Der Prosector

Der Prosector's four members, Ged, Digby, Jules, and Andy, visit the Void for a wide-ranging conversation about collaboration, punk ethics, and making furious, politically charged industrial music in a world that feels perpetually on fire. They dig into their origins, creative process, life’s interruptions, the new single, and the long-brewing album taking shape behind the scenes. Raw, funny, and reflective, join us for a chat.

Featured Songs:
Der Prosector - It's Always Winter

https://derprosector.bandcamp.com/ for more Der Prosector.

Transcript

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 2025-12-16 14-01-23

2025-12-16 14-01-23

Brian Prime: [00:00:00] Start recording.

All right, there we go. 

Speaker 2: I can hear you. 

Brian Prime: yeah, sorry about that. I recording on a new platform for a second, so had to like, kind of figure, figure my life out for a moment here. all right, I am ready if you guys are, we can go ahead and get this started.

Digby: Are we all here now? 

Brian Prime: Yeah, 

Ged: I am. 

Brian Prime: Okay. 

Digby: Jed, you around?

Brian Prime: Okay. We'll wait for a second for Jen, I guess. 

Ged: Can you hear me? Yeah, 

Digby: I think he's there. 

Ged: Can you hear me? 

Brian Prime: Yeah, we can. 

Ged: All right. 

Brian Prime: we'll go ahead and get this started and, 'cause I know time is, important to all of you and I appreciate all of your time.

thank you for making this work and, squeezing this in. I. We'll just go ahead and get started. Welcome to Voice Signal. I'm [00:01:00] your host Brian Prime, and I'm joined by Depro Sector. let me sing that. Let me revo revisit. Dur prosector. Am I saying that correctly? I feel like every time I look at it, I'm saying it wrong.

Ged: I think that's the idea. it's dur prosector, dur prosector, 

Brian Prime: dur, prosector. Okay. 

Ged: Yeah. 

Brian Prime: All right. Makes much more sense. can you tell me a little bit about where each of one of you has sort of come from to arrive at being in this? in this little art outlet that you have found yourselves in, 

Ged: Jules, do you wanna lead on that?

Brian Prime: Who wants to start? Like, we'll start with you. how did you wind up in, in this band? What has, prompted you to continue making music?

Ged: Are you asking me? Is that 

Digby: Jed, I missed it. 

Ged: my brother was in a band [00:02:00] called The Frogs of War back in the nineties, and they were signed to a punk global, full circle records, and I wanted nothing more to than to be in that band.

And Digby was the coolest, most capable front man, and he's always been my, a bit of a hero to me. But don't tell him I said that. 'cause he probably get Yeah. Straight to his head. Can't tell about him now. And I was going electronic stuff and industrial stuff. Fetus was always the big thing for me. but, I don't know.

We got to about 22 or three and we wrote some songs together and. We really liked it. 'cause he was the front and he, he had this punk element that he brought to the, at the time everything was kind of harsher, I guess, techno type stuff or, you know, frontline assembly were ripping it up. 

Brian Prime: Mm-hmm. 

Ged: we, we wrote music along those veins. but it, it was different with dig B on the mic because he's, the punk ness that he brought to it is so [00:03:00] natural and it just flows really well. I 

Speaker 5: Mm 

Ged: I've always been attracted to this and interested in this, aesthetic or whatever you call it.

I started in 1997 when I was 17. I was in a synth pop band called scanners. and then I was in, we regrouped and called it state junk law and it was much more harder hitting sample stuff. Again, very influenced by punk rock and fetus, and, and other bands, you know, Devo and whoever else.

2016 I sort of got to know Jules. and we were talking a lot. and we just kind of, to quote Garth Meranga, we fell in like, and, you know, we're very, we were interested in similar things, driving beats, driving rhythms. he comes from the big beat side of things.

and, and breaks and stuff and, but, but it's all fast pounding, you know, racing kind of music. and you know, I I, it still, it still does it for me. and we'll work [00:04:00] this new tempo now, which is, you know, around one 60 to 180 5. And I don't know, it really fits right now. It really works for me and it's, it's, it's awesome hearing.

the skeleton of a track bounce back and forth between all of us. And then you get a bit of vocal, a demo, and then you get a, you know, some massive guitars on it. And it just, I don't know, the vibe. It just keeps, keeps you, interested and keeps you hungry. You are like, shit, I need to get hold of that.

'cause I could just do this with it, you know? And sometimes it works and sometimes it doesn't, but you just keep doing it until it works. Sure. 

Brian Prime: Yeah. 

Digby: I'm George, by the way. And, yeah, we, we come from sort of similar backgrounds.

We, we like, you know, the sort of similar sort of seed bands that kind of made us think about this kind of music. You know, the, the sort of frontline Cuban eight, you know, nitsa, all of those bands. We, we were quite into that stuff and I was pulling together a compilation for, for ArmaLite records. [00:05:00] And it was a 30 track compilation and one of the submissions to, to ArmaLite was from the Prosector.

it was Dig Beyond Vocals. the track was called Mother Hack. I just remember listening to this track and talking to my colleague on Arm, like Giles Morehouse and Center. Have you heard this track? it's just fantastic and, We bounced a, you see, I got in contact with Jed and we bounced a few ideas around and we did a little work on it.

I was mainly in the post-production side, just doing a bit of mastering for the label It was so good that we wanted to put it as the first track on the compilation. and then we just got talking about our backgrounds and we kind of discovered that just about everything we did was similar and our likes were similar, even down to the sort of things that we watch on a tele and stuff like that.

So we had this kind. Venn diagram of life. Of life, if you see what I mean. That, that kind of collided. And we just got talking and, and gradually as, as things progressed, we started to swap ideas around, didn't we? And, and it was all about, [00:06:00] okay, here, here, here's a baseline.

What, what can you do with that? Here's some drums. What can you do with that? And we, we, we started swapping ideas around, and that's really where the first perspective releases came from. and where we are now is, is. A, a quite a, a, a sort of long journey progression from that. you know, we, we've released, I don't know how many, what, four or five VPs now?

And, each one is a progression of a story. generally speaking, talking about the state of the world we live in, and our view on it. but, but actually. To those kind of fast beats, and we're getting faster and faster as each release goes by. So we're up at one eight, what is it, 180 now?

Something like that. but, but actually, it's like a, the band to me feels like a kind of a DIY punk ethic. 

Brian Prime: Sure. 

Digby: You know, it's never perfect, but actually it's all about the feel. 

Brian Prime: Yeah. 

Digby: And that's what keeps us going. Yeah. 

Brian Prime: just real quick, that does come across in the music. It does come across as very sort of punk charged.[00:07:00]

Like if, if, dirt prosector were a battery, it would be charged by punk for sure. and that definitely comes across. And, you know, what a great answer of, you know, you know, dialing in on. The strengths of the project versus just, we're gonna make this thing and we're gonna take the pieces we have and sort of hammer them into to make them fit, right.

I like the idea of, you know, people working to their natural ability and talents. I have heard the new single. It is excellent. And you definitely, you guys definitely are dialed in on the, the sort of. punk fire, that I feel in the music. and part of the reason that I am familiar with the project is because, you guys have been so vocal about politics and, social issues and things that people are usually pretty quiet about.

Mm-hmm. do you think that the sort of. [00:08:00] Punk elements that led you to sort of smash this project together. Do you think that that lends itself to that sort of transparent, like, this is what we think and who gives a shit if you agree or disagree sort of attitude? 

Ged: Oh, definitely, definitely. I don't like talking about lyrics and, and dissecting music, you know, but I can talk generally on it.

I like to, I like to let people, take what they can, what they want from lyrics and sometimes it backfires. we had a few people from Eastern Europe who thought we were championing, the anti-vax movement. so, you know, I mean, yeah, it all plays a, a part and, and we're trying to mirror back what the world's throwing at us.

And, and it hopefully, it gives a bit of solidarity to everyone out there whose psyches are being attacked every time they switch their phone on. you know, it's all done deliberately, I'm [00:09:00] sure, to make us defeated and stuff. So when you, I don't wanna get upset. I don't wanna get angry and spoil the vibe.

We're having a nice time. Sure. 

Andy: Yeah. No, It is done in two ways. because I'm not the only vocalist, Jed also sings half the songs or more than half, and he writes about how the real world is, and my song, it's a dichotomy. my songs are about a dystopia that reflects. The current world that Jed is singing about.

So my songs are all characters that do terrible things while Jed's songs are real world about terrible things that are happening. so yeah, the punk works in both, both halfs of the. Of the, the writing. 

Brian Prime: [00:10:00] Sure. 

Digby: what keeps me going is, is, is I know you don't like talking about the lyrics so much, Jed, and, and you know, and Digby, but I, I, it's the one thing that keeps me going is that, you know, when we're writing the structure of a song, I'm always wondering how this is gonna translate into.

the storylines that we, that, that we produce, you know, so, and, and Digby is absolutely right. There are two sides to it. Jed is talking in the real world. Digby got digby develops characters in his world that are, you know, doing awful things, you know, and, and it's, it's. It's, you know, when we're writing a song, it, it's quite, a surprise to come up with the lyrics and, and, and, and work through it.

And it does tend to drive the way that we structure the songs, significantly. But it's one of the things that is exciting about this band is in that it's not, as you say, it's not sitting there saying nothing. What we're saying is, look, this is the world we live in. Love it or hate it. This is the world we live in and we're gonna, we're gonna, we are going [00:11:00] to put a narrative around that.

And I think that's right. I, I think it's actually quite important. I, I, you know, there's always the chance that, you know, you're gonna get canceled or whatever. You might, whatever might happen. But actually I think some things need to be said. Yes. And, and if it works to that punk, that kind of punk fast beat environment, that's, that, that makes it even more kind of poignant.

It gives it that kind of push. 

Brian Prime: Yeah, I do agree with you. And I think that it's, you know, time is short and attention spans are even shorter. So, you know, the, it's definitely important, I feel, to sort of front load the message of just like, Hey, this is where we're at and this is what we feel and this is what we think.

I think it's just how more people should kind of be. Is just kind of like, you know, this is what's pressing, this is what is relevant, this is what is, you know, it is coming out of me at this moment, regardless of whether the world is prepared for it or not.

we don't [00:12:00] see a lot of industrial bands in, you know, classical sense of like more than one person. Like we encounter a lot of bedroom producers in our scene. And I don't mean that term as a slight by any means, but just, I'm curious as to, you know, you are four individuals living in four different locations.

can you tell me a little bit about. The, you know, the coming together to produce music of overcoming your sort of geographical boundaries to kind of come back together and do this thing that you obviously all care about. It. 

Speaker 5: Never have all four of us been in the same room at the same time. That's right.

It's a maximum of three people I've ever met. Yeah, in real life. 

Brian Prime: Gotcha. 

Ged: Yeah. I've never met Big B

Speaker 5: I need to introduce myself. Can I introduce myself? [00:13:00]

Brian Prime: Yeah, please, please. 

Speaker 5: Yeah. I'm Jed Denton's brother.

That is an in joke from when I went to England and first met, Jules and Andy in jails. A kuber, you know, 'cause I'm not, I'm not, from an industrial background, so I didn't know anybody, nobody knew who I was. And so, quite a few times I was introduced as Jed Denton's brother. And then, you know, everybody call me.

That's just, that's just an joke. And, and now we can get back to the question asked. 

Brian Prime: No, thank you for, thank you for sharing. I, I'm excited to know that you are Jed Denon brother. What a privilege. What an honor on my part.

Speaker 5: yes, yes. Is good. But, so from, from a, an American standpoint, I fly down to Jed to do vocals. 

Brian Prime: Okay. And, I mean, how does that affect your creative process for, putting these things [00:14:00] together? like what kind of barriers or obstacles do you find it has been to just producing music? 

Digby: I think the distance is not a major issue. The only thing I'd say is that, Digby goes down to see Jed to do. the vocals and there's a degree of developmental kind of process going on there, which is only really available when you're sitting with somebody, you're developing something in real time.

if you are working over the internet, you're developing things in stage time, you're producing something, sending it to somebody, there's an incremental change that comes back. Whereas if you're sitting with somebody and developing something, it's more, it's far.

It's far more, I would say rewarding from a sort of interactive point of view. so in the, in the uk Andy and I tend to work together, so we'll have a skeleton of a track over from Jed, for example, and we'll start working together on how we think, you know, this thing can progress from a kind of, instrumental and guitar [00:15:00] kind of, perspective.

And then it will then, then there'll be another increment. Back when we send it back to the US for a bit more development and we'll come, what'll come back is something very different. I think that if we were all in the same room let's say somebody chained us into a room and locked the door for two months, I think there would be an album or two coming out of that room. whereas we tend to work at a pace that reflects the kind of technical barriers that we've got in terms of the actual technical side of it.

We've all got the same software and all of that kind of stuff. So actually there's nothing stopping us doing what we do. It's just that human element that we don't get from being three and a half thousand miles apart, you know? 

Brian Prime: Sure. And do you think that that. Sort of, I mean, it obviously kind of slows down the work maybe a little bit, but do you think that you wind up with a more, refined product?

But do you think that it does end up making the final product a little bit better because of the sort of [00:16:00] slower pace that's attached to it?

Or do you think it would be better with like a quicker pace? 

Speaker 5: I think from my perspective, when I'm studying front of the mic and then I have to listen. Back to it. I'm always concerned about what the UK contingent think about it while I'm doing it.

Brian Prime: Yeah. 

Speaker 5: It's hard. 

Brian Prime: You're just Ed Jed Henson's brother, like what do you know? 

Speaker 5: Yeah. 

Digby: But I think the, the positive actually is that because we are all of a certain age, and I, I'll be careful how I say that because I think I might be the oldest one here. But if we are, we're all of a certain age and, I think with that age comes a bit of maturity, right? So, so when, when, Jed or Digby come up with something and.

It's always quite, you know, it's always quite concerning to come up with something and fire it into the ether, waiting for somebody to come back and tell you what they think of it. Mm-hmm. You know, and I think there's always that kind of fear going on, but actually [00:17:00] because of the age and maturity that we've got.

We can take things from the US to here, and we we'll develop on what we've got. Okay. And if there's anything that needs to be changed or, you know, refined or whatever it, you know, we, we are mature enough to have that conversation. So I, although DG might find it daunting, actually what we, what we always look at is if something comes to us, it's something for, for development or it's something that, that can, you know, grow.

Right. And I think, I think that's, that's, that's, you know, that's the way I, I would want to think that, you know, you, you, you digby would think about it because actually we don't think anything's crap. We, we, we can write music around most things and actually none of your stuff's crap anyway, so it's, it doesn't matter.

back in the day, you, you'd come up with a baseline and then you dump it somewhere because you think it's rubbish. but why did you write it? Why did you do it? You know, it, there, there's some spark in there somewhere. So [00:18:00] why not try and find the best, you know, try and work through and find the best out of what you've got.

and, and there, there's several songs that we're currently working on where you might say that if one of us had sent, sent across to the others too early, you, you'd be worried about it. But actually, you know, my way of thinking is if Jed or Digby send me something, I'm going to use that.

And I'm gonna try and do something with it. 

Brian Prime: Yeah. 

Digby: And that, that's why these, some of this stuff survives. 

Brian Prime: And is that sort of what policing component in between the, the timing for releases? Because you know, there's, there's a bit of a gap and I mean, the work is really good.

so I mean, you know, revisiting all of it in the run up to this interview, I was like, fuck, this is such a good band. But, you know, there's this, there is a little bit of a. I don't want to say silence, but there's a little bit of, you know, there's some quiet between releases. 

Ged: we've had some black holes on our schedule because no one tells you that when you are in your [00:19:00] fifties, life can get really fucking hard. it's really tough. We're fighting cancer. We are losing parents. you've got the day to day grind. the stuff I'm doing today would've tired me out at 29, but I'm just knocking it out every day.

Just keep going and keep going and keep plugging. But then when I get time to sit there in front of the computer, there's not a lot left. weekends are obviously the big thing for me, but these massive life changes, they really threw and continue to throw spanners in the works.

I'm making excuses. 

Digby: I agree with what you're saying there. Life gets in the way and, we've all had, you know, life changing events actually in the last year, you know, a few, you know, and it's, it's actually, It is great that through those life changing events, we can still go back to what have we got on the hard disk? Oh, here, what? Oh, we were doing this. Okay, let's look at this again. 

Ged: Yeah. 

Digby: and I think we came to about September [00:20:00] this year where we'd been doing a lot of bits throughout the year and actually in our data banks at the moment, we've got.

I think 11 songs, something like that, that are in various states of development. Yeah. Some very advanced, in fact, some already being remixed. Yeah. They'd gone on hold a little bit while things were happening. And you know, it came to about September, we said, look, we are going to, we're gonna do some more now and we're all kind of ready for it.

And it was, you know, dig be also signaled he was gonna go down to, to do some, some vocals, which is always a catalyst actually. It's, it always ends up with something that, you know, something comes back, we go, bloody hell. That is, that is great. and, and where we are now is that the, the, I suppose the momentum that we've kind of.

Driven over the last couple of months is, is now creating an inertia that we, we, we'll, we'll just hold onto. 

Brian Prime: Yeah. 

Digby: So as we go into the new year, there, there's, you know, there, there's, there's tons of potential and I think there's a revisit. You, you guys are planning another visit down [00:21:00] to, to Florida to do some more lyrics, aren't you?

So I think at the end of the day, come, let's say. You know, March, April next year, I think, we'll, we'll have the, the, the, the, you know, quite a, a significant advancement on where we thought we were, you know, in the middle of this summer. sure. In fact, enough to, to do that album. Yeah. 

And I think, you know, there's also that a bit of fright because we've always kind of compartmentalized our releases into eps. And an EP is a nice little format because you can write four songs, for example, and walk away from that EP saying, I've done that. whereas an album, you know, there's two functions within an album.

One, the quality of the product has to be, you know, where you want it to be, but you also have to have a contiguous piece of work. You have to have something that, that sounds like an album, you know? And so when you're bringing together lots of different ideas, some of those ideas have got to be fit into that kind of plan.

And that's where we are [00:22:00] now. 

Brian Prime: Yeah. And just real quick, I wanna kind of pick all of your collective brains about this, but I do agree with you when you say that an album has to sort of, have a vibe to it. Right. Like it needs to be cohesive and have some sort of a, like this is a collection of songs that go together.

but I feel like we are sort of slowly moving away from that as. the sort of a la heart style of music is being sort of served up of like, here's a new single and it may sound completely different from the last thing, and who cares because it's just existing on its own in a vacuum.

is that a factor when you guys go to work on this project? Is that, do you think about like, how will this be cohesive for future package? Or is the concern at this moment just like, let's just produce some stuff and let's just make some singles. 

Ged: Right now we're using it and if [00:23:00] we can, if what we do on, in the US gets tossed over to the UK and the boys like it, great and they'll just, they'll keep working on it and toss it back to us. and it just keeps that. It keeps the creative juices flowing because you, you, they see something in a track that you would never come up with.

and I know there's, going back to your original point about bedroom producers and people that do everything on their own, that's wonderful that people can do that. And that's fully having full control of the studio and what you're trying to express yourself and how cool you're trying to be with, you know, your approach to a song, an ep, an album.

I am not that far advanced. I can live in the moment. I live in the moment. And if the sounds good today and it sounds good tomorrow, then we're gonna use it. Mm-hmm. as far ahead, 

Digby: see, I, I'm in a different, slightly different place in that I, 

Ged: yeah, go for it. 

Digby: if I write a piece of music, okay.

It's always gonna sound like me in my head. Right. So, I'm always [00:24:00] excited to toss a piece of music over to Jed, for example, and wait for it to start sounding like, I think it should be in the Dera sector sense, because I will write industrial EBM type music, Jed. Digby come from a combined punk synth background.

and that, that, that is more in line with the DARPA sector sound. So it is likely that something I come up with will sound not quite in vain. But then, you know, with recent tracks that I've sent over and Jed's come back with, with new stuff, I'm like blown away by it because it's actually taken the best parts of what I'm doing and then starting to sound in the way that I think he, he, he would do it.

I still believe in what you say in there, Jed, in that it, you know, whatever it is, it is. I think there's a specific sound that you guys make over there that we don't do here yet. And I think it's, it, it shows and I think it, it it, for me, [00:25:00] that's part of the excitement of being in the band because it's like, oh, right.

That's, that's where it should be going. That's great. 

Ged: Mm-hmm. 

Digby: That's, that's, that's for me. Yeah. 

Ged: The way, the way we see it, Jules, is God, I can't wait to get for Andy to get his guitar on this. 

Speaker 2: yeah. 

Ged: I'm using Syns and I'm trying to create chords and progressions that things that will grow and build hopefully, or something interesting on the ear.

And all I think of the whole time is God help. Andy can pull this outta the fire, you know? Andy, how do you feel when you, when, when something lands on your doormat? 

Speaker 2: yeah, I, I love it. you know, I've always like, any, anything that you, that you send over, you know, ev even it's just a basic drum drum and a bit of a base synth line.

yeah. So the, the process normally for me is, I kind of. Work out some of the notes and the note progression and then loop, loop a section, and then just sort of play some, play some chords, guitar [00:26:00] over it and, and see what falls out. I must play it. Maybe I'm playing the same loop for half an hour, and then something comes out, it's really good and I'll record it, but for some reason I don't like it. and I'm always reluctant to send it over 

But what I kind of do is if I leave it a day or two and then I switch the computer back on and I listened back to what I recorded, which. At the time I didn't like, but then I suddenly think, oh, actually that's pretty good and it doesn't sound like me. So many times I've done that.

I send you over something that I recorded about two days before and, yeah, it's great fun. I, I really enjoy it. 

Brian Prime: Yeah, 

Digby: it's quite often that it was that, and Andy will work on something and it will fundamentally change the direction of the song again. Oh yeah. You know, because, you know, some of those riffs are so mind blowing.

we'll take those riffs and we'll create new synth lines underneath them or change the beats, you know, or even change the structure of the song because it's driving it. [00:27:00] and I think winter, this single is one of those tracks, you know, where it could have gone two ways, you know, it could have gone a kind of, you know, EBME syn BT thing.

But actually with Andy's guitars on top, with this particular single, we've really amped them up. 

Brian Prime: Yeah. 

Digby: we've really pushed 'em to the front. because they were so fundamentally. Great. 

Brian Prime: Yeah, for sure. And understand, like it makes sense, right? Like sometimes the guitar riff is so sick that it cannot be denied.

and, okay, so it sounds like there's an album in the works and in the near future. Is it, is that safe to assume? 

Ged: Yeah, we got 11 tracks, in various stages. Like Jill said, dig Bee's gonna come down in a new year. He's got a sack full of lyrics.

Oh my God. I dunno. I'm really enjoying going through all the takes he did for, he, he came down in November and sang on four tracks. Was it November digs? 

Speaker 5: Yeah. 

Ged: Yeah. And he sang four tracks [00:28:00] and he wasn't happy with a lot of it. And I'm sitting there thinking, this is pure fucking gold.

Speaker 5: He's the worst person to sing in front of, because. He'll go. Alright, that one was great. Just do another one. Yeah, that's the one. We're done. Let's do another one. And so I end up doing 50 takes and they're all really good.

Apparently horrible. 

Brian Prime: I mean, it must be nice to be in a band with like your biggest fan. You know, he is just like, ah, you're fucking great. Ah, you killed it. Yeah, 

Ged: but I can't tell him that. 'cause then he'll stop trying. 

Brian Prime: You gotta try and get the best outta him.

Ged: what, 

Digby: yeah. But I'll tell you what, what we're, what we're hearing now from, from the US is, you know, it's turning it around again for us in England because. you know, we just, we've, we've heard little snippets of what, what they've been doing. You know, they, they've not given us everything yet.

It's all, they're hiding it, but behind a, a, [00:29:00] you know, the fog of war. But, but actually, what we've heard so far is, yeah, that's, that, that, that was worthwhile. That was a worthwhile trip. And actually, we know we can do so. I, I, I definitely know we can do something with what they're doing. but, but actually inside those 11 songs, 

I would say that they are up at that standard that we are looking for, and, and the standard that anybody that knows us would expect us to produce, to be fair. and now the focus is back on creativity. And, and, and, and every time we hear something new coming back from, from Jed and Dick B, it, it, it sparks that off again. And Andy will come over and, and do some work over here and do some work at home. and, and, you know, we'll, we'll, we'll turn it around back to those guys.

So it's, it's the, the album is gonna come out. it will be, partly what you'd expect, partly not. But it will be at that kind of quality level, and it will be pretty raw sounding. You know, all of the tracks are, you know, they, they retain that kind of punk [00:30:00] DIY ethic. 

Ged: We've got some pace now as well. The legs. Oh my God. Every song has legs. 

Brian Prime: Yeah. I was gonna say, you definitely, that is kind of the vibe for the band. Is that sort of like electro punk sort of. feel to a lot of what you're producing. So, I mean, that's kind of what I would expect. excited to hear what comes next for me.

This latest single is fantastic, like I was. Blown away. Wow. quite honestly, it was just like a sonic assault that I wasn't quite prepared for. I just was like, man, this is so good. And so, head and shoulders above other things that are being produced in our scene right now. that I, I did find out, kind of find myself going like, man, why or not?

Why are more people not talking about DUR pro sector? but 

Ged: is it because we only write a song every two years? 

Brian Prime: Yeah. it's almost kinda like that. It's, 

Ged: that's a fair point. 

Brian Prime: do [00:31:00] you, is that a thing you think might change in the future? Like, I know there's an album in the horizon, but would you, I mean, I'm sure ideally you would all love to spend more time on this project, but you know Yes.

Is that the reality? 

Ged: I think the reality right now is we're all really juiced up on this single, and we have a bunch of beyond demos. That we're, we're continuing to chip away at. like I say, you know, once Digby comes down and that really seals the deal in some songs, but I got four songs that he's recorded that I need to wade through and get all those takes.

You know, it sounds very clever when I'm sitting here producing him and saying, just one more. Just one more. Just one more. That's it. That's perfect. Let's do it again. And, You know, but in reality, you know, I, now I've gotta sit here through a hundred hours of the same lyrics. We we're on a roll, I think, and every time I say this, the band crashes, but we're on a roll. This is gonna [00:32:00] get done. 

Digby: I've got a theory, and that theory is just use the second take. 

Ged: Yeah. 

Digby: use the second take. 

Ged: From now on, she Louise. 

Brian Prime: Yeah. 

Ged: half. Get that 57th take. It gets a little bit tiresome. 

Brian Prime: Yeah. that sounds like way too much, for 

Ged: we need to, we need to use our time better. 

Brian Prime: Sure. 

Ged: I don't care. I still blame, dig.

Speaker 5: Well, all I've gotta do is get on a plane, come down, shout, go home. 

Brian Prime: well, I don't want to keep you all too long. so I will go ahead and hit you with the last question of the show, which is just, what is something that you have been enjoying recently? And your answer can be anything. A book, a movie, a TV show, your dog. Just what's something that you wake up and you are jazzed about?

Speaker 5: Cool. Need a minute? Well, it's not real town, I can tell you that. my son absolutely rocking it at university. 

Brian Prime: Nice. That's so good. What is he [00:33:00] going to school for? 

Speaker 5: Environmental engineering. North Carolina State. 

Brian Prime: Nice. hey 

Ged: dude, we love you, man. You're awesome. 

Brian Prime: Yeah, for sure. that's exciting. 

Speaker 5: and he's also doing his own, he's also making his own music.

He's following in his, uncle, uncle and dad's footsteps. He's writing his own music. yeah, doing really well. 

Digby: Is, is he Jed Denton's nephew? 

Brian Prime: Is he? Yeah. Is he j and nephew? Oh my God. 

Ged: I say yeah, but I keep getting told by my entire family that I'm adopted.

Brian Prime: That's good. how far along in his degree is he, like, is he close to graduation? 

Speaker 5: he finishes, at Christmas. 

Brian Prime: Nice. congratulations. 

Speaker 5: And my wife just told me he's been offered a job. 

Brian Prime: And look at you producing an offspring that is successful in their own right.

Good job. 

Speaker 5: Thank you. 

Brian Prime: what else you got guys? Andy, what are you enjoying, 

Ged: mate? [00:34:00] What are you into 

Speaker 2: Yeah. Yeah. Yeah. The, the quiet one in the back. man, a few words. yeah, so. Yes, I've had, trying to think. It's difficult, you know, this, the, the whole world is a bit of a upside down, you could say.

Anyway, just recently, well, I say a few, few, few, few. A month or two months ago, I bought Interstellar. It's, it's a film, film on, on Blu-ray. I watched it years ago, a really great sci-fi film. And, I've had a few, few evening, I've sort of on my own at the moment, so I sort of had a bit of quiet time and I managed to watch it last night and it's a fantastic movie.

I really enjoyed it. It's very, I mean, I dunno. Any, any of you know that film in Stella? 

Digby: Mm-hmm. 

Brian Prime: I'm a sci-fi person, and I, it's a thing that I normally would've set and watched by now already, but I just, for some reason I have not, 

Speaker 2: It's, it's, it's, it's so [00:35:00] amazing. I won't give anything away if you haven't seen it, but the, the, yeah.

When I first saw it, I was blown away and I thought, quacky and, and I've actually gone and bought it. You know, as I say, to keep, and it's taken me two months to actually sit down and watch it. 

Brian Prime: Yeah. 

Speaker 2: And, I really, really enjoyed it. It's great film. It recommend. Anyway. Yeah, it, it, it, good fun, good fun.

Brian Prime: I'll take this as the urging, I need to like actually sit and watch it because it, 

Speaker 2: It's sort of an intelligent sort of, thought provoking. It's not just like, you know, people, you know, nothing like aliens and shooting or anything like that.

And a little bit of time travel involved and black holes and Worm holes and all that sort of thing. 

Brian Prime: Okay. 

Speaker 2: Really good. 

Brian Prime: Yeah, I can get down on that for sure. Okay. This is the nudge I need to don't actually put my mind to doing it because that happens to me frequently of like, you know, a dozen people will be like, ah, this is really good.

You should watch it. And I'm like, this checks all the [00:36:00] boxes for me of like, I definitely should sit and do this, but, you know, life happens. 

Speaker 2: it was kind of to do with music that led me to this film because Zimmer did the music and I, I watched a concert video of him in Prague and he, he played the music from Interstellar.

I'd never seen the film before, not even heard it, but the music was so good and I thought, ah, and then I, I ended up seeing it on, on some streaming site. I thought, ah, I watch it because of the music. And then it made, the music made more sense to do with the, to do with a film. What's your favorite? Sorry, movie, by the way, Brian.

Brian Prime: I'm actually gonna say I would have to say Blade Runner 2049. 

Speaker 2: Oh no, the later one. 

Brian Prime: Yeah, the later one. Like, something about it, like, I love the original Blade Runner, but the, the sequel just sort of. dialed in on a lot of the themes and stuff that I just find myself sort of meditating [00:37:00] on for long periods of just like, you know, what does it mean to have these feelings?

What does it mean to love? What does it mean if the love you're getting is not real? What if it is official, what is, you know, and just sort of all those questions of existence that I think are going on kind of in the background, of that. Yeah. I'm just such a sucker for like a deeper meaning of like, ah, why are we bullshit?

Ged: Yeah, 

Brian Prime: yeah, 

Speaker 2: yeah. Excellent. 

Brian Prime: Yeah. but I'm gonna watch you inter seller now based on your recommendation. I'm, I, that's definitely on the, on the docket. what about you, Jed? 

Ged: there's a film that I've watched a few times, a dark song, and it's the film that should have been the Constantine movie. It's, this is close.

It sounds very familiar. It's so close to Hellblazer. Way more so than any of that cartoonish comic book shit. I'm not bitter. 

Brian Prime: Is this the movie where the [00:38:00] guy, he like, it's like a guy and a woman and they go out 

Ged: Yes. 

Brian Prime: house 

Ged: and he's like, oh, they perform a ritual. Yes. Because she has a excellent request and it's the most effective use of a house and two people.

You know how Breaking Bad was just two guys shouting at each other on a couch. 

Brian Prime: Yeah, 

Ged: It's got all of that, but it's more compelling for much deeper, darker, soul searching kind of reasons. and at the end, you know, I mean, I, I don't care. I, I, every time I see the ending, I week like a fucking newborn. 

Brian Prime: Yeah. 

Ged: It's absolutely unique, A unique experience that felt. 

Brian Prime: Okay. You're, I've seen it before, but only once. But your praise has sort of rekindled my spark in it. Like I feel like I need to revisit it.

'cause it's like one of those things that like, when someone else appreciates it, sort of like, in a way that's different from you, you're like, oh shit, hold on, let me rewatch it. Yeah. [00:39:00] Maybe 

Ged: you missed something 

Brian Prime: in the 

Ged: mood, or, you know, 

Brian Prime: yeah, exactly. It's a like a, what did I miss? Kind of a feeling.

Ged: Yeah. 

Brian Prime: Because I've met people who have watched, Ari as Bo is afraid, and they were like, ah, it was kind of boring. And I'm like, Ooh, no. what I said. I was like, my God, I had to immediately go to sleep when that movie was over because I just was so stressed out.

Like I just, so yeah, it's, I can definitely appreciate like when someone else is. Color and their perception of a film is so much stronger than my own. I'm like, okay, what did I miss? 

Ged: Yeah. It's the passion, isn't it? Yeah. the, the thing I've really enjoyed more than anything right now is there's a, a, a UK band that I've been around since the mid seventies called Cardiacs.

Brian Prime: Mm-hmm. 

Ged: And, they're the best band you've never heard of. And they just released a, an album, after I think, what is it?

Digs it, 17, 18 years in the making. the guy who, who Cardiacs, at the center of [00:40:00] Cardiacs was Tim Smith. And, he, he wrote 14 songs around 2006, 2007. And then he had, he had, suffered a massive stroke and heart attack, left him in a terrible con, terrible way where he couldn't perform or write or do anything.

Brian Prime: Mm-hmm. 

Ged: It was so heartbreaking. we lost him in, 2020. we lost him to COVID. 

Brian Prime: Yeah. 

Ged: and the rest of the band members, and there've been quite a few over the decades, came together. And they've taken all his old tapes that he recorded in 2007 and they've worked it into literally one of the best albums I've ever heard in my life.

And I've must have played it 200 times now. Yeah. And I'm still analyzing it. I'm still learning from it. 

Brian Prime: Yeah. 

Ged: Just listening to it, you can feel your intelligence grow. And your and your empathy grow. It's ridiculous. It's the most sublime album I've, I've heard in the last few decades. Absolutely.

[00:41:00] Perfection. The album is it's LSD by Cardiacs. And no matter what scene you're into or how regimented you are in your listening taste, you'll take something major away from that double album. 

Brian Prime: I'm gonna have the visit with it. although I, you mentioned it was the best band I've never heard of.

I thought Dur Prosector was the best band I've ever heard of, but I, I would 

Ged: never say that, mate. I want people think it, but, 

Brian Prime: what do you got going on, Jules? What's something you're enjoying right now? 

Digby: I think for me, I, the variety of what I'm doing at the moment, I kind of, Spend my time kind of between producing other bands and it really is a rewarding process where, you know, I'll get, tons of stems and. from those stems, we'll produce something that sounds half decent and that's a real kick. But [00:42:00] actually then I can switch off and then I'll go out with my dog and spend time with my dogs and, that's proper kind of come down musically.

I'm massively into SGA Ross at the moment. I, I'd spent some time in Iceland and, I kind of heard them when I was there, and I, I'd come back and then they'd come out with their album tack and I bought this album in the UK and I listened to it for months, and then I put it down and I never listened to them again.

middle of last year, I picked them up again and booked some tickets to see them in London. And I was completely and utterly blown away by their performance. it, they'd come on just as, not acoustic, but they'd come on, as a. a sort of stripped down version of the band, but with an orchestra around them.

And they were able to do some of the work that they had produced in the studio with [00:43:00] lots of different instrumentals and all, whatever it was, but they'd been able to produce it for the first time in their careers. And they kind of, premiered some songs that were 20, 30 years old, in these performances.

And, it was one of those gigs where, you know, you sat there and you look around, you look around the audience, and there's not a single person. Talking to another person. Everybody was focused on the band and this is a big venue I was in as well, it was Royal Albert Hall.

And it was an absolutely mind blowing experience and it's kind of led me back down that route of actually, what were they doing? Experimental kind of orchestral, electronic, you know, Bo guitar, distorted everything. And, you know, again, it's one of those things where you just sit there and think the musicianship in this, in this, in this production is, is just stunning.

But the actual feeling behind the songs, once you understand what they're about, and of course I've had to [00:44:00] learn a few Icelandic, expressions, but actually what they're doing is extremely deep. And, yeah, it just kind of resonated with the life that I've got at the moment.

And, yeah. So I'm really digging that. 

Ged: Hmm. 

Digby: my main, I suppose the thing that keeps me, the thing that gets me outta bed is knowing that there's something to do production wise. there's something that we know we can improve for somebody or make sound better, you know?

So that's really me. Yeah. 

Brian Prime: Nice. I always answer the question myself. A good answer. cigar Ross is a band that I, after being exposed to, I immediately was like, okay, I can definitely appreciate the musicianship that's going on with this. reminded me of a sort of Icelandic, gods speedy Black Emperor in some ways.

Digby: yeah. 

Brian Prime: I always answer the question myself. So the thing I've been enjoying recently, just to sort of go along with your answer of, just quality music. the new release from Holy Water, is just a solo project.

this guy Jake from Sacramento and. he just [00:45:00] is doing sort of a nine inch nails, Depeche Modi kind of a thing, all while being, you know, used to be in hardcore bands, used to be in like metal bands and punk bands and stuff, but now he's, you know, a 50 something, looks like a biker dad, but, you know, comes out and like, does a cure cover and like, just, you know, sings sad boy shit, which I like.

Nice. I'm a sad boy, shit, kind of a person myself. So, Really been enjoying that. and just, you know, hearing music that's authentic. I feel like we're just so inundated these days with like, music that's just kind of whatever, that to hear something that has a message and the message is, you know, trying to be conveyed and is being insisted upon, I think is, 

Is refreshing. Mm-hmm. To just have something that like really is trying to, here's the message. Like, fucking listen. Yeah. Awesome. well thank you all so much [00:46:00] for your time. This has been an absolute pleasure. Pleasure. I appreciate your time very much. I'm definitely looking forward to the next thing you release.

I've been enjoying my time with everything made so far. this has been such a pleasure, such a treat. Thank you all so much for your time. 

Ged: Yeah, cheers, 

Digby: man. Thank you. It's been fun. 

Brian Prime: Okay. 

Digby: Thank you. 

Brian Prime: Thank you so much. have a good rest of your evening or day and I'll let you know when this goes out, probably next month.

Ged: Beautiful. 

Digby: Okay. Fantastic. Thank you Brian. 

Brian Prime: All right. 

Speaker 5: Cheer one, celebrate in the next couple of weeks. Have a fantastic time. 

Brian Prime: Yeah, thank you all so much. Have a wonderful holiday and a terrific new year and take care and I will be in touch. Cheers. 

Speaker 2: Yep. 

Speaker 5: Yeah, 

Brian Prime: bye. 

Ged: Take care mate.