LIVE NIRVANA INTERVIEW ARCHIVE October 22, 1990 - London, UK

Interviewer(s)
James Sherry
Interviewee(s)
Kurt Cobain
Krist Novoselic
Dave Grohl
Publisher Title Transcript
Metal Hammer Sheer Heaven With Nirvana Yes
Earshot Records Nirvana: Interviews 1990 - 1992 "My Dad Was A Codeine Freak" Yes

Nirvana do things differently. Whilst most bands will progress from album to album, constantly developing their style, Nirvana go backwards. Reaching a sound that was almost perfected on their debut LP 'Bleach' then bringing it back full circle to start again on the style they first begun with, three years ago.

Personally, I've always thought of them as the grunge masters. Slow, sometimes fast, but always grungy! So, it was a bit of a shock to find out that their new single 'Sliver' is a complete pop classic. A superb melody, with a rhythm and guitar sound that was made for the closet, bedroom, air-guitar player. To put it basically… it kicks ass, big time!

After a few line-up problems back in May (with drummer Chad Channing making an exit) the band now seems more stable than ever, featuring Dave Grohl on drums, Chris Novoselic on bass and Kurdt Kobain on guitar and vocals.

Although the grunge element is still definitely there, the tunes seem to be taking the front seat. Pop songs fighting to get out but being held back by a psychopathic guitar sound. Accessible… but not that accessible! 

This new single should also see Nirvana departing from their Sub-Pop label and signing to one of the major labels that so desperately want them. They're a much sort after band and are in a position to sign the perfect contract, depending on what they're looking for.

Chris: "We're just looking for the best major deal where we don't get screwed over and have as much artistic freedom as possible. This is pretty much in our favour at the moment because they want us and we have the upper hand."

It's definitely always worth while taking time over these things because everyone knows their own little horror story of an excellent indie band being totally twisted out of shape by a major label not knowing how to take them. Now you're moving on, how do you feel about the whole Sub-Pop deal? Was it all blown a bit out of proportion?

Chris: "It was pretty wild! We got a lot of promotion out of the hype that went with it but I don't really know where it's going to go from here. We never really cared about it in the first place! Some people seem to be under the impression that the persons behind Sub-Pop were marketing geniuses, or something like that. I mean, Mudhoney were a great band, Tad were a great band. There was just a lot of good music happening at the time that these people picked up on. That's all it was."

So, are Nirvana going to continue on in the style that is presented on the 'Silver' single, or could it be something completely different next time?

Kurdt: "We're just considering melody a bit more now. It's just the way we're doing things at the moment. It's weird but in the last year or so we've been getting a little abrasive and going back to our punk rock roots! The problem is, things move so slowly that by the time the record comes out, we're onto something else! But now it seems like we're going back to how we first started."

You've made a couple of visits to England now, how does the music scene here compare to the States?

Dave: "Well it's really weird in the States at the moment, with all these bands popping up from nowhere and landing major deals. It almost seems as though the major labels are taking over the underground and there's really not that much left. A band can come out with a record then a video, then a tour, but what next? It might be a great record but after going straight onto a major, what the f**k are they gonna do after that? The majors seem to be trying to create their own underground and setting up their own alternative packaging for these new bands."

Chris: "I mean, take a look at the charts in the States. At number one we have M.C. Hammer… he can't sing! He can't write songs either, he can sing other peoples but that's it. This could only happen in America!"

But it happens here as well, which is equally as frightening!

Chris: "Yeah, I'm sure it does, but in England the alternative music scene seems to be much more mainstream, probably due to the fact that you have national music papers covering these bands. We don't have that at all. I'm pretty impressed by England and English people, from what I've seen anyway. They seem more intelligent and aware of what's going on around them. I mean, just walking down a subway in London you can always see loads of political graffiti on the walls. England doesn't seem like a very easy country to live, because things are so expensive. I think this gives people some kind of reality. In the United States it's pretty easy for people to get by. You can get credit real easy, jobs are easy to find and people tend to get so rapped up in buying their little goodies that they forget about everything else. They just get so involved in their own little lives that they don't even think about any kind of social issues. They don't vote or anything like that, it sucks!"

What English bands go down well in the States?

Chris: "Well, it seems like the labels are picking up on a lot of poppy, 'la, la, la', type of bands right now All the Manchester stuff like The Inspiral Carpets etc. and bands like The Charlatans and The Soup Dragons are really big. I consider this stuff as lame as like, The Carpenters or Jackson Brown, it's so lame. They're just completely ripping off all these old bands and sampling it."

Dave: "But that's the beauty of plagiarism, the years in-between so that the kids buying it now don't really know these old tunes. M.C. Hammer's doing 'Super Freak' and all the kids are going 'Woooooo, this is a great song', without really knowing. That's the music of the future though, there's going to be D.J.s who do nothing but bring back new Dance mixes of old hits and people will be considering them rock gods."

Chris: "How does a 14 year old kid get excited about this kind of music. I remember when I first heard AC/DC and used to lump around freaking out, it was great. But this music is just so un-exciting.''

The exciting music is there if people want to find it. Nirvana are exciting and are getting more so by the second. If only 'Silver' could enter the Top 40 and blow all these people away like it did me. One day…

© James Sherry, 1991

[Long bout of coughing]

Krist Novoselic: …Bloody mess. [More coughing]

James Sherry: Lots of people have had the tape that's going around…

KN: That pisses me off man! [laughs] We’ll have to kill Anton now. You're on our death list! Do you have a shitty copy of it?

JS: No, I haven't actually, I've only heard a bit of it.

KN: They've got a DAT copy. We've got a DAT copy. Do you know what it is? It's a dub off of my stereo, of a tape we got from the studio that Kurt has on his junky hundred dollar stereo …

JS: He's sending it around?

KN: No, he sent it to Anton and now people are copying off of that so it's all SHHHHHHHHHH… Thank God for degeneration.

JS: [laughs] So is that how your first album first started? You've changed a lot in that time.

Kurt Cobain: Well actually we're going back to what we sounded like, we were a lot more experimental, punk, we've never really been that technical, more like… We sounded more like the Butthole Surfers.

KN: That's not by choice!

KC: What?

KN: Oh “Mexican Seafood,” have you heard that? That's one of our first songs…

JS: I've only got the… [inaudible]

KN: “Paper Cuts” is from a little bit after that.

JS: So what's the music scene like over in the States right now?

KN: Y'know, it's really weird, the music scene seems like all these bands out of nowhere have been signed to major labels.

KC: Yeah, major labels are taking over the underground.

Dave Grohl: Then you come out with a record, come out with a video — and that's it. It might be a great record but what the fuck are they going to do after that?

KN: There's like… They're ‘made’ into an underground band.

KC: They're cultivating underground, alternative images for certain bands. The majors are.

DG: See, one of the differences between… there's a whole product music.

KN: [Interrupts] Hey, you know what's weird…

DG: In America…[inaudible]. All the college radio stations revolve around alternative…

JS: We don't really have that over here…

KN: …Tell you what though, when was the last time you heard a ‘pledge drive’ on a college radio station?

KC: Ages…

JS: To get money?

KN: There's KAOS. But you have a station like KGRG, which is like a total corporate, it's like an alternative station but it's… done by a college.

KC: It's a mainstream alternative college radio station. They only play major label, bland, tame music.

KN: What's weird too is the charts here. Cause, if you're like on an independent label in the charts here, indie chart and major chart, you won't be on the indie chart even though you sell at least a decent amount of records and you won't be on the major chart because you have to sell astronomical amounts of records to get in that chart. So, you can be out here and you can try to be active but you won't be on any charts. You're like in this limbo land. It's a fine line.

JS: Do you get much press at all these days?

KN: Little bit. Well we went on the Sonic Youth tour and got a bit. That's another thing, we don't have anybody who like… Like at Sub Pop, we didn't really have anyone who organized any press for us. So we'd be on tour like seven weeks and only did one interview and I can't remember who it was.

JS: What's it like for groups out there though, do you manage to get a lot of tours and stuff?

DG: In America, where one night you play New York City and the next night you play wherever — Richmond, Virginia — and still you've only got three hundred people. Here you've got halls with like, a two thousand capacity place, or maybe a thousand capacity — not every city has those. I think that helps a lot here, as far as bands, y'know. I mean, for the Pixies, if the Pixies were to play in America somewhere they'd probably be playing a college auditorium or something. Whereas here they can play a hall.

KC: Most of the time we play in bars.

KN: [sings] We put on women's clothing and hang around in bars… [laughs]

KC: Yeah, you we can't play to a younger age group.

JS: [inaudible] …all ages shows?

KN: We're going to have a new booking group soon so we're going to emphasize all of that.

KC: Oh we're definitely going to, we're going to refuse shows, make sure all our shows from now on are all-ages gigs.

JS: Yeah? It's not fair if most of your audience are going to be under twenty-one and eighteen.

DG: I'm from Washington DC where Minor Threat started and it never really blew up in DC, it was, whatever, it was Minor Threat, but it was California was where it went next.

KN: We played with the Jesus Lizard on the last tour…

KC: We played with Jesus Lizard, they're a great group.

KN: The Melvins — Buzz.

KC: Total metalheads…

KN: Opinions are us! They're great guys…

KC: They're our friends.

DG: They're the heaviest band in the world. They are, they are, honestly…

KC: They're the only future for Heavy Metal.

DG: They're the heaviest band ever. They're slow, they're heavy, they're smart. They're brilliant.

KC: And all round nice guys.

DG: We got called a couple weeks ago about a Heavy Metal radio show in New Hampshire and all the kids wanted to know how to get the “Bleach” record, or they wanted to know more about Nirvana and…

KC: There's plenty of good Heavy Metal, it's just a shame it's all old.

JS: Yeah.

KN: Ha ha ha! Right on.

JS: Which English bands go down well in the States?

KN: Labels are always picking up these, like, poppy and la-la-la…

KC: The Manchester stuff…

KN: Soup Dragons… The Charlatans are really big.

KC: That stuff's really tame, though…

KN: Nothing really shit hot, though. Crap.

KC: I consider it as lame as… Jackson Browne

KN: Carpenters!

KC: …or the Carpenters.

JS: It's just another whole… All that Manchester scene…

KN: How can you totally rip off “Hush” by Deep Purple, how can you do that?

DG: They can because nobody really cares…

KC: That's the beauty of plagiarism.

JS: Yeah. No one knows.

KC: No one hears in-between…

DG: Right, MC Hammer's doing “Super Freak” [sings the “U Can't Touch This” bass-line] and the kids are going “whoooooo!”

KC: Yeah. “Hey, this is a great song…”

KN: Vanilla Ice is doing “Under Pressure,” that Queen/David Bowie song [sings the bass line]…

KC: Yeah, yeah!

KN: Oh and he's also sampling Prince “When Doves Cry.”

DG: For which song? “Pray”?

KC: That's the music of the future. There's going to be DJs who do nothing but bring back new dance mixes of old hits. People will be considering them rock Gods. Billy Idol [inaudible].

DG: I think that if you do it right… Because I consider Public Enemy a really good band, y'know? Because the way they do things, they've got this edge to them. I don't know what it is. But they've taken cuts, bits and pieces, from James Brown and…

KN: Sure, what you're saying there is that quality is there somewhere. If you listen to Patsy Cline, that's really good. That's quality and Public Enemy is quality, y'know?

KC: People can usually sense that.

DG: If you're sampling stuff, as long as you've got half a fucking brain, and you use it, and you try to do something different instead of using eight bars from a riff that was written… I'd consider that.

KN: [singing “The Only One I Know” by Charlatans]

JS: [inaudible] Dance music is pretty huge here as well. Rave…

DG: How does a fourteen year old kid get that and want to go “Yeahhhh!” For example, when I heard AC/DC I'd jump all around: “rock!” Now it's [imitates “The Only One I Know” by Charlatans] it's like fuck man…

KC: What happened to rebellion? What happened to Rock ‘n’ Roll?

KN: Let's go get high and drink some wine! Throw up, skip school, y'know?

KC: You're out of it and if you don't, you're born a drug abuser anyhow, because you're supposed to be…

KN: Well I inherited alcoholism… I like people who go...

DG: “It's genetic!”

KN: People who go to… Yeah, it is!

DG: My codeine habit, it's genetic.

KC: My fucking dad was a codeine freak!

KN: You know what my dad did? My dad was a Vick's Nasal freak.

KC: My grandma swigged Nyquil all the time. Cough medicine.

KN: Why? He just… You get used to the sort of chemical in there, you get addicted to it.

DG: You get a tolerance or something?

KN: Probably. You know how people walk up to you, they haven't touched a drop of alcohol in five years, since they had that cure, n'say, “I'm an alcoholic.” It's part of their anti-drinking brainwash type thing, y'know? Some of them are so extreme inside the first five minutes you meet with them they lay the trip on you. They're still in a daze from the cure, y'know? Cattle prod. Zzzzzit! “Ya gonna drink?!”

KC: It's a hard thing to quit!

KN: Then they press… They put these things in your eyes.

KC: Eye droppers…

KN: Beethoven [sings Beethoven's “Ode to Joy”]

DG: That’ll be the name of the next big English thrash band ‘Cattle Prod’ [imitates an upper class English accent]

KN: Cow Pie! Hair Pie… [sings] “She's my cherry pie…” Have you heard that song yet?

JS: No.

KN: By Warrant…?

JS: Oh yeah, I have. I have.

KN: They're just shit!

JS: Arena rock.

DG: Oh fuck… That's typical American shit! Fucking Warrant… It's just a circus. The whole Heavy Metal thing to me is this big circus. Fucking clowns. Dancing around.

JS: Yeah, most of it is, yeah.

KN: They're not musicians. They're not musicians. They're manipulators… They don't have any feeling. It's so bad and they sit there acting it up.

JS: Songs you're bored of after ten minutes.

KN: It's so bad that we should hate those guys, we should tell them right to their faces that they're fuckin’ dicks! And they're assholes! They're prostitutes!

JS: What do you think of all the thrashy stuff — thrash metal?

KC: It's bullshit.

JS: At least it's got some energy to it.

KC: Yeah…

KN: At least you can piss off somebody.

DG: When “Hell Awaits” first came out… Oooo, Slayer, “Hell Awaits.” And that first riff… “Ah man, this is thrash metal!” Ooh, this is great. And then everyone turns to like, “wow, look at Candlemass, they're so slow…”

KN: That guy sounds like Tom Jones!

KC: Luciano Pavarotti.

DG: And now it's just, y'know? Now you've got fucking Anthrax covering a fucking Joe Jackson song it's like what the hell is goin’ on?

[Krist sings a bit of Joe Jackson's “Is She Really Going Out With Him?”]

KC: Oh, no way!

DG: No, no, they're not doing that song. It's “Got the Time.” But I mean…

KC: [Inaudible] …Is influenced by… [inaudible]

DG: It's just all so goofy because…

KC: …It's what he claims all the time.

KN: There's no way! Aw, that's a joke.

KC: No, it's not!

DG: I went and saw Anthrax open up for Ozzy and I'd never seen Anthrax before and I thought “yeah, OK, whatever.” So I go see Anthrax in my first Heavy Metal arena show, it was about two years ago and I go and Anthrax comes out, lights come on and they've got this huge goofy-ass looking fucking cartoon caricature stage of their faces and stuff and the singer's- I was kind of sitting off to the side and I can see the singer sitting under these stairs that are all lit up or something, waiting to come out, and he like, comes out, it's his cue, and he comes out from under the stairs and he goes like [makes explosion noise] Smacks his head, comes out like “allllllrighhhhhttttt!” [Falsetto metal voice]. Oh! Stop! Stop! And then Ozzy comes out like, Ozzy Osbourne, Mr. Ozzy Osbourne.

KN: He's wired.

DG: He comes out, he's got fucking, he's got the lyrics of his songs on these huge pieces of paper taped to the floor, it's like “what are you doing?!” He's so fat, and between each song he's going “I love youuuuu!” Everyone's like “Yeahhh! He loves ussss!”

KC: Ozzy was so great in the early Eighties though when he shaved his head and bit off the heads of bats — he was wired!

JS: He's popped to hell though he doesn't know what he's doing!

KN: Did you see that? On the “Speak of the Devil” tour he'd walk out and go “I love you!” He'd grab the mic and shout “alright!” Then he'd put it back and walk off. His eyes were just so wired, he's so wired!

JS: Well that's cool.

KN: He was in one of the coolest bands of all time.

JS : Yeah, he was great. He's so funny though, kids love it.

KN: He's funny, he's a Gary Glitter.

DG: Sure enough!

KC: Wearing a big tent… [inaudible] I liked it when he went skiing in Japan. Hilarious.

JS: The way he moves on stage is brilliant, all hunched over. “I'm fucking crazy!”

KC: He's wearing that polyester…

KN: What's that, the “Never Say Die!” tour, where he's wearing all that polyester?

DG: And their drummer came out and did this drum solo where he's got this huge drum set with all these like electric drums all over it like on the outside of it and he's sitting there doing this [imitates jackhammer-like drumming] double-bass thing where they go [imitates drums] and he's looking around like [more sound effects] and he gets out in front of his drum set and he's got these huge… he's standing with his back to the audience and he's standing in front of his drum kit and hitting these pads and he's got like lightning sounds, thunder sounds, he's going like [imitates storm] and everyone's like “woahhhh… He's so good!” Fucking smoking up a storm.

JS: Those big metal shows are so funny. I went to the “Clash of the Titans” once, Slayer and Megadeth and Suicidal Tendencies…

KN: Oh God… Shows from Hell.

DG: Suicidal Tendencies, man, they're about a fucking… They ruined.

JS: They did, yeah.

DG: They just… fucked up. Because that first record they put out it was like this quality Hardcore, great record, you know.

KN: It was great!

JS: Excellent record.

DG: And then all of a sudden they start just… Fucking up.

JS: There's a space of about four years between the first one and the next one, it's a really long time…

KC: Yeah, right. A lot of time for [inaudible] change.

DG: They were thinking how they could fuck it up!

JS: What next?

KN: What next for our band?

JS: Yeah.

KN: Sign our big deal. Tour. That's it.

JS: Enjoy it?

KN: Well, what we want to do is… Yeah, it's okay if it's little hops here and there. What we want to do is we just want to hit some money so we can get some recording equipment and a place and just get secure. Instead of living from hand to mouth every month so we can relax and really make some songs and work on ‘em.

DG: Once America goes to war we're going to live up in the mountains.

KN: I can hardly wait. I hope it triggers a full on economic collapse.

JS: Let's hope for a hit. That'd be cool.

DG: We need Top Forty to be ready for a hit like us!

KN: Willie Nelson's running around.

KC: Well, we have some songs that could be a Top Forty hit.

DG: But they just wouldn't do.

KN: Well, I don't know if we want to play the game… In America you have to be a shmoozer — you guys’ll just have to yuk it out with what's her name?

KC & DG: Julie Brown!

KN: “OK, it's Julie Brown…” [imitates TV personality] Get the fuck out of here, bitch! Fuck you! To everybody on the… Go to hell, break some wood or something.

JS: There hasn't been a band in ages that's got really big on their own without playing the normal game that's needed.

KN: Yeah, you can't do it in the United States believe it or not.

JS: The same thing will happen over here. Five, six years ago you had Dead Kennedys and Fugazi and all this kind of stuff.

KC: Yeah!

JS: I'd like to see that happen again.

DG: What are Fugazi doing, are they into anything?

JS: Well all these bands were really big in the indie charts and get just in there in the major charts. Fugazi came over the other month and played the festival at Kilburn which is fucking huge. A really big place and they filled it out and they've been doing really really well.

KC: That's great. More power to ‘em.

JS: But it's not possible to do it in the States…?

DG: Well, I think things are changing.

KN: A video on MTV.

KC: If you have the right support. Still, I think people have good judgment and people know when it's bullshit.

DG: I always get so disillusioned coming over here because the music scene here in England seems like everyone's so much more open-minded, there's so much room for people to do what they wanna do instead of having kids, follow the herd. Then you go back over to America… You come over here, everything's so great, and you think “wow, things are going to change!” Then you go back to America…

JS: Did you enjoy [inaudible] as well?

KN: Oh yeah. Our last show of the tour was kinda weird. We came off the whole tour...

KC: We were on tour for seven weeks. It was too much…

KN: A hell tour…

KC: …tired. I only had one guitar that made it through the tour, I'd broken all the others. We wanted to go home, it was our last show…

KN: That was a hell tour, never again some shit like that, crammed in a van as Tad drives. A lot of the time it's fun to stay at somebody's house so long as something exciting and dynamic happens. Like a…

DG: Truck gas leak. You can break their stuff and not necessarily have to pay for it.

KN: Violence. Or we’ll break our stuff, or get our windows bashed out of the van. By a drunken crazy Rasta man.

KC: This guy took a hammer and smashed in all the windows on our van because he thought I was having an affair with his girlfriend.

DG: Where was this?!

KN: In Columbus, Ohio. I told this guy, “fuck you asshole!”

KC: It was so scary! I was in the van too, I was in the van sleeping! All of a sudden [makes sound of breaking glass] ‘aahh!” It's pretty hairy.

KN: It cost two hundred dollars to fix.

DG: Why? Why did he do this? Because you'd been boning his wife?

KC: Not his wife, his girlfriend. Well, she told me they were broken up…

DG: (goofy voice)?

KC: [laughing] I didn't know!

KN: He was a nice guy! He was a nice guy, then he gave us his address and we called the cops on him. That cop was so pissed off.

DG: Wait, the guy who busted the window was a nice guy?

KC: Yeah, he turned out to be a real nice guy.

KN: We talked to him afterward and I started calling him names at one point because we came by his house like, “get out of here!” “Fuck you man, kiss my ass!” and we went and called a cop. And he said, “you know what people's problems are?” The cop goes, “well, some people are screwed up.” And he goes, “no, everybody is screwed up.” And he gave us his card and said “if you guys want to try and report it, here's my card, go downtown, you guys have to fill out a report, I’ll have to fill out a report…” Forget it. We went to some ritzy hotel and had breakfast there cuz it was within walking distance… Pink salmon toast…

KC: It was really expensive.

KN: They had the calories and carbohydrates on every meal. But it was the only place within walking distance of the glass repair shop — and there's still glass in the hold of the van.

DG: Which ones did he break out?

KN: The roof… On the side, the sideboard, the door.

DG: What did you do when he did it?

KC: I was butt-naked covered in glass. I just stood up and went, “don't kill me!”

KN: I was totally hungover.

DG: Did he say anything?

KC: He said to her “you're a bitch and I'm not putting up with this anymore!” Then he went away. And she said to me, “Yeah… Oops...”

KN: Craig was there when that happened, Craig's seen a lot of shenanigans happen.

KC: We're better off when he's taking control. “Okay now look. Calm. Down. OK, call in the glass place, Craig…”

KC: Here we are totally hungover, dead at six o’clock in the morning.

[inaudible exchange between James and Krist with a mention of “Concorde”]

KN: We had a Peel session yesterday. We did really well. We played cover songs.

DG: Only four covers.

KC: A Devo cover, a Wipers cover and two Vaselines covers.

JS: How long do you get to do them?

KN: They give you about, maybe ten hours?

DG: But we did it in five. We recorded all the songs in about an hour; and then mix.

JS: How long do you think it's going to be before the album comes out — your next album?

KC: Probably about February. Can you get codeine over the counter here?

JS: I don't know.

KN: I had a bottle of liquid codeine and I was supposed to have a teaspoon. I drank a whole shit-load, I was like uhhhhhh… Then I ran out and then I cut to, I had to go through codeine withdrawals. Wake up in a cold sweat. Middle of the night. I was going, “aaah” [laughs].

DG: Licking the inside.

KC: I'd never really heard of that!

KN: Oh, yeah! You know Janis Joplin at the Monterey Pop Festival? She was walking around with like a Jack Daniels’ bottle and it was full of codeine cough syrup, man!

DG: “Oooooo!”

KN: [sings] “Cry Baby!” That's how she got that scratchy voice, all that cough syrup! Can you imagine a pile of puke, just cough syrup? [laughs]

JS: Oh, lovely.

KC: Codeine puke… I should use codeine.

KN: Use codeine.

JS: I've got to go get some blank tapes now.

KN: Oh, okay. I've got to go to that Music Room place. Get an amplifier. I've got to get it on this tour cuz… I'm not even going to test it out…

DG: You're rented ahead?

KN: No, but I want to.

DG: Your head's not working?

KN: It's not loud.

DG: “KILL, KILL, KILL… KILL, RAPE.

KC: “Torture…”

DG: TORTURE, REFUSE MEDICAL TREATMENT...” Hey, now let's go interview people in the office…

KC: Okay. Hello, and what do you do? Well?

DG: Hello, and what do you do?

KN: Uh, I don't give a shit about nothin’.

DG: Hi!

Unknown: Hi.

DG: And what is your name?

Alexander: My name is Alexander.

DG: Alexander, and what do you do here?

Alexander: I'm a receptionist. I've been receptioning.

KC: Oh, we've broken… [inaudible]

DG: That's a nice hair tie. They're special.

KN: It's really good.

JS: R U delivered the single as well.

KC: Oh, yeah?

KN: They're called R U.

JS: They're like one of these motorbike guys, their whole face is covered, there's just these two eyes.

KC: [laughs]

KN: Fuck you man! Fuck you! [sings what sounds like “you are so pitiful” to the melody of “You Are So Beautiful” by Billy Preston]. So we're gonna put up the AC/DC poster… and the Metallica poster.

DG: I'm gonna put up the [inaudible] one cuz it makes me horny.

Unknown: [whistles] [plays a beat]

KC: We should do it today.

KN: Lawnmower Death, Lawnmower Death! Rooooar! Here's Lawnmower Death! [sings “Kashmir” by Led Zeppelin]