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cherrylng · 3 months ago

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Blur interview - Damon Albarn, Alex James [INROCK (November 2000)]

BLUR

“I don't think Brit Pop would have seen much change without us.”

INTERVIEW: HANSPETER KUENZLER

It has already been five years since Blur's “Country House” and Oasis' “Roll With It” had their legendary chart race. Damon Albarn (vo.), still prim and naïve at the time, sarcastically remarked that the two singles were released on the same day, so it was only natural that they had a heated argument. Five years later, Oasis are no longer the first to storm the charts, but have their hands full with divorce proceedings. Blur, on the other hand, have been praised for their experimentation on their last album, “13”, which was a masterpiece and produced by William Orbit. As a band, they are now encouraged to make music that develops alongside their personal growth. This time around, “The Best Of” is being released as part of the record company's strategy rather than Blur's. However, both Damon and Alex James (b.) were willing to talk about the album. They even seemed more happy to talk about it than they did during the promotional interview for “13”. Of course, they seemed much happier than they did on “Blur” (an album when everyone in the band was having difficulties), which was made at a turning point. Damon and Alex were happy that day, thanks to the new song “Music Is My Radar”, which is on this best-of album. The song is not just a departure for Blur (a ‘second “Girls & Boys” kind of album’, according to Damon), but the first piece of work that marks the beginning of a new creative era. Damon, wearing a flat cap, has the jovial smile of a country boy. Alex, on the other hand, looks uncomfortable, but still willing to chat. They were so friendly that day that if I hadn't finished my breakfast, they would have gladly shared their meal with me.

I like “Music Is My Radar” a lot. Damon Albarn (vo.): (beaming) Right!? (humming the song) You really got me dancing, you really got me dancing… I love singing this song. I want to sing it. It's more soulful than the other songs. (imitating American tone) You know what I'm saying. Ahaha!

Did you take inspiration from one of Parliament's old songs? Damon: Umm… Yeah, yeah, something like that. I went to Mali in West Africa, and I was really inspired by the scale and the freedom of the people there. It's really beautiful.

On a music business? Or on holiday? Damon: Music business. In Mali… do you know anything about Mali and Malian musicians? Do you know Toumani Diabaté? I played with those guys. It was a lot of fun. We did it in association with Oxfam (a charity). At the end of the year, when I have more time, I'm thinking of doing an album with some of the stuff I recorded on DAT (Digital Audio Tape) in West Africa. I played melodica.

“It's not often that you get so excited when you hear your own songs on the radio for the first time.”

Among the musicians you played with in Mali was the Rail Band from Bamako (a city in Mali)? Those guys are awesome. Damon: Yes, there were. I went to Bamako. They don't listen to Radiohead in West Africa. That's for sure. There's not that much western beat coming in.

But do they listen to “Music Is…”? Damon: Yeah, they like it a lot. I've got a friend who does an Afrobeat special on Kiss FM and he wants to play “Music Is” on his show. That's very exciting. People from all over the world can listen to it. We can expand the reach of our music, you know? It's cool that every time we put out a new record, we reach new people. You might lose old fans, but you gain new ones. There are hardcore fans who will always support you, but basically the fanbase comes and goes. Since “13”, I think we've had more urban fans, more dance fans than indie fans. It's definitely a different type of fan. I think they're more sophisticated than before. But maybe what I'm talking about is a reverse elitism.

Do you think “Music Is” is the beginning of a new development for Blur in the future? Damon: Yeah, I think so. I think it's a new start for us, just like “Girls & Boys” was. It's a sudden change from what we've been doing. I don't think we're going in the wrong direction. Now if we can just get the video right, I think it'll be a hit for sure. It's nice, isn't it? Alex: (in a weird voice) Here's a new record.

I think this song was created from a long session, did you pick things up from it and piece them together? Damon: Yeah. But it was basically recorded in one take. We had a demo made. Squeeze box, guitar riffs, melody and…

By squeeze box, do you mean the accordion? Damon: Yeah, that's it. My daughter has one of those for kids. She gets a lot of toys from people with different instruments. And every single toy she gets goes to Daddy's studio (laughs). They never come back to her (laughs).

How old is Missy going to be? Damon: She'll be one year old in October.

So you're already influenced by her musically. Damon: That's what I mean (laughs). On Fridays, I do sessions with her and her cousins. They all get together and sing to me.

Do you take Missy to local music lessons or swimming school? Damon: Yeah, I take her swimming. When we went to Jamaica for five weeks, we went swimming every day. She loves swimming. She's a lucky little girl. …I thought it was great to start communicating with a child. It's great. Lately, she's started to enjoy chasing me, too. She's playing with me saying, "Look—I'm going to catch you! Whoa!!" It's really fun.

The band has gone through a lot of changes… Alex: “The Best Of” is a fast-paced journey through the last ten years, and the evolution of the band seems like a natural progression. What we do is ultimately an expression of our thirst for knowledge. I mean, we were enlightened by professionalism. Oasis is of course a blatant example, but there were a lot of people with a nihilistic attitude, weren't there? Like, “I don't read books”, “I don't care”, “It's annoying”. For us, it was “read a book” and “be aware of the environment”. I don't think Brit Pop would have seen much change without us. I kind of added that gravitational pull that Brit Pop needed. You can't make a movement with just beer and rough language.

Still, it must have been a challenge to get the individual songs to work together and make an album like this? Damon: To be honest, I actually had someone else do it (laughs). “The Best Of” is a compilation of everything we've ever done, right? But I'm more… I'm always looking forward. For me, it's practically impossible to go back in time. My responsibility for the album is just to make sure the new songs are top-notch and the artwork is up to standard. The rest is left to the computer and the management committee.

Are there any songs that you regret not being on the album? Damon: No. All the singles are on it. There are a few that I omitted. Like “Popscene”. But in the case of that one, I didn't put it in because I wanted it to remain hard to get. It's like a little gem that's hard to find. And I didn't include “Bang” because I thought it was a shameful song. And, er, I didn't include the third or fourth single on any album. It was good enough to release as a single at the time, but not anymore. “The Best Of” is a good album. It's fun to listen to. I don't think anyone will be disappointed.

Apart from “Bang”, are there any other songs you're embarrassed by now? Alex: I don't think of “Bang” as an embarrassing song. I thought it was pretty cool, that Wembley… Damon: I think it's an embarrassment. I don't feel like I contributed anything to it at all. I mean, the lyrics are clichéd, you know? It's hardly one of my best songs by any means.

Does “The Best Of” mean anything to you other than a marketing ploy? Damon: I think it's a great opportunity for people who have always heard our music on the radio and liked it, but have never bought our album. I think “Music Is” is going to be a record that will sell. I'm very happy that we can release songs that are as radical and updated as we are. Also, people who wouldn't normally buy a song like “Music Is” will listen to it because it's on the album. Isn't that a great thing?

A live album is a great idea. Damon: Yeah. … I mean, it's a bit too much, though. Alex: That's marketing. Damon: Yeah, it's just marketing.

Do you feel like you've lost a sense of urgency for a while because you've got stuck in all this marketing and stuff? Damon: Hmmm… Yeah, what we've done, what we've done to ourselves is… We said we wouldn't tour, but that doesn't mean we won't tour for the rest of our lives. It just means we won't do it for now. That means the record company has to find new ways to keep us popular. That's good, isn't it? It's forcing the record company to move a bit quicker and smarter, isn't it? The record companies are too used to the usual way of promotion, where bands make an album and tour. Alex: You can't rely on marketing for ten years straight. If you make good music, it will sell in its own way.

So you're focusing all your energy on the new album now? Damon: We're working on it. In a little while… Alex: It's good to have a break. This is the first time I've worked with the other guys this year. We did a gig once in June. We'd almost forgotten we were in a band. It's great to get together again and see everyone. I feel like good things are going to happen.

From the outside, it seems like the break has the added bonus of keeping you guys in the news. There were rumours of a Blur break-up, remember? Damon: Yeah!! Alex: It seems like whether we're on break or not, we're in the news anyway. I don't want it to happen. It's a different story if we do something good and it gets in the paper.

Will we be seeing a Fat Les album any time soon? Alex: (laughs) I don't know. It was fun playing with the orchestra. We've all been doing different things since then. I wrote one song for the soundtrack, but Damon has written a lot of soundtracks.

Will you be doing anything more with Michael Nyman (“The Piano”)? Damon: No. After doing one song with Nyman, I did a soundtrack for a Kevin Spacey film, and the last thing I did was the soundtrack for a semi-indie film I did in Iceland called “Rejkiavik 101” (101 Reykjavík). For me, this last soundtrack is the one I'm most proud of. The film with Victoria Abril. It's a very cool film. I think it's being released in Iceland and Scandinavia. I think it's going to be released in the rest of Europe by the end of this year. Half of it is sponsored by the German production company that made “Dogma”.

Is the soundtrack available? Damon: Yeah. I did it with Einar, ex-The Sugarcubes. Einar is a really good guy. Really good guy. I think he's a really important figure in the creative community in Iceland. If she had known Einar for many years, maybe Björk wouldn't be the Björk we know today.

What was the film you did the soundtrack for, Alex? Alex: Oh, it was a children's film. It was fun to work in a different environment. Different demands from the top. Damon: Oh, you wrote a song for Marianne Faithfull, didn't you? Alex: Yeah. Dear Grandma Marianne, thank you very much. Damon: So we'll be playing backing tracks? Alex: That's the idea. Damon: Yes! When are you going to do it then? Alex: I don't know. Should we call her? It'll only take a day to record anyway.

How did you end up writing for her in the first place? Damon: She approached me, so I wrote a song for her. It's a bluesy song. Alex: I've known her for a long time. We've worked together before. Damon: She's a very nice lady. A real icon. She's a great character. When I think about what she's been through, she's at the pinnacle of her life and she's glowing. Alex: She's aged so much more gracefully than her ex-boyfriend (Mick Jagger), hasn't she? When I look at her, I feel like she's a woman in her fifties.

What was that kids' film you were talking about? Alex: It's called “There's Only One Jimmy Grimble”. It's a decent film. It's about football.

How's the musical coming along? Alex: Uggghhhh… I've already met Jez a couple of times, but every time we end up drunk (laughs). It's a three-year project. Damon: You have to be totally focused on this for a year and not do anything else. I wish I could do that, but it doesn't work that way in reality. It's a lot harder than that. I'm getting old, you know…

Going back to your trip to Mali, were you inspired by anything other than music? Did you read any African literature? Damon: No. I just read “Mali Blues”. It's a book about Mali and Senegal. I did listen to a lot of African music. “Music is…” was directly inspired by Tony Allen. There's a line that goes, “♪Tony Allen's dancing… ♪”. He was a member of Africa 70. He was a great guy. A really great guy.

What are you reading these days? Alex: I recommend “One People” by Guy Kennaway. It's a really good book. Damon: Really? Alex: Yeah. It's about a bunch of idiots in Jamaica and it's very funny. Damon: Hmm. The most recent one I read was called “Ishmael” and it's about gorillas. It was just a bunch of nonsense. I don't even remember who the author is anymore. To be honest, I've made three records in the past year, apart from Blur, and I've had a baby, and I've been away a lot, so when night fell, I just wanted to go straight to bed, not do anything.

“The sense of continuity of tradition from the past has been lost in the UK.”

You've got away from the tabloids very well. Alex: Yeah. Damon: I still get chased by the paparazzi though. I took my daughter to hospital a few weeks ago, and afterwards there were a lot of pictures from that in The Sun and Hello magazine. How do they get them? It means I'm being followed. There's one photographer who knows he's definitely following me. He's not following me everywhere all the time, but he's following me pretty much all the time. He makes sure he's there two days a week to check out places I'm known to go. His photos are selling well. I'm a bit annoyed with him. If he gets a good picture of me and my daughter, he can make about £2,500 a picture. I know a few people who make a good living taking paparazzi photos like that.

The last time I read about you in the tabloids it was your comment about spending millions on “champagne”. Alex: That's a bit of a stretch (laughs). Damon: No, no! Oh my God, what are you talking about! Alex, the other day you were giving me a percentage of how much you drink in a year. How much was that? Alex: I think it was about 0.1 per cent. That was in '95. Damon: Right? You drank a lot that year, didn't you? I mean, you drank a lot. Alex: Three bottles a day! For a year…

It's got all sorts of stuff in it, doesn't it? Alex: If it's green and it's got cherries in it, like they serve it at a gaucho (members' club), it'll cost you about £10. And the tabloids get a kick out of it when someone drinks it. Damon: You were really into it at one point, weren't you? You're a fucking cunt! Alex: Yeah, that's right (laughs). I'd drink it and I'd wake up in Richmond with no trousers on (laughs).

Did that actually happen to you? Alex: (with a mischievous look on his face) Hmmm, well, yeah (laughs).

Anything else you'd like to add? Damon: No. It's just kind of like… Alex: It's not that easy to talk about this. I don't want to dwell so much on the past. It's a story that will spread on its own without us having to advertise it, but we don't want to advertise it.

How do you work with someone like Ali Farka Touré? Damon: We just jam. My melodica is like a beginner's instrument. We just sit together and play and jam and improvise and he teaches me how to make good rhythms and scales that are spacious and simple. It was a great learning experience for me. There is traditionally a caste system in their culture, but about 800 years ago, the king of Mali set up a clan to play music for him in his court. Just like the European dynasties. And those clans were called griots, and most of the current musical tradition in Mali comes from the griots' music. Certain members of the family were allowed to sing hymns. I went to a village in the bush, about 200 miles (320 kilometres) from Bamako… I'm talking about an area where there's a cluster of houses that really look like they're made out of mud, and that's the griot settlement. We spent a day there playing music with them. It was a great experience!

Is your melodica influenced by Augustus Pablo? Damon: I had it before I knew Augustus Pablo. But I actually fell in love with his music. Now I use the melodica for everything. It's my favourite instrument.

What is your favourite African music album? Damon: Maybe Tony Allen. I like “No Accommodation for Lagos”. Also, the kora player Toumani Diabaté. His family has been playing kora for 300 years. That kind of thing is kind of cool. There are no traditions like that left in the UK anymore, are there? We've lost the sense of continuing traditions from the past. Everything is falling apart in England.

Translator's Note: It took some time, but I delivered my promise from that poll that I created over a month ago. It was a lot easier to translate than I anticipated, it's just that I've been procrastinating so hard thanks to the release of Monster Hunter Wilds and Assassin's Creed Shadows.

For the “Rejkiavik 101” (101 Reykjavík) part that you read, “Rejkiavik 101” is actually a typo error in the magazine itself, but I decided to keep it in and put the correct name of the film in the brackets next to it instead.

Please do support me via my ko-fi! ☕

#Damon Albarn #Alex James #Blur #13 era #my scan #translation #interview #INROCK #INROCK November 2000

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cherrylng · 3 months ago

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Summer Sonic interview - Coldplay - Chris Martin, Jonny Buckland, Guy Berryman, Will Champion [INROCK (November 2000)]

COLDPLAY

“There are so many wonderful things in this world that make you want to live.”

INTERVIEW: AI ANAZAWA

Even before their first album ‘Parachutes’ was released, Coldplay was already a hot topic in their home country of the UK. And the album, with its moderate mellowness, outstanding melody lines, and Chris's low-pitched singing voice, was particularly appealing, debuted at number one. With that momentum, they made their first appearance in Japan at Summer Sonic. In the UK, they are introduced as “Coldplay members who don’t even drink alcohol,” and indeed Chris was drinking Diet Coke during an interview immediately after the show. But I think it’s okay to have a rock band that seems so normal.

How was today's show? Chris Martin (vo./g./piano): I don't think we've ever played such a big indoor venue (asks the other members to agree). The audience was friendly and we had a good time. You didn't get the impression that they were too quiet? Guy Berryman (b.): But I think that's good. They were very polite between songs, and I got the impression that they were listening to us during the songs. Chris: Yeah. Especially on the quieter songs, they listen very attentively.

Even before you made your first album ‘Parachutes’, Coldplay were getting a lot of attention in the UK, with the NME premiere tour and all that, right? Chris: We were recording it while we were on tour. We'd record, go back on tour, record, go back on tour again, record, argue, tour, mix, tour…

Sounds like fun (laughs). Chris: It was chaotic, you know. But all in all, I think it's been positive. Touring gave us a break from the studio, our live performances got better and better, and it was good PR.

There was a lot of noise in the press in your home country before the album was finished, did that in itself put any pressure on you? Will Champion (ds.): It was a bit weird. Because at the time we only had about two songs out there. We were… eggs (laughs), but we were just itching to get the album out and get people talking about us other than those two songs. Chris: There's been more information written about us in magazines than there was about our music for a long time. That was fine, but I'd say it's become more and more important to put out an album itself. We wanted to make a statement with our music, not with other people's comments about us.

I understand that the recording took a total of nine weeks, during which time you had arguments and hard times? Chris: I'd be worried if there wasn't a certain amount of stress involved in making the album. There was a lot of tension because each one of us cared about the record, it wasn't like we were fighting. We exchanged opinions, it's quite normal.

Did you have all the songs in place before you started touring and recording at the same time? Chris: No. Well, we had enough for the album, but while we were in the studio we wrote a couple of new songs, which was a nice treat. “Yellow”, “Parachutes” and the secret track. There are more, which we hope to use in the future.

You released the ‘Safety’ EP and ‘Brothers & Sisters’ in ‘98, and ‘The Blue Room’ EP in ’99? I'm sorry I haven't listened to any of them… Guy: Never mind. Chris: Nah, fuck this interview (laughs)!

Compared to these older songs, what developments do you see in the songs on the album in terms of songwriting etc.? Chris: I still value things like melody and feeling. But I would say these days we have more confidence to try and do what we want to do without copying anyone else. When you're just starting out as a band, everyone wonders if what you're doing is really the right thing to do, but now we're able to formulate feelings like “let's try something more danceable, or a quieter song”. That's about it? We don't feel like we have to force ourselves to grow as a band, because we want to be natural.

I see. Now let's talk about the songs. In “Shiver” and “Parachutes”, I thought your very romantic view of love was expressed. Especially in “Yellow”, where you even sing, “for you, I'd bleed myself dry.” Would you say that, generally speaking, this expresses your attitude towards love? Chris: Yee~, yah~ (starts singing). Hmm~?

Will, what do you think? Will: I don't know? Chris wrote the song, so I don't know (laughs). Chris: It's not necessarily about a girl. It could be about friends, it could be about family. It's about attachment to someone. Yeah, you're right (It's about your attitude to love, isn't it?).

What is the spy in “Spies” about? Chris: It's about paranoia. Being scared when you don't need to be scared. For example, worrying that your hair is thinning and you don't need to worry about that…

“They joked, “You ripped off Pavement, you're going to get sued.” We were already scared and worried…”

But maybe losing your hair isn't the same as paranoia? Chris: …Hmm? What are you trying to say?

Nothing. In “Don't Panic”, you say, “we live in a beautiful world”. Is this true? Or is it just a distinctly British irony? Chris: I mean it. I'm singing about how there's evil, there's terrible things, there's injustice in the world, but there's also wonderful things that make you want to live.

What are the evils of the world? Chris: War, oppression, poverty, disease…

I mean, what was troubling you when you were writing this? Chris: No, nothing really (laughs). I mean, I wasn't thinking about it, that was just words… I guess it's just general stuff. With me, if I like the sound of the lyrics, I'll incorporate them into the song. But I try to make it make sense.

Steve Malkmus of Pavement once said something similar. Chris: Really? We don't know much about Pavement. Will: I like them though. Chris: Which song did we copy? (laughs) In Spain, a guy made a joke to us: “I heard that Pavement are threatening to sue you because “Yellow” is a Pavement rip-off”. We took it seriously (laughs). We were seriously worried until it turned out to be a joke. Will: Yeah, yeah, for about four hours (laughs). Chris: Backstage at festivals, that's what people do when they're bored.

Apparently. Since the album was released, you've been getting a lot of attention in the UK, haven't you? Well, for a start, people are comparing you to other bands and say that you're all university-educated and from a middle-class background, which is a bit of a slur. I think it's interesting every time a new band comes out in the UK, because in Japan bands don't get criticised because of their class. What do you think? Chris: Well, we've been to university and we're from a middle-class background, so we're not wrong about that. And we're not ashamed of that. It's just that it's hard to describe Coldplay, so people have to write about it, don't they? We don't have any particular statement to make in our songs, we just play the music we like. But that's too fucking serious and uninteresting, so they critique us from the angle that we're a “clean-cut band”.

Clean-cut? Ah, like Boyzone, for example (laughs). Chris: Yeah, yeah, like that. I mean, no, not like that (laughs). And, you know, bands are compared to each other. It's not like our sound is what it is because it was influenced by one person, is it? It's true that we've been influenced by a lot of things, but you can say that about anyone.

So who are your biggest influences? Will: It's hard to pick just one. Chris: We all like iconic bands like The Beatles and The Stones. Also, Guy likes funk and James Brown is his favourite.

Have you met him yet? Guy: Not yet. I just saw him yesterday. Chris: Yeah, I think he noticed the envy in my eyes, he kind of gave a little nod to Guy and walked past (laughs). I like Bob Dylan, Neil Young, and Will also likes Neil Young. Jonny likes Stone Roses and stuff like that. I listen to everything anyway, like the Flaming Lips. ……..Oh, Tom Waits!

Will, you used to play guitar but switched to drums, didn't you? Is it that easy to change? Will: (smiles shyly) Hmm, yeah. You kind of get used to it… Chris: You're just born with talent.

You come from a musical family? Will: Yeah, I guess so. Chris: Paul McCartney (laughs)! Will: My mum plays piano and guitar. Chris: I come from a pretty musical family too… Your uncle was in a band, wasn't he? Guy: I don't really come from a musical family. My mum used to play the accordion. And in some terrible comedy, when she tried to play the piano, she'd play the wrong note. Will: But your mother played different notes on purpose? Guy: No, she's a natural. (All laugh) Jonny: My great-grandfather had a dance band. It was music for dancing, swing and stuff like that, I guess? That was in the ‘30s or something. Chris: They were the Chemical Brothers of that era (laughs to himself).

“Emotion… That's what's important in our music.”

I know this is a bit sudden, but I quite like this album and I've been listening to it. There are a lot of new bands coming out at the same time, like My Vitriol and Terris, and they seem to be very promising in the UK, so I'm looking forward to them too, but a lot of them haven't come out in Japan yet, so you guys are a little early, aren't you? Chris: Terris haven't even made an album yet. We're pretty new, but they're newer. Jonny: They've got a bunch of EPs out. Chris: I think they're recording right now. Jonny: And My Vitriol too.

Is it a sign these days, whether it's you guys or them, that the hype is so far ahead of the album even before it's made? Chris: Yeah, there's been a lot of that recently. Jonny: There's a high rate of attention for people playing in the London live scene, and we were in the press long before we got a record deal. It's one of the best ways to get a record deal, in a way. Once you get noticed, you have to keep it. Chris: JJ72 is a bit of a strange example. They did their album while they were still unknown. Usually there's a bit of buzz before the album.

You're good friends with some of those bands, aren't you? Jonny: We've done a few gigs together and we see each other a lot at festivals. Chris: We hate each other so much we'd stab each other with knives if we saw each other (laughs). No, we're good friends with everyone. Especially with Muse. And James Brown too (laughs).

How much of the gig did you get to see at Fuji-Q on August 5th? Chris: I didn't get to see any of it. Will: It was just interviews and promotions. Guy: And then we had to drive to Osaka. It took about seven hours.

What a shame! I wanted to ask you guys what you thought of the gigs that were great. Chris: I'm seeing them tonight! The Flaming Lips, James Brown, Grandaddy, and Arrested Development too. Guy: I thought the Arrested Development was over? Chris: Seriously? Guy: We've missed a lot already. We've seen the Flaming Lips before though. Chris: Muse, Reef. They're all cool! I personally think the Flaming Lips are outstanding live.

You guys also played Glastonbury this year, didn't you? Guy: That was a great crowd. Chris: Definitely, that was one of the best events of our career. The best thing about that festival was… The Flaming Lips. I didn't see them though (laughs). Guy: Badly Drawn Boy! Chris: He was great! We also saw a little play at Kidzfield called “Station to Station”, which was more like a bunch of weirdos than a band, and it was quite fun. Jonny: Moby. He writes essays on his CDs. Chris: Seriously?

I don't mean to sound like him, but are you guys conscious of trying to include a message in your music? Chris: You mean politically?

No, not only that. Chris: It's not so much about politics, I just want people to be honest with their feelings, I want them to be honest with their words and not suppress their feelings. That's all. And also, different listeners will feel different things from the same song, right? One person might hear a song and feel sad, another person might feel it's hopeful and upbeat. So it's not so much the message as the emotion that's important in our music. We don't say things like, “Don't wear leather goods”.

Translator's Note: Kidzfield is a children's area within Glastonbury Festival, where children and families can have a place to play and enjoy themselves with entertainment and facilities to accommodate them. And honestly, seeing the awesome playground already makes the kid within me love it.

Translating these really old interviews is quite fun for me since I get to know more about the bands and artists that were mentioned most of them never really became more known over time.

Please do support me via my ko-fi! ☕

#Chris Martin #Jonny Buckland #Guy Berryman #Will Champion #Coldplay #Parachutes era #my scan #translation #interview #INROCK #INROCK November 2000

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