Chords for Martina Topley Bird Interview for Mk2

_ _ _ [G] _ _ [Bm] _ _ _
[A] _ _ _ _ [Bm] I think I just make hooky, hypnotic, [D] atmospheric _ pop music now.
I'm not sure what the [D] criteria is for a trip hop.
I think it's [Bm] usually like some kind of hip hop derived beats
[E] with the girls singing kind of thinly [B] and ethereally over the top
and I don't [Bm] think that I do that.
I [F#m] never really did it that much.
I [Bm] don't know, I mean Aftermath, the very first tricky track,
maybe could have [A] been part of that,
but we would never have called it trip hop.
[Bm] I doubt there wasn't some [D] mandate that was sent out in [F#m] the mid [Bm]-90s
where we were going, hey, let's make some music
and [A] let journalists call it trip hop.
I think everyone followed [B] their own thing
and it seems natural [D] enough that 10, [F#] 15 years later that would be [B] evolved.
I mean for me, just as a human being,
and the kind of family I grew up in,
it's the most natural, normal thing in the world
[D] _ to see these disparate [B] influences
and want to make some kind of hybrid out of it.
[D] It seems, you know, it really is quite simple.
[B] I don't know, there was always something, you know,
it's not something [N] you had to go looking for necessarily
to find something kind of magical and exotic and compelling
and [B] then it becomes [G] part of you once you love something,
don't you [B] think?
That's what happens. _
[D] _ _ [G] _ _ [Bm] _ The nice thing about when [D] you write something
and you're not kind [G] of 100% sure [Bm] necessarily of the direction of it
and you finish it and then it seems [D] sometimes
that the meaning of something is [G] revealed later, you know.
[Bm] So when we were doing The Running Order,
something to say was going to be maybe [D] the first song,
and Phoenix [G] is now the first song, that makes [B] sense.
But no, it was written for, it's more about renewing,
I mean it is in a [Gm] sense I can apply it to me,
putting out another album, it's another [Bm] kind of rebirth.
So it worked for me, but it [Gm] wasn't originally about me.
I'm still desperate, [B] you're carrying it _
[G] I will stay for this last [Bm] transformation
Layla, I worked with her [G] before Danger Mouse,
she was really [A] my first choice of producer for the [B] album,
but she's pretty avant-garde
[G] and she's going through quite a lot [Bm] personally in her family.
So [B] that wasn't going to happen.
So I [D] have two tracks that were going to be on my album [B] originally,
that are coming out on her album.
And what I like about her is her music,
the dynamic [Bm] of her music is always very emotional.
[A] That's [E] good.
OK, OK
As all the shit fades, you should leave me
I mean I have a neighbour who's a [C#] scriptwriter
and he's helping me to kind of put this Blue God story together,
so we'll see what [E] happens with that.
At the moment we're doing kind of graphic [B] novel ideas with it.
But [B] I like, yeah, I love film.
[E] And the artwork for the album, I don't know if you've seen it yet,
that's all quite inspired [C#] by South East Asian kind of film.
There's [A#] kind of a Wong Kar-Wai [E] influence,
but _ really I'm really into kind of South Korean film,
or kind of more like the murder kind of [Em] revenge, violent kind of South Korean films,
like Park [Bm] Chan-wook's film, Lady Vengeance.
I've changed, I've [E] changed
If only you'd listen
_ [C] I've changed
There [B] was a bit of a theme I was thinking about,
[E] or I thought it was time to think about what I consciously,
and even [E] discover subconsciously,
what I think, how I was influenced by my relationships with my dads,
because I had two, _
and how, [C] _ [F#] just because I really wanted to be aware of what I thought,
because I think it was influencing my other relationships.
[G] So I was trying to kind of [B] consolidate my feelings about them.
[F#] And at the same time, in other relationships,
I was very aware of this kind of birth and death,
[N]
and other people's relationships with their parents.
I think it was Leila lost both of her parents while I was working with her.
_ _ And [F#] my dad died when he was 29, and I turned [D] 29,
and was thinking, you know, it was all this kind [F] of stuff.
So it was slightly _ existentialist, but in quite a mellow, [C] reflective way,
not a [Em] panic, necessarily.
So I think there's kind of this, [F#] the feeling of the album is quite reflective,
[Em] it's hypnotic as [B] well, so it's kind of this, you know,
with mantra things that [F#] generate this kind [E] of, what is that, [E] space?
It's a little bit, you can leave it, excuse me, a bit [B] zen, but not really.
Parts of it.
[E] _ _ _ _ [Bm] _ [Em] _ _ _ [E] _ _ [Em] _ _
[Em] _ _ _ _ _ _ _ _