Subba-Cultcha
The lovely people at Subba-Cultcha recently interviewed me. It’s a lengthy one so if you’re going to have a read, I suggest you make yourself a nice hot cuppa and grab a couple of biccies. Ready? Okay, click here!
Queerty.com Interview!
Click here to read an interview on the wonderful Queerty.com website (winner of the best gay weblog in the 2006 awards).
I’m very, very proud and honoured to be featured on Queerty and Andrew Belonsky came up with some wonderful questions that I could ramble on about. 😀
Aversion.com Interview
Click here for a new interview on Aversion.com. I was brutally interrogated by a scantily clad Matt Schild and, crying tears of rage and sump oil, I dissembled magnificently. Who is Keyser Soze, you may well ask? Well, it’s definitely not me.
Nope.
(cough)ALBUM!
En Garde
Anton from En Garde fanzine (antongustavsson@spray.se) interviewed me for issue 9. Here’s the lengthy, very rambling result:
1. The reason I think your story is very interesting is partly because I have understood that you had to overwin some personal/political ideals to sign for EMI when they wanted to release your “Your Woman”. For someone with Trotskij, Gramsci and Rosa Luxemburg as heroes, it has to have been a difficult step. Did you personally find it difficult signing to a major label and thus agreeing to raise money for its owners? How did you think about this at the time?
It wasn’t my own personal politics that much. After all, everyone who has a job is working for some form of capitalist, big or small. There’s no difference between being in a band being signed to Sony or working as an assistant in a Sony shop: both are cogs in the corporate machine.
My problem was that I didn’t want to abandon Parasol, who’d supported and released my records for years. But when my record got onto Radio One, it went crazy, shops wanted to order tens of thousands of copies. I had perhaps fifty? I tried to make Parasol understand that this record could be a big hit and to invest in pressing thousands but they just didn’t understand. Understandably, they probably thought I was exaggerating and if they pressed thousands they wouldn’t sell and they’d be left with a huge debt.
So then I had to think, do I let my record die and miss maybe the one chance to get my songs out to millions of listeners? This is the chance I’d been waiting for since 1982, when I first started writing songs. I knew that if I signed to a major, they could take the already successful song and spread it round the world. Plus, I could get a chunk of money that would set me up for a long time and make me musically independent. I wouldn’t have to scrape by, doing shitty jobs to try and afford recording gear.
I had a few days of pretty anguished thinking and then I decided to go with a major. It was the best and worst decision I’ve made in my life.
2. I have understood that your experience from the major companies is pretty bad. Do you have any specific, exceptionally bad experiences from the time on EMI/Universal?
Hah! Where do I start?
…forcing me to have single cover work I hated for ‘Undressed.’ I protested that I had creative control in my contract. The label replied, “Certainly, have the cover you like. But we won’t release it for a year…” Bastards.
…constant unending mind games. One minute they’re praising you, the next they’re tearing all your songs down, making you feel like shit. It’s all part of the method they use to de-stabilise artists. Like Moonies…
…forcing a second single choice on me that I *knew* radio wouldn’t like. Come the day, I was right, radio hated it and then we had to scramble round to release the track I wanted originally. This pretty much fucked-up the momentum from the number one single. So the follow-up tanked.
Basically, I could go on like above for about two pages. By the time I’d been on EMI for three months, I would come home from London and just go to bed and cry for hours. It was so draining, fighting over every tiny fucking thing with this label who hated me even though I’d just got them an easy number one record.
2b. I presume there were some aspects from which it was better to be on a big label as well. Which ones?
It automatically opens the doors to the mainstream media. I got access to newspapers and TV stations who’d never give me the time of day before. Therefore, you can reach a much bigger audience, you can break out of the indie ghetto. Which, for me, was a relief since White Town has never been trendy in those circles anyway.
3. Let’s talk, just a little bit, about your big hit. In an interview, the (superbe) Swedish band Radio Dept. said, roughly, that they found it bizarre when they understood that as many as 500 people actually owned their debut 7″ and played it at home. What was it like realising that millions of people all around the world were buying your music? Didn’t you find it absurd?
I worked out one time that I must have sold around 1.5 million records. That’s combining single and album sales. I know that the single sold 400,000 copies in the UK alone (and it was number one in 8 countries). And the album sold at least 350,000 in North America.
How does one grasp those figures? It’s insane!
I’d been happy to sell maybe a thousand records before. That would have been excellent! And then to jump to that does send one crazy…
I still don’t think I’ve completely recovered now.
3b. At the time, did you think it was worth its sales?
Oh yeah – it’s a catchy tune. 🙂
But there are so many catchy songs! If I could get ‘Black Cab’ onto a Levis’ advert or something, I’m sure that would be an international number one. Or The Lucksmith’s ‘Camera-Shy.’ Or The Sprites’ ‘Do It Yourself.’ Or Maritime’s ‘Some One Has To Die.’ Or… Well, you see my point.
3c. Listening to the song today (if you ever do, that is), 8-9 years after recording it, how do you find it?
I remember recording it in my little bedroom so I guess I hear it differently from the average listener. I hear all the bits where I was being silly or going wrong.
For me, each one of my songs is me, a part of me. I know exactly what I felt when I wrote it, it’s like a diary entry. ‘Your Woman’ is partly about my first love affair and how I couldn’t reconcile my grand Marxist posing with real love: with fucking, blood, tears and betrayal. Partly…
That’s what the song means to me, it’s totally personal.
4. In 1997, you left the major circus, right? What was the strongest reason for that?
I didn’t have any choice, I was dropped! 🙂
But I do admit I’d been being naughty for quite a while, throwing worse and worse ‘tortured artist’-type tantrums at EMI till I became a liability. And they didn’t like any of the rest of my songs anyway.
4b. You say in an interview on your website that “I was always suspicious of majors but that was based on prejudice, I had no solid experience to back that up with. Now, having dealt with both Universal and EMI, I can say that I directly know that two major corporations are run by idiots who have no knowledge of music and little understanding even of basic bourgeois economics.” Hypothetically, if you in 1996 would have known what you know now about the majors, would you still have signed to one of them? Why/why not?
Yep, I would have signed. Despite it all, my whole life has been aimed towards connecting with people. Whether it was in my political campaigning days, with music or now with blogging and photography, I want to connect. Specifically, I want to ask questions and to make people unsure and puzzled.
EMI gave me the chance to bewilder millions of people. I know, because I’ve got their confused emails…
…are you a woman?
…why are you singing about being a woman when you’re a man?
…are you gay?
…what the hell is that song about?
To have created such mass confusion is one the best achievements in my life. To make people rise out of their normal approach to pop songs and actually *question* the lyrics, question themselves and perhaps their own gender/sexuality.
And I got *so many* emails from women and girls, saying that the song must have been written specifically about their experience. For a songwriter, that’s the ultimate compliment.
5c. In Sweden during the last few years, the majors have been pretty quick to sign indiepop musicians to their labels (since they have seen there are money to make on that kind of music as well, I suppose). On that background, do you have any words to say to people who get the “opportunity” to sign to a major?
Think very, very carefully. Here’s some important questions:
1. If you sign to a major, will you be upset when all the hip indie kids who used to like you start slagging you off and calling you a sell-out?
2. If you’re a band, are you prepared for money issues to tear the band apart (especially true if there’s only one writer – writer’s get much more money)?
3. How will you feel when the label forces you to release a record / cover / interview / remix that you hate? Remember, creative control is a total lie.
4. How will you cope when people in your home town who used to hate you now suddenly want to be your friends? And vice versa?
5. Are you prepared to sacrifice your relationships, your normal life and even your sanity in order to promote your music?
There’s loads more but that’ll do for now.
6. Looking at the current situation and the future rather than the past: you now run your own label/blog, Bzangy Groink. What’s your ambition with it musically?
It’s fallow at the moment. I’d love to re-start it and release music both by myself and other bands I love. Perhaps if I can find some more money from photography, I’ll re-start it.
6b. What’s your ambition with it in a social context?
I’m 38 now and I want to do exactly the same as I wanted when I was 28 or 18 or 8: I want to change the world.
I’d love to see a united humanity, free of the cancer of religion and the crutches of drugs/drink etc. I’d love to see a rational, mature humanity. A human race that can feed and house all its children, give everyone the right to live and love and learn. Where art and science can blossom because there are no wasted resources, no babies dying of starvation in fields or being blown to bits by liberating bombs.
I’d like to have a house on Mars. Or at least the Moon.
But it’s now 2004 and nothing is as it should be. 2001 was wrong, Space 1999 was wrong, all those old sci-fi films were wrong. We haven’t even been to our moon for the last thirty years.
Instead, we hurl bombs at each other, exploit each other. Men exploit women, the rich world exploits the poor world, the bosses still exploit the workers. Only now, those workers don’t even call themselves working class, they’ve been fooled into believing they’re middle class. It’s still simple for me: if you labour, mentally or physically, in order to live then you’re working class.
I give the human race no more than another 100 years. Unless we can become rational, some loony will blow us up before then. And I guarantee, whether it’s a Bush or a Bin Laden, they’ll destroy the world in praise of their “god.”
7. What are your plans with White Town? Do you have anything specific planned?
Funny you should ask – I’d actually like to come and play a gig in Sweden! I’m planning to do some DJing in Spain (through Elefant Records) and I want to go round Europe more, playing gigs and DJing. Not in the UK – I can’t be arsed with this country’s music scene.
I’m just attracted to Sweden. Since it’s your home, it’s probably very ordinary for you but because of people like Komeda and Lekman, it’s a romantic place for me.
So, if you know of any promoters who’d like me to DJ / play some kind of low-key gig, please put them in touch.
I don’t want to do big-ass gigs (not that I’d have an audience of thousands now anyway). What I do is basically electronic folk music so I’d love to do some intimate gigs, with no more than 30 or 40 people, all sitting down. I’d like to be able to look each person in the eyes, to sing to that person and see them smiling. The opposite of a rock gig. I hate rock.
Apart from that, I’m working on the next album. It’s very angry so far, I’ll have to calm it down or it will be too extreme and people will just switch off. Since I want to subvert people, I have to sugar-coat the bitter pill better 😉
Interview by Malcolm Wilson for Rip It Up magazine (2002)
What’s it like where you are, as you write this? Just a bit of scene-setting for the article.
It’s 11pm, I’m sitting tapping on my laptop and watching X-Files…
It’s not the same without David Anchovy… 🙁
It took years for White Town to be discovered… What were your aspirations for White Town during those years?
The same as they are now: I’d like to change the world!
Ideally, I’d like to see a world socialist government establish global peace and launch a moon/Mars colonisation program.
But….
Since that’s not gonna happen soon, I try and reach out and connect with people as much as possible. I think the best way I do this is via my music. Music is more emotional than prose, more revolutionary than poetry. I’m not saying I’ve got the answers, just a shitload of questions that I don’t hear other artists asking.
The EMI blip gave me access to a huge amount of people more than before, a dream for anyone making pop music. But now I’m back on indie labels with indie sales I think it’s important than ever to strive for that connection. That’s why I do so much stuff on my Bzangy site: I don’t get interviewed or featured in the mainstream corporate media so I have to do what I can myself.
That’s another reason I’m pleased to do this interview!
How did you get discovered? What happened?
‘Your Woman’ was originally released on US indie Parasol in July ’96. I played it when I was DJing and noitced that everyone loved it and started dancing. With encouragement from my then girlfriend (now wife!), I sent it off to a few radio stations.
Mark Radcliffe of BBC Radio One loved it and started playing it on his night-time show. The song was so popular that it migrated to daytime and then a bidding war started with the majors. By this time, I’d contacted Parasol and asked them if they could run with it but I don’t think they understood how big it was getting/couldn’t afford to press more so I signed to EMI. It was a difficult decision but I knew it was a once-in-a-lifetime chance to get my music out to millions of people.
The rest, as they say, is history. Number one in eight countries, over 350,000 albums sold in North America alone…
All of which I’m proud of – I did that! From a little bedroom recording done on a cassette multitracker!
Most people clamour for fame & fortune. The “Popstars” bullshit subjects them to cueing for hours to sing “Westlife”. Did you ever see yourself as star material?
I hated my brief fame. We had TV vans camped outside my house, reporters hounded me… people i’d know for years started treating me differently. I honestly can’t understand why *anyone* would crave fame…
Plus, a 26 stone Indian geek is hardly prime pin-up material. Don’t get me wrong, I love a lot of bubblegum pop myself and I think there’s a place for pretty boys in bands for teenage girls to lust over. I just think that shouldn’t be the total focus of the music industry.
Anyway, I think I am a fucking star – I’m simply a funny-shaped star 🙂
What does it feel like to be launched from obsurity to success so quickly?
The first commercial release I had was in 1983 so it wasn’t that quick…
When ‘Your Woman’ hit, I was 30 so I’d been a gigging, songwriting musician for 14 years… although the actual end part was quick, it took a long time getting there.
Was there a “eureka” moment with “Your Woman”. Did you write the song and think “holy shit….I have a hit here?”
Nope. I thought it was quite poppy but then I think that about most stuff I do. I actually thought it was a bit too art-wank since I was deliberately singing from more than one perspective, none of which were mine.
I remember being pleased cos it hurt to finish the lyrics, they were too close and painful to me. Which I take as a sign that I’ve done my job properly.
Once you’re in that environment, what are the people like? How did your relationships with people change?
A lot of people, especially musicians, befriended me to drop me like a hot rock as soon as I was no longer in the charts/signed. London truly is a cesspit, filled with people fighting to be king of the filth.
Thank god I didn’t move there…
With my close mates nothing changed. And it only strengthened my relationship with my grilfriend cos we went though so much bullshit together.
You don’t strike me as someone who settles for artistic compromise. Did the record Companies ever attempt to compromise your music? What is it like?
It’s like someone cutting up a loved one in front of you, all the time insisting they’ve got your best interests at heart.
They’re very devious nowadays. My contract had a clause in saying I had total control over all artistic aspects. They wanted a cover of naked robot women. I objected. They said *of course* you can have whatever cover you want – you’re the artist. But if you have that cover… well we might not release the single for, ooh, four months…
So, you basically do what they want or they fuck you up the ass. So you do what they want and then they fuck you up the ass anyway…
Your music is devoid of strict genre labels. Did the record companies find it hard to have an unboxable artist?
That’s implying some kind of musical knowledge! At none of the companies I met in the courting process did I meet *anyone* with a grasp of contemporary music. A&R people hadn’t even heard of Magnetic Fields for god’s sake and they already had albums out on Setanta.
Here’s a good example: a well-known major is now proudly selling surround/5.1 encoded audio discs. Hi Fi News revealed that they’re making these recordings by playing the old stereo masters through some nice speakers at Abbey Road and then recording the result with four mics! This is how dishonest record companies are, they really have nothing but contempt for the public.
What prompted the end of the EMI deal? How did you feel when it was all over?
I was signed in December ’96. By February ’97 I was sick of them. I’d just got a Playstation and a copy of Die Hard Trilogy (with the gun). I used to pretend the airport was EMI HQ, go inside and shoot the crap out of everyone…
I now believe that major labels can only work with people who care more about fame and money than the quality of the art they produce. They consistently hobble artists’ in the name of selling more units then are surprised when the fans don’t buy the lukewarm music this produces. So they then drop the artist.
Tell me a bit about the environment “Your Woman” as other earlier work was recorded in?
It was basically a 9′ square spare bedroom.
What equipment did you use for “Your Woman” and the “Women In Technology” album?
This is all detailed in the FAQ on the official White Town site.
You used some of the “Your Woman” money to build your own studio. Do you still promote a “warts and all” approach to your recording? Why?
I didn’t build one, for the last three years I owned an ex-commercial facility. I recently sold it cos I had to move back closer to my parents.
As for the warts and all: yep! I don’t believe that recordings should sound radically better than the artist, I think that’s dishonest. For example, I’m not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don’t, what you hear is pretty much what I sing. On some songs you’re hearing the vocal as I improvised it (as in ‘Function Of The Orgasm’) so you may hear me stumble.
How have your opinions of the music industry changed from before “Your Woman” to after “Your Woman?”
I was always suspicious of majors but that was based on prejudice, I had no solid experience to back that up with. Now, having dealt with both Universal and EMI, I can say that I directly know that two major corporations are run by idiots who have no knowledge of music and little understanding even of basic bourgeois economics.
It’s the total contempt majors have for their artists that I find amazing. I had a report that some of my music was being used to advertise cigarettes in South America so I contacted MCA/Universal to get it stopped. They didn’t even bother to email me back, that’s how little they care. We, the artists, make the stuff they sell and they’re like ticks on our backs, sucking the life out of us.
You offer some pretty scathing views of A&R people on your website. What, if anything, prompted these views?
Real experiences with real A&R people. Most of the stuff isn’t made up, just slightly exaggerated. Really, the average musician has no idea how craven and devious A&Rs are.
What are some of the best things about being your own creative boss?
I do just what I want. If I want a fourteen minute track on my album, no-one’s gonna try and cut it to 3.30. If I want to write about subjects that are difficult, no-one’s gonna censor them.
It’s basic freedom of speech.
You must have other songs you feel proudly about. What are some of your favourites and why?
I like ‘Why I Hate Drugs’ off ‘Peek & Poke’ cos it sums up why I’m straight edge and how dull I find drug culture and the majority of people who immerse themselves in it. What I most hate is endless rock’n’roll anecdotes about ODs…. who gives a flying fuck!?
I like ‘Bewitched’ off the first album because it’s one of the happiest songs I’ve ever written and, as any writer will tell you, happy songs are a million times more difficult to write than sad songs.
I like ‘Undressed’ off ‘WIT’ because I managed to get my attitudes to sex and death pinned down very well there. The essential pointlessness of life, coupled to the fact that the only meaning there is is the one we construct. And therefore that sometimes, an afternoon spent in bed with someone can be the most important thing in the universe.
You’ve been to mega-stardom and back. Are you ever tempted to join the big game and just sell-out?
I will never sign to a major record label again. If, by some mega fluke, a record of mine looked like it might break big, I’d try and do it via an indie or somehow license it. I’m not having my music owned by those corporate cocksuckers again.
BTW, this isn’t to say I hate all major label music and bands. Everyone has to find their own way, it’s just that I don’t want to go that way myself. If a band likes being on a major and feels happy there, good luck to them.
Your songs contain real emotion ( a rare a beautiful thing)…Yet, the world is laden with Britneys, Christinas, Six & Hear’Say…What, in your opinion is going on?
There’s a place for constructed, machined pop. Hell, one of my favourite bands is the Monkees and, as they originally started, you couldn’t get more constructed than that (cept maybe the Archies!).
BUT…
The majors have given up on teenagers. They believe that teens are no longer into music, preferring PS2s/trainers. Therefore they target pre-teens and use their pester power to extract their parents’ money.
I’m not saying little kids have bad taste, they don’t. In fact, they’ve got the same melodic tastes I have: simple, snappy pop is what rules. But what pre-teens haven’t got is any real understanding or experience of adult emotion.
They sing along to love songs that feature lyrics that must be meaningless to them. And people write songs with lyrics deliberately shorn of adult emotion, adult ambiguity to fit this market. Pop becomes only about candy-coloured pre-teen pop.
All I’m saying is that this shouldn’t be all that pop music is, all that is allowed. Pop can do so much more!
There should be a place and the space for all pop.
You also talk a lot about schmindie…What’s going on in the “alternative” world?
Not much… the only place I can see any true punk/DIY ethic is in the post-hardcore scene and skapunk scenes. I’m not a huge fan of the music but at least the scenes still believe in cooperation and independence. “Indie” nowadays was been castrated, reduced to being a marketing term that means ‘major label white guitar band who feign misery and are aimed at students.’ The Americans are more honest about it and just call it college rock.
You are politically and socially intelligent and opinionated. What was it like to have the media and fans hanging on your words?
Hmmm… I don’t think they were. The best press stuff I did was with French pop journalists, people who knew about Francois Truffaut, Wilhelm Reich, Noam Chomsky and Marxism. Most of the other press stuff was ‘what’s your favourite colour?’ 🙂
Tell me a bit about Bzangy Groink, what it comprises of, the level of distribution and how the Indie companies have helped you…
Bzangy Groink is my own label, distributed through Voiceprint. So far there’s only one release, my last album, but I’m soon releasing two singles by new young bands that are brilliant. The first band is Plans And Apologies and they’re kind of folk-emo, very catchy melodies coupled with very loud bits.
Rusk are melodic post-hardcore and their singer has one of the best voices I’ve ever heard. He’s destined for stardom, I’m sure.
What is White Town doing now? It’s your self promotion moment!!!
I’m currenly working on songs for my fourth album… it’s a bit hectic cos I’m in a rental house so the studio situation isn’t ideal, plus I’m trying to get Bzangy Groink up and running again so that takes up a lot of my time. Too much stuff to do… too little time!
What are White Town’s goals for 2002-2003?
I’d like to release a new album. I’d also like to find a female backing vocalist but so far I’ve had no luck at all 🙁
How do we get hold of your music in li’l old NZ?
It should be in normal shops. Failing that, I’m sure one of the Amazon webshops will have it, if you try the different countries.
If you could recommend one White Town album to take people beyond “Your Woman” what would it be and why?
That’d be ‘Peek & Poke’ cos it’s the latest one and I believe it’s more poppy and consistent than ‘Women In Technology.’ I had fun making it and I think you can tell with one minute tracks like ‘Bunny Boiler.’
What would you recommend for anybody making music in the bedroom about how to get exposure? How can they make it big and keep it together?
GET OUT OF THAT BEDROOM! Join up with others and create a strong local scene. If you can’t gig, DJ and if you can’t DJ, do a fanzine or put on gigs for other bands.
The most important thing is perseverance. I didn’t have a hit because I’m thin or beautiful or had major-label backing, I had a hit cos I never went away, no matter how many walls of apathy I came up against.
And finally….You worked for years, you made it big, the madness ended and here you are….What is it like from where you are now?
Calm. I like being 35, I like having a bit of money to spend on music and useless gadgets. The net is providing new ways to communicate and cooperate that just didn’t exist in the 80s.
There’s so much excellent new music around that I can’t afford to buy it all and I haven’t the time to review as much as I’d like. I can’t remember a better time to be a musician or to listen to music!
MTV Interview (Enrico interviewing Jyoti)
Why didn’t you want to keep your name, and go for another name?
Well because the band’s just me, but I choose to work with other people as well.
So it must be really weird that before “Your Woman” came out nobody new about the song or about you, and all of a sudden it’s at the top of the charts and a big success
It’s only taken me 15 years. I’ve been releasing stuff for years. White Town’s been out since 1989, the success has been quite quick and quite recent.
Did you aim for this kind of success?
No, what I’ve always wanted to do is make pop music that I like and I love and I think is trying to be something different. I want to make something that excites me, like when you hear a great pop single you get excited by it, it grabs you. Like the first time I heard Fire Starter. I want to make that kind of music. I don’t know if I’m doing it, but I want to do that as much as possible.
Do you feel excited about this huge success. Like when you go to parties, celebrations, or something like that?
There’s none of that, I don’t do that stuff, I stay up in Derby.
Do you feel like a proper pop star?
I don’t think so, no, because I think being a proper pop star is being a proper prat. So I don’t want to do any of that. That stuff doesn’t interest me.
So is it weird when people stop you?
I’ve just been to Germany recently and the weirdest thing is that I had to sign autographs for the first time and somebody says, can I have your autograph and you’re like why? Because you’re just you.
Do you feel like they would probably call you one in a wander or something like that?
They might do, but I’ve been doing this for a long time already, and the point is, commercial success is nice, but it’s not what I’m doing it for, it’s because I’m sick of a lot of pop music, I want to try and do something different, and as long as I’m doing something I like and respect, then fair enough, and then again the way things are going with the album and the single internationally I don’t think there is any prospect of that anyway. Maybe that sounds overconfident, but it’s just doing so well.
Is “Your Woman” a typical song of White Town, does it represent your sound completely?
That’s the difficult thing. I don’t want to be painted in a creative corner, I want to be able to do anything I want. So on the next album if I want to do a hip-hop country western, then I’ll do it. I don’t see the point of staying in one thing. Music is just music, why label it, why box it, you should be able to do anything you want.
Your album “Women In Technology” all done where?
In my small bedroom, 9 foot by 9 foot.
So you didn’t want to go for studios or anything?
Oh no, I don’t like studios, it’s better at home because you can keep more control of it. People would say, why are you compromising by recording it at home? It’s not a compromise, you compromise when you’re in a studio, it’s like, there goes another £1000 there goes another £1000, so you can’t do what you want.
So you must be good at mixing all that stuff and producing it
I hope so.
Anyway, plans for the future? When’s the album coming out?
The album is out in most areas now. The next singles out in Britain on May the 5th.
Which one is it going to be?
Undressed. I’m off again to America very soon and Europe in a bit.
How do you feel about touring?
I want to do some live work, but it’s a question of when I do, I don’t want to be like fakey stuff, I want to do it all live, and have a funky organic feel to it.
