Damon & Jamie interview with Zane Lowe
ZL: Damon Albarn, Jamie Hewlett, good evening.
DA: Good evening.
JH: Good evening.
ZL: Gorillaz here at Radio 1 HQ.
JH: Are we starting?
ZL: Always recording. Always recording. Thanks for joining us to have a chat, and it’s all part of, you know, the music we’ve recorded at the Roundhouse shows.
DA: Do you add the explosions afterwards?
ZL: Yeah. Lots of klaxons. [klaxon sounds]
ZL: How’d you like that. What about this one, birds tweeting? [birds tweeting sounds] That’s nice isn’t it?
DA: I prefer that one.
JH: That sounds like birds tweeting underwater. [explosion sound] [Jamie laughs] .. sorry about that
ZL: Well that’s where we last caught your characters before Plastic Beach emerged, wasn’t it, [explosion sound plays], pretty much? ‘The future of the group is in doubt’.
JH: Right. Yes.
ZL: Was that a deliberate move or did it just look good? Jamie?
JH: What, at the end of the El Manana video?
JH: Erm… erm… was it a deliberate move? Yes, of course.
ZL: Of course, but I mean ultimately, in terms of the stories that follow, that’s the end of Gorillaz, is that something that you…
JH: Well there was only one character on that island, Noodle. So it wasn’t the end of them. It was possibly the end of her, but that was more to do with the floating island which was supposed to be a symbol of freedom, and positivity, and that was destroyed.
ZL: At what point did you decide to continue with Gorillaz and make another record and take it to another stage?
DA: Well we… after that, kind of… took some time off from that, oh, and did The Good The Bad & The Queen, and while that was happening we got involved with Monkey, I spent a lot of time in China and got very distracted from anything even vaguely sort of popular, in that sense. And when we came back from that I suppose we were sort of slightly in the mind that we wanted to stage something. And that sort of… that didn’t… how long did we do that for?
JH: We spent about 8 months doing Carousel.
DA: Yeah. Which wasn’t a really great name. To start off with.
JH: It was a ‘working title’.
DA: Because it… you know…
JH: It was just a working title…
ZL: I quite like it…
DA: I know but there’s something wrong about it…
JH: There’s another show called Carousel.
ZL: [laughing] That’s what’s kinda cool.
JH: We should have called it Star wars, I mean…
ZL: [laughing] But seriously that’s what’s great about it, your whole history of ‘TANK GIRL’! ‘BLUR’! ‘GORILLAZ’! ‘THE GOOD, THE BAD & THE QUEEN’! ‘Carousel!’ [laughs]
DA: [laughs] Exactly, and we weren’t really getting an amazing reception for it.
ZL: Well how could you?! Noone had heard it.
DA: Well no, I was… I always kind of play demoes to people, but it was quite, sort of, I don’t know .. it was very different. There was no electronics, all the stuff was on piano and it sounded a bit old I suppose.
JH: It was a great idea, it was just… noone really… everyone went ‘yeah, that’s a great idea but we’re not going to give you any money for it’.
DA: It was set on a pier. And I suppose that’s kind of.. at that point, Plastic Beach may have begun.
ZL: Did you start the album in earnest both artistically and I should say graphically, and with the drawings as well as with the music, after you came up with the idea of Plastic Beach? Or did you already have some things lying around?
JH: No. we just.. we were in Devon, on holiday.
ZL: You guys holiday together as well? Wow!
JH: Well we took our kids on holiday down to Devon.
DA: Our kids are the same age so we spend…
ZL: … it’s not the kids’ fault man! [laughs]
JH: [laughs] It’s not like that.
DA: I think they ask themselves that sometimes. ‘Why? Why are we together?’
ZL: ‘Cos Daddy’s got no friends [laughs] So you were in Devon…
JH: [laughs] .. anyway. We were in Devon. We’d done this spin-off thing called GSS. Well, we hadn’t done it but some friends of ours had done this. And one of them was telling us about the response when they played Clint Eastwood or other Gorillaz songs, doing this DJ set that they did, and how people went crazy for it. So we sort of said maybe we should…
ZL: … get the band back together!…
JH: … why don’t we do another album? Basically.
ZL: So it’s back to the studio. It’s back to the HQ.
DA: Yeah. So the Plastic Beach came from just sitting on the beach, and noticing that although it looked like a very clean actually inside, or in between the sand and the stones, there were millions of bits of plastic. And I suppose the two words ‘Plastic’ and ‘Beach’ felt like a Gorillaz idea, you know what I mean? There were two words that shouldn’t really be put together.
ZL: Jamie with regards to the art this time and the whole idea of doing Plastic Beach and getting to grips with this concept and everything else, what is the story for people that want to know.
JH: Well, it hasn’t completely played out yet so I can’t…
ZL: [laughs] fair enough..
JH: .. but the story is, we found this point in the middle of the South Pacific which is the furthest point from any land mass, which is called Point Nemo, and this is where we’ve, where Plastic Beach has sprung up. It’s Murdoc’s HQ and he lives there with the cyborg version of Noodle, because she’s gone missing, and 2D, who he kidnapped from his apartment in Beirut, and 2D can’t leave the island because he’s scared of whales, there’s a sperm whale circling the island trying to get him.
DA: There was a song which nearly made it to the album called Leviathan, with The Horrors, that was all about that whale. See, it’s really difficult, because it had such a, it such a kind of, sort of.. I mean it was like three, four albums.
JH: There was enough for twice the length of Sandinista, probably. But who’s going to listen to that?
DA: It was a big decision to edit it. I got so much stuff from so many people, like I got a couple of verses from Giggs, I got Theophilus London, Lupe Fiasco, Mz Streamz who’s…
DA: … out of Baltimore, that kind of sound. A lot of stuff with Mos, a lot of stuff with De La Soul. I’ve still got all that stuff and I suppose at some point, I’ll have to, erm, I don’t know…
ZL: That music will have to see the light of day.
DA: … just do endless 7″s. That’s kind of the new thing now.
ZL: Yeah. Why not. You’ve got a lot of stuff for Record Store Day. In the future. [laughs]
DA: [laughs] I’ve got enough for decades of Record Store Day
ZL: When you’ve popped your mortal coil in 60 years there’ll be others that can just carry on the tradition… so Plastic Beach. You have a name and you have a concept, and then I suppose it comes down to the two of you working in tandem together in different parts of your HQ.
DA: Yeah, I mean.. yeah.. I just started.. I took some of the stuff from Carousel, and started.. so I had, I don’t know, I had about sixty bits of music and I just kinda started, literally each month I’d go back and then I did lots of stuff that didn’t work and I played some of it here, when I came on. That was two years ago, that was it?
ZL: That’s right. That’s why I said a long time because you came in and gave us some demoes, and there’s a couple I think I do recognise, made it onto the album.
DA: Yeah yeah. In a form. A few of them did, yeah. Broken. And I played something called Electric Shock which ended up being Rhinestone Eyes. Stylo, I played just the…
ZL: Going back to when you came on Radio 1 and you played those demoes and stuff, what were your feelings, what were your thoughts when you were on radio playing those. You’re not the kind of guy I’d imagine who gets too nervous about things like that but were there moments of apprehension that you were airing this stuff and it was out there?
DA: Mm.. well.. I mean I like doing that, I like sort of, dipping into the process at any point and saying this is where it’s at. I mean, unfortunately you don’t necessarily get the response you hope for if you play something that’s not finished.
ZL: [joking] Yeah, the texts was broken, don’t take it personally, there were very few texts that came in. But it was the system that broke down. [laughs]
DA: [laughs] Nah you know, I accept that, I accept that because I suppose that’s… I mean I like doing that, I like doing that, and i don’t expect everyone to like, dig it, you know what I mean.
ZL: Let’s talk about the collaborations on the record because the list is amazing. I mean everyone, people who own the record know already, but for people who haven’t had the chance to listen to it yet, everyone from Lou Reed to Mos Def, Bobby Womack. And let’s stop on that one because there is footage, or at least pictures of you guys in the studio collaborating together, and stuff, and just try and put some imagery to that, how was that?
DA: Well, I mean obviously I was really nervous when he turned up in New York. I’d spoken to him a few times on the phone but I wasn’t.. I had no idea.. and also he hadn’t really done anything for a long time. I mean he’s sort of.. he kind of sort of.. removed himself from a world that was studios and music, to kind of get his life back together, I think, really. And er…
ZL: Was he a hard man to get hold of?
DA: Er… quite difficult. I mean we were lucky because his daugther, who we subsequently met, was really into Gorillaz so..
ZL: It happens a lot that, doesn’t it?
DA: I don’t think it would have happened unless she’d said, Dad, at least have a go.
JH: That’s how we got Dennis, wasn’t it? Because of his son Henry. Henry Hopper was really into Gorillaz. So Damon met Dennis and Dennis said ‘hmm, maybe’. And Henry said ‘Dad you gotta do it’.
DA: I actually met, I actually met Dennis Hopper at some sort of.. thing at Hackney Empire. Some sort of awards show or something. And it was, that’s the hardest thing I’ve ever done actually, plucking up the courage to stand in front of him in the corridor and say ‘hello’, er, you know. But you kind of just sort of have to…
ZL: No it is hard, I can imagine how hard it is. Even with all the success you can never ever shake the fundamental human awkwardness of asking someone to do something for you, you know what I mean? And you hope they will, you know what I mean?
DA: Well you never assume that anyone knows who you are, that’s a fatal mistake if you go into it with that attitude. You’ve got to expect people to sort of go, excuse me?
ZL: Yeah. So Bobby Womack came in and you just…
DA: Bobby came in and we put on.. at that point Stylo was just the bass, the drums and the kind of.. strings. And I just let him go and he just started and it sounded great.
JH: We let loose the beast.
DA: I kind of gave him a few words and ideas.
ZL: Love? Electric?
DA: Electric. Week. And he just started, and about ten minutes went by and it was amazing, and every time it moved up to the chorus and the strings came in, and he just started singing, we were just running around this studio.. and twenty minutes, and it was still going…
JH: … yeah…
DA: … thirty minutes. It was still going. fourty-five minutes. One take. I got so much of Bobby Womack, just singing his heart out.
DA: fourty-five minutes. And then I sort of just tentatively go, [softly] ‘Er Bobby? That’s great. That’s fantastic. Do you want to take a break’? And there’s this kind of silence. And we’ve darkened the booth so that.. you know. And it’s silence. And we’re going ‘someone go and check on Bobby’
JH: And I’m in there filming him, and he starts slumping back backwards… [laughs]
DA: And I go in there and I touch him and he’s like.. sweating – which you would be, but yeah, he’s feeling a bit funny, and we don’t know what’s going on, and we think.. all manner of things go through your mind. So we lifted him up and he was literally keeling over, I managed to carry him into the control room and we were going what’s going on? And I just sort of, I don’t know, something came to me and.. banana. Banana! And so I ran out, and ran to reception. This was Wang Chung studios, it’s like.. very Hip Hop, very laid back, and we’re going ‘Banana! Banana! Bobby Womack! Banana!’ so I get everybody running around, and they don’t have a banana, anyway, we get a banana in the end and basically he’s slightly diabetic so he’d just.. kinda run out of juice. But he was absolutely fine after that, you know.
ZL: Amazing. There it is on the record, you can hear it, and it has that soaring moment, that you talked about..
DA: No no, but really.. I don’t know, it was
JH: .. you actually thought you’d killed Bobby Womack [laughs]
DA: Basically yeah.
ZL: You got his last performance on tape.
JH: I only met him an hour ago and I’ve killed him…
DA: It was really good.
ZL: [laughs] I was gonna ask, would you have put it out?
DA: I don’t know.
ZL: Thank goodness it didn’t happen…. putting this live show together, and making the order work with the guests and everything else…
DA: Yeah I think from the beginning we thought if we do make another album we’re going to really play it live this time and take that whole side of it seriously.
ZL: Because for people listening, you’ve been very selective in the past with residencies at the Apollo, and residencies here and…
DA: We played 10 gigs for the whole of Demon Days. Which is, you know, sort of underplaying.. it. And they weren’t even big gigs, they were small theatres.
JH: We don’t like to ram things down people’s throats.
ZL: [laughs] Is that why you did Coachella? Main stage?
DA: It was our first gig.
ZL: I know, ridiculous! That’s set the bar so high man, it’s insane… describe Coachella.
JH: We didn’t have everyone due to the volcano. We lost Mos…
DA: Mos was in London…
JH: … and Kano and Bashy. Or ‘VolKano and Ashy’ as they’re now known. [laughs]
ZL: Very good… very good… nice [laughs] so how was the show, excluding VolKano and Ashy and Ash Def and everybody else, how was Coachella? Because you were pretty high on it when I saw you outside.
DA: I think it’s in my top.. top 3 gigs I’ve ever done.
ZL: So hang on. You had Glastonbury last year with Blur, that’s in the top 3, surely.
DA: Yeah, that’s number 1, yeah.
ZL: And then you’ve got Gorillaz now as well. So this is.. good times!
DA: I was really kind of nervous and a few people were saying you can’t play all the new songs, you can’t do that because you’ve never played a big gig, and anyone who does know you.. because it’s like 80,000 people.. they’re going to want.. you know.. and I was just adamant that it had to be about.. because this band’s been put together to play Plastic Beach. Although it has worked out brilliantly for the other songs, you know, when you add Paul Simonon’s bass to Clint Eastwood…
ZL: It was kind of written for him in a way, wasn’t it.
DA: Well it really WAS written for him. Literally. I did.. it was that kind of West London sound, that..
ZL: I love that. Let me just backtrack for a second, did you know Paul when you made that song?
ZL: Then it’s a self-fulfilling prophecy isn’t it…
DA: … but he did come to the first gig that we did, at the Scala. Him and Mick I think.
JH: Really? I didn’t know that.
DA: When I heard that at the time, I was really chuffed. And I didn’t actually make contact with him until we started The Good, The Bad & The Queen. Then I found out that he lived two streets down, etc. No but I mean he’s brought such an amazing.. it’s kind of made the band really sound.. complete.
ZL: He’s always been a Gorilla. Even before Gorillaz.
DA: Exactly. So him and Mick, we’re kind of like, we’re made because of them.
ZL: Nice. It all comes full circle. When you’re actually looking to put the set together and how it’s going to look design-wise and everything else, this album is a very different journey for Gorillaz from the previous two. And what’s great is that every record represents part of this ongoing story, but I can imagine that poses its own unique challenges when you’re trying to… I don’t want to say shoehorn, but when you’re trying to fit some of the older songs into the new story.
DA: Well I don’t know, we’ve put songs that sort of complement this record in, and left out stuff… there’s not a lot of stuff apart from .. well there is only Clint Eastwood from the first album. We tried stuff…
ZL: I would have thought that Tomorrow Comes Today…
DA: Well that does sound really good, but it’s when you put it against all the other songs, because you can’t play all night, and especially for Coachella we had ninety minutes, that was the slot we were given at the festival, so we couldn’t play everything.
ZL: Jamie, how excited do you get about the live thing now? Because you know a certain amount of your work is done up to a point but obviously you have a lot top bring to the table in terms of putting it out live and on stage and everything else. How do you feel about that challenge?
JH: Well I’m lucky in the sense that I have to do it all beforehand. So on the night I get to go out into the audience and see it from that perspective, which is great, so… I’m happy now because I think we’ve nailed our style of playing live, after several sort of, attempts at bizarre things like playing behind a screen, which, looking back on it [laughs], I can understand why so many people got annoyed!
ZL: But I can understand why you tried that because you were trying to put something onstage that maybe wasn’t meant to be.. there.
DA: I’m glad we did that. But I wouldn’t really want to do it again. Playing behind a screen. It’s a bit strange, playing behind a screen.
ZL: A bit of an anti-climax after last year, as well.
ZL: Back behind the curtain.
DA: I mean I’m happy to go back behind the curtain. But the band’s so much more organic now. I love it now. I love it and I just can’t wait to play these gigs. It was just, it was so thrilling at Coachella. I can’t…
JH: The band’s full of so many characters now that you really have to see them all, and the guest artists…
ZL: Yeah I wouldn’t know where to look!
JH: … that’s part of the thrill, you know. So you have a giant screen showing animation and visuals, but then you have all these amazing…
DA: It’s the Clash sandwich, you know..
JH: Damon’s.. like being in a Clash sandwich.
ZL: [laughs] I didn’t think it was possible, but you just made that seem uncool, in one very quick stroke. That was amazing. What was that, the Clash Sandwich, what is that, your local West London eateria? I’m going to get a Clash sandwich, and a coffee…
JH: Damon’s dream finally comes true, of being in a Clash sandwich.
DA: That’s what I meant. Alright, bookmarked.
JH: Bookended! Bookended.
DA: Bookended. In the sense that you’ve got Mick Jones on one side and Paul on the other.
JH: A nice bit of ham.. and some lettuce. [laughs]
DA: That’s me, that’s me. [to Zane] So what would you be then? One of the condiments?
ZL: [laughs] I’d be there doing my countdown.
DA: Ok fair enough…
ZL: “it’s time for the seventh track in the set everybody! This one’s a doozy”
ZL: Jamie.. always thinking about when you’re watching the show, even though you are in there with a pint in your hand and he’s doing all the work, thinking about how you can change it over time and amend it and…
JH: Yeah, of course. I mean, I remember when Cass was saying, or Paul was saying, when they went out onstage, it was quite, you know, oh my god look at all these people. I think Cass said he had to front the audience for a few minutes just to pluck up the courage to start – but me, I’m kinda walking all around and seeing it from different angles, so yeah, you get a very clear idea of what you need to do to tweak it, and obviously we will do as we go on because, you know, there was only a certain amount of time to put Coachella together and I know what needs to be changed, and there’s other songs gonna be added, songs we didn’t do at Coachella will be at the Roundhouse.
ZL: Crazy. The closes I can imagine you can get to seeing your own band perform live. Quite weird don’t you think, the idea of that?…
ZL: It should be a shame to have you here and not talk about what you did a few years back with the hologram, because that really freaked people out, in a good way. I mean it was really, when I saw it I was just, you guys have stumbled across the future, you could do like 8 gigs in one night.
DA: We did kinda get carried away with that, with that idea…
ZL: You could have ‘performing live tonight in Sydney! Singapore! Hong Kong! London and New York!
JH: Well that was, that was exactly what we said to each other. We can play every major city around the world at the same time…
ZL: And stay at home and watch Master Chef…
DA: Or Match Of The Day…
JH: Except there’s one fault with the holograms.
ZL: It costs more money that you’ll make?
JH: Well apart from the fact that it costs more money, as soon as you turn the bass up, the invisible screen goes [makes vibrating noise]
DA: Which was why at the Grammys, although you couldn’t see it on television…
JH: On telly it looks incredible…
DA: … In this huge great arena…
ZL: It was shaking?
DA: … [whispers] oh no it was really quiet.
JH: They had to play it quiet.
DA: We opened the Grammys, [whispers] but it was really quiet. [normal volume] So Madonna’s kind of doing her thing, and noone’s told us that as soon as she flips from one side of the stage to the other side, to start her song, her flippin’, sorta souped up supercharged Abba riff, the volume is 100 times more and the place goes… insane. Obviously. So we really got stitched up, doing that. So holographics…
ZL: But it’s Madonna, you must have seen it coming…
DA: Yeah but volume’s volume, isn’t it?
ZL: Not in Madonna’s world, there’s volume and then there’s volume! You basically supported her on the same stage at the same time.
DA: Yes. The funny thing was that I’d pointed this out to her, and I’d said to the guy who was doing the transition, because there was a transition in the mix, I said listen, I’m only going to do this if you promise me, if you give me your word that you’re not going to stitch me up, you know? And he was like… no no no, we’d never do that. And then you’re just sat there… and what made it worse is that Bono had this huge great Stetson hat on. And I had a really bad hangover…
JH: It was like Desperate Dan… [laughs]
DA: And if that wasn’t bad enough…
JH: … stuck behind a big stetson hat [laughs]
DA: … If that wasn’t bad enough, I went backstage afterwards to go and like, to go and have a talk with Madonna about it, I wasn’t going to make a big deal about it, I was just going to say hi…
ZL: Sure you weren’t! [laughs]
DA: No no, I wasn’t,.. so I was going towards where she was and suddenly these huge great bouncers with these earpieces and that with that windy bit there, they came out of this door, and they pushed me to the side and then her royal highness sort of floated past, and I was like..
DA: … I was already history.
ZL: [impersonating Madonna] You’re over. I gave you four minutes of my life. I hope you enjoyed it.
DA: Ah well, you know. You live and you learn. I suppose.
ZL: Now the Roundhouse shows are going to be a real celebration for people who are there, and it’s a good venue, you’ve played there before when you were doing The Good, The Bad & The Queen album, so you know it, and it’s a great historical venue, in the round, and it’s going to be magic. Um –
DA: I’m really looking forward to it, I’m really looking forward to it.
ZL: Well let’s just pause there for a second, because we’ll get to gigs for the future in a second, but let’s just talk about these shows in particular and how it feels to be taking Gorillaz into this environment and.. for people listening in the UK.
DA: Well we will have a first.. we will have almost the complete set of Hypnotic Brass will be there as well. Lou Reed won’t be there, but that’s because he’s touring with his Metal Machine Music, but he will be there later on in the year. We’ve got the original Syrian Orchestra from Damascus, have flown over, so they’re going to be here all this week which will be really magical…
ZL: That’s a full cast with the exception of Lou and everything
DA: Shaun.. Shaun Ryder will be there, volKano and Ashy will be there …
ZL: [laughing at ‘Volkano and Ashy’] You couldn’t have asked for that, literally…
DA: I was gutted for them that that happened, that song goes down really well in America because they’re kind of, sort of, .. Dancehall is still really fresh there.
ZL: I see Bobby Womack is here.
DA: Yeah he’s here, he’s here.
ZL: You better have that sugar then.
DA: No, it’s all fine now, I think that was just er.. I think he was almost just slightly..
ZL: …Overwhelmed by the experience?
DA: … well just reluctant to share with us at that point, that he was actually diabetic, and now he knows now.
ZL: Now for me, nobody else probably listening to this yet, but Bootie Brown, a good shout, nice to see here…
DA: And Mark E Smith’s coming, as well.
ZL: You were worried about him actually letting you do the thing on the record and now he’s hanging out with you! Now he’s rolling!
DA: Well he wasn’t up for it and then as a last-ditch attempt we sent him the whole record and then he got it then, but you know really… that song…
ZL: Are you going to start with it? Do you start with it?
DA: That song… that has got the same reaction to the crowd as Song 2 used to have.
ZL: I always thought you should start with that when I heard the record. He did this thing that he does, he never would have done it to you, where he goes ‘YEAH YEAH YEAH!.. so anyway..’
DA: No no no, we can’t start with that, because we start with Snoop.
ZL: Right. Is he there?
DA: Well he might be.
ZL: Ah.hahaha! Some old showbusiness method there eh? Keep ’em hanging, keep ’em hanging…
DA: You never know.
ZL: He might stride on out there in his Chuck Taylors and his pressed chinos…
DA: Well now that he’s got his Visa… you never know.
ZL: Wow. That would be amazing. Visuals, for the Roundhouse? Gonna make it work?
JH: Well the Roundhouse visuals are the same as we did for Coachella, except one track might be different. We’re working on something today [laughs]
ZL: Cool. I’m excited man. I’m really excited. And then the future for Gorillaz – you’ve committed to touring this pretty solidly right? How are you gonna do it? Is this going to rotate? Are you going to take as many on the road as you can?
DA: I’m a great believer that if something gathers momentum people sort of, kind of warm to it and feel attached to it, and it becomes… I don’t force anyone to do anything, you know. And it’s a big ask to ask people to take that much time out of what they do to kind of.. you know.. but I’m hoping, I’m hoping.. that a lot of them will.
ZL: And by touring… this is going to be a world tour?
DA: Er… that sounds really scary.
ZL: yeah it does, doesn’t it?
DA: Can we say, sort of…
DA: World-ish. Yeah I think we’re definitely going to.. we’re definitely doing, like, 22 dates in America.
ZL: Wow. That’s a lot of tourbuses.
DA: Europe and Australia.
ZL: [To Jamie] Are you going to go on the road, for a lot of this?
JH: Yeah, of course! Yeah, absolutely.
ZL: The whole thing? Wow! He’s got it so lucky doesn’t he? That’s incredible! Exactly, dude!
JH: I’ve got to go on the road because I need to er, look after everybody’s booze for them.
ZL: Oh really? Is that what you call it?
JH: Of course I have to work when we’re on tour. I have to tweak. And polish things.. [to Damon] what’s all this? What’s all this? You can blimmin’ talk…
DA: I don’t drink before I perform, you know that.
JH: Not before.
DA: And if I’m doing a string of things I don’t drink afterwards either. Only on the last one. So.
transcript by gorillaz-unofficial
ZL: Just sit back and enjoy this [laughs] I think it’s great, I think it’s great that you guys roll together on the road. It would be weird if you let go of it at this point if you know what I mean.
DA: Well it is a band, it is a band. Even though it’s not in any conventional sense of the word a band and it does.. it kind of sort of swells and then…
ZL: You guys are three albums in, you’re a band. I mean I don’t know, did you guys ever see this going the distance, going as far as it has?
DA: No. Not at all. No… Coachella, I never imagined that Gorillaz would work on a huge festival, I mean, you know, it was Jay-Z and Muse that was the other two, and I never really saw us in that.. but we .. you know..
ZL: Smashed it.
DA: Well. So they say.
ZL: Guys, good luck on the Roundhouse shows and all the touring to come and I will just say what I said at the start when you played me the record down at the studio, I think it’s just pretty flawless man, flawless pop record. And thanks for continuing with the whole Gorillaz thing, life’s far more interesting with it.
DA: Thank you.
ZL: So.. we’ll see you down the Roundhouse… great interview guys thanks for coming in, you guys were fantastic..
JH: [American accent] Awesome…