En åben snak med producer & Musiker Jakob Meyland om hans passion for musik
En åben snak med producer & Musiker Jakob Meyland om hans passion for musik
Welcome to Museo Lokal podcast, thank you, and how it enriches their lives. Every week, I invite a new guest to talk about their relationship to music and how they live and influence the music Insight, inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Lokal podcasten Musik mit Druck and welcome to Jacob Mejland. Thank you, peter.
Speaker 2:We're sitting well here, aren't we? It's a view of dimensions.
Speaker 1:We're sitting here in your colony house? Yes, we are, and looking out over the entire Silkeborg.
Speaker 2:We're sitting in the colony house association Frydensbjerg on Aarhusbank in Silkeborg, which is funny enough. That was the first area I came to in Silkeborg when I moved here in 1988-1989. Wow, you know, coming home.
Speaker 1:Coming home, yeah, and the sun is shining and the flags they're really beautiful.
Speaker 2:Should we just have one second of bird flight? I'll just point the microphone out. Yeah, why?
Speaker 1:not it's dead.
Speaker 2:It's dead. The bird is dead.
Speaker 1:They're swinging. Yeah, jacob, we've known each other for 25 years, I think. Yeah, good and well Since we met. Yeah, do you remember why we met or how we?
Speaker 2:met. I can remember before we met too. Okay, but there's some history. You were a persona in Silkeborg, right? Yes, definitely, you were the king of nightlife. You could say Well, so I knew you well. But the first time we made a confession. Correct me if I'm wrong is Correct me if I'm wrong.
Speaker 1:Yeah.
Speaker 2:Is when I'm at the conservatory. I was so lucky to get in at the conservatory. I don't get it. I have an education, but that's just what I can do.
Speaker 1:You have a fantastic education at the Rytmisk Conservatorium.
Speaker 2:Yes, the Rytmisk. The Jysk Musikkonservatorium yes, where you were also part of the story. Later, it could be that we'll get into it with some parties down. I get called up by you and you're looking for a percussionist. That's right To a new club you're opening in Silkeborg. You've always been hopeless ahead of your time, so open a house or back up.
Speaker 2:Or just your own time frame, maybe Club Concord, where we'll later use many evenings and it's also part of my schooling, it's the countless networks we've been on down there. You call and ask Hi, I'm a DJ. I've heard you can play percussion. Yeah, I couldn't. I couldn't play congas. At the time All drummers think I'm originally a drummer. They think, okay, congas and such. That's what everyone can do. But it's actually quite difficult. But I said, of course, yes, I can. Yes, and I thought you were a great guy. And no, you know what, peter, it wasn't Kongassen, it was some music we started with. No, we started with that Did we.
Speaker 1:Yes, but we actually started playing at Puck's Café in his time. Just a single album first.
Speaker 2:That's right To some P3 also. Yes, exactly where we are in P3 with it.
Speaker 1:And then we open to talk about it when we play together. I would like to make some music and you say I'm damn good at that, I have damn good ideas.
Speaker 2:There was at least a good match. And there were some common references. You are 10 years older than me, but I have these two sisters that are your age. It can be that we come in on that a little later, but that have inspired me a lot In their music choices and there were a lot of common references and I went more or less alone.
Speaker 2:I have this a little funny music history. I think there was probably no one who knew Yasu or S-Express or Bronski Beat or Frankie Goes to Hollywood and there's definitely not in Midtjylland and then meet a group which which there have probably been more of, but it's nice and since then we've had some and made some really good music together through these group references.
Speaker 1:That's what you have to say, jacob. Jacob, and now you're talking about references and your sisters and things. Where does your interest in music start? You said you have two older sisters. That's good. Is there music at home?
Speaker 2:I have parents that are musical. They haven't practiced music. My mother has gone to a choir. My father was a premier lieutenant in Livgarden, so there's some good Nordic pulse. Yes, german.
Speaker 1:Which sits right on.
Speaker 2:I mean quite seriously, I think I've got the good pulse feeling from him. And there was a piano. My mother thought it was nice. Half of the tangents didn't work but it was there. And my mother? She's a good musician my father is too. So there's something that's been transferred there, but I've not had music education or anything. They had some records which I can hear on the other podcasts. That's where it starts right.
Speaker 1:Yeah.
Speaker 2:I mean, the first musical I can remember was Born Born Born to be Alive, yeah, and that you always find meaning afterwards, that drive, that's in that arpeggiator, or I actually think it's a guitar.
Speaker 1:But he plays like an arpeggiator. He must have heard something from.
Speaker 2:Donna Summer. I can only remember what was the name of the group. It's a one hit. It was Patrick Calandes. He was a little Latino, I remember. But the drive in the song I can only remember. It hits me, and at some point before that I might have heard Donna Sommers. I think the key is placed on this electronic drive which comes from a half-acoustic number. Yes, exactly, I remember that. And then I remember well, it was a coincidence to have records standing. It was a record that came on once a year my parents.
Speaker 2:There was a lot of singing the Sønderjyder, the Shits Got A Lock Together, musiken, og så var det en ABBA-plade. Jeg er jo rytmemand, jeg kan lave gode melodier også, men jeg er rytmemand. The shit's got to lock together, og hvis der var nogen der kunne det, så var det jo ABBA, med deres to trommeslager, en I hver side. Det ramte mig hårdt. Kan jeg huske Deres cover, der hvor de sidder I helikopteren?
Speaker 1:I can't remember Now we're not going to name drop because it's also dangerous. Arrival.
Speaker 2:Arrival, exactly. It hit me too. I've always been very inspired and fascinated by the science fiction world, these spaceships and everything from Buck Rogers, which was a sci-fi series that ran in England, both as a child, to Star Wars. When it becomes too fantasy-like, with too long hair and horses, I don't like it anymore. No, I mean that tech-deal, right, yeah, but those numbers that print themselves in, and some Savage Rose too. I can remember they had Death's Triumph. Yes, wasn't it Savage Rose? Oh, it was Cobble and Anisette that made that A musical, a very controversial musical in the early 70's in Copenhagen, where my parents were watching the Sønderjyder who were just looking at breasts and pubes hair on the stage.
Speaker 2:But there is this one. It sounds a bit like a pop song, but I think it was when my indie-kind of expression was put. She has this sway floating Scandinavian Nordic sound, 100%, 100%. So those things that I've always digested music very quickly, yes. And the same with instruments. Give me an instrument and then I get something out of it quickly. Yes, give me a number. I don't pretend that I can analyze things quickly and say I take it in quickly and put it into something else. So it hasn't been more than one time you should hear the song before it just prints in. And there I have these downsides, and some good downsides.
Speaker 1:Well, thank you, peter, about the joint references, because it makes a lot of sense. I think when you talk about disco with Drive or Groove and the melodies from ABBA and then still from Savage Rose, it's more floating.
Speaker 2:Yeah, that's good, and it's clear that you always find meaning afterwards. But, for me it just gives meaning.
Speaker 1:Are those the three areas you've been fascinated by? Yeah, for real.
Speaker 2:I think once we were doing a, when we had our concept, period.
Speaker 1:Yeah, we said now we've made enough background. Yeah, where you say that we, that you see it in the background, yes, we were making this song.
Speaker 2:I think it was something like I get my bass from Miami, my drums from Africa. You know what I mean I think I've gotten my things from different places. I've met some people. Now I'm jumping a little further when I meet my best friend, mads Jørgensen. Mannis Binks, fantastic songwriter, is now in the communications industry at ViaSat, ViaPlay. Big guy in there. He taught me Dylan and all the lyrical stuff and introduced me to writers and stuff. I live in England for two years Because you're so young. I moved over in the 80s.
Speaker 1:I can't do that but it's like 83, 82.
Speaker 2:It's like a kid right, and I remember, simply, in the living room I can remember the gold tape, england gold tape, and all the dirty furniture, right. So I just remember Golden Brown with the specials Golden Brown, I don't remember, and then it was like a hit single in, but it must have been 83 or 84, where there were also some electronic instruments, and then my eldest sister bought a 12-inch one. Yes, the Model. Yes, I've actually never practiced Kraftwerk. No, because I prefer the more African I prefer black music where cultural appropriation.
Speaker 1:But you can like the electronic part. I love it.
Speaker 2:I'm just saying it's not something I've practiced. I don't have all the Kraftwerk records, no, but that one Again, groove, if you can call it that, the melodic universe, the voice. I was completely blown away. And that's also been someone who just sat down. Yes, and that's also been someone who just sat down. And later on, the second time I came to England, which was the period that printed the most in it's the Summer of Love. We come over there in 87. I'm right before puberty. It's a time when you really form yourself.
Speaker 1:And where you take it all in?
Speaker 2:Yes, you do, and I would say it's 12 to 15. That's where you really get better. You become whatever Now you're. I would say 12-15 is where you really get better. You become whatever. You're not an educational consultant, here you are.
Speaker 2:Yes, I am, but I can only remember I think I've been there three days. I was very well received. You know that English extroversion that the Americans also have, but the English have it in a slightly more European way and it's like there's the UK and then out of the continent. It's not the same. They were far ahead that time. Yes, exactly, it's almost the same as the Swinging Sixties. They were way ahead. And then in 1988, rave music, mars, pump Up the Volume, s-express. It's a song. It's not a well-known song. Hey, music Lover, you know it, I know it. Yes, hey.
Speaker 1:Music.
Speaker 2:Lover, 120 BPM. Boom, there you go. House electronic. It came the first time. It came on the hit list Mark Moore, yes. So yeah, mark Moore, he's the one with the high. Yeah, it just hit me completely and it was. It was raver energy. And coming into that youth club they went up in clothes, they went in Joe Bloggs' baggy pants, you know, and Umbro tops and all the Manchester stuff.
Speaker 1:I lived in Nottingham at that time, but it was like it was between London and Manchester.
Speaker 2:So it was the North, yes, and Manchester was huge at that time, yes, so remember that.
Speaker 1:When you were on the last what was it?
Speaker 2:Blitz in Aarhus, Soppen, the only real r're in a room here, 200 people. How beautiful it is, Without ecstasy or MDA or anything, and experiencing that as a 12-year-old. That sets a huge track. The musical energy, the hypnotic, the repetitive. It sounds long-winded, but the ceremony.
Speaker 1:It doesn't sound long-winded at all.
Speaker 2:It's a spiritual thing, and I've also found out that I've always liked reggae music and it's not so much the text universe and Bob Marley in itself. I can best like what came before they hit Island Records, Like those who say I can like Ringnesher, but only the book. But I can like the old recordings and it's all this cultural appropriation. But I'm actually Rastafari.
Speaker 1:I'm also a little.
Speaker 2:Christian and you know some of your friends also advise you about Christianity when you're 27. And I was at a dub arrangement a while ago in Aarhus. There were some cool sound systems Denali Sound System, Concrete Iration. Booyaka from Aalborg. They're nerds, peter, if you think. Djs and producers like me are nerds. They take their own speakers with them.
Speaker 2:Where I was standing there and I wasn't intoxicated, but I was just dancing the whole evening with my friend. It's a spiritual experience. And just to mention reggae music without reggae, without sound system culture, you wouldn't have been able to do what you're doing today. There wouldn't have been any DJs, there wouldn't have been hip-hop, there wouldn't have been rave music. That's right. So respect to Kingston in the 60s, yes, that's right. Also, all this with dub plates and vinyl, two turntables and a microphone. That's right. That's where it comes from. I like that culture.
Speaker 1:Yes, there are more things you can like about that culture.
Speaker 2:I'm cool and excited, as my sister says. It sounds a bit self-centered, but I take things in and get fascinated and I think we have some similarities. Peter, you get that tingling in your fingers right, yes, but when I experience something, I get the desire to do it.
Speaker 1:Yes, I want to eat it, consume it more and more.
Speaker 2:I can hear the number 50 times in a row. Yes.
Speaker 1:I can too.
Speaker 2:Because it is a. It gives me peace inside man, and then I don't want to hear it anymore. No, With some things right. Yes yes, yes, extra.
Speaker 1:Yes, jacob, you're moving back after this. Yes, england thing. Yes, and you're coming back.
Speaker 2:Is it Silkeborg you're coming back to we're coming, oh, but the whole thing is a mishmash. I've been to a lot of places in my childhood and that's why I'm such a social being to meet people and you have to reach that when you're at a place. We moved every half year and then there were Pros and cons, but you get it when you have it. You learn toencer with Cubase I was 11 or 12 at that time and my eldest sister got smoker and stuff and then he got Rabundus Sorry, dad, he's the most successful, but there was just. Then we moved to Seis outside Silkeborg and there are five people in a micro summer house and get to freeze pizza every night.
Speaker 2:I think that's the coolest thing. Yes, like movie box, right. Yeah, that was cool, but that was a bit hard, yeah. But you then move to Silkeborg and your father gets money again and starts a school here in Silkeborg yeah, and has always played in bands, right, yeah. So if I may just rewind a little, you may rewind all you want. When I went to the European School, which was actually with people from all over the world, diplomats lived in Oxford and stuff. So it was all from Pakistani princes to French women who wanted to slask me as a 10-year-old, or girls, but a lot of inspiration there.
Speaker 2:I don't like to use the word world music. I've never liked that, but I can like music from the warm countries. That has probably also been the basis there.
Speaker 1:And you can quite like crossover things like I can. I think that's the whole idea of music.
Speaker 2:Like our records, peter. It's acoustic mixed with electronic which sounds quite basal, but it's a king's idea for me and I can like that mix there what's happening in Hamel Coming back there, I've been six or seven and the Fritidsklub in Hammel, bakkegårdens Fritidsklub. I've always been good to friends but also always been a loner, because I have my own ideas and I have my own way of doing things.
Speaker 2:I take the long way across the scene, as the Chinese say, you don't have to go directly, you have to take the narrow way, because then something happens along the way. Yeah, hallelujah, preach, preach. Coming to Hammel and up at the leisure club, I can remember the first musical experience I had, the first musical experience I have, where I'm sitting with keyboards my father has brought home from France, or Casio and playing the drums and stuff.
Speaker 2:But an instrument in my hand is a super tjallryne hippie Brazil. Pedagogue from Aarhus. Hammel, it's close to Aarhus, we're going to have samba on the train, oh cool, I can only remember that. And I haven't played drums yet. I get a little drum and it's often like 16th notes, when there's like an accent on some of the beats and it creates this tone and I caught that pretty quickly and I can only remember thinking this is the shit.
Speaker 1:Fuck, how cool is this.
Speaker 2:And it sounded like all Danish bingo samba, which isn't actually a samba figure, but you can remember that it's like a vidificered, subiduificered samba figure. Again now be careful. I'm not snobbing.
Speaker 2:I was thinking of walking with 20 people here in a battery of rhythm. I wasn't a magician back then, but that was just walking on me Fantastic. So I think there are to go. Who, hi, fantastic, yeah, and then I think it's been five days. I run around and pick up busses but I get down to a basement under the club there's a drum set, or rather a big drum which probably would have been a fucking expensive Beatles set but it had to be thrown out A big drum, a small drum and two drumsticks and a chair.
Speaker 2:I sit down. I don't know if you can feel it, but I didn't know what it was.
Speaker 1:And I sit down and I play three, four there's one when you've heard music somewhere, because I've done it myself.
Speaker 2:It's the same. I'm lucky to get a drum set as a young. Yes, I heard that in the classic episode. There are so many similarities.
Speaker 1:Yes, and playing in bands and all that, but I'm sitting on an orange clothe band and just practicing on that one in the classroom, and I also go down to the school in Ingesvang where there is a passionate teacher. Yes, those four-torn in your life, right, yes who have a team of players and there's never been anyone who's played the drums in your life.
Speaker 1:They just stood there and I'm down here listening to this. I can't remember how, but in some way I get to play with them Without ever having played with a drum set, yes, and sit and play in that team.
Speaker 2:Is it coincidence, is it happening? I can become completely half-religious about it, the whole music thing, in my self-sacrificing age of 47.
Speaker 1:I've had a.
Speaker 2:I can and I've found it, or it's found me.
Speaker 1:It's something that's put in you and it's something that's lit you up from early childhood.
Speaker 2:I don't know where the flames have been lit, but it's the same thing. But I find this drum set and then it just says bang, that go-getter fire you have in that age. I sit in class for an hour. I've never been attentive in school. Some would probably say I have an attention deficit. I have that too. Disorder I do too. But whatever, now we shouldn't have letters.
Speaker 1:Now we shouldn't have letters Out here. I'm luckily not a psychologist, no, and you don't have.
Speaker 2:An attention disorder yourself. Exactly.
Speaker 1:No.
Speaker 2:And just sit and play drums, and that's all it's all about. To get up and play drums and get free from school and play drums and I'm laying down in the evening playing all day in that concrete cellar. Don't understand why it's just Sussing from the ears.
Speaker 2:But there's a price for everything, yeah, and then it's just drums and then it's music, yeah, from when I was seven or eight and Peter, my good friend, who ends up living in a house right behind me in Silkeborg 20 years later. Yes, a guitar, yeah, and we sit down in this basement and the beautiful innocence and ignorance, but the drive that you're just making a song. Yeah, I think we made a song called the War in the World. Yeah, you should remember, you and I grew up in the Cold War.
Speaker 1:Yeah, there was war.
Speaker 2:I was the threat of the atomic war. Yeah, that's the background. It's a long time ago. He was a countryman's son, anders, you have to buy a bass, then you can be in the band. I said okay, anders, you're cool, I love you. He bought a Rickenbacker. Do you know those basses? No, not at all.
Speaker 1:It's a super expensive 60-bass.
Speaker 2:I only know a Fender, but you know it's funny, In the 80s the instruments that were shit. Back then, when the digital came, digitale kom ind. Fender Rhodes, gamle L-klaver Ludwig trommeset, dem smed man ud ikke.
Speaker 2:Min første trommeset var Ringo Starr Ludwig. Det ville man godt have haft, nu ikke. Jeg skulle ud til Alfred Christensen og have et sprit, nyt, hvitt 80'ers set. Ja, præcis så var det. Men Ole kommer til, som senere har vært involveret I Sonja Hall, et semi-ind. I also sing songwriters and stuff. Torben Wadstrup, who is a booker on Kaika Musik, I don't know if he's more, I don't know actually. But funnily enough our way was to move to England again. But everyone has gotten a little bit into music. Max Holmgaard is a total Afro-percussionist.
Speaker 1:But is that them you start with?
Speaker 2:They come to. And you know we don't know what we're doing. And you know we don't know what we're doing. Torben, he's a sound man because he's completely amusical. He's lying there and we're making something with a microphone. We use headphones as microphones, that's an explorer right. Yeah, that's cool, and we think we've invented one or the other. So it was our little bubble down there. Yeah, so it's about playing together with people, communication in music, right, yeah, and and still, when I'm in the studio now it has to be like a live concert.
Speaker 2:I play a little louder and I've lowered the volume to 7, 9, 13.
Speaker 1:That I do too. When I've made music, I play insanely loud. I can feel it, but it has something to do with the energy.
Speaker 2:But that's actually one of my big handicaps People, they can't Artists. When you're a vocalist, I think it's high Jacob. It's good enough. It's high Jacob. Yeah, cool man.
Speaker 1:Because you have, you're going to play with these guys. Yeah, mads, mads, binks.
Speaker 2:That's after I came back to Silkeborg and I've played in Nottingham, I've been in theater, plays and stuff Tried that Kritsirkling. I remember the Chalk Circle as a theater musician. They're very serious about things. Circo som teatermusiker, de er jo meget seriøse omkring tingene. Arts I England Fantastisk, der kommer hjem Op der lige. Hiphop, der kommer til Silkeborg. Det har vært 88-89. Samtidig med Happy Mondays, stone Roses, den der fantastiske engelske. Apropos hybrid-tingen man blander rock. Jeg tror også T Strandemøller. He was on it.
Speaker 1:Yeah, with samples and things like that.
Speaker 2:Yeah, it's super fascinating and that attitude has always been a big thing for me. Yeah, yeah, like now we fucking have to show them right Like I've been directed a lot as a child so I'd like to stand out, check it and cool, right, no-transcript, so you're not that much out playing, but when I'm finally asked by Thomas Nygaard and Thomas Specht two really good friends hey man the Mondays is coming out to train in Aarhus and play. I think it's over 10 years ago, it was a, when he was Becoming clean.
Speaker 1:It's a really bad time when you're not clean.
Speaker 2:And I come out, he stands. He looks like A zombie Sent away. He stands with a teleprompter. He looks like a 400 year old. Yeah, my whole world Shows up. Bass, my hero, bass.
Speaker 1:The rocker, the dancer, yeah.
Speaker 2:He's completely gone. Yeah, these studio musicians With session. Yeah, yeah, yeah, yeah. But I'm not a fan. I don't have any real no, but Sean Ryder, he's a big person in my life when I'm in a attack of KHROPR Oi, sean, you're alright man, I'm trying with my best Manchester accent. You're a great singer. Then he looks at me with the most druggish eyes and says Whatever, and I think your upcoming guest, rené Kierkegaard excuse me, I'm spoiling here he also laughed at that story so you could feel it.
Speaker 1:It was the world's best story. A disappointment for my idols, for him. You've seen it all the way through.
Speaker 2:So I choose to make my own narrative. I don't want to destroy it by seeing people in reality. No, I come to Silkeborg and meet Mads Greis and I start playing with him. Again, there was a leisure club. I think that's why I teach myself, and have always done that Mads Greis comes up from the Nørreven Club. It was over from the Blockene in Silkeborg. Hey man, we need a drummer. Yes, we have a drummer. We make an elevator. Look at each other. We clicked pretty quickly, me and Mads Greitz, and there were guys with him. He had pedals on the guitar. He had a chorus pedal and a delay and stuff, so I had to play with them.
Speaker 2:Yeah, and Chris, she was also a little better than a foresinger. I think there are a few parallels to your English side. Didn't you have a period where you played in a band where you had a female foresinger? Yes, that was it, she was a little older and she stood and sang Black Velvet, or Black Wellwit as they said back then, With Al and Miles. Oh yeah, Sitting there behind the drums?
Speaker 2:Yeah, excuse me, eat her, dry her balls, not behind the sticks, excuse me. There I am then 13-14, a year after the confirmation age. Here Mads Kreis says, hey, we're going to make a band. Yeah, he's a guitarist, mads Kreis, a really good friend. We're going to make a band. I know a guy here. He's fucking. He's a fucking great guy man. Mask Reis listened to the Doors. I was mostly on those urban things there. I wasn't in my folk mode anymore. My total panorama view of music no, it was mostly this hip-hop, electronic, rave music, breakbeats and what was there? Yeah, but Supertramp has always been the big thing for me yeah yeah, and then I can remember.
Speaker 2:I'm standing on the bus up here on Aarhusbakken. There comes a guy in with long hair and a Russian jacket. He looks like a Viking. Jim Morrison, right yeah, the foresinger from the Doors. He sits in front of the bus that's when you had to throw sm with a Discman behind the bus right and we're making elevator shots. There was something. But who the fuck is he? Why is he getting on the bus?
Speaker 2:We get off at the bus terminal in Silkeborg where you could get a French hotdog for 8 kroner. Yes, he gets in the same bus number 9, to Nørrevinget, where the Nørrevinget club was. Yes, we get 15, and so on. Should we follow or should we go behind each other? I go 10 meters behind him and we've made an elevator moment 12 times there. And then I go down to the gym and one of us puts a buffer in for 10 seconds because it's simply too embarrassing to come in at the same time. And there's Mads Jørgensen, later known as Manny Spinks, and he could improvise and we could jam and it was those big sour pieces with a lot of inspiration from the Doors. He introduced me to Dylan, to all this, the Band, the American songwriter method, folkloren, that depth they can have in America, but not the way to mix it In England. Beatles would like to sound like, not Muddy Waters, it was Rolling Stones.
Speaker 1:They would like to sound like Brian Wilson. Muddy Waters, it was Rolling Stones. They would like to sound like Brian Wilson. Yes, something like that.
Speaker 2:And it doesn't sound like that. I love those cultural transformations Like in Jamaica in the 60s. They listen to big band music on the AM-bond on the radio. There's no discant on it. They listen to Duke Ellington over on the island, then comes ska, then comes rocksteady, then comes reggae. I love those distilleries through music. But we find each other and we play and we have this band called Dionysus. They are also the Greek god of hedonism and nudity.
Speaker 1:It was Jim Morrison. Mother, I want to kill you. That was big and we were down in the local area all the time.
Speaker 2:And I got an 80-point spot. I've always liked to record stuff I thought side-walking up in Bakkegården's youth club, thomas Knudsen, who later played in the Bronson Brothers, which is a nice kitsch-trigger band from the city which I've also produced a debut album for Well, he was a tech-head. He taught me an accordion on guitar. That's what I did when I was learning guitar. He taught me he had a keyboard with MIDI, 16 MIDI channels. Yeah, wow, whoa, fuck man, cool, right. So he showed me some things. Thanks for that, thomas. I've thanked you for that many times. But we found out to take two tape recorders and record something on one Left and right, left and right, and then played it and sent it out of left over to the left on the other multi-track recording so we went around in that basement right over here, 100 meters from here, at Bakkegården's free time club and thought we had invented multi-track recording I was like shh, you're not saying that to anyone in school.
Speaker 2:I didn't talk to anyone all day. It was fucking on top of splitting the atom. But we find each other Mariam Asjørensen and Manny Spinks later on, and I'm with DMI Rock with this band Dionysos Again, for a bassist who can't play it's like there has to be someone in the band.
Speaker 1:There has to be a goalkeeper. Yes, that's right, it's funny and when you throw your arm out. It goes wrong At one point.
Speaker 2:It was like now we have to go pro, we have to take Thomas out Great guy. And then it died, right, yeah. But we were five guys here in that band and played American sour rock I never liked that term and we were in DMI Rock, came to the semifinals, we it was actually okay. Now I'm mixing it up Started with this Sour rock Played in DMI Rock and the year after we start going into Manchester Lydon. It's always been my king's thought. I have to try this Hybrid something. We have to try To have a Raver mindset but with a rock Performance.
Speaker 1:It was.
Speaker 2:It was hard to get through. But, we come in In this and again Hopelessly. It's a bit like this and again hopeless. Ahead of our time. It would have been going on in England, but five years later it explodes Blur and Oasis and then with the Britpop explosion. It comes to the semifinals in DMI Rock together with Kashmir and Dizzy Miss Lizzy.
Speaker 1:Yes, that's the year where they both are in.
Speaker 2:Fantastic year. I think it's Rasmus Nør who had DMI Rock I think. Funny pussy thing. He just started it. Thanks for that, rasmus. But we have a special sound. It's Denmark. People would want to hear some guitar and some handbeats.
Speaker 1:I think it's a bit of a half-hard track. So what do we do? We laughed at them.
Speaker 2:How can they communicate like this? Jamie Fame Flames how can you have those feelings? There's a tambourine with pash hair and Umbro football shirts and boxers like Ian Brown and Sean Ryder and oversized casual hair jackets. They should be the right brands, right, yes, but still proud of it. And we do these things and we get more and more ambitions. And when that process starts, then there are some who don't have as many ambitions in the band. All respect for that, but it's frustrating.
Speaker 2:Why don't you want the same as me? But me and Mads Manni, we had this drive. It was you. We just wanted this. I just have to make it. It's not even something to consider.
Speaker 1:No, no, that fire there.
Speaker 2:There's only one fire that points one way and they've been practicing for ten hours in a row and you can see in the retrospective people were sitting there like zombies, but we're just like again, again, again. It's going to sit there.
Speaker 1:But that's what you did, Jakob, when you wanted to play music.
Speaker 2:It was like that yes, it was about work morale or what kind of stupor you are, and I remember it hurt me that those who were not ambitious from the band, who were good, friends, why didn't you do?
Speaker 1:this they wanted to cut down on me.
Speaker 2:Excuse my language Fair enough.
Speaker 1:It was the music that burned? Yes, it was.
Speaker 2:It was a complete step burn and it died. It became the Grandbags, it's a bit more of a northern soul name. And then suddenly Mads just starts writing some wild songs and then his metamorphosis becomes Mani Spinks again that expression with hair and mascara, which, again, a little too early on it.
Speaker 1:People think it's weird.
Speaker 2:And then we get success and he writes a song, which I produce the demo on, which is called Last Night America and then it just goes off like when we made All Night. Yes, ma'am, people just started calling you can feel there's some buzz around it and there we had released things, peter and I we had released the first thing, but not our debut, think we had published the first thing, but not our debut album.
Speaker 1:Yes, we have published the first things at that time and I have actually just built a studio at home, if I remember correctly. And then Mads and you have made this one, and then it's Warner Music I think it's Warner and it's my entry into the record industry.
Speaker 2:I have made all the demos and played all the instruments. Entrée I pladebranchen Jeg har lavet alle demo'erne og spiller alle instrumenterne. Jeg har alltid vært rigtig god til at spille på instrumenter. Og kommer over til Rune Vestberg, som har produceret. Alfred Alphabet Sabia bor I USA, en fantastisk fyr. Ham lærte jeg det der, eller ham altså den måde han kan sidde ved.
Speaker 1:This is a period where you and I have made our first thing and actually make an album.
Speaker 2:Have we made a debut album? No, we haven't. We never get done. We never get done with our first album.
Speaker 1:We go all in At a time when I build a studio, when we have the garden out there and we meet every morning Five days a week.
Speaker 2:Yes, that's what we decided In a laid back style.
Speaker 1:A band laid back.
Speaker 2:Yes, that's what we decided, in a laid-back style, A banded laid-back, you facilitate this.
Speaker 1:It's our job.
Speaker 2:And Puk comes home often and finds us in every end of his studio.
Speaker 1:I can remember Either playing board football or one at one end and one at the other end with the mule down here.
Speaker 2:Hold on, it goes on. No, I can't do that. We're two people. We're twins, we're twins Gemini's back in two Hold on.
Speaker 1:We've spent a lot of time.
Speaker 2:We've scented, we've hugged, we've cried, we've laughed. Literally that's what you have to say. It's short and long, but when you lock two people in From eight to four every day, who aren't eight to four?
Speaker 1:types. It can get a heavy, and it will be, and you get a bit of success or you get a lot of success with Madness Bings. It's a P3 gold hit list.
Speaker 2:And back then people still bought CDs.
Speaker 1:Yes, exactly, and it's actually a three-year period where we two started making music. Do you have a studio?
Speaker 2:out in the yard. Yes, okay.
Speaker 1:I just did it and I can't figure out anything about it. It's always you.
Speaker 2:Today, I'm sitting at the mixer. Did I make you sick, peter? I don't feel that no it wasn't.
Speaker 1:It wasn't. It wasn't, it wasn't. No, in no way, because you went with what you wanted to sit with.
Speaker 2:There was a lot of work, wasn't there?
Speaker 1:Yes, exactly you had to do that. No, there was nothing. But that's where I start with myself to learn something, because it's. I have a patience, peter. No, hold on. Well, today I'm sitting at the stage.
Speaker 2:Yes, have you noticed that? Yes, that's pretty cool. Yes, no, no, you're sitting with the fans. Peter Vistie he's sitting with a radio mixer here. It's crippling my fingers. No, I've become a grown-up, Peter. Yes, I know.
Speaker 1:But we've had fantastic times together. But you get a and make our album yes.
Speaker 2:And make more albums. I'm probably getting some professionalism in me, I think, by the tour with Annie Spinks and Fjernsyn and all that, and you're really good.
Speaker 1:Yes, you were, but you're really good, but it's more a mentality thing.
Speaker 2:For me, it's not the good guys that become like that, it's the mentality.
Speaker 1:It's those who can transform their skills into something weird.
Speaker 2:Yeah, yeah, and you've also taught me that, peter, the finalizing stuff, I would say it's not, because it's hats and glasses.
Speaker 1:For me, it's life and death.
Speaker 2:Again, it's spiritual, this rimshot. It's not just a rimshot, it's got to be there. I can see now I've done a lot of hip-hop in Aarhus V the last few years, also things that are on the hit lists and stuff, and it's just boom, boom. I'm making a track on a team.
Speaker 1:Yeah, that's it.
Speaker 2:That's been my job to do, Jacob. You shouldn't record all handclaps, you shouldn't All strings don't need to be a raindrop from Nordsjøen, you know no because that's something you could drive me and it's not a precept. It's more that I have a clear idea of how this should sound and I don't stop before it's there. And that's what I meant by thanks for your patience, because you went on compromise, but the things we've done, peter.
Speaker 2:It's just to be out in your record collection and have a musical playground. There is the best thing to do for music. What I haven't gotten from inspiration and your ability to re-establish ideas, concepts for music. I've probably been the one who I've never made as good music as you have on my side.
Speaker 1:No, that doesn't matter.
Speaker 2:You've made a lot, that's what I'm happy about Our first album is an opus for me.
Speaker 1:Yes, also for me.
Speaker 2:It. Our first album is an opus for me. Yes, also for me. It's your and my innermost intro, from our kicks and swimming vocals to our totally grandiose thoughts about a song that's about being born and dead, and it's Stars which is one of our most streamed songs.
Speaker 1:Fantastic, peter. I agree it's been a fantastic experience, jacob, but you have produced so many things and been on tour a lot. Yes, and that's all, from Simon Kvam to his solo tour. Are you with?
Speaker 2:Jogger, penille, rosendahl, lars, hg, as we also have, and all kinds of other bigger or smaller upcoming acts and then you've also, I think, been a part of it.
Speaker 1:And I think I've been a part of it and it's a bit funny because when we're sitting here talking, it suddenly gives a really good meaning what you're doing today, because you've been one of those people who could come to Silkeborg and the area and get to record your demo, and you've always helped people and you've always been a part of it and started bands Go Go.
Speaker 2:Berlin was actually a part of it and produced the first songs, jonah Blacksmith. I'm not taking credit here, but was on their first three jobs. That's what.
Speaker 1:I mean, you're someone who's been used a lot and been really good at helping and using what you could to people's things, and when you now sit and say it's lovely when you now sit and say that it's been a lot of youth schools and those things in your childhood that have had a meaning for you in Hammel and where you come down and play and all that Think what you're doing today. Well, yes, it gives a fantastic feeling I have.
Speaker 2:Rap Academy out in Aarhus, which is a youth school for young men and girls. We are mainly in Aarhus V. Maybe you know some Gellerup Park and Bispehaven. It has a bad reputation but there are some people there where it's life and death to come into the box and put some rhymes and also talents that have later become Iswale Balouche, all those speedy, all the Trillegården things. I've had these rap academy studios all over.
Speaker 2:Aarhus and I also have. It's my latest musical revelation. You can say it's the lyrical universe. Let's just call it ghetto hip hop. Yeah, like, wow, wow. I'm hitting the top all the time. Done it, since you know it's not strong, but the feeling drive it you can say what you want about.
Speaker 2:Gilly about Casey, but I've always liked rap and hip hop and it's a fast way and it's a great energy. You know it yourself. We joked a little before this session, peter, with a song before we had in the studio that time. The thing with ambitions yes, I know it's not Hall Oaks, but it's Peter Visti and Jacob Meyland. You should have recorded a vocal for a possible hit here. Yes, and come to the studio. Yes, well, it's because I've been in the city when my voice it was, of course only for her success and then a self-destructive city tour because you're nervous.
Speaker 2:I don't know how I got into it now I'm a little negative, but it has something to do with the young people you're sitting with and the attitude to it rappers they're just like come on.
Speaker 1:Jacob, send the box, man, we're running there's some hardcore, there's a lot of energy and it's energy.
Speaker 2:I don't make violent things. I don't make violent and homophobic things. It can be hardcore, it can be fun. It's not too funny.
Speaker 1:And what do you do with this, jacob? Do you teach them, do you help them produce? I teach them in all kinds of texts.
Speaker 2:They're in an hour a time. Two students, three students, sometimes eight. I hold workshops for them, I take them out to play, I take them outside Ringgaden. Now we shouldn not going to bring up the big clichés, but there are many of them that grow up in Bispehaven and Gellerup Park which are not introduced to as much as they are in. And I'm not trying to save the world here, but for me some of the experiences now I use the expression come out of the ring road. You come to give them the experiences you got yourself.
Speaker 2:We play. We're in Aalborg. We've had visits from Hels, helsinki, some exchange. We're going over to September. It's fucking funny, fantastic, and I've always liked Peter To see people. Is it coming from a pleaser gene? I don't know.
Speaker 1:I've always liked and you're a pleaser, I've had enough shitty atmosphere in my childhood. I've been judged a lot it makes me good and thorough.
Speaker 2:But fuck, if there was someone who had given me some blows instead. But that, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've been, I've. What do you want?
Speaker 1:with your music. Now, I'm just talking hypothetically.
Speaker 2:How do we make this song as well as possible? Is it a happy song? Then people can run up to the sun. Is it a sad song? Make them cry? Let's go into the bone. Authenticity. I'm not trying to save the world, but I really like to see when people see the light. It sounds almost a bit arrogant, but I really like to see and have experiences.
Speaker 1:I think it's fantastic, Jacob, because it's something you pass on, which you yourself have received I don't want to say inherited, because it's not something you get inherited, but something that there have been some souls that have helped you in your time and have created you.
Speaker 2:I should never have been really helped. It's more something I've picked up myself.
Speaker 1:There has been a possibility for you could come down to these rooms and be there and the same thing Aarhus is doing now with you having these academies and such things. I think that's absolutely fantastic.
Speaker 2:I love it and it's also a bit. People sit and say, Jacob, why are you producing this? You? Can make 100,000 a week on the same music he talks about Kalypsobeat, gilly-like songs. Autotune this description right? Yes, well, it's very simple.
Speaker 1:Yes, it is.
Speaker 2:Well, jacob, you're fucking stupid man. Well, I'm not in it for the money.
Speaker 1:No, and I've never been?
Speaker 2:No, you've never been. Am I a bad businessman? No, but it's never been. Motivation, no. And and, peter, you've also been shaking your head at me sometimes, haven't you? I've done that a lot. Well, that's because, for fuck's sake, jacob, why don't you make an album?
Speaker 1:Well, no, the reason I've been shaking my head is because I've never been able to understand that when you're as good as you are, it's been hard for me to understand that. I didn't want to get any further with it.
Speaker 2:And when you say even further it goes from you thinking recognition.
Speaker 1:Yes, exactly, and that's where you've ended completely. I don't need that shit, man. It's only us others who have done it. I can see what recognition does.
Speaker 2:I have played with some oh, that's going to sound strange. I've played with some people who are known, and now I'm not talking about Simon Kvam or Lars HUG or Pernille Rosendahl here, but that cliché about what success does to people.
Speaker 1:Yes.
Speaker 2:I mean, I don't want to have my head up in my own ass. No, and I can feel some of the times where it went a little for me. A free restaurant sponsorship in the clothes instruments yes. You have to keep your feet on the ground. Yes, and that's where I want to be. I'm a for the close ones and that's why we're friends. Peter, you're real, you're honest, you're free of barriers.
Speaker 1:You're a fantastic person. You're the one.
Speaker 2:I've learned from You're cold as ice. No in a good way. That was a compliment.
Speaker 1:What do?
Speaker 2:you think about this, Peter? I don't like that.
Speaker 1:I can't live. What do you think about this? I think it's so nice you've built this area.
Speaker 2:Have you used linseed oil? No, it's fine, but maybe you should use mustard next time. That's been the big difference between you and me. You're fantastic at getting things done, peter, where I sometimes think for fuck's sake, peter, be reasonable, that's not what you're after.
Speaker 1:Jakob it's hand clap.
Speaker 2:That's not what makes the record.
Speaker 1:And the difference you're saying I can remember, especially when we were playing with Lars Hugg at Roskilde.
Speaker 2:Hadn't I gotten over it yet. No, I thought.
Speaker 1:There's an episode where Bane plays our version of what we've made that's supposed to be played live. Do you remember that In the rehearsal?
Speaker 2:Yes, we're at a rehearsal out in Nørrebro before we're going somewhere. They're playing New York and they play it very happy and we've made it.
Speaker 1:We've made it a little more electronic and hypnotic and made it in Moll instead of in.
Speaker 2:Dua God yes that's right.
Speaker 1:And they sit and play it in Dua and they do it with full eyes, and then you say we're not saying anything, we're just coming with you, if I remember correctly.
Speaker 2:And I say, Peter, I'm a pussy. You're presenting me as a pussy. I don't give a shit about bad vibes.
Speaker 1:Where I said I'm not a conflict-stricken Peter.
Speaker 2:That's what I want to say.
Speaker 1:That's not what I'm talking about. It's my disability that's talking now. What's going on? It's exactly what you just mentioned. You'll always say it sounds fine, where I'll say I don't think it is, I fucking hated it. Yeah, exactly, and you tell me you don't say anything. Peter, you don't say anything. There are 14 people.
Speaker 2:The orchestra is playing all the musicians, from Peter Peter to people we really respect. Yeah, exactly.
Speaker 1:And then I just say it sounded like the Inmarts song to DGI's stage.
Speaker 2:It was all too happy, exactly. And then what are you?
Speaker 1:guys saying and you're standing there, I say it's you at all. No.
Speaker 2:I can't. I have so hard to give you that credit, peter, but I have to give you that unconditionally. Also, some of the times where we've sat and had things done, where my soul was about to break and where you say, jacob, let's go yes, exactly, and where could see?
Speaker 1:okay it's now and it's always been my force that I have the courage to throw things away, also because it's good that it can get better. It can always be, it's an interesting thesis, but it's always the one I've scaled you out of, or whatever you want to say after you've said it's good enough to get out now, jacob, but for you it's never been good enough, and it's not a wish.
Speaker 2:It's not like I can't handle it. People don't like it. It has nothing to do with people.
Speaker 1:It has something to do with that. You think it can get better, isn't it?
Speaker 2:I think, right, there there is 5% of my musicality, at least when we talk about studio work, because live, I'm just so positive. There is probably that with perfectionism.
Speaker 1:A bad perfectionism.
Speaker 2:That's the side effect of this reason.
Speaker 1:It's always meant.
Speaker 2:Maybe it's always meant something for me to be different, Coming to a school in Nottingham and now there's a twist in it.
Speaker 1:It shouldn't be a shame.
Speaker 2:I've tried to be looked at. I've got one on my head because I had a blazer on that. You just shouldn't have on On your school uniform. My mom thought it was so nice.
Speaker 1:You only have it on For your mission, do you think it's something that's so deep In your experience Now there's no need To go into it, but it's something with.
Speaker 2:I can take criticism. It's not sympathetic Not to be able to, but I always have faith in my own things. I don't laugh at people, I don't do that, and that's why I can't make a hit for a hit, and you've also seen what's happened the three or four times we've tried to be people you can't, and that's not the way I do it.
Speaker 2:I think it's fantastic when there are 12 people writing a song. A lot of the music that's on the hit list now is a little ironic. It's nice that there can. I can like it comes from one or two brains and one mouth, but yes, the mess shouldn't be called. My mother supported me in music, but it wasn't the right thing to do. You can't go the music way. You just don't. So therefore, Jacob, you're on your own. So it was a revolution.
Speaker 1:It's a bit like that, you know, and then you become thorough when you don't have to on your own.
Speaker 2:It's funny, it's funny, it's a funny size.
Speaker 1:Also because we've often talked about it and I've talked about it with others In some of the podcasts I've actually also talked about it with others how good I always thought you were and you are. Thank you, it's not something, but it's always actually irritated me a little that you didn't do anything right yourself. But, peter, isn't it just the have a?
Speaker 2:point. I'm also done with gawking myself in the head.
Speaker 1:I hope so.
Speaker 2:There will be a record from Jacob Meyland when it comes. I'm so privileged I can get guest artists, no problem. There's one of them here.
Speaker 1:That won't come out well, I have a good clock.
Speaker 2:I would like to say to you out there Peter has also put some fantastic percussion parts on our album. And a single keyboard part and vocals and everything. Yeah, there's a bit of everything, but yeah, it's a fun size, this music, and a fine line of integrity. Transparency, drive ambitions authenticity.
Speaker 1:I mean, I think it's super interesting, jacob, because you're exhibiting yourself. You do that when you do it. Yes, you do, and you have to be able to reach that goal.
Speaker 2:You have to, and I can, and I won't do anything I can't reach. No, I think so, and it's not about. Does it sound bad? Or are you out and about with a student who maybe isn't that professional? No, it's just. We have to be in agreement here. There shouldn't be a dissonance in the expression.
Speaker 1:But is that why you end up where you now? I say end up? It sounds so violent, as if you haven't ended up anywhere, but is for themselves.
Speaker 2:Of course. And then, to be honest, let's not beat around the bush. Maybe it's something ego, something. What if people don't like it?
Speaker 1:But I must say I have these 400 skits.
Speaker 2:It's great stuff, Peter.
Speaker 1:You've heard a little of it five years ago, I've heard a lot of it. I've waited for an album for ten years.
Speaker 2:But it comes when it comes. I just didn't the battery I've been with until I turned 43. You know, until there's, yeah, testosterone and stuff, it's all going fine, but things happen right. Yeah, men are also in the process. Out there, sisters.
Speaker 1:That's what I mean Talk to us about it.
Speaker 2:We'll do a different episode about that, yeah exactly. Well, there I could feel I can remember. Actually now I've mentioned P, but it was a really cool tour Danske Bank, good tenants, cool musicians, super cool, cool people. Among other things, mikkel oh, what are his names? Who plays the piano in X-Factor, together with Simon, fantastic, god-willing pianist. All the people you meet and play with. Wasn't that great? Now I lost, I think, peter. That was a good point I had.
Speaker 1:Yes, that's what.
Speaker 2:I frem, så Det snakker meget.
Speaker 1:Jo, men det her med. Det var det der med at få færdigt. Du går ikke I graven med din plade.
Speaker 2:Nej, jo, det her batteri. Det har altså vært fra jeg var syv til jeg var 42. Ja, jamen, nu er vi lidt over en følelseom af. I enjoy it and am good at it and have some artistic skills, then it's also worth it. Look at me. Is it okay that I'm here? Yes, and am I good enough? And then you act like you're not good enough to be cool and good.
Speaker 1:And.
Speaker 2:I'm good and I'm a fucking fly guy Right.
Speaker 1:But you're also the youngest in a children's team. That's right, where you don't really have to find your place and you?
Speaker 2:I've sat like you, peter thousands of hours. I've also had periods in my youth life after I had to stand on my own two feet. I moved home early when I was 15. Wow, yes, that's a good amount of time, but I moved to Copenhagen quite early, also as a 19-year-old, and tried to take a HF there. Yes, I can't do that. I can't, yes.
Speaker 1:Why not I?
Speaker 2:can't study, I'm smart, I can write. Well, I have a shitty degree.
Speaker 1:You write well actually. Yeah, you write really well.
Speaker 2:But it's not. In school I've learned these things. I've had a lot of mastering strategies. Let's just say what was it called Damp in the old?
Speaker 1:days, yes, yes, full of ideas.
Speaker 2:Heavy and exciting, but that format industrial mindset, with you having to sit and you have to receive some information, yeah, I mean I can't do anything without motivation. When I'm motivated, I'm super strong.
Speaker 1:Yeah, and you seem like you're in a really good place right now, Jakob.
Speaker 2:That's right. My musical output is not that high.
Speaker 1:It is because you help some young people more times a week.
Speaker 2:I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother. I will let you know my brother.
Speaker 1:I will let you know my brother, I will let you know my brother.
Speaker 2:I? I haven't said that I don't have that many ambitions anymore. That sounds crazy but I don't have any. The only ambition I have in my life at the moment is that it wants to continue in this wonderful way.
Speaker 1:It is right now. I would like to service that instead. Do you understand what I mean? Till infinity. Yes, I understand that. I'm glad, but already in it.
Speaker 2:there is some pain Because it wasn't there, let's see, you have been frozen smærte. Jo, jo, det var ikke ved.
Speaker 1:Ja, lad os nu se. Du er blevet kryofrosset I Beijing. Du har det hele, den ene testikel ligger I Moskva I en fryser. Men ambitionen om at skal stå på en stor scene og spille, eller til udlandet eller noget de er der simpelthen ikke mere. Eller lave et nummer Vi er jo begge or make a song. We both stopped making music for ourselves. It's pretty funny. We've talked about it a lot on the phone.
Speaker 2:We showed Jermeyland a couple of years ago yeah, seven, but you never know.
Speaker 1:You never know what's going on. And now you're saying that I've frozen it all down so I don't want to die. I've asked everyone when we're coming to the end.
Speaker 2:Fuck, I've asked everyone when we're coming to the end. Fuck, I didn't even prepare for that. It's about what's to be played. What's to be played for Jacob Meiland's funeral.
Speaker 1:Or is music to be played at all? Yes, it has to be.
Speaker 2:I can like the church format. I have rediscovered some Christianity Fantastic. I think it's called esoteric Christianity. I don't believe in the truery. No, I'm mad at Jesus. I'm mad at that christian thought. I'm mad at the New Testament, yes, and I think those types are fantastic. So it has to be a church and it has to be a christian funeral. And I would like to have some psalms.
Speaker 1:Yes, cool.
Speaker 2:And I'd like to see someone who I can feel it.
Speaker 1:Someone who hurts.
Speaker 2:Someone who at least gets to know them a little. Not like, can you remember me? People just have to feel it. I can like to feel something and I'd like to have people who feel something that day, but I'm very early about life and death.
Speaker 2:I'm very humble. I think I don't believe in the light to go out when the body dies. So we'll see you. We'll see you on the other side. We'll see you at the rock jam on the other side. When St Peter is there, he says no, they just have to go down the stairs.
Speaker 1:They just have to go down.
Speaker 2:Fantastic, jacob, thank you for letting me interrupt you so much, it's been great.
Speaker 1:Thank you for talking to me this morning.
Speaker 2:Thank you so much for being here this morning. Thank you so much for having me. It's me who thanks Peter, it's been a pleasure. And thanks for making these podcasts. It's super exciting. I hope you'll listen to more episodes.
Speaker 1:It's very inspiring for me to hear them too. Thank you for listening to this week's Museo Lokal podcast, music my drug. I hope you've enjoyed the music's fascinating universe and found inspiration for your own musical journey. If you Thank you, have we awakened your desire to hear good music and good life in the real world? You can find Museo Lokal right under Natlub Museum in Lille Kongensgade in the inner part of Copenhagen.