The Art of Longevity Season 8, Episode 3: Metric

Metric has become one of those bands that have paved the way for independence, along with Aimee Mann, Chance The Rapper and the other self-releasing copyright owning pioneers. Their fifth album Synthetica (2012) as it turns out, is a favourite of the band’s front woman and main co-writer Emily Haines. Even though it didn’t reach the commercial heights predecessor Fantasies did, it was a mature and ambitious record, setting the tone for Metric’s accomplished and reliably strong catalogue. 

It brings us to the band’s recent projects Formentera (2022) and this year’s sibling album Formentera II, neither of which miss a beat - not a weak track among the combined 18 songs. If consistency is what you’re after, Metric should be your new favourite band.

It was refreshing to hear that there was no particular logic to the selection and scheduling of both the Formentara albums - no grand design - just the sound of the band hitting their stride enough for a double album (even if it is released in two seperate packages).

“We had made a body of work and knew we had a double album. When we rejoined civilization after our Doomscroller tour, we thought this was the most fun way to release it. I’ve always envied the surprise release. So we announced on the one year anniversary of Formentera, there is a second album”.

This magnum opus came with other influences too, including the “impossible-made-possible” stylings of British filmmaker Terry Gilliam, in particular his 1985 cult masterpiece Brazil. Once you understand the connection between Formentera and Gilliam, you are reminded of a deep artistic sensibility behind Metric that sets this band apart. But what is Metric’s secret to making such consistently strong material?

“It’s terrifying to me that we don’t really know what we are doing. Everything we do from a sonic standpoint, to a visual, to lyrical themes…it all comes down to this feeling. All I know is that when I feel it I know it, and if I don’t, it will never see the light of day”.

No wonder Metric’s catalogue is such an entertaining ride.

Full text at https://www.songsommelier.com/

Transcript

Emily Haines, Metric: 1:02

Well, thank you. I love the concept behind this conversation. It's a topic that's dear to my heart.

Keith Jopling: 1:08

I think you're very well qualified to speak on this one from the band's point of view. So thank you. So first of all, where are you? Are you back over the water? Are you still in Europe?

Emily Haines, Metric: 1:17

I am. Yeah, we just wrapped in Berlin. Have we had such a great time? London, Paris, Berlin. And I've got a little bit of time before we start with the Mexico. Peru, Chile, Brazil. Oh, this is a perfect time to catch up with you. Yeah,

Keith Jopling: 1:35

I missed your London show. I was in Stockholm. Sorry to miss it. This was the acoustic sessions that you do with Jimmy,

Emily Haines, Metric: 1:43

it was so surprising actually. Because the I don't know, I don't really have like a big expectation. But you know, we've done some acoustic things here and there. And I thought it would be mellow. And it wasn't a where people were singing from like, the first line so loud, like we almost felt like it was sort of like a karaoke feeling where Jimmy were like, do we even need to be here like you guys just want to say it was amazing feeling. But you know, also kind of like some deep cuts like we opened with artificial Nocturne. You know, it's acoustic version. I don't know how you're recognizing it. So just like a bunch of braids all of a sudden, being like, I'm just as fucked up. As they say, I was like, This is gonna be fun. It was like punk rock minus that volume. So it's

Keith Jopling: 2:32

cool. Okay, so look, you're spoiling your fans a little bit. You've made a second album. Can you tell me in, in your own words, how what the relationship is between Formentera one and two out of the album sit side by side? Yeah,

Emily Haines, Metric: 2:46

well, so the whole thing is is 18 Song journey. And we weren't really sure how to best release it, we kind of sat and, you know, we did all this work during Obviously, everyone knows what 2022 2023 was like in terms of the pandemic. So we were we were working, we were heads down. And we were like, we just got to make this beautiful thing. We look at it, this Formentera concept of a sonic escape. And it's you know, even with being harsh and editing and cutting all kinds of things. We were like, This is an 18 song statement. Well, you know, is a real luxury to have of like, what would be the most fun for people best way to release this. So I always envied people being able to do the surprise release. So the decision was made of like, let's release, let's announce on the day, the one year anniversary of Formentera, that there's a second half and that this is in fact, a double album. The weirdest part of it was the sequencing because there's no much like that time, you know, that we live through time is sort of going forward, backward. And there's no chronological logic for the two albums. I still don't know how we decided on the sequencing, but you know, songs like days of Oblivion, that was I think, maybe the very first thing that we recorded, and then ended up, you know, track, whatever it is for the second album, so there was some internal logic. I'm very happy with how it played out. But when I've tried to explain it, i There's no reason rhyme or reason. That would be something I could convey other than just pictures in front of a huge whiteboard and like lots of arrows. Yeah,

Keith Jopling: 4:16

I think it works great as a double album, but it's the way to do a double album in the modern age, isn't it where, you know, Daniel, like, won't let musicians take a day off. And is, is sort of on trend. Were you thinking about that from the perspective of I'm thinking of the national who just did a similar thing where they kind of dropped dropped a surprise album. It does seem to be the thing to do. I mean, your Canadian brother Drake has released a song every 16 days for the last five years.

Emily Haines, Metric: 4:49

So that's another way to do.

Keith Jopling: 4:52

Did you talk about this possibly being a double album, how did you decide to make it Formentera to As part of the same year as part of the same story.

Emily Haines, Metric: 5:04

Yeah, well, I guess, you know, as I was saying, in 20, sia, when we were preparing to release the first album, we had the whole body of work, so that we knew we had a double album. So there was no question and it was really just a matter of how to best finish it and how to best sequence it. And we were fortunate enough to, you know, rejoin civilization at the end of our dream scroller tour in 2022. And go, you know, what I'm saying two years now, I'm like, Is that the right year? I think so. And finish at motor base. So no, it was in 2023 that we finished at Moto bass in Paris. So that was a nice like full circle, because we had been very inspired by air and Sebastian Talia, and they worked at that studios. It's cool.

Keith Jopling: 5:47

Have you made it to Formentera yet?

Emily Haines, Metric: 5:50

I have actually, I went in there before all of these times, several times. I used to spend a lot of time in an ESA. And it's a beautiful place. But I haven't been since we've dedicated our lives to this imaginary version of it.

Keith Jopling: 6:06

So what made you want to make a record that was about that escape or that sanctuary? Or whatever that means to you? What was the connection between the music and the island in this case?

Emily Haines, Metric: 6:19

Well, we were in very deep lockdown in Canada, we had made a big move. Certainly a lot of big upheavals that happened. You know, I was living in Los Angeles. And I went from that to living in a place that I have in the woods, the proneural. Reality, we've had a recording studio in Toronto, downtown Toronto, for 15 years that we disassembled and moved into a church that we bought, also in this rural Hamlet. So you know, in terms of lifestyle, and, you know, the general sense of this being a major moment for so many people, and a lot of people struggled in ways, far worse than we did. But we were just trying to make the most of the fact that, you know, we really had no idea what would happen. So when things were getting very bleak, there was I remember one day in the studio, we were like, we need some sort of guiding concept here. And there was a book that we had in the studio that said, like 1000 escapes to make before you die. It's a book I've had forever of like paradise places, and I turned to that page. And we were working on the music for the song that would become more Matera that day. And we were like, works for me. I would like I've been there. I can vouch for it. It's special. It's beautiful. Let's just imagine that we're there instead of up to our ears and snow for you know, the like foreseeable past and the foreseeable future. And then I eat I lean really heavily on Terry Gilliam's Brazil, which I thought more people were familiar with that film sounds like you are but to me, it's such a classic. And you're I was like, I hope people will think it's too on the nose. It's like, oh, actually, no one really noticed. But the fonts, the idea, you know, in that film, that it's this dystopian world and he and that song. And he's just, it has nothing to do with Brazil, but it's in his mind that he can be the version of himself that he wants to be

Keith Jopling: 8:10

so so when did you first come across that film?

Emily Haines, Metric: 8:14

I watched it like forever. I feel like whenever I feel like it was one of those early like, very special movies that was important to me like with nail and I and that movie and then I actually met Terry Gilliam and, in a very weird twist wet the last film that he made with Heath Ledger The Imaginarium of Doctor Parnassus. The night before he passed away, we were texting and he was asking me to set Give me the address to send him music because he was pitching us to do the music for that film and then he tragically died. So I feel this weird connection very, like multi verse connection to Terry Gilliam but that movies it stands up so well. And you know, he the thing he said in a talk about it was like, the reason he was able to do it is he didn't know it was impossible. And and so I love that idea, you know and like and then that the marketing just felt like so botched and no one understood there were like Brazil, what is this? Like? You know, tourism, maybe it's like, no, it's a massive work of art that I feel like it's been referenced. I'm so glad you know it. I was I was getting lonely with my cultural references.

Keith Jopling: 9:25

Do know, and I'm a Terry Gilliam fan as well so we could talk about him for the rest of the company. Now let's move on to a separate podcast and Terry Gilliam, but what an inspiration for your musical concepts to think about. I mean, often, you know, I speak to artists and they do have a very visual, cinematic ideal behind the music. Yeah. And I think that comes across with Formentera so just to find out that Terry Gilliam's involved in that is wonderful. The art of longevity is presented with Bowers and Wilkins. The revered British Premium Audio brands, Bowers and Wilkins make some of the world's finest audio products from the iconic 800 series loudspeakers trusted by Abbey Road Studios for over 40 years to the flagship px eight wireless headphones. This is music as the artist intended you to hear it. Okay, so I have spent a wonderful couple of weeks just getting familiar with your catalog. And your catalog is great. I have to say, thank you. I thought I lost touch Grob and blow away. But then I was familiar with fantasies. But then after that, I just wasn't as familiar with your work. And I feel like listening back, I kind of missed the best of you, in many ways. And I'm interested just taking Formentera out of the equation, because it's your recent work, do you have a favorite?

Emily Haines, Metric: 10:55

I feel as though we Synthetica a lot of things came together on that album in terms of really refining this sound and identity, like the artwork or like the themes. I'm really proud of that album.

Keith Jopling: 11:12

So when you've got to this stage, you've been, you've been in the game for a while, this is the art of longevity, I'm interested in your feeling now in making a record. So enjoying the process versus the finished article and getting the record out there. Which one gives you the biggest sense of achievement satisfaction mobos

Emily Haines, Metric: 11:34

Yeah, I mean, it's sort of they're so interconnected. And without the other, I would be lost. So I feel like that was part of what was so challenging about this sort of locked down years, the plague years or whatever we're referring to them as like, because everything was so was so inverted and confused, there was no outlet for the achievement of the thing. And I think for some people, if you're if you're not both writer, and performer, and then throwing in the fact that we're an independent label in the purest sense, you know, and we've, Jimmy and I are running everything with a very small team. So we're involved in all this stuff, then when when there's block, the two of two of the three areas are blocked, and All there is is writing, you know, I feel like it was really, for my mental health, it was really challenging, because the writing side is so completely different from the other two, like I love the moment when I've already I've hunched over the piano as much as I can hunt, you know, it's like I, I write very deeply, very alone, it's gets weird. And then it's always so you know, I'm so happy when you know, to your point, I get to rejoin with my friends and put on something fucking sparkly. And remember that the point is to make people connect with their emotions and have a good time. And then it you know, it pulls me back into the world. They'll stay in a hotel, you know? So I am not trying to like not answer the question, but I actually feel like without any without one part, the whole thing falls apart.

Keith Jopling: 13:11

No, it's interesting the way you say that, because I think what you're saying is, it feels like it's a very separate process in many ways, you know, from you're sitting down and writing alone, as you say, sometimes getting dark, and then all the way through to bringing that to the band, and then putting it on record. And then taking it to the fans on stage feels like a very, very long journey.

Emily Haines, Metric: 13:32

It is and it's supposed to, it's supposed to flow like that, you know, from A to Z. But yeah, during 2020 to 23, it kind of was just sort of the snake was eating its tail, it was perplexing. And

Keith Jopling: 13:46

taking the Formentera tracks out acoustically. When you get back on tour, presumably you have the full band and you're gonna give it the full works. So you must be looking forward to that. Have you played any of those songs in in for yet from Formentera to?

Emily Haines, Metric: 14:00

Yeah, we actually did, we did another? And you know, you mentioned earlier like we've been spoiling our fans because I and I would say that's true because it's just such a deep connection we have and the whole ideas is exactly that, like let's have for those who care. Let's just make this the most beautiful and deep experience and not be too preoccupied with the people who don't you know, and it's a great I really recommend it as a way to enjoy your life and work. New people always finding us but it's, you know, the objective is not this sort of audition, otherwise your whole life could be that you know, the week before we came to Europe, we went back to these club shows and did New York la Toronto in these very small clubs. And we played on the old world underground, which is our first album and Formentera one and two and nothing in between. But so we played who would you be for me we play Doom scroller all comes crashing just the ones nothing is perfect. So There's a good a good representation from the two albums that apply. But for this to this coming up, I really, I know, like the interviews have been so flooding is like the one radio station guy in Chile, he's like, you know, we've been playing help him alive on the radio for 15 years, like, you know, when Reagan is gonna come and I was like, I feel you, man. But this you gotta understand, this is a this is a lean operation and the fact that we managed to, like, you know, participate in the world, it's such a goal for us is like, we we, you know, it's not fancy. And we put ourselves through a lot to be part of the world as opposed to being like this regional arena act, you know, it's like, I don't care. I don't, our egos are like, it doesn't matter to me. Let's, if we can get there. We want to play for the people who feel it. But, you know, for those shows, there's no way I'm going to be like, you waited 15 years, and now I'm not playing those songs. You know, we'll play all this stuff from fantasies and synthetic ghosts.

Keith Jopling: 15:55

Oh, yeah. Well, they've waited that long. Okay, so we're gonna come on to you as the CEO of a business. De facto, just in going back over the catalog, I was reading the reviews as well over the years. And one of the things that just kept coming out as a theme, they were saying, like, your metric is just continues to do their own thing and be immune to trends. I mean, how much do you feel that's true? And in the, particularly in the latter half of your career? Or let's say, in this most recent phase? Who are the influences that you've taken on?

Emily Haines, Metric: 16:28

Yeah, I mean, a lot of these things are sort of also mysterious to me, the way that we arrive at a decision, everything from like a sonic standpoint, to a visual to lyrical themes, it's terrifying to me that we really have no idea what we're doing. It's all kind of down to this feeling, which I'm fascinated by and committed to. Because it's, you know, obviously, it's the whole band, but particularly, it's me and Jimmy, it's this like, thing we embarked on together, you know, really as kids in 98. And it wasn't like, we know exactly what it is. And it's just a matter of doing it. It's the whole process has been this discovery of like, what is it and all I know is when I feel it, that I know it, and if I don't, it doesn't ever see the light of day. So I think that if it's true, that immunity that we are benefiting from is just because we've really been quiet on I think just so stubborn and impractical in our commitment to doing exactly what we fucking want. And it's just sort of had this, you know, fortifying of facts is like anti fragile kind of phenomenon, you know, and also just like establishing, again, not really, with any understanding of what the hell we're doing. But on that first album, when I listen to IOU the first track on old world underground, I'm like, you know, that's this, they're the seeds of everything we've done on Formentera to like Doom scrollers in there. To me, it's this sort of your genre is no genre, sort of loop. So I think I think those things have worked in our favor. Yeah,

Keith Jopling: 18:06

it's post genre. And you've got that range. So going back in your catalog was really interesting, because you kind of started out with a kind of bedroom pop, electronic sensibility, then it was very much indie rock, you know, guitar to the fore. And then with grew up and blown away, you came back with the bedroom pop up more polish. And then from fantasies, it seemed to be more cohesive, you found your sound, but there's a range there. So you know, I'm thinking on Formentera too, with tracks, like just the ones which is kind of disco, in a sense, regret, disco, regret disco, and then descendants, which kind of steps up into electronica and gets a bit Ravy. But then you go back to the core of indie, and there's a lot of acoustic work on Formentera too. So you do have a lot of range in there to work with. Are you conscious of that? Or does it all come down to feeling?

Emily Haines, Metric: 19:05

I mean, there's yeah, there's, it's like we noticed after it's, we've done it, I really enjoy and feel really privileged to have a conversation like this with you and take the time to consider these things because I've discovered it kind of along with everybody else, where it's, it's not until someone points out to me that there's a lot of acoustic guitar for majority of them. Like, that is true. I was I did not really consciously register that, you know, but I mean, I think what is happening, particularly on the Formentera albums is like, to your I love that term post genre because it's now sort of just this mission to like access and convey complexity of emotion and have like a genuine therapeutic functionality for people like I'm kind of obsessed with the idea of the usefulness. And I keep getting validation from that from people who are in In like severe medical predicaments were the phenomenon of where they use our music to aid them in, like, pain relief, I mean, really concrete things that are, you know, like, really profound to have someone share with you and again, like just like an insane privilege to be part of their life to that degree. But yeah, and then the usual not to, you know, minimize it, but like the salve of for mental health, and just just this idea that, like, you access these things that articulate, articulate them along with a sound, and then energize them is kind of this sort of formula, like, the dark places, it's like you can't, you know, stay there that like, if you're going through hell keep going. It's not like, Come hang out with me in the darkness. It's like, I know, we all have it, I'm there with you. But we gotta like, move physically through it. So I think that's why the Sonics have evolved, ya

Keith Jopling: 21:05

know, the Sonics that you described that do follow, I think a physical process of healing, which is, you know, come from a dark place of melancholy are suffering and then you can reach euphoria from there. So no, I absolutely get that. I think we're right at the beginning of the days, actually, of what music can be done to treat health, you know, way beyond music therapy. There's some really interesting stuff going on in that space that we could again, talk about for another edition of the podcast, which is not about metrics, Korea, but yeah, I feel

Emily Haines, Metric: 21:35

like we could have a series because you know, and perhaps we will follow up on this. But the one the one instance of the person without going into huge depth on this, we can continue the conversation on other things. But, you know, she's a person who was afflicted with really severe physical deformities when she was born. And she started showing up at concerts, and you know, we'd see the front row and she came to some meet and greets, whenever we're like, what's up, and, you know, it's the person who's really been handed a hard like, pass and life. And we got to know her because she'd show up at all these shows. And it's fascinating because her physical representation is just like, like, okay, that's, that's a lot, you're dealing with a lot. But her energy, you can just feel it. It's like, what's up, she's this presence in the room that everyone wants to be around her. But she explained to us that the song monster hospitals live it out. When she was going through one of her hundreds of surgeries. It was the song that helped her because on top of the fact that she's been afflicted with these challenges in from birth, she is allergic to anesthesia. She's telling me this, and I'm like, Dude, what she's like, Yeah, I can't. So I have to have all these surgeries. And they can't do anything about the pain. So monster Hospital, which is a perverse application that I'm just like, I don't know, even that is an example of a song. Like, I don't know what I was on about. But it obviously it served a purpose. So really profound on you. But whenever I talk about her, I get on a shivery and freaked out because I'm just feel so like, first of all, grasping the scope of real suffering that people encounter. And that there's some function that we're, as you say, only starting to perhaps understand what music is doing. To your like, you know, beyond vibrating the hairs in your ears. From a physiological standpoint, so, ya

Keith Jopling: 23:24

know, you making me Shiva describing that, though, I know, I like that concept of music as a talisman, you know, it's like something you can put on whether it's a track or an album or a band that you love, you just put it on, you know, it's going to protect you because it works. You know, from that perspective is very, very powerful. Thanks for listening to the art of longevity. I hope you're enjoying the conversation so far. Please take a moment to rate the show, leave a review on Apple podcasts if that's where you're listening and do spread the word. Also, you can sign up via the songs familia webpage for our newsletter, artwork, and much more. Back to the conversation. So look, I want to go back a little bit to as you mentioned, the early days in New York, because you moved to New York at the turn of this century, when it was there was something very exciting going on musically. And it was the time of the white stripes and Interpol and the years and all of those contemporaries that you came up with. Just take me back to that time. Did you feel in that moment that you were part of that movement that you found your people and that you kind of found your destiny, or was it much more complicated than that?

Emily Haines, Metric: 24:38

Well, it's actually it's a pretty classic. And now in retrospect, just I wouldn't have it any other way. But, you know, sort of misadventure is that yeah, Jimmy and I moved to New York in 98. Trying to find a place to live. You can't live in Manhattan, there's no you know, I'm romanticizing the time when my mother and father lives there in the early 60s, late 50s. The real this like Greenwich Village artists scene. You know, and even the 70s with Velvet Underground little all that, you know, it's just Manhattan was inaccessible. So finding this loft in Williamsburg. And it's got all these rooms, right? So Jimmy is going to try to find people to read to the first person to come by to check it out as Nick sinner. So who would of course end up being guitarist? Yeah, yes. And as the you know, for the following couple years, it fills up with members of TV on the radio and liars and our friends and stars from Montreal. And so it's like, you know, but everyone's at the very beginning and nothing's happened. We get a crazy break, which is that someone's heard our demos and someone in England, and we get the like, star treatment of like, don't even play a show. The buzz is so insane. You know, for your music come over, we're going to make you a star, sign a publishing deal. Get a huge place on Charlotte Road in Shoreditch, which I just revisited when we were back. And I kept going to origin coffee. There's so good.

Keith Jopling: 25:58

But different now, I would imagine. Yeah, although

Emily Haines, Metric: 26:01

we were there, right? Is that Miss gentrifying? So our rent was, the place that we got was had been 70 quid a week. And then for us, it was 350 a week. And now it's probably you know,

Keith Jopling: 26:10

yeah. So you do is quite a good turn in hanging out in areas that got heavily gentrified. All

Emily Haines, Metric: 26:16

this is my job, because I think we gentrify ourselves out of neighborhoods, because we kind of did the same thing in Toronto. And again, that'll be for our fourth podcast in our series, self gentrification. But, but yeah, so you know, we're there. It's all happening, except that it isn't. And, yeah, we've done a publishing deal, the managers and the thing, and then it's like, this is not going to happen. We were going to sign to food records, we loved Andy Ross blur, it was perfect. We're going to the good mixer, it's all happening. And Emi went, you know, when he went to sign us, they're like, we're outside and you metric and you're not signing anything else, you just lost your funding. It was like 2000, the whole thing was tanking. And we had to go back to New York with our tails between our legs. But that's when we came back to that moment that everyone romanticizes like meet me in the bathroom moment. And all those bands are living at our loft, and LCDs rehearsing, you know, their studios, like around the corner. And we're in a position where we're just so fortunate, in my opinion, to be like, so fed up with the music industry. So just like, I'm not doing demos for the rest of my life for these guys. We they're told us not don't even need a band. It's like, we're not we don't wanna be recording artists, we want to be real musicians. You know, that atmosphere is why we did what we did, you know, the strokes are making it sound and look really good to be a band again, as opposed to like crying, David, you know, like recording artists, boy bands and stuff. So, man, Josh and Jules. And then the adventure continued. But, you know, it was hard because we had to, you know, shelve all that work and start again. So old world undergrad was the restart and grow up and blow away, although it comes in third on the chronology was actually all that bedroom music that we had done before,

Keith Jopling: 28:01

who gave you a break in the in those days, which days in New York, New York, and then LA.

Emily Haines, Metric: 28:08

Well, LA was amazing that we, again, sort of with this ethos of like, we're just going to do what we're doing. We got a residency at this crappy little club called the Silver Lake lounge. And by our incredible good fortune, Mike Andrews came there with a friend and he's a music producer. He did the Donnie Darko soundtrack. He's done solo albums. I love Mike's work. He actually came to our 20 year anniversary show at the Roxy, ago, so it was cool. But yeah, so he was like, we get we'll make a record with you, my friend Andy will put it out and that was ever loving. And it started as a joy. And he also gave to the show was all love. And I think Mike did us the greatest service of like, he was like, your first album is so important. Let's do something bold. He saw what we were more than we did, leaned into the new wave thing. So I would say that was definitely a break.

Keith Jopling: 29:00

It's really, really interesting hearing that because you had that whole movement inspiring you, but then you do need to bump into those people that are gonna, I don't know, I guess it's just down to encouragement. I've got a good friend Alex, Luke. I know he was involved in your early days. So he's put in a question, which was about, you know, knowing how hard you worked in those early days. And his impression of the first album, all world underground, where are you now was you kind of making it not making up on the spot but writing very much in the moment. So Alex's question is all the way through to now and maybe on the Formentera records. Are there songs that have just lingered in your catalogue, the doorman or kind of half done? For years and years that you've gone back to and crafted over the years? I

Emily Haines, Metric: 29:52

will never settle. On the first floor Matera album was one that was ruminating for years. And then I don't know what time is span. Here, it was really irrelevant. But who would you be for me was 28 team didn't come out until 2023. But I feel like you know, to Alex's point, a lot of things are of the moment. But I think as a writer, you always have these sweat traps. It's just the way I work. But like, I always have fragments on hand. And I'm pretty ruthless with like, you know, I like to refer to it as almost like, organ transplants. Like, it's like if you need it, like I've got a pancreas every year, I've got a you know, you, what do you need? And I'll be willing to rip the heart out of one song to like, save another one. Okay,