INTERVIEW // HEALTH // NEW PARISH OAKLAND // 9 APRIL 2019
Tim: ... sweet.
Tim: Are you the singer?
Tim: No? Which guy are you, I'm sorry?
John: Well we are a three piece now. I'm the bass player, and I also do the software. I do a lot of the-
Tim: Great, 'cause that was one of my question.
John: ...collection, and I guess electronic aspect.
Tim: With "Get Color" though, sounds are so unique, and I was able to get similar sounds with pedals when I play guitar and stuff like that too, but I can never-
John: You don't see my pedal board, but here. I basically had all this stuff from the "Get Color" era. The only difference is there was a Moogerfooger freak box here that was used on songs like "Nice Girls" and "In Violet", and there was also the Boss slicer, which is here, which was used for "Die Slow" and "USA Boys."
Tim: Oh cool. How-
John: And think there was another pedal. There was like a fucking Boss, I think DS-1 right here.
Tim: The Moogerfooger is that the one where you can set all the different-
John: No, no, no.
Tim: Yeah, I thought it was, I thought it was a MURF. Did you ever?
John: Yeah, our ex-member, he used a MURF.
John: That was on every record, basically. No, I'm sorry, the first two records, and I had one but I never used it.
Tim: Yeah, it was cool for what it did but it didn't, couldn't use it a lot.
John: Well that's why I use the Boss slicers, a lot more useful. You know, it's funny as a pedal guy, when we're so deep in pedals, and when all is down the rabbit hole of you know, fancy boutique shit and [inaudible 00:01:36], do you what the best pedal maker overall is? Is a Boss.
John: It's always been, yeah. I mean there's all obviously tons of great ones. But yeah, pound for pound, nothing's better than a fucking Boss.
Tim: So back in the "Get Color" days, how did you guys pick a sound? I could never find a sound the second time. Like I could never plug the pedals in and get them right back.
John: That, we got good at that. So everything I would do, a lot of the weirder sounds were for me, 'cause I had a bass amp, which made a big difference, so it wouldn't feedback the same way and I was able to do a lot more.
John: So we used the standard noise man trick with the feedback loop here. So the line out. The same things I [inaudible 00:02:16]. Line out of the amp would go here. And then the microphone would go here. The zoot horn, as we call it, and then we put the defect [inaudible 00:02:28].
Tim: Do you care if I make a little video just to explain it?
John: I don't know, I don't want to give away every trade secret-
Tim: Okay, that's cool.
John: ... it's not that complicated though. Everyone, you can figure it in five seconds. There's a kid on YouTube, he figured out how to do "Die Slow" entirely with with his pedals, and he did it a hundred percent perfect which is really crazy.
Tim: That's fucking awesome, man.
Tim: When I listen to Health I feel like the singing is really soft and gentle, but the music is bananas, and it's super juxtaposing. Is that something you guys were striving for?
John: Well, it's kind of like we were really pushing, for me, I came from San Diego, so I was really inspired to be a band like The Locust, and like the lovely San Diego bands of the oughties, or like late 90s and 00s, especially Locust.
John: But that was like a lot of great bands, and they had this really insane music. Like really crazy ass vocals, also really into New York bands and [inaudible 00:03:22] infusion vocals. And they had extremely fast crazy vocals. A lot of the stuff that was hot at the time when we were coming out before we formed, the music we listened to was like a dance club for a sassy vocalist. So we thought we wanted like a more standard even thing.
John: It was also just sort of like who we had to make the band that we're getting along with of how we sing and we thought that would be interesting. So it's sort of like, yeah, it's by design, but also just sort of like we had these guys who are interested in making this music and that's we're going to do.
John: And also we're sort of underneath these New York noise or whatever experimental bizarro groups of the time. Every single one of them sounded totally different, so we were inspired that, like, you need to make a cool band that fits on this wavelength, but it needs to be unique or have its own thing.
Tim: That's pretty cool.
John: Well, you know, we were always into My Bloody Valentine and stuff like that, which had loud music with soft vocals.
Tim: So on my side, normally it's just like a science fiction comedy side or just science fiction or whatever. So I've got to ask for the thing. For you, did you have any sci-fi stuff that you were into or sci-fi stuff that you felt influenced creatively?
John: Yeah, the golden age. We've always had a weird, not overt, like we're like some fucking simp wave, we're not trying to make some soundtrack or nothing. But there has been a very, like the golden age of early 90s, late 80s sci-fi, or mid to late 80s sci-fi, where it's like you have "Aliens", you have "Total Recall", you have "T2".
John: "T2" has had a weird crossover on music because some things sound like it, and we've always heard that and that's what we were into, but just that a future that is like in "Aliens", you're in the future, you can travel and have hyperspace, but yet you still very clearly have a DOS computer, it's like a [shitty future 00:05:18], or a primitive future, a post-apocalyptic future.
Tim: That was the same thing with "Battlestar", too.
John: None of us were ever into "Battlestar".
Tim: It's not that great.
John: But it's sort of like Murphy's law or whatever it is, or not Murphy's law, sorry, I was thinking, what the fuck is it, Moore's law? Which was the fuck it is with the fucking computing? It did happen. You actually couldn't get the chips any faster. That's the best you have, and you'd sort of keep coming with that tech.
John: Or stuff, or a sort of primitive, you know, all the great post-apocalyptic film. So that's sort of like, it wasn't necessarily like it all, we always have that analog and that sort of what was part of the, Health is the band without having it be like trying to do it that way or trying to have it be this referential thing, you know?
Tim: Yeah. You guys got a really cool way of like, kind of like when I listen to Health it can go from a very pretty landscape in my mind, to a very like you said, post-apocalyptic, like it's-
John: Well there's always, you know, there's been a, never by design, but it sort of developed that way and then we sort of kept pushing, and there's always been sort of a cinematic or visual expansive. I think that just like sort of melodic taste of Jake, and how we do stuff that's just sort of happened that way, you know?
Tim: Nice. So you guys, like for the writing process, do the lyrics come first, music come first?
John: Very beginning is a music come first, in the very beginning of the stuff on, you know, first two albums, "Get Color" and the self titled, it was very much conceptual. A lot of the songs were written to like, you know, we'd all contribute, but a lot of the songs that I would start, I would just have a piece of paper of just like a fucking roadmap of what the song would be with no musical information, with words, and everyone had to interpret that. We had to work through it together, and then more and more, you know, as we use computers more and also got a little older, make it more concrete ideas based around sounds.
John: But a lot of stuff too, like as Jake has written, he's writing with very bass chords and melodies, but nothing on the first two albums were written that way. Everything in the first two albums was just complete insanity.
Tim: Yeah, I watched some old shows from back then, they're great. It looked like you guys had way more gear on stage.
John: Yeah. And you know also what sucked about that time too, is that shit would break. There was always technical difficulties. This shit is so much more reliable now, you know. And stuff would be very complicated with sound systems, or this or that. We'd have to travel with this special one amp that I can I hit the one pitch on "Die Slow" we'd have to take to Europe, and the power would go wrong, and the feeds-
Tim: Oh, 'cause you'd have to use some shitty adapter?
John: Yeah, and then like we had to play that song, because it was our biggest song, so we had this fucking mad rush to fix it, or get some guy with the fucking welding thing, you know. I'm glad those days are behind us.
Tim: That answers my other question, because when I was asking before about finding the right sound of the pedals, did you guys ever have to use a backing track or anything?
John: No, so basically what we started doing from "Get Color" on, is certain songs that were time based like "Die Slow", is I would make a live loop, and something like that plus was a save the loop, and then we got more and more used to the idea of sounds that would be like procedurally generated with the feedback that you can't play live. It's like that you would have to play to it, and that sort of a-
Tim: So it's like a click track.
John: Well then there was no click because it was-
Tim: Right, but you know what...
John: ... there was no play back rack, but it was perfectly in time and so that we develop more and more. And so songs like "USA Boys" or stuff where it definitely times things. And now we have time sing samples for sure.
Tim: You mentioned something earlier about software?
John: Yeah. Ableton.
Tim: Oh, nice. I love it.
John: That's what most of our newer stuff. You haven't heard "Death Magic"-
Tim: No, but-
John: ... but "Falling Forward" would be totally the same way. It's just like it's heavily made [inaudible 00:08:49] in the box, you know?
Tim: Yeah. The new record, I haven't heard the "Death Magic" one, but the new record it's way more refined from "Get Color", but not in a way that makes it seem over produced.
John: eah, well the funny thing is because you haven't heard the one in between, is "Death Magic" is "Vol. 4", that's the change to doing this electronic production for real, and "Vol. 4" is sort of trying to pull back with old stuff while still doing "Death Magic", too. So I'd be curious what you think of it.
Tim: Cool. Yeah, I'll totally pick up a copy. Definitely, that's awesome.
Tim: Let's see here. I didn't think that you guys are going to contact me at all, so I kind of just jumped up off the couch and ran out.
John: Yeah, we're pretty open. I don't know. You haven't been following the band for a while, but this right here, this phone number goes to my cell phone.
Tim: Oh, nice.
John: So we're pretty open.
Tim: Oh that's pretty cool. Do a lot of people call you guys?
John: Yeah. They'll call me.
Tim: As in normal people, or do you get weirdos?
John: Calling me?
John: Mostly normal.
Tim: Can we tell a story of a phone call?
John: Most phone calls are just, "Hey, what is this? Oh, that's weird. Oh shit. Okay, bye", you know. Every once in a while you get someone who's suicidal.
Tim: Oh really?
John: Or you get someone who's really crazy, where they're really confrontational, and they're like fucking going off on your ass. That sucks. But most of the time it's fine.
Tim: Your websites, youwillloveeachother.com, you guys seem to put out a very positive message through your social media and whatnot. You guys are very funny on Twitter too, but the-
John: All of this kind of music, it's like music's great. It's a great lifestyle. You know what I mean? It's something that it's very special, especially going to shows and especially going to show us with artists that you could actually go talk to. It's like, for me it was a very, very important part of my life and I could do that for most people too.
Tim: So where are you guys heading off on this tour?
John: Well if you just look at the tour shirt here, you can see the whole US tour. We just finished a two month European tour.
Tim: How was that?
John: It was great. It's very long, and now we're doing the US, and touring the US is great.
Tim: Is there any current sci-fi that you guys follow?
John: Let me see. I tried to watch that fucking "Nightflyers", it was horrible. I read the script [inaudible 00:11:16] it was really good. Current sci-fi, oh, "Blade Runner 2049", was really good.
Tim: That was fucking awesome.
John: Pretty damn good.
Tim: Hear that guy's doing "Dune" now?
John: Oh yeah. I'm pretty excited about that.
Tim: Yeah I'm pretty excited for that.
John: It's a very hard thing to adapt. I don't know how. The funny thing is that the David Lynch "Dune" looks perfect, it's just not a good movie. So I would just copy the look of that movie. It looks fucking insane.
Tim: I don't know, man. I didn't think the "Blade Runner" was going to be good, but then I watched it and it blew my mind.
John: I mean he's a great director. Sicario's amazing. Him doing-
Tim: Yeah, "Arrival" too.
John: .. yeah, "Arrival" is awesome. So him doing "Dune" is pretty fucking exciting. It's hard to adapt, you know. Reading that book in high school-
Tim: I tried it, I could never, I couldn't get into it.
John: Oh really?
John: It's just like, wow. I mean, for me-
Tim: I need to try it again, because I was pretty young when I tried it.
John: I think for me and a lot of nerdy dudes in high school reading that shit. I read that and "Lord of the Rings" around the same time, and especially there's a part, and if you do read the book, I wonder if this will happen to you. A lot of people I know have read this book and they have very similar experiences where there is a chapter, but when you finish it, it's like you're on drugs. It's like a religious spiritual experience.
John: And it's not like "Dune" is the most well written book, but it's magical. There is this changing of the water. My buddy even told me what happened before I read it and I didn't believe him. And then I read the book and it did happen. It's actually one of the most singular and most special experience I've ever had reading anything ever.
Tim: I had a similar experience reading "Gravity's Rainbow", have you read that one?
John: No, Jake read that? Did you read that?
Jake: I tried to read it like three times, but every time I tried to read it, it was on tour. And so I'd get like 2-300 pages in, and then I would be like, "Fuck, I cannot concentrate on this."
Tim: I think the only reason I could read that is 'cause I had a foot surgery, so I was in a wheelchair for six months.
Jake: The reason I kept trying was cause I kept hearing shit like that. People would be like, "Dude, around a thousand pages, your life starts changing." And I had little glimpses into that, but then because of the nature, you know, you read it, I had to fucking start over. I couldn't like read through the pages.
Tim: Yeah, yeah, and I didn't have the heart to get one of those helper books with it too, cause you can buy those now.
Jake: Yeah, like reading "Ulysses" or something.
John: So Jake this is very, very amazing stuff. He followed us from "Get Color" fell off, put it on forever. He's never heard "Death Magic". He just randomly on a whim decided to see what we're up to now, and he's heard "Vol. 4".
Tim: And here I am.
Jake: There you go. All right.
Tim: "Get Color" was easily the favorite record of '09, I listened to the shit out of that.
Jake: That was a long fucking time ago.
Tim: Yeah, I had the vinyl, and yeah. I never saw you guys live, but yeah, it was good stuff.
Jake: I'm glad you're here.
Tim: Thanks. Do you got a second?
Tim: Nice. I was talking to him a little bit about this, maybe you could elaborate. You're singing to me it feels like it's very gentle, and soft and lovely and then these guys are juxtaposing it with this beautiful, frantic, chaos shit. And I was asking if that was planned or if it just kind of developed that way.
Jake: It definitely kind of just developed that way. It's a little bit of both, you know what I mean? I think that when we were starting the era that we came out of, and the sort of underground, voice-
Tim: What's the song that's like, "You knew how I feel. Can you feel my breath?" Is that "Nice Girls"?
Jake: Yeah, that is. Yeah, yeah, yeah. I think that what happened was there were so many bands at that time, they were kind of coming out of the noise scene in LA and everything, and they had these really kind of barky like, or full on screamy lyrics or vocal presentations like bands that we were influenced by too, like The Locusts and Ex Models and all this shit, and I can't do that A, and also it seemed like just to do that would be recreating something that was already being done. And we were also really influenced by a lot of other things at the time on top of that like Shoegaze, or Wire, and shit, where there's songs that are aggressive but they have sort of soft, almost instrumental elements to the vocals. And it just so happened I was like "Whoa, good, 'cause I can't do the other thing."
Tim: Yeah, I mean if you could do it, would you enjoy it?
Jake: There's some times like for example, [inaudible 00:15:52], who's playing first, and it's like when you want something to really communicate intensity and aggression, motherfucker yelling at you is hard to avoid because it's coded into our biological DNA.
Tim: That's a good point, yeah.
Jake: You know when someone yells at you it signals fight or flight, and so when you want something to go to 11 in terms of intensity, sometimes I wish I could do that.
Tim: I feel like your band gets that across for you.
Jake: That's why we figured out a way to do that. That's kind of the idea.
Tim: Yeah, it's cool cause it's like this huge thing, and then when you get to the top it's you up there just being chill.
Jake: Yeah. It's an interesting juxtaposition. I think we also always felt like it would give us more ability to grow, 'cause if you're just screaming it sometimes can be hard to melodically branch out.
Tim: Oh, did you have any sci-fi growing up as a kid that you felt influenced you creatively?
Jake: So it's funny, I heard you talking to John. John's more of a sci-fi guy than me. From a literary perspective though, "Brave New World" was a really big book for me.
Jake: I definitely had a dog eared copy that I underlined and shit-
Tim: I haven't read that in so long.
Jake: I'm talking about like eighth grade, seventh grade kind of thing. Like you know, I read that, and I read and re-read "Clockwork Orange", and I read a lot of the standard Vonnegut shit, and then I read a bunch of Arthur C Clark, but I never went off the deep end on sci-fi.
Tim: Yeah, I always like the weird Vonnegut stuff. Like, "Breakfast of Champions" is my favorite.
Jake: Yeah. Well also the cool thing about those Vonnegut novels is you can read them in one sitting.
Tim: Oh yeah, totally.
Jake: You know?
Jake: Like if you're on a plane ride. I think I read "Slaughterhouse-Five" cover to cover in one sitting on a plane. Just like, fuck it, I'll read the whole thing.
Tim: Is there sci-fi that you're keeping up with now?
Jake: Okay, so did you watch that Netflix made for Germany series "Dark"?
Tim: No. Oh wait, yeah, I think I started it. Was there a cave involved?
Tim: Yeah, okay.
Jake: So Ben Frost, the experimental musician did the score. And it was one of the first things I'd seen Netflix had bankrolled that was like the aesthetic of it is very consistent and very cool, and there's something that happens in the end that devastated the validity of the series for me, and I don't fucking know. I'd love to ask the guy like, cause it felt like it was like a note from some studio guy, or something. Or like they needed to do some CGI and they didn't have enough money. It's weird though, man, 'cause it's like ....
Tim: Yeah, is it the one where they go in the cave, and they come out with a different time?
Jake: It's a time travel thing.
Tim: Yeah, yeah, yeah.
Jake: And it's really fucking cool. But the problem is any, like I don't know if you saw "Looper", but one thing I really liked about "Looper" is as they start going down the rabbit hole of time travel, literally Bruce Willis' characters goes, "Don't fucking talk about it too much. You'll just get confused." It's true of any time travel thing.
Tim: Yeah. You don't want to spend all the time-
Jake: So what do you think happens when you have a thing about time travel that's 10 fucking episodes? It should be like 90 minutes to movie. You can fuck around. But like, if you want to play the game of time travel and it's like there's three different eras, and people are showing up and interacting with themselves as adults. So it's really cool for five episodes, and then by eight episodes, you're like, "Dude, this is too complicated. They don't know what they're doing."
Tim: Did you see that shit, "The OA"?
Tim: That's crazy. The first season was really bizarre. It's about this scientist that kidnaps five people that have all had near death experiences.
Jake: Oh fuck, I heard about this.
Tim: Yeah, and he keeps killing them over and over again and reviving them, and then this other shit happens in the end, but it was kind of whack. Like, it was like, what the fuck? Okay.
Tim: And then the new season validated all the whack stuff, and made it awesome.
Jake: Okay, shit, yeah.
Tim: It was just like, 'What? This is so great.'
Jake: I am a big sci-fi fan. I'm trying to think if there's anything, like other films that have come out recently that I'm thinking on.
Tim: I'm trying to think too.
Jake: Yeah, has there been anything good that's like? There's been a couple of decent horror films.
Tim: Oh yeah. Obviously the "Hell House" ones. Those are great. They're on Shudder.
Jake: Oh, okay.
Tim: Yeah, "Hell House LLC", it was a fantastic movie.
Tim: Yeah. Kind of like low budget, but they're really good with old fashioned scary.
Jake: From being like, as a kid, I'm really interested in seeing the "Pet Sematary" re-make, just because I love that title. I read the book when I was a kid.
Tim: Oh yeah, they're doing "Chucky" too.
Jake: Are they?
Tim: Yeah, Aubrey Plaza's the mom in that.
Jake: Fuck. That's crazy.
Jake: Yeah, I really wanted to go see the "Pet Sematary" remake, but now we're on tour.
Tim: It crushed at South by Southwest.
Jake: Did it?
Tim: From what I hear, yeah.
Jake: I know that it's like whatever Rotten Tomatoes is like, fuck Rotten Tomatoes.
Tim: Yeah, I know.
Jake: I mean fuck it. Rotten Tomatoes now, it's like every Captain America movie gets like a 98, I'm like what the fuck is that?
Tim: It's like, it doesn't even look like it filmed outside, like it just looks like they were just in a green screen the whole time.
Jake: They are, that's what they're doing.
Tim: It doesn't even feel like a movie.
Jake: John and I talk about that a lot, where it's just like I cannot in good conscience watch another Marvel movie where ... Even if I'm enjoying the characters, the 45 minute long fight scene that happens in the third act, there's no consequence in any of this. At least in a Christopher Nolan movie, you're like, "Yeah, they crashed a plane," or like fuck flipped over a semi-truck.
Tim: That shit they did with the first Christopher Nolan Batman movie where they hijack that plane, they really did that.
Jake: Dude, the semi-truck that flips end over end in "Dark Knight", they fucking just went into Chicago, closed down the street and flipped a semi-truck.
Tim: No fucking way.
Tim: I didn't know that. I knew about the plane.
Jake: Yeah, a homie of mine was there.
Jake: They all went down and watched him do it, and that's his-
Jake: .... I mean, even I didn't love "Batman Begins", but even the narrows. What I like is Nolan is obviously really into sci-fi, but the cool thing is-
Tim: Wait, what was his early one that he did? "Memento"?
John: Screen "Memento" he has a-
Jake: "Following", "Following" sucked. But that's not sci-fi. It's like shitty Hitchcock. I mean, you know what though? You gotta give him-
John: I am always impressed by the indie filming you can just make work.
Jake: Well, he made it and then he was able to make "Memento" based on the strength of it, you know. It's like, did you ever see Danny Boyle's "Shallow Grave"?
John: I liked "Shallow Grave" a lot.
Jake: Yeah, that's pretty good.
Tim: I haven't seen that. I'll check that out.
Jake: It's got Ewan McGregor in it, and he's like a fucking kid.
Tim: Nice. Sounds good.
John: What year was crazy view working for those guys, with those guys, of all the magness guys their cheap movie has this incredible actor in it. Or like Scorsese, his broke ass movie has Harvey Keitel in it.
Jake: Well yeah, but Harvey Keitel wasn't Harvey Keitel yet. That was just like-
John: I know but it's still Harvey Keitel. It's pretty amazing. If I tried to make a movie right now, I'd have [inaudible 00:23:00]
Jake: Yeah, you don't know Harvey Keitel. And it's like he grew up with it, too. It's like, "Oh hey, he's pretty good."
Tim: How about this: If you guys could score any director's movie, who would you pick?
Jake: Living or dead?
Tim: Doesn't matter.
Jake: Okay. Well I would say Kubrick, but he would just use-
John: No, I would not. He'd replace you with some[inaudible 00:23:18]
Jake: No, no. He would never do it, cause he would just use classical music.
John: No, no, no. He tried that though. Like all those people like "The Shining", those people worked years on it and he ended using 10% of what they used. I'm very unsatisfied.
Jake: He has a quote where he's just like, "Why would you ever get anybody to score your movie? It's already been done better by somebody else."
John: I mean, he had some stuff scored but yeah, it wouldn't [inaudible 00:23:40].
Jake: Okay, so who would it be? For us, I think for our style, something that's dark sci-fi action twinged.
John: I would actually be, I would love to work with, we're super art film fans, but someone who's just very good but doesn't do the most arty thing in the world like, something more mainstream like a really great sci-fi, or something like that, or even action.
Jake: You also want to say Fincher, but it's like fuck it, Trent Reznor is already doing that shit.
John: No, but I mean almost like, you know like John McTiernan in his prime, where it's like we would have his esoteric cool score with a fucking kick ass, nuts and bolts really well done action or sci-fi, something like that.
Jake: But it couldn't be like McTiernan doing "Diehard with a Vengeance."
John: No, you don't want them to do that.
Tim: Dude, that was a great. "Die Hard with a Vengeance".
John: Oh, one of the greatest movies ever. But you don't want anything to argue with that. But something that has some sort of bizarre concept. But you know what I'm saying. Something like that.
Jake: That's not much of an answer though, is it?
Tim: No, this is great. This is like everything I wanted. To watch you guys argue about this is perfect.
Jake: Well I'm trying to think of like, what would actually be perfect. I mean early, early Ridley Scott.
Tim: Oh yeah.
John: Yeah, yeah.
Tim: Did you guys like Covenant?
Tim: I hated that. It was so bad.
John: It was horrible. I don't like any of the "Prometheus" era.
Tim: I liked "Prometheus".
John: All right. It looked great.
Jake: Dude, here's the thing that I didn't understand about that, is so it's like a big part of "Alien:Covenant" is he's trying to do this actually very 90s almost buddy comedy kind of thing of like the rapport of the crew. And they're all supposed to have these snappy, like they know each other so well, right? And it's fucking bombs. Like you can't care about anybody because all the characters can't interact with each other. They even got Danny McBride in there to be comic relief and everything. But the weirdest thing to me is, and it just shows you the casting director or whatever, but "The Martian" was basically, I mean obviously Matt Damon, it's like a family movie. But the crew rapport in that movie is great, and it's the same fucking director and it's the same concept. It's people on a ship-
John: Yeah, didn't they have like a weird sex scene, like after all their friends got killed, didn't they just go into a sex scene in the shower? Like, it didn't make sense.
Jake: The whole thing.
John: That should have been in the beginning of the movie or not there at all.
Jake: And I know what you're saying "Prometheus", but for me it's like, the fact that it had to exist as this prequel fucking bizarre.
John: Yeah, I did not like that. If it was its own thing.
Jake: What I love about the Xenomorph, and I'm a huge fan of both "Alien" and "Aliens", you know they're completely different films. Cameron's version is like an action movie. Is that the Xenomorph to me is so awesome, but it's the way we always do with aliens in movies, that's why "The Thing" is fucking incredible, is because it's so disturbingly non-humanoid. 'Cause there's always like the communion like, "Oh it's going to be the super smart humanoid ex-[inaudible 00:26:42]". The Xenomorph's fucking awesome because it's just like it's astonishingly perfect killing machine, and then it gets ruined by like, "Oh yeah, there was these super smart guys and they engineered it. That's why it is."
John: That's a good point.
Jake: It's like fuck, you ruined the whole mythos of thing for me, is that this perfect like villain creature-
Tim: Wow, you just kind of blew my mind.
Jake: ... so I was just like, "Oh why you gotta take the movie away from me, man?"
Tim: I just remember the first time I saw that face hugger, man. Oh, God.
Jake: Oh dude. And that's the craziest thing, right? The face hugger is the scariest thing by far.
Tim: Oh, yeah.
Jake: Also, it's like, it's so awesome and unnecessary.
Tim: And they do it in full light too.
Jake: It's also so awesome and unnecessary biologically that it's like the way that the creature procreates, is there's this whole other like sub minion thing-
Tim: Yeah, it's doing something.
Jake: Yeah, and it has to die after. It's so tight. I've watched and rewatched both "Alien" and "Aliens" so many time.
Tim: I watch them all every couple of years. I love the Fincher ones, you know the jail dog alien one.
Jake: Is that the one where that dude died in the suit? I think so.
Tim: I think so.
Jake: Yeah, yeah. He was trying to swim.
John: I don't know why people hate on that one. I like it too.
Tim: I love that one.
Jake: The third one?
Jake: That's the prison one, right?
Jake: That one's tight.
John: I like it.
Tim: I think that aliens came from dogs that time, right?
Jake: I think that part of why people hate on it a little bit is that Fincher disavowed it.
John: Right, exactly.
Jake: So like, people that are fans are like, "Oh fuck. He hates it." But it's like, it's still-
John: It's still good.
Jake: ... I mean, the world. I actually don't like the fucking Jean Pierre Jeunet one, with the-
John: Yeah, that' ones ...
Jake: ... like with all the, but it's really disturbing the aborted half of fucking-
Tim: Wait, which one was that?
Jake: That's "Alien:Resurrection", or whatever.
Tim: Oh, that's just kind of like ...
John: That's the one with Ron Perlman.
Jake: Yeah, yeah. It's the dude who did "City of Lost Children", and did "Amelie".
Tim: Oh, yeah, yeah, yeah.
John: I mean, his movies are great. I mean, "City of Lost Children", [inaudible 00:28:47]. He did like, "Holy Motors". That's pretty good too.
Jake: I mean it's hard to fucking make them.
Tim: Oh yeah.
Jake: After that many, deep.
Tim: I tried to make up 20 minute documentary last year. It was the hardest thing I've ever done.
Jake: I know. John and I are always talking about that, like in terms of making a record, like trying to make a whole fucking film.
Tim: It was like everything was like, "Oh, I'm just going to do this," and then it would be like a three day long reading of all this stuff [inaudible 00:29:17].
Jake: That's like, if we just try to make a music video, we're just like, "Fuck. It's too hard." It's too many parts. Like it's hard enough to make a song.
Tim: Oh yeah, I know.
Jake: You know, and it's like fuck, you've got to make a song and have everything work. And then the worst thing is you actually got to make a film, like, dude, actors? Like what do you do?
John: There's [inaudible 00:29:37].
Jake: Ah. If you're on set, and you're on schedule, or your actress blows, and you're just like, "Fuck."
Tim: Yeah. Especially, like it's like we were friends, too, or something. You know, you can't really like, I don't know.
Tim: A cool thing about like if you did decide that you wanted to make a movie, you would have the most kick ass sound in it, 'cause you know music, but yeah.
Jake: Yeah. Fuck, if we made our own movie, would we score our own movie?
Tim: You have to.
John: Mark Governor. He did it.
Jake: Yeah, he did it. You know who else does it? Clint Eastwood.
Jake: All those movies.
Tim: Was "The Mule" good?
Jake: I didn't see it. He's so old.
John: He's made good movies.
Jake: Ever since that thing that he did at the Republican National Convention, when he was talking to the chair.
Tim: That was so hard to watch.
John: Well, that was totally clear that like, motherfuckers old.
Jake: He's like 80-fucking-five years old. I mean, yeah, some people do it. Kurosawa did it, but like-
John: He did scores on movies, though.
Jake: I'm just saying like, even to direct a movie, I can't imagine. You know when you see an old guy driving a car and you're like, "Oh shit. How are you driving?"
John: Well, I think you can do it with a movie because you have hundreds of people who are at the top of their field to make you get done whatever you need done. And even if you don't get done what you need done, there's someone within a penny of trying to get it done-
Jake: You grabbed your set list, right? This is yours.
John: Actually, I'll put it there.
Jake: This is yours.
Tim: Cool. I'll buy one of these.
Jake: Oh, shit?
Jake: This is the in between.
Tim: Yeah. I haven't heard it yet.
Jake: John's the keeper of Vinyl.
Jake: And what is your name, man?
Tim: Nice to meet you, man.
John: Are you coming to the show, Tim?
Tim: What's that?
John: Are you going to come to the show or?
Tim: Yeah, actually when I saw the tickets go on sale, I bought four like immediately.
Tim: I got some friends meeting up with me.
Jake: I'm gonna run upstairs. I actually need to floss my teeth pretty bad. I just ate this meal and I ...