What’s the meaning behind the album title, Corporation P.O.P?
Han: “We had the title before we had the fucking album. The first time I ever heard the term ‘corporation pop’ was when my granddad used it for water out of the tap. I’d go, ‘Can I have a fizzy drink?’ And he’d say, ‘No. Go and have some corporation pop.’ When we were writing I thought it’d be a funny little turn of events if I called the record that, being signed to a major label. But then also, as the album narrative unravelled, we thought we'd call it P.O.P, because even though this is a political album, we should be talking about the pain modernity has caused us all to neglect. It stands for ‘Payment Of Pain’ – it's the commodification of pain. It’s a bit of a social commentary this record, a bit of an opinion piece.”
Jim: “We originally wanted it to be an entity in itself. But when we were trying to pull all the lyrical ideas into this weird place, it didn't quite work. I guess the corporation, Payment Of Pain, is the New World Order – the world leaders that are earning from our suffering.”
You’ve said it’s almost political in intent. Where’s that sprung from?
Han: “I've always wanted to write a politics record. I have a degree in politics, so it's always been something that I've wanted to incorporate throughout Hot Milk’s past. We've threaded bits and bobs in – we had a song called California's Burning, around the time of the BLM protests. I think there's no better time than right now to do something this. I don't think anyone wants to hear about my break-ups or my emotions about being sad right now. I think I'm quite angry, so there was no choice in the subject matter. It just flowed out of me very, very easily.”
You wrote a lot of it in LA, and you’ve said you basically went out with nothing prepared. How did that go?
Jim: “Circumstance didn't really allow us to write. Writing on tour is not a thing – it’s impossible! We bought a whiteboard and we wrote Corporation P.O.P at the top, and then basically wrote a step-by-step list of how we wanted the album to feel. And that's all we had. We knew we wanted to go in and do a whole album in one go, one cohesive piece, rather than going away and doing three months here, and then a single here, and then this, that and the other. We got into the studio and it was fucking stressful trying to track at the same time as writing. I enjoyed it, but it has also taken years off me.”
Han: “I think it was probably my least favourite record to write, but now we’re like, ‘Okay, that was worth the pain.’ I didn't enjoy the process so much on this one, but I think it's just being in LA. Now I'm done with being in LA, because we wrote a lot of it there, and I was feeling like, ‘I fucking hate it here. I can't wait to go home.’ We wrote 14 songs for the record, and there's 14 on it. We didn't pick and choose any. It just is what came out in the first instance, and we've only moved one song in terms of the order we wrote them on the board.”
What was your daily work routine out in LA?
Jim: “We basically had a 20-minute drive to the studio, where we would listen to the songs and talk about what changes we wanted to do, where we wanted to take them, lyrical ideas, whatever. And then we'd go do a full day in the studio, probably go get a quick bite to eat, or sometimes we were in an Airbnb, so we cooked. And then we’d load it up again at the Airbnb, and work on more stuff at home. We did that for three-and-a-half weeks: bam, bam, bam, bam. We got back and had to immediately go on tour. Oh, my God. It was burnout.”
Han: “We did go partying a little bit, but we tried not to. It's really difficult when you've got mates and they know you're there going, ‘Are you coming out?’ and you're trying to be strict. I've only ever used LA as a fucking sesh place, I’ve never used it as a creative spot, really. So it was really hard when all your fucking sesh mates are messaging. ‘No, I've actually got to do some work, bro!’”