Superpop Heroes
Trax, May 2005
Once upon a time...
We woke up one morning in a hotel somewhere in the county of Essex, in England. We got to the reception, not knowing what lay ahead of us. Only a piece of folded paper that the maître d’hotel gave us and stated our true mission: to interview Gorillaz. A car was waiting outside to take us to Kong Studios. During the journey, the driver, who was one of 2D’s friends was informing us about the band in a dreaful cockney accent. After their success with their self titled album in 2001: terrific mixes of dub, pop and hip hop, followed by an American tour, they had offers from Hollywood and the band stayed together another six months, then broke up mysteriously... Apparently, Murdoc was in Mexico, 2D was into the London clubscene with an ex Boyzone member (who he became friends with), Noodle was in Japan in search of her lost past and Russel was wandering in the streets of Los Angeles, completely disorientated after the loss of Del’s soul, which was claimed by the Grim Reaper.
Noodle got back to Kong Studios, six months before everyone else.
A good start
Then, the driver talked about zombies haunting the studios, which was originally a huge mansion built by Sir Emerick Khong, a libertine whose spirit would lurk in the studio kitchens to claim a glass of water...
We didn’t know if he was joking or if his accent was confusing us, our train of thought was broken when we saw the building on top of the hill. The foul odour of corpses decomposing made us gag.
All around us was a deserted and dismal landscape: carcasses of cows, opened fridges, rusty medical material, punctured tyres and gangs of starving rats scavenging around... It looked like a rubbish tip you could find in Hell, next to a cemetery where we saw a murder of crows disappearing into the distance...The macabre atmosphere silenced us. When we finally reached the entrance, the driver without turning round put his foot down and waved a hand out of the window saying: ‘Don’t worry, you’re interviewing an alcoholic, an idiot, a lunatic and a kid who plays with dolls, what a good start!’
Gorillaz welcome us in their new recording studio, also called the “guitar room” on the ground floor of Kong Studios. In there are keyboards, guitars (obviously), a piano, a mixing desk and a monkey’s head trophy on the wall, facing a poster of James Caan in Rollerball... Murdoc is drinking through the interview. The dry and metallic sound of popping beer caps can be heard regularly.
Murdoc: Gimme a lighter, mate.
Umm...I don’t think you can smoke in here
Murdoc: Of course I can, look (he finds a lighter on an amplifier and lights a fag)
Well, where were you, and what have you been doing all this time?
Murdoc: Well, after touring in the US in March/April 2002, we came back to England to write some new songs, but honestly, we were dead beat. So we played for the last time together in Portugal, in June for a show on MTV. Then we tried doing this film, but the project fucked up.
2D: We had so many offers from ‘ollywood that it seemed stupid not to try it out
Murdoc: Well, we all moved in a villa in Los Angeles, but there were too many distractions if ya know what I mean...
Umm, yeah...
Russel: It was supposed ta be like a modern animated film. Sumthin’ non linear like Charlie Kaufman’s films (scriptwriter of being John Malkovitch and Eternal Sunshine Of The Spotless Mind). But no one was concentratin’. We were walking backwards, so we gave up an’ took sum time off.
Noodle: On the road to new misfortunes.
Murdoc: I tried my luck in Mexico, but I umm.... How’d ya say that? Had a few financial...umm....problems...
Russel: He got caught slippin’ wooden cheques in a Mexican brothel, and got slung into prison after. I was workin’ on a solo album, but I couldn’t do it. I was in a weird period. I’d just lost one of my friends, Del, who was livin’ inside me...
Murdoc: Anyway! After being in the slammer for 18 months in Tijuana, I was bloody fed up. I’m telling ya mate you won’t be seeing me in South America again. The grub there was rotten. I don’t think I’ll ever be able to eat another burrito in my bloody damn life. I then came back to Blighty, where I found Noodle who’d just come back from Japan, she was working on a new Gorillaz album.
Noodle: I spent a year over there to find out about my past, which was a great mystery for me. I then came back to England where Kong Studios is, that’s where we live and record our songs. But the building was totally abandoned while we were away and had fallen into chaos. It was like the night of the living dead, zombies had taken over the place and there were corpses in the hallway…and a foul smell.
But how did you find the studios in the first place?
Murdoc: It was in 1999, we were looking for a cheap place and we came across this beauty through internet. We soon found out about the truth of this place. The druids occupied the site because it was a place were bad energies focused. It was built above a cemetery, where many victims of the Great Plague of 1665 were buried. The previous tenants were bikers, The Nomads, but one night they burnt the place down (he laughs). Which of course, no one told us about. Gimme a beer mate that would be wicked. (I give him his beer which he downs in a couple of gulps)
Ok. How long did it take you to record the album?
Russel: Noodle wrote most of the album, it’s the fruit of her inspiration.
Noodle: I started writing the songs in March 2004, then worked on my four track desk and mixed the textures to enhance the melodies. But at this stage, the compositions lacked the spark which would turn a good song into a magical one. I then heard about Dangermouse. I was very impressed with his Grey Album. That way of combining The Beatles with Jay-Z to make something totally new out of it was amazing. He has this innocent creativity that only children possess combined with artistic courage and the hatred of conventions that pushed him to work with us.
And then?
Noodle: Well, it wasn’t easy to convince him.
Russel: He was too busy livin’ on his island with the cash made off his Grey Album.
Noodle: The album took another turn when Dangermouse eventually joined us. That was in June 2004. We immediately started to work on the preproduction.
Murdoc: Or played table tennis while listening to old school electro records.
Noodle: The sessions became more and more intense. As our work was in progress things were fitting together. Dangermouse is a very instinctive producer. It’s as if he manages to establish the connection between the songs. Thanks to him, the album was thought as one great connection. We then thought about the different collaborations that could be done.
Russel: Noodle and Dangermouse then called us. I was in charge of the percussions, 2D for the singin’ and Murdoc had to work on his bass lines. They were keeping the album very secret. We actually didn’t get to listen to it that much.
Noodle:‘We then moved to London for the mixing then to New York for the final mastering.
There seems to be more people featuring on Demon Days than on the self-titled album...
Russel: Ya can say that again! They came as the album was progressin’, there’s Bootie Brown from The Pharcyde, a pal of Dangermouse.
Noodle: We talked with him avoiding details. We knew his style would do the rest. His way of rapping is unique, a real fighter but remains a pacifist. Dirty Harry, the song he rapped on, speaks about the problem of violence. Our civilisation takes the innocence away from the children, then feeding them with violence.
Russel: Yeah, kids are growing up in this permanent Warfield where intolerance constantly exists. It’s gettin’ worse as time flows sadly.
“Feel Good Inc” the forthcoming single, explains more or less this lack of communication...
Noodle: Exactly. The windmill you see on the back cover is a mark of optimism, the symbol of good times when things were much simpler and when war wasn’t the only language between people.
Russel: De La Soul is rappin’ on this track. One day they came in the studios and we just recorded it. They’re like a bunch of kids in a photo booth messin’ around.
The album is very hip hop marked. Anyone else got hold of the “mike”?
Russel: Yeah, MF Doom from New York who recently did a track with Madlib.
There’s a Londoner in there too...
Russel: Yeah man, that’s Roots Manuva ya’re talkin’ about. We’ve been thinkin’ about doing sumthin’ with him for a long time. Everyone says he represents hip hop in the UK. That’s wrong man, he just represents hip hop. He’s becomin’ an influencing artist in the world of music. We were really honored when he decided to record on the album.
Noodle: And Martina Topley Bird also features in the song “All Alone”
There aren’t only rappers on the album...
Murdoc: Yeah! There’s me mate Shaun Ryder.
Russel: He’s the singer from Happy Mondays he influenced so many people…And not only in the musical way, also with his humour and his way of clothing.
Murdoc: He’s fucking wicked.
Russel: Murdoc’s inmates came around for some guitar sessions too... Some guys who helped him break outta jail, he owes them one.
You also called on a famous actor...
Russel: That’s right man. And that’s Mr Dennis Hopper. Noodle met him backstage durin’ a ceremony. He knew about our work and liked our tracks. We asked him to feature on the album and he accepted. His speech on the track “Fire Coming Out Of The Monkey’s Head” is a symbol of creative liberty, and having no consideration in respectin’ “rules” he was perfect workin’ with us.
Murdoc: He’s been hanging around all his life during the maxim of William Blake who said the road of excess leads to the kingdom of wisdom.
I totally agree with that. The Wiseman is also a fool. But coming back to the album, what’s so different from the first one?
Russel: The major difference is that da first album was mostly written by Murdoc, but this time Noodle decided to take on the second one.
Murdoc: That’s only because I was rotting in the slammer mate.
Russel: In the self-titled, we were studyin’ the foundations of music. We wanted to do something totally new. We had to confirm the difference for Demon Days. We had so much success that we couldn’t just repeat the same thing. We want to show that Gorillaz aren’t just a money makin’ factory. Any idiot can think of a good tune.
Murdoc: 2D can confirm that.
Russel: In a matter of style, Demon Days is richer more dense and darker. There are many depraved electro sounds in there, mainly aimed on the bass line once more, but less in a bud way, more in a hip hop way.
2D: It’s as if someone took the first album and coloured it in.
Noodle: The spirit of the album reflects its time and the conditions it was recorded in.
I personally think it’s a very advanced album. When I listen to it, I have the feeling you’re creating pop music once again.
Noodle: I think that many bands are just looking to get into a musical tradition and forgetting about novelty. On the other hand, there are some crazy artists who want to hit the listeners with new explosive tunes, as if they were superior to them. I think Gorillaz are in the middle of all of this. Our tracks are out of norms, yet we don’t want to disappoint the listener. We encourage people to get into our world.
Russel: I think we just picked up all our musical influences in a way that seduces people: hip hop, rock, funk, lovin’ bass playin’ and chillin’ ballads…when I was a kid, I used to listen to Public Enemy. They mix information, intelligence and pleasure. If people like what we do, it’s just because it’s good. It’s as simple as that.
2D: I grew up wif Wire, Magazine and The Clash. Hectic rythms, great songs and sharp tunes.
Murdoc: You’ve never grown up dullard. You look like a five year old chick with blue hair.
Are you touring for this album?
Russel: We’d love to, but in a visual way we need to adapt the image to the album. There’s no way we’re doin’ the same thing than Phase 1 live gigs.
Did you think your first album would be as successful as you thought?
Murdoc: Of course! If we didn’t sell as well, we wouldn’t be the huge stars you have in front of you, I would have had to give back the money I borrowed, and our manager would have kicked us out, you get it? Anyway, recording an album without being sure it will sell is like betting on a horse that you’re sure won’t win. We wouldn’t have done it if we knew it wouldn’t work.
Russel: Umm... Murdoc, some people make music for pleasure ya know, not just for sellin’ records.
Murdoc: Really? That’s bloody stupid.
Russel: (turning round to me) Don’t worry about him, he’s kinda maladjusted.
And how do you explain this success?
Murdoc: There are many reasons for this success. My master bass playing skills, the fantastic songwriting and the sharp image of us we give away. That’s what made Gorillaz. But if ya want one plain and simple reason… well I made a pact with Satan, Beelzebub himself. Faust is my middle name as a matter of fact.
When was the moment you felt you were “popstars”?
Murdoc: Let me tell ya something mate. I went to this hyped up, sassy pants type evening, which was in Jack Nicholson’s place, and I had this hot dog in my hand with a great big sausage hanging out of it. I covered it with ketchup and... walked over to this bird, who was Alanis Morrissette. I handed her the plate, and she was trying to get hold of the sausage opening her mouth delicately, and of course she couldn’t. I was stopping her from getting hold of it and saying dirty things like: ”Oh yeah baby! Get hold of the hot dog you’re gonna love it!” I’ve done that trick about 100 times and that’s when I usually get kicked out. But that time, everyone just laughed their heads off and clapped. Even Alanis gave me a sexy glamorous girl smile. Someone had already done the trick on her. At that moment, I knew I was someone.
2D: Uh... did she eat the hot dog then?
Murdoc: (winks at me and coughs to avoid laughing) Actually…yes. What’s wicked, when you’re a star, is that even if you make a big cock up, people think that it’s their fault, that their sense of humour is limited (All of a sudden Murdoc’s cell phone rings, ‘Smoke On The Water’ from Deep Purple) Yeah? Ah…it’s you…(coming out of the phone, a Mexican voice can be heard, meaning Murdoc has to pay his dues) Listen, Pedro you lil shit. I told ya I’d pay back for that bloody taco as soon as I’m over with the interview. See ya mate!
Who was it?
Murdoc: No one, a wrong number. Right, any other questions? No? Brilliant then! Pleased to have met ya mate. I’m going for booze at the pub. Anyone in with me? The last one there’s a lil wanker! (He gets up and slams the door).
We woke up one morning in a hotel somewhere in the county of Essex, in England. We got to the reception, not knowing what lay ahead of us. Only a piece of folded paper that the maître d’hotel gave us and stated our true mission: to interview Gorillaz. A car was waiting outside to take us to Kong Studios. During the journey, the driver, who was one of 2D’s friends was informing us about the band in a dreaful cockney accent. After their success with their self titled album in 2001: terrific mixes of dub, pop and hip hop, followed by an American tour, they had offers from Hollywood and the band stayed together another six months, then broke up mysteriously... Apparently, Murdoc was in Mexico, 2D was into the London clubscene with an ex Boyzone member (who he became friends with), Noodle was in Japan in search of her lost past and Russel was wandering in the streets of Los Angeles, completely disorientated after the loss of Del’s soul, which was claimed by the Grim Reaper.
Noodle got back to Kong Studios, six months before everyone else.
A good start
Then, the driver talked about zombies haunting the studios, which was originally a huge mansion built by Sir Emerick Khong, a libertine whose spirit would lurk in the studio kitchens to claim a glass of water...
We didn’t know if he was joking or if his accent was confusing us, our train of thought was broken when we saw the building on top of the hill. The foul odour of corpses decomposing made us gag.
All around us was a deserted and dismal landscape: carcasses of cows, opened fridges, rusty medical material, punctured tyres and gangs of starving rats scavenging around... It looked like a rubbish tip you could find in Hell, next to a cemetery where we saw a murder of crows disappearing into the distance...The macabre atmosphere silenced us. When we finally reached the entrance, the driver without turning round put his foot down and waved a hand out of the window saying: ‘Don’t worry, you’re interviewing an alcoholic, an idiot, a lunatic and a kid who plays with dolls, what a good start!’
Gorillaz welcome us in their new recording studio, also called the “guitar room” on the ground floor of Kong Studios. In there are keyboards, guitars (obviously), a piano, a mixing desk and a monkey’s head trophy on the wall, facing a poster of James Caan in Rollerball... Murdoc is drinking through the interview. The dry and metallic sound of popping beer caps can be heard regularly.
Murdoc: Gimme a lighter, mate.
Umm...I don’t think you can smoke in here
Murdoc: Of course I can, look (he finds a lighter on an amplifier and lights a fag)
Well, where were you, and what have you been doing all this time?
Murdoc: Well, after touring in the US in March/April 2002, we came back to England to write some new songs, but honestly, we were dead beat. So we played for the last time together in Portugal, in June for a show on MTV. Then we tried doing this film, but the project fucked up.
2D: We had so many offers from ‘ollywood that it seemed stupid not to try it out
Murdoc: Well, we all moved in a villa in Los Angeles, but there were too many distractions if ya know what I mean...
Umm, yeah...
Russel: It was supposed ta be like a modern animated film. Sumthin’ non linear like Charlie Kaufman’s films (scriptwriter of being John Malkovitch and Eternal Sunshine Of The Spotless Mind). But no one was concentratin’. We were walking backwards, so we gave up an’ took sum time off.
Noodle: On the road to new misfortunes.
Murdoc: I tried my luck in Mexico, but I umm.... How’d ya say that? Had a few financial...umm....problems...
Russel: He got caught slippin’ wooden cheques in a Mexican brothel, and got slung into prison after. I was workin’ on a solo album, but I couldn’t do it. I was in a weird period. I’d just lost one of my friends, Del, who was livin’ inside me...
Murdoc: Anyway! After being in the slammer for 18 months in Tijuana, I was bloody fed up. I’m telling ya mate you won’t be seeing me in South America again. The grub there was rotten. I don’t think I’ll ever be able to eat another burrito in my bloody damn life. I then came back to Blighty, where I found Noodle who’d just come back from Japan, she was working on a new Gorillaz album.
Noodle: I spent a year over there to find out about my past, which was a great mystery for me. I then came back to England where Kong Studios is, that’s where we live and record our songs. But the building was totally abandoned while we were away and had fallen into chaos. It was like the night of the living dead, zombies had taken over the place and there were corpses in the hallway…and a foul smell.
But how did you find the studios in the first place?
Murdoc: It was in 1999, we were looking for a cheap place and we came across this beauty through internet. We soon found out about the truth of this place. The druids occupied the site because it was a place were bad energies focused. It was built above a cemetery, where many victims of the Great Plague of 1665 were buried. The previous tenants were bikers, The Nomads, but one night they burnt the place down (he laughs). Which of course, no one told us about. Gimme a beer mate that would be wicked. (I give him his beer which he downs in a couple of gulps)
Ok. How long did it take you to record the album?
Russel: Noodle wrote most of the album, it’s the fruit of her inspiration.
Noodle: I started writing the songs in March 2004, then worked on my four track desk and mixed the textures to enhance the melodies. But at this stage, the compositions lacked the spark which would turn a good song into a magical one. I then heard about Dangermouse. I was very impressed with his Grey Album. That way of combining The Beatles with Jay-Z to make something totally new out of it was amazing. He has this innocent creativity that only children possess combined with artistic courage and the hatred of conventions that pushed him to work with us.
And then?
Noodle: Well, it wasn’t easy to convince him.
Russel: He was too busy livin’ on his island with the cash made off his Grey Album.
Noodle: The album took another turn when Dangermouse eventually joined us. That was in June 2004. We immediately started to work on the preproduction.
Murdoc: Or played table tennis while listening to old school electro records.
Noodle: The sessions became more and more intense. As our work was in progress things were fitting together. Dangermouse is a very instinctive producer. It’s as if he manages to establish the connection between the songs. Thanks to him, the album was thought as one great connection. We then thought about the different collaborations that could be done.
Russel: Noodle and Dangermouse then called us. I was in charge of the percussions, 2D for the singin’ and Murdoc had to work on his bass lines. They were keeping the album very secret. We actually didn’t get to listen to it that much.
Noodle:‘We then moved to London for the mixing then to New York for the final mastering.
There seems to be more people featuring on Demon Days than on the self-titled album...
Russel: Ya can say that again! They came as the album was progressin’, there’s Bootie Brown from The Pharcyde, a pal of Dangermouse.
Noodle: We talked with him avoiding details. We knew his style would do the rest. His way of rapping is unique, a real fighter but remains a pacifist. Dirty Harry, the song he rapped on, speaks about the problem of violence. Our civilisation takes the innocence away from the children, then feeding them with violence.
Russel: Yeah, kids are growing up in this permanent Warfield where intolerance constantly exists. It’s gettin’ worse as time flows sadly.
“Feel Good Inc” the forthcoming single, explains more or less this lack of communication...
Noodle: Exactly. The windmill you see on the back cover is a mark of optimism, the symbol of good times when things were much simpler and when war wasn’t the only language between people.
Russel: De La Soul is rappin’ on this track. One day they came in the studios and we just recorded it. They’re like a bunch of kids in a photo booth messin’ around.
The album is very hip hop marked. Anyone else got hold of the “mike”?
Russel: Yeah, MF Doom from New York who recently did a track with Madlib.
There’s a Londoner in there too...
Russel: Yeah man, that’s Roots Manuva ya’re talkin’ about. We’ve been thinkin’ about doing sumthin’ with him for a long time. Everyone says he represents hip hop in the UK. That’s wrong man, he just represents hip hop. He’s becomin’ an influencing artist in the world of music. We were really honored when he decided to record on the album.
Noodle: And Martina Topley Bird also features in the song “All Alone”
There aren’t only rappers on the album...
Murdoc: Yeah! There’s me mate Shaun Ryder.
Russel: He’s the singer from Happy Mondays he influenced so many people…And not only in the musical way, also with his humour and his way of clothing.
Murdoc: He’s fucking wicked.
Russel: Murdoc’s inmates came around for some guitar sessions too... Some guys who helped him break outta jail, he owes them one.
You also called on a famous actor...
Russel: That’s right man. And that’s Mr Dennis Hopper. Noodle met him backstage durin’ a ceremony. He knew about our work and liked our tracks. We asked him to feature on the album and he accepted. His speech on the track “Fire Coming Out Of The Monkey’s Head” is a symbol of creative liberty, and having no consideration in respectin’ “rules” he was perfect workin’ with us.
Murdoc: He’s been hanging around all his life during the maxim of William Blake who said the road of excess leads to the kingdom of wisdom.
I totally agree with that. The Wiseman is also a fool. But coming back to the album, what’s so different from the first one?
Russel: The major difference is that da first album was mostly written by Murdoc, but this time Noodle decided to take on the second one.
Murdoc: That’s only because I was rotting in the slammer mate.
Russel: In the self-titled, we were studyin’ the foundations of music. We wanted to do something totally new. We had to confirm the difference for Demon Days. We had so much success that we couldn’t just repeat the same thing. We want to show that Gorillaz aren’t just a money makin’ factory. Any idiot can think of a good tune.
Murdoc: 2D can confirm that.
Russel: In a matter of style, Demon Days is richer more dense and darker. There are many depraved electro sounds in there, mainly aimed on the bass line once more, but less in a bud way, more in a hip hop way.
2D: It’s as if someone took the first album and coloured it in.
Noodle: The spirit of the album reflects its time and the conditions it was recorded in.
I personally think it’s a very advanced album. When I listen to it, I have the feeling you’re creating pop music once again.
Noodle: I think that many bands are just looking to get into a musical tradition and forgetting about novelty. On the other hand, there are some crazy artists who want to hit the listeners with new explosive tunes, as if they were superior to them. I think Gorillaz are in the middle of all of this. Our tracks are out of norms, yet we don’t want to disappoint the listener. We encourage people to get into our world.
Russel: I think we just picked up all our musical influences in a way that seduces people: hip hop, rock, funk, lovin’ bass playin’ and chillin’ ballads…when I was a kid, I used to listen to Public Enemy. They mix information, intelligence and pleasure. If people like what we do, it’s just because it’s good. It’s as simple as that.
2D: I grew up wif Wire, Magazine and The Clash. Hectic rythms, great songs and sharp tunes.
Murdoc: You’ve never grown up dullard. You look like a five year old chick with blue hair.
Are you touring for this album?
Russel: We’d love to, but in a visual way we need to adapt the image to the album. There’s no way we’re doin’ the same thing than Phase 1 live gigs.
Did you think your first album would be as successful as you thought?
Murdoc: Of course! If we didn’t sell as well, we wouldn’t be the huge stars you have in front of you, I would have had to give back the money I borrowed, and our manager would have kicked us out, you get it? Anyway, recording an album without being sure it will sell is like betting on a horse that you’re sure won’t win. We wouldn’t have done it if we knew it wouldn’t work.
Russel: Umm... Murdoc, some people make music for pleasure ya know, not just for sellin’ records.
Murdoc: Really? That’s bloody stupid.
Russel: (turning round to me) Don’t worry about him, he’s kinda maladjusted.
And how do you explain this success?
Murdoc: There are many reasons for this success. My master bass playing skills, the fantastic songwriting and the sharp image of us we give away. That’s what made Gorillaz. But if ya want one plain and simple reason… well I made a pact with Satan, Beelzebub himself. Faust is my middle name as a matter of fact.
When was the moment you felt you were “popstars”?
Murdoc: Let me tell ya something mate. I went to this hyped up, sassy pants type evening, which was in Jack Nicholson’s place, and I had this hot dog in my hand with a great big sausage hanging out of it. I covered it with ketchup and... walked over to this bird, who was Alanis Morrissette. I handed her the plate, and she was trying to get hold of the sausage opening her mouth delicately, and of course she couldn’t. I was stopping her from getting hold of it and saying dirty things like: ”Oh yeah baby! Get hold of the hot dog you’re gonna love it!” I’ve done that trick about 100 times and that’s when I usually get kicked out. But that time, everyone just laughed their heads off and clapped. Even Alanis gave me a sexy glamorous girl smile. Someone had already done the trick on her. At that moment, I knew I was someone.
2D: Uh... did she eat the hot dog then?
Murdoc: (winks at me and coughs to avoid laughing) Actually…yes. What’s wicked, when you’re a star, is that even if you make a big cock up, people think that it’s their fault, that their sense of humour is limited (All of a sudden Murdoc’s cell phone rings, ‘Smoke On The Water’ from Deep Purple) Yeah? Ah…it’s you…(coming out of the phone, a Mexican voice can be heard, meaning Murdoc has to pay his dues) Listen, Pedro you lil shit. I told ya I’d pay back for that bloody taco as soon as I’m over with the interview. See ya mate!
Who was it?
Murdoc: No one, a wrong number. Right, any other questions? No? Brilliant then! Pleased to have met ya mate. I’m going for booze at the pub. Anyone in with me? The last one there’s a lil wanker! (He gets up and slams the door).