it will. I think part of the problem we had because we actually recorded and 11 songs and well 12 but one of them got scrapped in the recording progress but process. But one of the big things that kind of kept us to that as well that we obviously you're restricted how much can go on a vinyl. And you can squeeze bits on and you know sacrifice some of the quality and everything but we just thought. I mean, from my point of view, it's taken me five years to release this album. So I just wanted it to slap as much as possible rather than just fill it out with, you know, with something that maybe doesn't quite fit the vibe of the album. And quite like if you keep an album brief people don't get bored of it so quickly. Like I wanted people to hear all the album. Exactly. That's a lot like in comedy right now you know people. It's like oh you shoot the hour and now you know in a tick tock and an Instagram world. People just they just don't have the time and the ADD is just at the maximum right now and you're right man people might not ever even get to the back and also in this weird world of where the bands are in one, two, three, four, five singles before the record comes out and then by the time it comes out people have moved on. Yeah, well that's that's the other thing is like the label first club said to do three singles which I thought was a quite a good number for it really. And initially we're going to self release it before first club said they're interested. And we initially said for singles but it's like that's half the fucking album. It's pointless and you know I want I want people I buy albums and I listen to albums as a full thing so I want to put that out for people who listen to that as well but you know they're not to sound like an old get but it seems like kids now they don't listen to albums. You know, the art of the albums kind of disappeared a little bit. And I really want to really focus on that I think if I'd have had more time and money, I'd have like to have done b sides for each single as well, because the art of the b sides gone as well. Yeah, absolutely. And you know it's kind of gone back to that fifties of like Buddy Holly, Richie Valens and you know Motown era where you just released a few singles and they just sent a bunch of guys on tour which was bizarre you know. Yeah, completely. The music industry is in a really weird position at the minute and it'll be the same for you with comedy as well that people have such short attention spans you don't. It seems like people don't fall in love with a band so much anymore like, I think when I was at school and there was like the strokes coming out and active monkeys and like me as like a, however, or what 14 year old. It was like, shit, these are my people and you fell in love with them and you dress like him and you listen to everything that sounded like him. But now you just seem to find that people don't really do that anymore. Like it's really hard to find the scene and to really kind of want to learn everything about a band. Yeah, you know, it's really sad it's and the theme of this podcast I think over the last couple years with comedians and bands has been algorithm. And that nightmare of like, how can you get into the algorithm well if you do get into it and it sky rockets you to like 235 million views. Next, the people move on. It's really low brewing and as much as it might seem like it takes a long time and you're not getting anywhere. You really on the long end, end up with some really great fans or I would call them friends that are well invested in what you're doing and you know that old thing if you can have a thousand true fans you can have a career in art which is so true. Totally man, exactly that. And that's one thing I've been looking up to find over the years with the band. We've been a band for 13 years now and throughout the way, it's always kind of trickled up and got a little bit bigger each time but there's people who have just supported us. No end they've never even questioned and they're so supportive of it. And they're the ones who are really important. And I'd rather have those people where, you know, the care and the care and I want to please them as a performer you want to please your audience and your fans don't you and I'd rather I'd rather bubble over and just be able to keep doing it for 15 years than be you know like who did that someone I used to know like fair plays makes a lot of money of royalties but it's one song. Yeah, exactly, exactly you know and like I always say my patreon the people on my patreon, they're the gods to me, because they were there during the COVID when I had nothing and they're still there and a lot of them had nothing at the time also. This is not people sitting around rich during COVID other than you know industries and ludicals but yeah it's a it means the world to me and I and I you know when I hear a record like what you put out here and I want to tell everybody what it's called because I want you to immediately listen to this record recovery effects. And the band is the black delta movement. They have a record out in 2018 called preservation. When I hear a record like this, I immediately, I tell everyone and and over and over I said on the show the power of grassroots will smoke an algorithm anytime at the end of the day. Big time 100% it's it's an algorithm is only online but you know people are sitting around and you know putting songs on a club night or they're going to the gigs and everything that algorithm is dick or when you've got, you know, 100 people in a small bar or something. And yeah, we think everyone's so terrified of the algorithm but I think if we just go out there and just do it. Yeah. And that's how you do it you've just got to work and you can't always kind of blame technology technology is changing all the time. Yeah, exactly. Let's let's get into how you guys started and you talked about the strokes which is one of my favorite bands, absolutely of all time and also anything Julian's done, including the voids and stuff. And that was an amazing era. We were going through we had this big boom in the 80s of all types of different music of course from James addiction to guns and roses and, and then it kind of switches into this kind of cool melting pot of anything from, you know, gangster to singer songwriter wall flowers to, you know, grunge, and then there's this long period of music was happening, but then a little thing called the strokes the yeah yeah yes, interpool, this comes around the leather jackets come out and the bars are on and it feels dangerous again, and it was some of the best music I had heard in years and a movement of where people were dressing rock and going out and they were way into it so you being 14 years old. Were you listening to what were you listening to and then that scene hits you. I was really lucky that my dad raised me in a really good way musically so I grew up with like the Beatles, the Jam, Oasis, Blair and like my first ever gig was Russian Coliseum at Hull City Hall when I was eight years old and then it was Oasis when I was nine. I mean, I've done well I've been lucky and, and I always kind of grew up listening to whatever my dad played me because luckily he's got a good taste, which makes birthdays really easily easy as well because I can just get in the record I want. But then, then all of that hit in the early 90s and I remember there was a there was a show on over here called the hits and and then there was on E4 I can't remember the name of it was specially squeezed and my dad shouts me through and he goes Matt come here. And there's Attic Monkeys I bet you look at the dance floor and he goes these are going to be massive and literally two weeks later poor just blew up. And it was like, although me and my dad always still liked all the same stuff that felt like my era. And, and you know you had like Attic Monkeys, you know block party. And yeah you had the strokes and everything. I was a little bit coming to the strokes early and I've still not seen them but I do want to see them in London in August. But then I also found that there's like, obviously the hives from Sweden and the vines. I mean the hives are probably the last truly great rock and roll band that they did. Incredibly what they do is so unique and ballsy. That's pretty man. Man, yeah, I adored that band. I listened to them nonstop and then there was another one that I really fell in love with because I had a hard time at school. I got quite badly bullied and music was like my heaven really. And I found a band called Mando D'El and they were supporting pretty things. There was Karl Barats band after the Liverpools. And they were just, they felt like my secret band. Like in Europe, they were like Oasis but in the UK, nobody had heard of them. And their first three albums were as good indie as you get. They were so good. And I kind of based a lot of in my first band. I wanted to be Mando D'El. And that was very much kind of like my awakening as a teenager. And then my first band split up when I think I was about 17 or 18 and but I remember I went to the Black Keys at Manchester Academy and my dad took me out of school early. He said I had a doctor's appointment. And the Black Angels were supporting. And I remember they came on stage and thinking about the open with Empire and everything changed. I just thought, shit, this is it. What a band. That song, Currency is one of the best songs I've ever heard. Yeah man. They just, they get it so right with like heavy but the space and then you've got all the texture with it as well. And I mean, I remember I met Christian Blandaster of one of their shows years ago. And I was only about like again, probably 19, 20 or something. And I go, what pedals do you use? And he goes, anything Sid Barrett uses man. Yeah. I was like, fair player man. Why, why keep it a secret? You know, people like Sid Barrett and Rocky Erickson are the greatest ever. So why wouldn't you want to use what they use? Yeah. And I really think the Black Angels are probably the finest psychedelic rock and roll band in the world right now. That band is fantastic man. I've seen them live twice. I have all their records. They are next fucking level man. Yeah man. They're just, it's a bit of a rite of passage. So the Black Dot movement has had a few members but the fellas are in now there's Matty, Liam and Sam. And I said to them, look, if you're going to say in this band, you've got to come see this band with me. So we, we got tickets to see them in Manchester last month, two months ago. And they're just, they're just fucking great man. So good. And like I said, I don't think there's any band that does what they do, as well as they do. Yeah. Yeah. And then of course, you know, Brian Johnstown Massacre is just the absolute high watermark legends of that sound and, you know, 20 fucking records. It's just unbelievable the output and the incredibleness of that band and that sound. You know, I mean, here we're talking about, they did that documentary years ago. And, and, and they're bigger than ever now. Like the last tour they're doing theaters and shit, you know. Yeah man. And about time as well. Like Anton, I've been lucky enough to meet Anton a few times. And he's the sweetest man. But I just feel so sad for him that on the tomorrow night, painted him as this prick in the film. And you could not meet a more lovely guy. He's just really straight with people. And, you know, everyone had arguments, but she, she made a point of showing them up. But, you know, what do you think of his output over the years? I don't think he's ever made a bad album. I'm not just saying that as a fan or trying to blow smoke up his ass. He genuinely hasn't put out a bad album, has he? No, no, it's wild too, because like he's so deep, deep into his career. And it's always just primo. And you can tell he just absolutely puts his heart and soul into all of it. You know, there's no part-time Anton, you know. No, no, not at all. And it made me feel a lot better with things as well, because you think, like, the journalist town maybe didn't get like the success they deserved until Anton was mid-30s. And like, I remember starting out in music and thinking, right, I've got to be massive by the time it's 25 or it's over and I'm working checkouts and delivery drivers or whatever. And then you see people like Anton and like Black Rubber Motorcycle Club and the Black Angels and whatever who have hit their creative peak in the mid-30s to mid-30s or whatever. And it just shows that music doesn't have to be a young man's game, you know, if you're learning and pushing what you do. And again, Anton's got his studio and he's part of the inspiration why I did all this. He just gets in the studio, works for 12 hours a day and smashes songs out. Unfortunately, I'm not as perfect as he is. Yeah. Yeah, let's talk a little bit about that because you've been a band what, 13 years and you put a record out in 2018. And then of course, you know, COVID happens, I understand that. But why did it take five years to put out this new record? Well, so there's a few things really. So we were going to, when we did preservation, we're originally only going to do a single of King Mosquito. But we actually canceled the studio time last minute because the drummer was away or something. And at the end I said, right, we've got to do an album now, otherwise the band's going to die. We can't just keep doing singles and EPs and so we did the album and everything. And then we recorded it in August 2017. And then Christmas 2017, three members of the band left just waiting, enjoying playing music anymore. And I think maybe maybe I'm an asshole to work with, but it was probably that. So but then we told the album and I thought, right, once it's going to smash out the new album and crack on. And then it got, then it became 2019 and we had told it to death and then the lineup changed again. And I thought I need a few months off and then I'll write it, we'll record it in 2020 and we'll put it out and fine. And then I wrote most of the album before the pandemic kicked off and we had it land up to record it. So again, on the album, we're lucky enough to have Barry Cadogan on guitar, who in my opinion and not just because he's a good friend, but he is absolutely the best guitarist in the world right now. And he's been my hero since I was 16. So he agreed to come play on the album with me and then there's Lewis Wharton who plays bass with Barry in Little Barry and Tony Coop. And who also plays with Little Barry and he also plays with P.P. Arnold. So we got it all lined up to go record the album with them and we're sending the demos out and they're all keen. And then somebody ate a bat and then the pandemic kicks off. So I'm kind of sat there thinking, ah, well, because I don't know how it was in the Sturks, but in the UK, all the time it's like in three weeks time we'll reevaluate if we can reopen in three weeks time. So you're thinking, right, cool, three weeks time we'll go record an album, then we'll go get famous. And then three weeks, 10 to three months. And in that time, luckily, I kind of wrote some of my favourite songs on the album, like No Road to Go and Always Home. And then, yeah. And then where Malcolm's studio is in London, it's beneath a community centre. And it was actually being used to house homeless people through the pandemic so we couldn't go in and record. So it ended up being made 2021 by the time we could record it. So it was really, it was a real humdinger. And in that time, I'd been made redundant from the music venue I worked at and I ended up working as a Covid tester. So I was doing all the swabbing. Oh, wow. It was the best job I've ever had. It was so good. The best people there ever. And yeah, I mean that paid for the album because obviously I couldn't go out and spend it. So I ended up blowing it all on the record instead. And we mastered the album in January 2022 with John Davison Metropolis and he did all the Led Zeppelin reissues. Wow. It was real cool. He's such a dude. And we were sat in this beautiful mastering studio and there's a box in front of me and it's got these tapes in it. And he goes, I'll have a look at that. I looked inside it and it was Gorilla's new album. So dude, the stories he has is amazing. And he's just such a wonderful guy. So we mastered it in January then. And then we sent it out to labels. And then we started experiencing the hangover that music industry has had from COVID. And label just went taking risks on anything. And then nine months later, our first club come back and said, yeah, we like it, dude. Do you want to come join our family? And first club, one of my favorite labels. So for me, it was wet dream. Hey, you got a smoker record here on your hands, man. I mean, it is just, it's unreal. I listen to it all day, every day for like a week. Let me ask you, you're about to start some touring, right? Have you ever come over to these states or no? Not yet. We've had a few offers before. We've been asked to play South by Southwest three times, but it's so expensive. But there's, there's some opportunities for us to maybe come to California, which is a California and Austin, like my wet dreams. So hopefully, I think we've got some meetings about that next month. So the sooner we can come over, man, the better. We'll have to grab a beer. Oh God, I got it. I got to see you, man. Do you know about when that would be? Or is it just talks now? It just talks at the minute. It's always been brooch before, but again, it's a financial thing, but we've got a couple of assets in the States now. And then when you look at our Spotify details and stuff, our most played country is the States. And I think to be honest, the States is a market I really want to tap into. Plus, I really want to see the States more. I've already been to New York, like 18 years ago. I need to see more of it. And if I can get my expenses paid, then perfect. Yeah. Let's talk about the band. Is it four piece or five piece? It's a four piece at the minute. We used to be a five piece with two drummers. I was really, really happy with the sound there. But yes, it's a four piece now. So there's me on guitar and vocals and then there's Liam Yates playing guitar and Matty Laws on bass and then there's Sam Matthews on the drums. There's a lot of Matthews in the band. And they came up to me before the pandemic started and said, oh, if you need any members again, let me know and I'll come down. And the poor guys have been sat waiting with me for like four years not waiting to gig. Yeah, man. We'll be gigging next month. Don't worry. And four years on. We plan to think about four shows. So COVID, man. Yeah. But other than let's say some old psychedelia of like Pink Floyd, Sid Barrett, stuff like that. 60s. Did you get into any other kind of psychedelic music? Were you into like the dead during their heavy experimental era? I listened to bits and pieces. I'm trying to think now. I mean, I got into a lot of the kind of new wave of psych that happened over the last 10 years when you had people like, like the overseas and Ty Segal and Goat and Night Beats, obviously our label mates as well. So I kind of got into that. But it's a massive mix of stuff I've kind of learnt along the years. And then I love stuff like Dr. John when you listen to like, you know, I walk on Gilded Splinters. That's voodoo psych. Isn't it? It's evil sounding. Yeah. But yeah, I'm trying to think now. I'm on the spot. I kind of anything ready. I'm quite open to most things. But again, with my dad, I grew up on a lot of the oldest stuff. My dad was a mod. So he liked all the jam and everything like that. But he also, I mean, my earliest memory really was him playing me revolver by the Beatles. And he gets the LP out and he goes, this band's called The Beatles. And I remember thinking like three year old, they don't look like Beatles. And so, and he used to play me that and he used to play like Jimi Hendrix and what have you had all the CDs. So like, I was kind of raised on that. And then I'd hear stuff that, you know, like, Genesis porridge, you know, when he did like God Star and whatever. I've had like bits like that. But for me, I love the real kind of guitar driven stuff and the stuff where you're working from not a lot to make these kind of soundscapes. Like, like, like the 34 elevators, you know, a part of the electric drug, they were just a straight up four piece, weren't they? Yeah, absolutely. Yeah. So a bit of everything really. But I am, like I said, the new way stuff was really, really exciting. And some of the stuff coming out through there was really like eye-opening, you know, the black angels. But I think the band to thank for all of that is the Brian Johnson massacre. Absolutely. Absolutely. Completely. Yeah. Sorry. They just hit you with the, I always call it, they're the original heroin rock, you know. Completely. It comes on with the box and the jangly guitars and, you know, and just the old, old school sounds. And you're like, oh yeah, I'm on board, you know, but sounding original, you know, like your record sounds very original. I hear flavors in there like morphine and Nick cave and stuff like that. But it's not like, oh, I know what this is. It just has a melding pot of just beautiful influences to make your own thing. Well, I think when you, when you look at all the kind of, all the greatest music in the world now anyway, they've always kind of. Wanted their images on the sleeves without, without just copying it. But when you think of the Beatles and the Stones took things from the blues and everything. And then you had like the dam to we're taking stuff from the Sonics. And then. We'll try to erase this T-Rex and everything. And I think the reason these, these bands blow up is because it's reminiscent for us. And I think the familiarity is a real lovely. Comfort mechanism. It's a comfort blanket, isn't it? Yeah. And, you know, you listen to like, you know, like the music on with the, with, with the Johnstone and he's, you listen to it. There's a bit of Cosby Stills and Nash in there. And there's, I mean, I noticed a lot of like small faces references and I, that one of my favourite ever bands. And like for me as well, when I started getting into the Johnstone, it was so cool to hear like an American band, american style band referencing the small faces. Because I think they're like one of the kind of most bands of 60s Britain, aren't they? And yeah, I think there's, you get all the the Marvin Gaye thing where they go after anybody who sounds like Marvin Gaye. But we're all hearing the same however many chords there are. Of course we're gonna, you know, it's the same way we've all got accents, isn't it? If we go up around something, that's what we sound like. And, you know, I thought he's really sweet of Elvis Costello with Olivia Rodrigo. She had that song sounded like pump it up. And he's, and he was just like, yeah, that's cool. She listened to me. She ripped it off. She can have it. That's great. And I think that's such a constructive way of art now, isn't it? Well, even if you look at like, say, what Sid Barrett and the early Pink Floyd were doing, you know, and then all of a sudden you have Rolling Stones doing 2000 light years, you know, and you're going like, holy shit, these, you know, like Jagger was always had his ear to the ground like, Hey, what are other people doing? What's hip? What's happening? I want to keep trying different stuff. And, and that is a real wild thing to think about like somebody like Sid Barrett influencing like Mick Jagger. Well, that's it though, isn't it? I mean, the 60s community was so small as well. And it's just all about creating music, man. That's, that's all we want to do. And instead of getting salty that somebody is taking our, or taking inspiration for what we do, just think right on, man, that's sick. Yeah, keep, let's, let's get together, let's go to each other's shows. And that's how we get the scenes as well. You know, the whole New York scene was everyone coming together over music. And yeah, people get too precious about it, I think. And, you know, like exactly like you said, you know, in the 60s, the Stones and Sid Barrett and the Small Faces and everything, they're all listening to what each other does. I mean, it's like, there's, there's the kind of contentious thing of proxy lady and rolling over by the Small Faces who recorded it fast because it's pretty much the exact same song. But who gives a shit? They're both great songs. Yeah. Yeah. And at the end of the day, it's, it's, you know, it's very hard in music to do anything where you go, I've never heard this before. You know, I mean, almost, you know, almost, I mean, there was small pockets over the years, say hip hop really exploded there, the new form for sure. And then also stuff like craft work over, you know, way back. Ooh, this is new. But there's nobody that comes out and you have never heard this before at all. You're always going to say, I know where this is coming from. Of course you are. Again, it's like the accents thing, isn't it? Even if you come out, you know, doing like a lecture, a pop record, someone's always going to go, well, that's that. Or there's always going to be echoes because really, maybe just because we've not found it, but can we go with music now? I feel like we've covered everything. Yeah. Like in 60 years, I think every genre possible has been covered. It was interesting with Malcolm, who produced the record, because he used to dream for DJ Shadow, and he actually gave Shadow a few seven inches for introducing. And he was saying, like, when it comes to hip hop and such, he said, you know, hip hop sampled R&B, it sampled rock, but it's not sampled psychedelic music yet. And I thought, yeah, that's interesting, man. And then I said that to a mate of mine. He said, I don't know, as is this album, which I've forgotten the album. But I think that's any way that you can come up with something new now is using things that have already been done and slam them together. Yeah, yeah. Can you imagine like hip hop sampling some like ancient country music also? I'd be wild, man. I'd be all over that. Just cross pollination of really strange stuff. Because of course, they grab in Miles Davis and stuff. And then of course, old R&B and a lot of funk, 70s funk. And I think someone once said that James Brown was the most sampled man in the world, which I probably believe, you know, but to do something like, yeah, psychedelic hip hop over it, that would be really interesting. And it might be out there, and I just haven't heard it yet. Like, that's the thing also with music. You guys have been around, I'm hardcore into new music, always looking for it. And you guys have been around for years and I hadn't even heard of you. So I'm always digging. So you never know what's out there. That's it. You've always just got to keep looking out. You know, you've never completed it. And I feel sad for people who are just like interested in new music anymore. I've found the bands I like. Because, you know, like for me, I could have quite happily sat and listened to the Black Angels for the rest of my life. But then there's bands coming out now, like by Agraboy's and Warm Boucher and stuff that were just so fucking cool, man. And why would you want to give up giving all these new bands? Yeah, well, they definitely you and myself being artists, they inspire us also. That's crazy, because I think that people stop getting creative when they're stuck in a box of I listen to these 10 bands and I listen to I watch these 20 movies every year. Look, I'm in the movies like every year I watch Jaws and Godfather and Apocalypse Now and Chinatown and Deer Hunt. But when it comes to music, man, I'm all it's almost like a buzzed for me, man. I'm like a rush. And it goes back to that junior high in the playground with the walkman of like, dude, you got to hear this, this fucking, you know, this Prince sign of the Times record, you know, or whatever. Just turning people on to stuff. And you hope that they take it in. But I would say you're right. Like, I would say about 70% of the people are like, yeah, I'll check it out. And they don't, you know. Yeah. Well, I mean, the amount of people are sending albums, you need to listen to this man. And then it just does listen to it. And it's, I mean, if you keep getting the same albums, people all the time, then you're going to be like, Oh, fucking, I'll listen to it later. But yeah, it's, I mean, me and my, me and my friends, we make a really big thing of like, sending each other records all the time and albums, mate, go listen to this. And then me and my karma as well. We had a big thing. We've been planning it for about three years now to have a record night. So we bring 10 or 12 records to each of those houses. And we listen to every record over a few drinks. Three years later, still not done it. But that's life, isn't it? But it's that thing of when you sit with somebody and go, dude, you need to hear this, this is the best thing about this is it's, it's such a like a tight bond you have with people as well by doing them things, I think. Yeah. That's a trust thing too. It's, I got a few buddies like that. I think as you get older, you get these buddies that are way into music still mine being Greg Dewey from the Afghan Wigs and then Jay from Rival. Whenever we're around each other, it's like, man, you heard this. Have you heard this? Yeah. I've heard this and it's wild because he'll have stuff. I have no idea. And I have stuff he has no idea. And we're both into music. I was like, man, I've never heard this, you know? Yeah. Well, yeah, that's it. And it's such an intensely personal thing as well. Isn't it music? So you kind of burn yourself like that. It's, it's a real nice thing. And I think it's, it's a really big compliment to have somebody send you a band because that's them going, I really like this and I want you to like it. Yeah. And it's, it's a, it's a, I think it's a really sweet thing. Yeah. And I think, and again, kind of going back to the whole algorithm thing and the tension span and everything, like, I don't think people have that same, but I think for the buying large, a lot of people know they don't have that same passion for it. It's like, oh my God, this is so special. I've got to show it to somebody. And then, but then you, on the other end of the spectrum, you get the hipster ourselves who don't want anyone to hear that music. Oh yeah. It's their own secret band and it's like, oh, get fucked, man. I love those guys. Yeah, man. They're the worst because like them keeping that band a secret, the band can't afford to keep going if they've already been played by the same 10 people. This is our band. That started back in punk rock, you know, like 70s punk rock, like the clan band, you know, and then, and then like drummer was like, fuck you, this band's for the people, not just a certain amount of people. Yeah, that's it, man. And this is where like the black keys I love because like they didn't want to put all these songs and I'm fast and fast, because I know people will think we sold out and then they didn't. They got massive people going, oh, the sellouts get stretched. Like these guys are making money and they're still making great albums. Like, why would you be salty about the band doing well? Yeah. And you know, but then you look at bands like Queens and the Stone Age as well. I mean, they've always been like quite a big band, but they really sent it and they've gone like astronomical now. And then I just feel happy for them. Oh, God. Oh, God, yeah. You know what? I'm happy is that means there's a shitload of people out there that are into some music that's not your radio fucking force fed bullshit. So I'm like, Hey, man, if five million people love Josh, that's a good thing because, you know, it's like in the movie world, when a good movie comes out that's not a superhero film, you're like, God, please make some more of those like they used to do. Totally, man. This is it. And I've got to say with homie as well, he's such a rock star. Like, I saw them in Finsbury Park in London years ago, and they had Iggy Pop and the Hive supporting and Run the Jewels. So it was insane. But when Queens and the Stone Age on stage, they looked like they could kick the shit out of everybody in that audience in one go. And you look at him and he's like, you know he's a sweet guy, but he's also terrifying. And I'm gutted, we all tried to get tickets to see them in Halifax in June, but it's sold out like that. So we've all missed out. But they really are one of the greatest rock and roll bands out there now. And and then, you know, you still meet all these like purist Queens fans who are like, no, they're sold out when they did the way you used to. Fuck off, man. Yeah. He's a great, he's a great album. Again, Queens have not done a bad album. Now, man, it's a, well, Josh is, to me, is the high watermark of art. I always think about things I do and I'm like, well, would Josh do this? And, you know, in a way of like, he's a good, he's a good captain of the ship. He doesn't do any bullshit. He tells you how it is. People get angry and he's like, yeah, yeah, you think my records would be good if I was a normal person? Fuck you. This is the danger you like. And this is, sometimes the tiger bites, man. You know, Siegfried and Roy, sometimes you, sometimes the circus gets out of control. That's the where homie is amazing with it. He just lets things just send. He just lets it go. And he's got such a unique way of playing guitar as well that even if you learn all the little scales that he does, you're still not Josh homie. Yeah. Yeah. You know, you meet him, Ten of Penny, all these people who want to be homie, but you'll never be Josh homie. No, no. Yeah. Never. I'd love to be, but there's no way. I'm not tall enough for a star, but yeah, what am I? Are you a comedy fan? I love comedy. Yeah, man. So I've obviously watched a lot of your things. Yeah. And I'm a big fan of Bill Baer as well and Ricky Gervais. And there's a new guy in England called Paul Smith. I don't know if you've found him on the algorithm. No. He's a, he's a scouser and he's fucking hilarious, man. He's really good. Yeah, definitely worth checking him out. Yeah, absolutely. Yeah. It's like the most like straight down the middle British name ever Paul Smith, but really, really good, man. Listen, man, it was great talking to you, Matt. And once again, I absolutely love this record. It's called the recovery effects. It's out right now. They've got a great video fourth pass over the graveyard that is just fantastic. And I don't know if you have any other videos out, but go to YouTube, also hit their website, follow them on Instagram, give them your Instagram because it's not, it's like BD movement, right? Yes, BDM official. Okay. And then, and you're going to be playing on our website. Yeah. So we've, we've, we've got two short launch shows on the third of May. We're playing in London at the 100 club. And we've got Taken Kawabe from Boningon, who if you've not checked them out, and there's Oliver Marston and opening the show up. And then we've got the, the new Adelphi club in Hull on Friday, the fifth of May, which is also my mother's birthday, so I better get a good present for her. And we've got The Fruit and the Big River Boys supporting there. And the Adelphi is like a legendary venue. It's like the number one jewel in Hull's crown. So it's really nice kind of launch the album at these two real legendary venues. And then we're going to be touring later in the year. We're just getting them all booked now. Well, I hope to see you in California. Please email me and hit me right away when you find out when it is. I'll start promoting it for you. And I'll come down and hang out. I can't wait to see this record live. And I can't wait to meet you, man. Thanks for doing the show. Yeah, man. Thanks so much. Thanks for having me, dude. Oh, God. Yeah. Yeah. And we'll talk soon, man. It's time for me to go back to bed. I was, I was in shows last night. I'm like, oh, I gotta go. I'm 30. I was so drunk in the other bed, man. I just stayed up late. Oh, it's all good, man. It's all good. And everybody listening to the podcast, subscribe to my YouTube channel, Dean Delray, and subscribe to the podcast on iTunes. And please leave a review. I'm going to ask you guys to do that because it always helps the the algorithm. But thanks a lot, man. Thanks for having me, dude. Black Dilt Movement right there, Matt Burr. Thank you so much, buddy. Thank you, dude. I'll see you. See you later.