WEBVTT
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Hi there, and welcome back to The Infected. We
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hope you're doing well. For the next hour or
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so, please sit back, relax, and enjoy some great
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freaking music with us. After three seasons,
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Johan and I still have plenty of great tracks
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we want to share and discuss with you all. from
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well -known bands to little recent obscurities
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and thanks for dropping some suggestions by the
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way we will play and discuss some over the next
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episodes and today we have two so stay tuned
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even though springs in the air let's start off
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with a cold one from lycia an opening right oh
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man great track it's just it takes you away on
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feathered wings it's uh yeah beautiful well said
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man so i believe we covered lycia earlier right
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is it the first season when we're still doing
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it in dutch with john billiam or the second i
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can't remember but um well we definitely featured
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them before but i'm really happy you brought
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them back for this track yeah likewise man they
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popped up on my radar actually i believe a week
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or Two or three ago, I was looking on Spotify
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and I saw I missed some recent EPs and reissues
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and new stuff by them. It keeps giving me goosebumps.
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They've been very consistent in the vibe and
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the atmosphere that they've been putting out.
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I used to own this on vinyl, by the way. It was
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milky white with shitty brown in the middle,
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really. Look it up on Discogs. It really looks
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kind of messy. You make it sound so attractive.
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Yeah. This is from the album Cold. They released
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it in 1996. They did most of their releases on
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cassette tapes. And as of, I believe, early or
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mid -90s, also on CD. But there are only a few
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final releases. And they are from Phoenix, Arizona.
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Kind of warm. Even though this sounds cold, the
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album is cold. cold but they they moved to ohio
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mid 90s and they had two years there mike van
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port fleet and tara van flower winter inspired
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track names yeah they began recording on four
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track tapes only moved to a track i believe in
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the second half of the 90s anyway sounds quite
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basic but some of the best sounding albums by
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big bands were recorded on any track, it's more
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than enough. And they put it out on a CD. But
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luckily for us now, it's all, almost all of their
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catalog is available on Spotify these days. Yeah,
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that's great stuff. And, you know, many bands
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get dazzled by all of the options that they have
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in a really big studio with 64 tracks and they
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just go overboard. I mean, if you're a real musician
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and you put feeling into it, you know, four tracks
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is all you need. Yeah, true. Also, what I like
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about this track is I was amazed that it's almost,
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it clocks in at five and a half minutes. And
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I would have sworn it's like three. Oh, really?
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Always when this song ends, I'm like, already?
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Yeah. I was drifting away. It sounded like...
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longer to me to be quite honest but most of their
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tracks are quite long but okay get it I felt
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like I was way off in the stratosphere and then
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all of a sudden it stops I'm like hey don't leave
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me out here don't leave me hanging by the way
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this whole album flows every track flows in into
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the next one it's kind of a one big ambient album
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but I get what you're saying yeah yeah so we
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got some We got a really cool new feature, which
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you may or may not have noticed, depending on
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whether you're a Spotify fan. But you can give
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us shoutouts on Spotify now. And we got one from
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Tee White from Las Vegas. She recently drove
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all the way through the desert to Los Angeles
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to go see Depeche Mode live. Man, we're jealous.
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I hope you saw a great show, Tee. Depeche Mode
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are fantastic live. I'm sure they rocked in LA.
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Sounds good. They just released a new album,
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right? Yeah, someone else. also asked us to play
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a track from the new depeche mode album something
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with a great username on spotify 538ul84 nice
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and personal maybe yeah maybe change your username
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to something more interesting guy or girl i don't
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know but uh you know frankly uh we listened but
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we're skipping the new depeche mode album In
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my opinion, the album's sound is excellent, but
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the songs are just a bit subdued. And I'm missing
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a particular urgency on this latest Depeche Mode
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album. It sounded more like fillers than actual
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killers. No, it's all a bit down -tempo, and
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it's all a bit, I don't know. We do remain enormous
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fans of their earlier work, and I'm sure they'll
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return to form eventually. So another shout -out
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from us to Jessica, our big fan from Little Rock,
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Arkansas. It looked like that Matrix -themed
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party in Club Nevermore was pretty wild. Stay
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strange. Do you want to reach out to us too?
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Follow us on Insta at TheInfectedNL or on Spotify.
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There you can interact directly with us. On your
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phone, look up our latest episode on Spotify.
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When you tap through to see the show details,
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you will find the Q &A section with the option
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to leave feedback. Of course, you can also use
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our site, www .theinfected .nl, where you'll
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find playlists, show notes, videos, and ways
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to contact us. We love hearing from you, our
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children of the night. Yes, we do. So on to some
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more user content. A question from Joret, one
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of our faithful listeners. His question is, I
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read in Bono's book Surrender that you two were
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considered post -punk at the time in the late
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70s. Do you guys agree? And if so, what song
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would be the best proof of that? That's a good
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one. It's an interesting question. Yeah, I'm
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not a big fan of you two personally because I
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tend to... know their later songs and their more
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poppy ones, but listened back to their earlier
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work and I understand this question. What about
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you? A bit. Really, if you put it simply, post
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-punk in music is the punk attitude recombined
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and blended with other music genres like pop,
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reggae, electronica, folk, etc. So New Wave then
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is a sub -genre of post -punk and New Wave combines
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punk elements with electronic dance, focusing
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less on guitars and more on synthesizers. So
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you could say... Back to the question. Was U2
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considered post -punk in the late 70s? Well,
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in the late 1970s U2 was not seen as anything
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at all. They only first appeared on the radar
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in the 80s. But yes, Boy, October and War I think
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are post -punk albums. Just listen to this track
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from their debut album Boy. It was produced by
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Steve Lillywhite. Pay some special attention
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to the sound of the drums of drummer Larry Mullen
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Jr. by the way. Steve Lillywhite had him playing
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in a stairwell to get the right echo on the drum
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sound. Oh, cool. This is it, the electric coat.
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I like it, man. As I said, I'm not really a U2
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fan, but I don't know much of their earlier work.
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I just know their poppy stuff. I like the energy,
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man. Yeah, this has the urgency of the up -and
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-coming young guys storming the charts and, you
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know, having big dreams. I've known and loved
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this song for many years, but I never realized
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what it's about until I did some research on
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the track. Your lyrics, man. I know. Yeah, yeah.
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Now, well, actually, I always thought, why make
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a song about an electric company, right? Good
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question. What makes that interesting? So now
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I took some time out to find out. And basically,
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it's about a Dublin friend of the band who attempted
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suicide and ended up in St. Brendan's Psychiatric
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Hospital in Dublin, where his experiences inspired
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this song. What happened to him at the psychiatric
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hospital is that he got electroconvulsive shock
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therapy. a horrific procedure that was quite
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common in Dublin in the 1970s. So, the Electric
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Co. was neighborhood slang for the procedure
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in which electric currents are passed through
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the brain, intentionally triggering a brief seizure.
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The goal is to cause changes in brain chemistry
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that can reverse symptoms of certain mental health
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conditions. In early treatments, though, high
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doses of electricity were administered without
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anesthesia, potentially leading to memory loss,
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fractured bones and other serious side effects.
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The Electric Co. Some story, eh? Yeah, definitely.
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So it had to be quite severe in order for people
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to take these risks. What the hell? Yeah, they
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still do it, but these days, A, they provide
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anesthesia, and B, their currents are much, much
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more, let's say, limited and low in power. So
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they started out with raw power and no anesthesia
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on a level that really, really could mess you
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up. Damn. Did you see that documentary about
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Jeffrey Dahmer, by the way, on Netflix? I heard
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about it. It's supposed to be good, right? Yeah,
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it's good and interesting. I also saw some stuff
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about him on YouTube many, many years ago, but
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it reminds me of him because he was also drilling
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holes in people's heads in order to lobotomize
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them or turn them into zombies. Trepanation,
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that's meant to make you directly accessible
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for higher powers. That's probably the word.
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Direct channel into the brain, yeah. That's another
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theory I'm never going to try out. No, me neither.
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Shall we do something more recent right now?
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What do you think? Let's move on. Yeah, oh, good
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idea. What do you got? There's a band called
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Just Mustard, and they have released, I believe,
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five, four things on Spotify. Also, this is one
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I came across by accident. Let's play this track
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first. It's called Death. And then let's talk
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a little bit about it afterwards. Let's enjoy.
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Must mustard. This makes you realize how happy
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you should be that you're not deaf. Absolutely.
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Yeah, you're right. What I really liked is that
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small room reverb. They recorded it in some way.
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Quite intimate, you know what I mean? Yeah, I
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do. It has a totally different feeling than most
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shit I listen to. It's kind of dense. I don't
00:24:28.039 --> 00:24:31.579
know. Yeah, it's sort of lo -fi, but in an interesting
00:24:31.579 --> 00:24:35.109
way. So this is a band from Ireland, from the
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town of Dundalk. Have you heard of that, Dundalk?
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I don't think so. Nope, nope. Apparently that
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town is filled to the brim with musicians, I
00:24:44.730 --> 00:24:48.789
found out. The thing is, with these newer bands
00:24:48.789 --> 00:24:51.470
or younger bands, I like to play them because
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I think it's really freaking good, and you do
00:24:54.069 --> 00:24:56.650
too. There's not that much information to talk
00:24:56.650 --> 00:24:59.170
about. That's the downside, anyway. I found out...
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The town is located halfway between Dublin and
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Belfast. This band was formed by a group of college
00:25:05.049 --> 00:25:07.589
friends. They started noodling around with some
00:25:07.589 --> 00:25:11.289
synths and guitars or so in 2015, around that
00:25:11.289 --> 00:25:14.829
time, only to play on major festivals, by the
00:25:14.829 --> 00:25:19.529
way, and open for The Cure in 2019. Some achievement.
00:25:19.849 --> 00:25:23.049
So it's a relatively unknown band for most of
00:25:23.049 --> 00:25:25.089
our listeners, probably, but they did open for
00:25:25.089 --> 00:25:27.950
The Cure. Damn. More about The Cure later, by
00:25:27.950 --> 00:25:29.950
the way. We got a special one, a demo version,
00:25:30.029 --> 00:25:32.369
later this episode. Yeah, but this is another
00:25:32.369 --> 00:25:35.029
one of your finds, right? Yeah, I guess, yeah.
00:25:35.150 --> 00:25:38.650
Pepper and your red lorry, yellow lorry, and
00:25:38.650 --> 00:25:41.210
now a band called Just Mustard. I mean, do you
00:25:41.210 --> 00:25:43.950
specifically go out looking for bands with really
00:25:43.950 --> 00:25:46.390
weird names? How does that work? Yeah, you should
00:25:46.390 --> 00:25:49.670
think so. I don't, man. That's the beauty of
00:25:49.670 --> 00:25:53.410
Spotify. But I still have a lot of digital files
00:25:53.410 --> 00:25:56.970
and CDs. Yeah, you get suggestions listening
00:25:56.970 --> 00:26:00.970
to Spotify. You got your weekly specials. And
00:26:00.970 --> 00:26:03.809
I believe this was in my weekly suggestions or
00:26:03.809 --> 00:26:07.410
something. Well, you must be in some special
00:26:07.410 --> 00:26:09.529
category because they don't have a whole lot
00:26:09.529 --> 00:26:12.130
of plays. And generally just about 70k people
00:26:12.130 --> 00:26:14.269
listening to these guys, according to Spotify,
00:26:14.509 --> 00:26:17.309
on Spotify. Which is not huge, but I really like
00:26:17.309 --> 00:26:20.410
the band. The singer sounded a bit like the niece
00:26:20.410 --> 00:26:23.950
of Elizabeth Fraser. Yeah, I get what you're
00:26:23.950 --> 00:26:28.730
saying. Dreamy. Yeah. Probably, yeah. That's
00:26:28.730 --> 00:26:33.109
the sound you fall for, I know. And it's synth
00:26:33.109 --> 00:26:36.890
-heavy. There's one guitar in there, I believe.
00:26:37.670 --> 00:26:41.329
Oh, yeah. I just loved it. Got some goosebumps
00:26:41.329 --> 00:26:43.730
and I thought I'd share it with you all, dear
00:26:43.730 --> 00:26:46.849
listeners. Great track. Thanks. Thanks for sharing.
00:26:46.990 --> 00:26:51.349
And obviously, I don't go to algorithms to feed
00:26:51.349 --> 00:26:53.869
me music. I just listen to our listeners. Because
00:26:53.869 --> 00:26:56.369
we have up now, we have another band tipped to
00:26:56.369 --> 00:26:58.309
us by a listener. And we're going to be playing
00:26:58.309 --> 00:27:01.269
the Crook Shadows, an American dark wave and
00:27:01.269 --> 00:27:03.829
dark synth pop band from Jacksonville, Florida
00:27:03.829 --> 00:27:06.549
in the United States. Now, this band has been
00:27:06.549 --> 00:27:11.309
around for a long time, over 30 years. So long
00:27:11.309 --> 00:27:13.509
ago, they released their first album on a cassette
00:27:13.509 --> 00:27:17.539
tape. There we go again. How come we never heard
00:27:17.539 --> 00:27:21.819
of this? Well, I'm not sure, but they do have
00:27:21.819 --> 00:27:24.339
a very original sound. Many of their tracks feature
00:27:24.339 --> 00:27:26.359
the electric violin, which is quite different
00:27:26.359 --> 00:27:30.380
and cool. Rogue is the person on vocals, words,
00:27:30.539 --> 00:27:33.140
concepts, drum machines, song smithing and electric
00:27:33.140 --> 00:27:35.019
violins. And he's also the leading man of the
00:27:35.019 --> 00:27:37.680
band. Sometimes, in some periods, even has been
00:27:37.680 --> 00:27:40.400
the only man in the band. But after many years
00:27:40.400 --> 00:27:43.079
of record label troubles and floating around,
00:27:43.279 --> 00:27:45.700
he acquired control of all their artistic catalog.
00:27:46.099 --> 00:27:48.720
And it's now published on his own label, Wishfire
00:27:48.720 --> 00:27:51.559
Records. Smart move to keep creative control.
00:27:53.000 --> 00:27:57.099
And this one was brought to us by request from
00:27:57.099 --> 00:27:59.819
Emily K. Eichelberger. Thanks for putting this
00:27:59.819 --> 00:28:02.519
band on our radar by request. This one is for
00:28:02.519 --> 00:28:05.240
you. And it's called Marilyn, My Bitterness.
00:41:37.289 --> 00:41:39.389
putting this on our radar. Did you know they
00:41:39.389 --> 00:41:42.710
made a beautiful track about you? Clan of Zymox,
00:41:42.809 --> 00:41:46.030
Emily, check it out. It's also on Spotify. Seriously,
00:41:46.250 --> 00:41:50.789
it's a great one. Yeah, I must say the Crux Shadows,
00:41:50.789 --> 00:41:54.469
I'm not a big fan, in all honesty. I have a big
00:41:54.469 --> 00:41:57.690
problem with singers that try to fill up every
00:41:57.690 --> 00:42:00.929
single piece of space with singing. There is
00:42:00.929 --> 00:42:04.849
a solo on 4 Minute 40, something around that.
00:42:05.719 --> 00:42:10.159
I loved the executive slacks. I loved the rawness
00:42:10.159 --> 00:42:14.199
of it. It keeps dragging along for seven and
00:42:14.199 --> 00:42:16.960
a half minutes or so. It's right up my alley.
00:42:17.280 --> 00:42:19.940
Right, so that was also Emily who suggested them.
00:42:20.219 --> 00:42:23.059
Another band I've never heard of, but with an
00:42:23.059 --> 00:42:26.659
album title like You Can't Hum When You're Dead.
00:42:27.739 --> 00:42:30.300
You've got me, man. Freaking awesome, right?
00:42:30.579 --> 00:42:34.039
Yeah, those guys have a... They have a really
00:42:34.039 --> 00:42:37.679
weird selection of songs. Some of them sound
00:42:37.679 --> 00:42:42.739
like a sort of psycho version of 70s, early 70s
00:42:42.739 --> 00:42:46.559
pop music. And then it goes this direction. It
00:42:46.559 --> 00:42:49.000
can be very guitar heavy in some tracks. And
00:42:49.000 --> 00:42:51.360
then all of a sudden it sounds like the tune
00:42:51.360 --> 00:42:53.519
from Doctor Who. I mean, they go pretty much
00:42:53.519 --> 00:42:56.960
everywhere. I like the anarchy of executive slacks.
00:42:57.530 --> 00:42:59.530
I heard them before, by the way. There's one
00:42:59.530 --> 00:43:02.050
track I have in a playlist that I frequently
00:43:02.050 --> 00:43:06.070
listen to. It's called Say It Isn't So. It's
00:43:06.070 --> 00:43:08.530
also by the executive slack. So I remember the
00:43:08.530 --> 00:43:11.690
name, where do I know it from? But Emily is clearly
00:43:11.690 --> 00:43:14.909
a girl with taste. Well done. Thank you for sharing.
00:43:15.900 --> 00:43:19.400
Talking about this rawness of the executive slacks,
00:43:19.440 --> 00:43:23.079
this may be a smooth transition onto the next
00:43:23.079 --> 00:43:25.840
track we have selected for this episode, right?
00:43:25.880 --> 00:43:28.619
Yeah, what's it called? Let me stumble over my
00:43:28.619 --> 00:43:31.760
words. It's by The Cure. That's an easy one.
00:43:31.980 --> 00:43:36.119
The song is called Sadakik or Sadachich, however
00:43:36.119 --> 00:43:39.719
you want to call it. It's from 1984. It's a demo
00:43:39.719 --> 00:43:43.800
version and it's from the album The Top. It wasn't
00:43:43.800 --> 00:43:45.679
received quite well. It was kind of a breach
00:43:45.679 --> 00:43:48.980
with what they did before. But just first let
00:43:48.980 --> 00:43:52.579
us listen to it and then we can share our opinions
00:43:52.579 --> 00:48:10.400
about it. Shall we start ranting and raving about
00:48:10.400 --> 00:48:12.940
how good this album is? What do you think? Yeah.
00:48:13.280 --> 00:48:16.159
Oh, man, I love it. I love the top. I know everybody
00:48:16.159 --> 00:48:18.380
hates on it. I don't understand why, because
00:48:18.380 --> 00:48:21.659
I think it's a very, very interesting and quite
00:48:21.659 --> 00:48:24.280
different, but, you know, really great album.
00:48:24.420 --> 00:48:26.780
I have nothing to add. Different is not always
00:48:26.780 --> 00:48:30.000
good, but in this case, it totally is. I get
00:48:30.000 --> 00:48:32.880
it's breaching with the things they did before
00:48:32.880 --> 00:48:37.500
and probably also after, but goddamn. I like
00:48:37.500 --> 00:48:40.579
my Robert Smith served nice and angry. This is
00:48:40.579 --> 00:48:45.239
just perfect. Especially this demo version. Yeah,
00:48:45.260 --> 00:48:46.840
you can hear that they made some money off the
00:48:46.840 --> 00:48:49.280
first couple of albums. And by now he got some
00:48:49.280 --> 00:48:53.039
more expensive studio equipment at home. So his
00:48:53.039 --> 00:48:57.719
demos become more interesting. But also you can
00:48:57.719 --> 00:49:00.480
hear he's just messing around, right? almost
00:49:00.480 --> 00:49:03.099
80 % into the song, he sort of figures, well,
00:49:03.179 --> 00:49:05.159
I've done pretty much what the idea for this
00:49:05.159 --> 00:49:07.139
song was, and he starts punching buttons on the
00:49:07.139 --> 00:49:10.119
drum machine. All of a sudden, different sounds
00:49:10.119 --> 00:49:13.440
come at 80 % into the track. You get different
00:49:13.440 --> 00:49:16.079
drum patterns, and then he figures he might as
00:49:16.079 --> 00:49:18.260
well throw in an extra couple of guitar riffs
00:49:18.260 --> 00:49:20.460
just to see how they sound. I like the rawness
00:49:20.460 --> 00:49:24.139
of this. Right, exactly. And the recording quality
00:49:24.139 --> 00:49:28.070
obviously isn't on par, but that just adds. a
00:49:28.070 --> 00:49:30.989
new layer to the experience, man. He literally
00:49:30.989 --> 00:49:34.769
is saying, shout, shout, when he's singing. He
00:49:34.769 --> 00:49:38.829
is shouting, he's screaming. Man, I love it when
00:49:38.829 --> 00:49:41.550
he's angry. Or angry, frustrated, or emotional,
00:49:41.769 --> 00:49:43.530
I don't know. No, he was just letting it out.
00:49:43.570 --> 00:49:46.150
I'm pretty sure there were many times when there
00:49:46.150 --> 00:49:48.289
were not actually words coming out of his mouth,
00:49:48.369 --> 00:49:50.929
but just, you know, sounds. He was sort of tasting
00:49:50.929 --> 00:49:53.610
what the sort of wail or what the sound or what
00:49:53.610 --> 00:49:57.409
the direction would be. Worry about the lyrics
00:49:57.409 --> 00:49:59.469
later. That's definitely how it sounded to me,
00:49:59.489 --> 00:50:02.630
at least. Likewise, man. Goosebumps all over.
00:50:02.889 --> 00:50:05.030
Goosebumps. Yeah, great stuff. For sure. Great
00:50:05.030 --> 00:50:07.230
stuff, as we like to say. Cheers, mate. Is that
00:50:07.230 --> 00:50:10.570
what we like to share, right? Yep. Thanks for
00:50:10.570 --> 00:50:13.710
digging this one up. Of course. From the top.
00:50:13.829 --> 00:50:16.750
Great album. Everybody who says so, who says
00:50:16.750 --> 00:50:20.429
any different, you know. Yeah, unsubscribe and
00:50:20.429 --> 00:50:24.880
leave us forever. No, I'm kidding. Yeah. Okay,
00:50:24.920 --> 00:50:28.059
so moving on. Next up is Sour, a track from Void
00:50:28.059 --> 00:50:30.900
Vision's debut album Sub Rosa, which appeared
00:50:30.900 --> 00:50:34.500
on Berlin -based label Mannequin Records. Mainly
00:50:34.500 --> 00:50:37.260
solo work by singer and producer Sherry Vary.
00:50:37.659 --> 00:50:40.539
The album has an infectious wave synth sound
00:50:40.539 --> 00:50:43.260
with songs lush and dynamic in range and structure
00:50:43.260 --> 00:50:46.119
and with a strong sense of personality. Also
00:50:46.119 --> 00:50:48.739
a bit rough around the edges, but I like that.
00:50:49.019 --> 00:55:12.400
Me too. Here we go. Void Vision, Sour. This makes
00:55:12.400 --> 00:55:16.960
me want to dance. Doesn't it? Yeah. It sure does.
00:55:17.320 --> 00:55:20.159
We're recording this on a Wednesday, but this
00:55:20.159 --> 00:55:23.480
makes me feel it's a Saturday or something. It
00:55:23.480 --> 00:55:27.500
should always be Saturday, really. True. Nice
00:55:27.500 --> 00:55:30.360
find. Yeah, Void Vision. Fresh. Fresh sounding.
00:55:30.699 --> 00:55:35.909
You can feel that this is almost... underproduced,
00:55:35.989 --> 00:55:40.510
but I really like it. It's a bit older. The band
00:55:40.510 --> 00:55:43.710
was formed in 2009, when the minimal synthwave
00:55:43.710 --> 00:55:46.309
and coldwave genres were really greatly revived.
00:55:46.650 --> 00:55:49.829
They had previously recorded an EP and released
00:55:49.829 --> 00:55:52.670
one single, but this is really the first and
00:55:52.670 --> 00:55:55.789
only full -length album of Void Vision. It contains
00:55:55.789 --> 00:55:59.010
tracks that were recorded between 2011 and 2013.
00:55:59.710 --> 00:56:02.329
This actually was released as a single, Sour.
00:56:02.449 --> 00:56:05.320
It's an excellent synth -pop track. I like that
00:56:05.320 --> 00:56:07.500
Void Vision hits us with a quick chorus, and
00:56:07.500 --> 00:56:10.539
Sherry Vary's icy vocals combine perfectly with
00:56:10.539 --> 00:56:13.420
her epic synth sound to create a cool and catchy
00:56:13.420 --> 00:56:17.159
song. Catchy, absolutely. I also like the band
00:56:17.159 --> 00:56:19.920
name, by the way, Void Vision. Yeah, it's cool.
00:56:20.619 --> 00:56:23.159
I thought so, yeah. I tried to look up what she
00:56:23.159 --> 00:56:26.199
did after 2013, and there's a house DJ called
00:56:26.199 --> 00:56:28.039
Sherry Vary, but it looks like it's somebody
00:56:28.039 --> 00:56:31.119
else. So she seems to have disappeared off the
00:56:31.119 --> 00:56:33.840
face of the earth, pretty much, which is a shame.
00:56:34.559 --> 00:56:36.500
If any of our listeners know anything about the
00:56:36.500 --> 00:56:38.980
whereabouts or the musical exploits of Sherry
00:56:38.980 --> 00:56:42.440
Ferry after 2014, do let us know. Or maybe she
00:56:42.440 --> 00:56:46.739
just faded into obscurity. Yeah. We'll never
00:56:46.739 --> 00:56:51.760
know. We'll see. Yeah. So... Talking about fading
00:56:51.760 --> 00:56:56.500
away. Yeah. We had a loss. We did. Sad times
00:56:56.500 --> 00:57:00.599
when... A legend of the synthesizer genre and
00:57:00.599 --> 00:57:03.139
one of the fathers of many of the different genres
00:57:03.139 --> 00:57:07.400
of music that we love passes away. So it happened
00:57:07.400 --> 00:57:11.900
on March 28th, 2023. It only became public knowledge
00:57:11.900 --> 00:57:15.579
a couple of days later. Mr. Ryuichi Sakamoto
00:57:15.579 --> 00:57:19.659
was a music innovator and master of synthesizer
00:57:19.659 --> 00:57:23.389
music. Mr. Sakamoto -san, as I should say. To
00:57:23.389 --> 00:57:25.510
honor him, combined Western and Eastern sounds
00:57:25.510 --> 00:57:27.550
like no one else, a unique combination characteristic
00:57:27.550 --> 00:57:31.210
of much of his work. We played him only last
00:57:31.210 --> 00:57:33.969
episode with his Yellow Magic Orchestra. Yep.
00:57:34.750 --> 00:57:37.550
And this was from the beginning of his career,
00:57:37.670 --> 00:57:40.050
actually already at the University of Fine Arts
00:57:40.050 --> 00:57:42.510
and Music in Tokyo, where he studied composition.
00:57:42.869 --> 00:57:45.170
He showed himself to be a student of both the
00:57:45.170 --> 00:57:48.670
Japanese composer Toru Takamitsu and the Frenchman
00:57:48.670 --> 00:57:51.449
Claude Debussy. So he was always marrying those
00:57:51.449 --> 00:57:55.369
two worlds. As said, he founded the Yellow Magic
00:57:55.369 --> 00:57:58.250
Orchestra in 1978 with some close friends, which
00:57:58.250 --> 00:58:00.690
was a pop group with mainly electronic instruments.
00:58:00.989 --> 00:58:04.369
A quite novel idea at the time. The group was
00:58:04.369 --> 00:58:06.750
actually often seen as the Asian Kraftwerk, like
00:58:06.750 --> 00:58:10.909
you mentioned last time, Margot. But YMO's music
00:58:10.909 --> 00:58:14.530
was considerably lighter and more melodic than
00:58:14.530 --> 00:58:17.190
what our German friends did. In their own country,
00:58:17.309 --> 00:58:19.670
Sakamoto and his friends achieved Beatles -like
00:58:19.670 --> 00:58:22.820
popularity with it. And actually... Ryuichi was
00:58:22.820 --> 00:58:26.199
married to Akiko Yano, one of his bandmates in
00:58:26.199 --> 00:58:29.579
the Yellow Magic Orchestra for a while. So they
00:58:29.579 --> 00:58:31.599
combined traditional Japanese music with sounds
00:58:31.599 --> 00:58:33.800
like those heard in video game halls, and American
00:58:33.800 --> 00:58:36.440
genres like funk and disco also influenced the
00:58:36.440 --> 00:58:39.760
group. Outside Japan, they were much of an influence
00:58:39.760 --> 00:58:42.119
for British synthesizer groups such as Depeche
00:58:42.119 --> 00:58:44.000
Mode, Human League and Orchestral Maneuvers in
00:58:44.000 --> 00:58:47.039
the Dark in the 1980s. And like Kraftwerk's music,
00:58:47.300 --> 00:58:49.539
YMO's music laid the groundwork for later dance
00:58:49.539 --> 00:58:52.260
movements such as house and techno. but even
00:58:52.260 --> 00:58:55.500
Michael Jackson and definitely his producer Quincy
00:58:55.500 --> 00:59:00.059
Jones were big fans of Ryuichi and his Yellow
00:59:00.059 --> 00:59:03.300
Magic Orchestra. He also started working solo
00:59:03.300 --> 00:59:06.599
already in 1978 with his first solo album Thousand
00:59:06.599 --> 00:59:09.260
Knives, but his personal career really took off
00:59:09.260 --> 00:59:11.480
in the later 80s. He had great success with pop
00:59:11.480 --> 00:59:14.860
music, but also as a film composer. The music
00:59:14.860 --> 00:59:17.260
he composed from the 1990s onwards was mainly
00:59:17.260 --> 00:59:20.510
minimalist and meditative. The piano was often
00:59:20.510 --> 00:59:22.829
the main instrument in his almost classical piano
00:59:22.829 --> 00:59:26.070
works. Asia, as well as Debussy, shone through
00:59:26.070 --> 00:59:29.630
in it, and Eric Satie was never far away. In
00:59:29.630 --> 00:59:31.849
the 2000s, he mainly focused on ambient works.
00:59:31.989 --> 00:59:34.130
His electronic sound always carried an organic
00:59:34.130 --> 00:59:36.849
warmth, which is quite unique to the genre. And
00:59:36.849 --> 00:59:39.389
his cooperation with the German Alfa Noto is
00:59:39.389 --> 00:59:42.690
particularly worth checking out. Popular tracks,
00:59:42.849 --> 00:59:44.989
more pop style, were also always part of his
00:59:44.989 --> 00:59:48.119
portfolio, although never mainstream. 80s sound
00:59:48.119 --> 00:59:50.699
influenced him, and David Bowie was a definite
00:59:50.699 --> 00:59:52.760
inspiration, but he was not a singer himself,
00:59:53.079 --> 00:59:56.340
rather a composer. Sometimes he added some spoken
00:59:56.340 --> 00:59:59.880
word to his records. And his movie score works,
01:00:00.119 --> 01:00:02.539
finally, are deeply layered, each film score
01:00:02.539 --> 01:00:04.739
soundtrack somehow building on the previous one.
01:00:05.159 --> 01:00:07.679
Notable are his works for Bertolucci's The Last
01:00:07.679 --> 01:00:10.780
Emperor, which earned Sakamoto an Oscar in 1987,
01:00:11.179 --> 01:00:14.199
as well as The Revenant more recently. with its
01:00:14.199 --> 01:00:16.980
deep piano sound building into the great orchestral
01:00:16.980 --> 01:00:20.300
work as well as... With DiCaprio, right? The
01:00:20.300 --> 01:00:23.820
bear attack scene? Yes. So deep. It's a good
01:00:23.820 --> 01:00:27.820
movie. Okay, keep going, sorry. And the sound
01:00:27.820 --> 01:00:31.699
in that movie is great as well. Then I also want
01:00:31.699 --> 01:00:35.059
to reference Merry Christmas, Mr. Lawrence. This
01:00:35.059 --> 01:00:37.960
is a movie about an impossible love between a
01:00:37.960 --> 01:00:40.099
prisoner of war and a Japanese soldier in an
01:00:40.099 --> 01:00:42.869
internment camp. in which he starred together
01:00:42.869 --> 01:00:46.630
with David Bowie. Oddly enough, in this title
01:00:46.630 --> 01:00:49.449
track from the movie, it's not David Bowie that
01:00:49.449 --> 01:00:51.869
sings this track. The singer in this track is
01:00:51.869 --> 01:00:56.469
actually David Sylvian of Japan. This is the
01:00:56.469 --> 01:00:59.030
title track from that movie. Merry Christmas,
01:00:59.210 --> 01:01:27.090
Mr. Lawrence by Ryuichi Sakamoto. Never seemed
01:01:27.090 --> 01:05:24.110
to be I thought all I needed Was to build Love
01:05:24.110 --> 01:05:29.210
this introspective ending to another nice episode.
01:05:29.489 --> 01:05:33.969
Right? Yeah. Beautiful. The combination of the
01:05:33.969 --> 01:05:38.130
Asian and European sounds. The story, obviously,
01:05:38.190 --> 01:05:42.530
about his lover wearing forbidden colors. The
01:05:42.530 --> 01:05:46.690
opposites beautifully combined in the melancholy
01:05:46.690 --> 01:05:48.989
of loving something which you cannot attain.
01:05:49.409 --> 01:05:52.840
It's a beautiful piece of work. It's really hard
01:05:52.840 --> 01:05:55.420
when somebody who has such a great career, I
01:05:55.420 --> 01:06:01.820
mean, Oscar winning, fantastic piano music, really
01:06:01.820 --> 01:06:05.860
great pop stuff, one of the founders of the music
01:06:05.860 --> 01:06:08.719
that we love and an example for many, and also
01:06:08.719 --> 01:06:11.000
somebody who is very important in the ambient
01:06:11.000 --> 01:06:14.639
scene. Just picking one song to play is like
01:06:14.639 --> 01:06:17.199
torture almost, but this is a beautiful one and
01:06:17.199 --> 01:06:20.820
I think it speaks to many people. Rest in peace,
01:06:20.940 --> 01:06:24.900
Mr. Sakamoto -san. Agreed. And it's also kind
01:06:24.900 --> 01:06:28.460
of freaky. It's kind of a lame word to pick,
01:06:28.559 --> 01:06:31.340
but I don't know another word. But we just selected
01:06:31.340 --> 01:06:35.599
one of his first ones from YMO in the previous
01:06:35.599 --> 01:06:39.159
episode. And I believe after we launched that
01:06:39.159 --> 01:06:41.519
episode on Spotify and iTunes, a couple of days
01:06:41.519 --> 01:06:44.800
later we received the news. Really sad, yeah.
01:06:45.610 --> 01:06:48.289
So, a loss for music, but he's given the world
01:06:48.289 --> 01:06:50.750
many, many, many beautiful tracks. So, if you
01:06:50.750 --> 01:06:53.710
have not heard of him or haven't heard all sides
01:06:53.710 --> 01:06:56.849
of Ryuichi Sakamoto, go check him out. There's
01:06:56.849 --> 01:07:00.989
lots to discover. His music keeps living on.
01:07:02.469 --> 01:07:05.849
Okay. I think that takes us to the end, doesn't
01:07:05.849 --> 01:07:10.030
it? It does. I think it does. So, really enjoyed
01:07:10.030 --> 01:07:12.840
it again. Thanks for letting us do this. Thanks
01:07:12.840 --> 01:07:15.119
for listening to us and putting up with our bullshit.
01:07:15.300 --> 01:07:18.179
We appreciate you. Stay strange. And stay in
01:07:18.179 --> 01:07:18.860
touch. Bye -bye.
00:00:09.599 --> 00:00:13.820
Hi there, and welcome back to The Infected. We
00:00:13.820 --> 00:00:16.480
hope you're doing well. For the next hour or
00:00:16.480 --> 00:00:20.859
so, please sit back, relax, and enjoy some great
00:00:20.859 --> 00:00:23.780
freaking music with us. After three seasons,
00:00:24.019 --> 00:00:26.559
Johan and I still have plenty of great tracks
00:00:26.559 --> 00:00:29.199
we want to share and discuss with you all. from
00:00:29.199 --> 00:00:32.240
well -known bands to little recent obscurities
00:00:32.240 --> 00:00:35.219
and thanks for dropping some suggestions by the
00:00:35.219 --> 00:00:37.619
way we will play and discuss some over the next
00:00:37.619 --> 00:00:40.960
episodes and today we have two so stay tuned
00:00:40.960 --> 00:00:44.700
even though springs in the air let's start off
00:00:44.700 --> 00:05:29.680
with a cold one from lycia an opening right oh
00:05:29.680 --> 00:05:34.420
man great track it's just it takes you away on
00:05:34.420 --> 00:05:37.180
feathered wings it's uh yeah beautiful well said
00:05:37.180 --> 00:05:40.740
man so i believe we covered lycia earlier right
00:05:40.740 --> 00:05:42.920
is it the first season when we're still doing
00:05:42.920 --> 00:05:44.720
it in dutch with john billiam or the second i
00:05:44.720 --> 00:05:47.339
can't remember but um well we definitely featured
00:05:47.339 --> 00:05:49.399
them before but i'm really happy you brought
00:05:49.399 --> 00:05:53.120
them back for this track yeah likewise man they
00:05:53.120 --> 00:05:55.920
popped up on my radar actually i believe a week
00:05:55.920 --> 00:05:59.420
or Two or three ago, I was looking on Spotify
00:05:59.420 --> 00:06:03.399
and I saw I missed some recent EPs and reissues
00:06:03.399 --> 00:06:06.980
and new stuff by them. It keeps giving me goosebumps.
00:06:07.139 --> 00:06:09.639
They've been very consistent in the vibe and
00:06:09.639 --> 00:06:11.540
the atmosphere that they've been putting out.
00:06:12.040 --> 00:06:14.480
I used to own this on vinyl, by the way. It was
00:06:14.480 --> 00:06:18.420
milky white with shitty brown in the middle,
00:06:18.459 --> 00:06:23.740
really. Look it up on Discogs. It really looks
00:06:23.740 --> 00:06:26.160
kind of messy. You make it sound so attractive.
00:06:26.439 --> 00:06:30.199
Yeah. This is from the album Cold. They released
00:06:30.199 --> 00:06:33.959
it in 1996. They did most of their releases on
00:06:33.959 --> 00:06:37.899
cassette tapes. And as of, I believe, early or
00:06:37.899 --> 00:06:41.120
mid -90s, also on CD. But there are only a few
00:06:41.120 --> 00:06:45.540
final releases. And they are from Phoenix, Arizona.
00:06:45.839 --> 00:06:49.240
Kind of warm. Even though this sounds cold, the
00:06:49.240 --> 00:06:53.230
album is cold. cold but they they moved to ohio
00:06:53.230 --> 00:06:57.269
mid 90s and they had two years there mike van
00:06:57.269 --> 00:07:01.230
port fleet and tara van flower winter inspired
00:07:01.230 --> 00:07:04.569
track names yeah they began recording on four
00:07:04.569 --> 00:07:08.189
track tapes only moved to a track i believe in
00:07:08.189 --> 00:07:11.750
the second half of the 90s anyway sounds quite
00:07:11.750 --> 00:07:15.279
basic but some of the best sounding albums by
00:07:15.279 --> 00:07:17.240
big bands were recorded on any track, it's more
00:07:17.240 --> 00:07:19.519
than enough. And they put it out on a CD. But
00:07:19.519 --> 00:07:22.939
luckily for us now, it's all, almost all of their
00:07:22.939 --> 00:07:26.220
catalog is available on Spotify these days. Yeah,
00:07:26.240 --> 00:07:28.199
that's great stuff. And, you know, many bands
00:07:28.199 --> 00:07:30.959
get dazzled by all of the options that they have
00:07:30.959 --> 00:07:35.420
in a really big studio with 64 tracks and they
00:07:35.420 --> 00:07:38.199
just go overboard. I mean, if you're a real musician
00:07:38.199 --> 00:07:40.139
and you put feeling into it, you know, four tracks
00:07:40.139 --> 00:07:43.500
is all you need. Yeah, true. Also, what I like
00:07:43.500 --> 00:07:47.019
about this track is I was amazed that it's almost,
00:07:47.199 --> 00:07:50.899
it clocks in at five and a half minutes. And
00:07:50.899 --> 00:07:53.480
I would have sworn it's like three. Oh, really?
00:07:53.600 --> 00:07:57.040
Always when this song ends, I'm like, already?
00:07:57.459 --> 00:08:01.120
Yeah. I was drifting away. It sounded like...
00:08:01.310 --> 00:08:04.050
longer to me to be quite honest but most of their
00:08:04.050 --> 00:08:06.550
tracks are quite long but okay get it I felt
00:08:06.550 --> 00:08:08.889
like I was way off in the stratosphere and then
00:08:08.889 --> 00:08:11.470
all of a sudden it stops I'm like hey don't leave
00:08:11.470 --> 00:08:14.829
me out here don't leave me hanging by the way
00:08:14.829 --> 00:08:18.410
this whole album flows every track flows in into
00:08:18.410 --> 00:08:21.089
the next one it's kind of a one big ambient album
00:08:21.089 --> 00:08:25.149
but I get what you're saying yeah yeah so we
00:08:25.149 --> 00:08:28.680
got some We got a really cool new feature, which
00:08:28.680 --> 00:08:30.839
you may or may not have noticed, depending on
00:08:30.839 --> 00:08:34.039
whether you're a Spotify fan. But you can give
00:08:34.039 --> 00:08:36.740
us shoutouts on Spotify now. And we got one from
00:08:36.740 --> 00:08:39.600
Tee White from Las Vegas. She recently drove
00:08:39.600 --> 00:08:41.320
all the way through the desert to Los Angeles
00:08:41.320 --> 00:08:44.340
to go see Depeche Mode live. Man, we're jealous.
00:08:45.120 --> 00:08:48.320
I hope you saw a great show, Tee. Depeche Mode
00:08:48.320 --> 00:08:50.519
are fantastic live. I'm sure they rocked in LA.
00:08:51.019 --> 00:08:53.639
Sounds good. They just released a new album,
00:08:53.740 --> 00:08:57.019
right? Yeah, someone else. also asked us to play
00:08:57.019 --> 00:08:58.840
a track from the new depeche mode album something
00:08:58.840 --> 00:09:04.100
with a great username on spotify 538ul84 nice
00:09:04.100 --> 00:09:07.519
and personal maybe yeah maybe change your username
00:09:07.519 --> 00:09:10.600
to something more interesting guy or girl i don't
00:09:10.600 --> 00:09:13.960
know but uh you know frankly uh we listened but
00:09:13.960 --> 00:09:16.740
we're skipping the new depeche mode album In
00:09:16.740 --> 00:09:19.139
my opinion, the album's sound is excellent, but
00:09:19.139 --> 00:09:22.639
the songs are just a bit subdued. And I'm missing
00:09:22.639 --> 00:09:25.820
a particular urgency on this latest Depeche Mode
00:09:25.820 --> 00:09:28.299
album. It sounded more like fillers than actual
00:09:28.299 --> 00:09:31.259
killers. No, it's all a bit down -tempo, and
00:09:31.259 --> 00:09:34.440
it's all a bit, I don't know. We do remain enormous
00:09:34.440 --> 00:09:36.440
fans of their earlier work, and I'm sure they'll
00:09:36.440 --> 00:09:39.659
return to form eventually. So another shout -out
00:09:39.659 --> 00:09:42.320
from us to Jessica, our big fan from Little Rock,
00:09:42.320 --> 00:09:45.039
Arkansas. It looked like that Matrix -themed
00:09:45.039 --> 00:09:47.299
party in Club Nevermore was pretty wild. Stay
00:09:47.299 --> 00:09:50.179
strange. Do you want to reach out to us too?
00:09:50.539 --> 00:09:54.220
Follow us on Insta at TheInfectedNL or on Spotify.
00:09:54.519 --> 00:09:56.799
There you can interact directly with us. On your
00:09:56.799 --> 00:09:58.840
phone, look up our latest episode on Spotify.
00:09:59.299 --> 00:10:01.500
When you tap through to see the show details,
00:10:01.759 --> 00:10:03.960
you will find the Q &A section with the option
00:10:03.960 --> 00:10:06.340
to leave feedback. Of course, you can also use
00:10:06.340 --> 00:10:10.100
our site, www .theinfected .nl, where you'll
00:10:10.100 --> 00:10:12.379
find playlists, show notes, videos, and ways
00:10:12.379 --> 00:10:15.100
to contact us. We love hearing from you, our
00:10:15.100 --> 00:10:18.899
children of the night. Yes, we do. So on to some
00:10:18.899 --> 00:10:21.299
more user content. A question from Joret, one
00:10:21.299 --> 00:10:23.960
of our faithful listeners. His question is, I
00:10:23.960 --> 00:10:26.840
read in Bono's book Surrender that you two were
00:10:26.840 --> 00:10:29.340
considered post -punk at the time in the late
00:10:29.340 --> 00:10:32.679
70s. Do you guys agree? And if so, what song
00:10:32.679 --> 00:10:34.899
would be the best proof of that? That's a good
00:10:34.899 --> 00:10:37.480
one. It's an interesting question. Yeah, I'm
00:10:37.480 --> 00:10:39.860
not a big fan of you two personally because I
00:10:39.860 --> 00:10:43.120
tend to... know their later songs and their more
00:10:43.120 --> 00:10:46.399
poppy ones, but listened back to their earlier
00:10:46.399 --> 00:10:48.879
work and I understand this question. What about
00:10:48.879 --> 00:10:52.980
you? A bit. Really, if you put it simply, post
00:10:52.980 --> 00:10:55.799
-punk in music is the punk attitude recombined
00:10:55.799 --> 00:10:57.940
and blended with other music genres like pop,
00:10:58.000 --> 00:11:01.240
reggae, electronica, folk, etc. So New Wave then
00:11:01.240 --> 00:11:03.860
is a sub -genre of post -punk and New Wave combines
00:11:03.860 --> 00:11:06.120
punk elements with electronic dance, focusing
00:11:06.120 --> 00:11:09.019
less on guitars and more on synthesizers. So
00:11:09.019 --> 00:11:13.049
you could say... Back to the question. Was U2
00:11:13.049 --> 00:11:15.610
considered post -punk in the late 70s? Well,
00:11:15.750 --> 00:11:18.649
in the late 1970s U2 was not seen as anything
00:11:18.649 --> 00:11:21.110
at all. They only first appeared on the radar
00:11:21.110 --> 00:11:25.590
in the 80s. But yes, Boy, October and War I think
00:11:25.590 --> 00:11:28.309
are post -punk albums. Just listen to this track
00:11:28.309 --> 00:11:31.110
from their debut album Boy. It was produced by
00:11:31.110 --> 00:11:33.409
Steve Lillywhite. Pay some special attention
00:11:33.409 --> 00:11:35.590
to the sound of the drums of drummer Larry Mullen
00:11:35.590 --> 00:11:38.299
Jr. by the way. Steve Lillywhite had him playing
00:11:38.299 --> 00:11:40.419
in a stairwell to get the right echo on the drum
00:11:40.419 --> 00:11:44.399
sound. Oh, cool. This is it, the electric coat.
00:16:08.090 --> 00:16:12.730
I like it, man. As I said, I'm not really a U2
00:16:12.730 --> 00:16:15.549
fan, but I don't know much of their earlier work.
00:16:15.570 --> 00:16:17.490
I just know their poppy stuff. I like the energy,
00:16:17.570 --> 00:16:21.690
man. Yeah, this has the urgency of the up -and
00:16:21.690 --> 00:16:25.269
-coming young guys storming the charts and, you
00:16:25.269 --> 00:16:28.070
know, having big dreams. I've known and loved
00:16:28.070 --> 00:16:30.370
this song for many years, but I never realized
00:16:30.370 --> 00:16:32.610
what it's about until I did some research on
00:16:32.610 --> 00:16:35.519
the track. Your lyrics, man. I know. Yeah, yeah.
00:16:35.580 --> 00:16:38.679
Now, well, actually, I always thought, why make
00:16:38.679 --> 00:16:41.279
a song about an electric company, right? Good
00:16:41.279 --> 00:16:44.960
question. What makes that interesting? So now
00:16:44.960 --> 00:16:49.100
I took some time out to find out. And basically,
00:16:49.179 --> 00:16:51.360
it's about a Dublin friend of the band who attempted
00:16:51.360 --> 00:16:54.120
suicide and ended up in St. Brendan's Psychiatric
00:16:54.120 --> 00:16:57.440
Hospital in Dublin, where his experiences inspired
00:16:57.440 --> 00:17:00.299
this song. What happened to him at the psychiatric
00:17:00.299 --> 00:17:03.419
hospital is that he got electroconvulsive shock
00:17:03.419 --> 00:17:06.000
therapy. a horrific procedure that was quite
00:17:06.000 --> 00:17:09.700
common in Dublin in the 1970s. So, the Electric
00:17:09.700 --> 00:17:11.960
Co. was neighborhood slang for the procedure
00:17:11.960 --> 00:17:14.279
in which electric currents are passed through
00:17:14.279 --> 00:17:17.420
the brain, intentionally triggering a brief seizure.
00:17:17.859 --> 00:17:20.279
The goal is to cause changes in brain chemistry
00:17:20.279 --> 00:17:22.539
that can reverse symptoms of certain mental health
00:17:22.539 --> 00:17:25.160
conditions. In early treatments, though, high
00:17:25.160 --> 00:17:27.119
doses of electricity were administered without
00:17:27.119 --> 00:17:29.660
anesthesia, potentially leading to memory loss,
00:17:29.759 --> 00:17:32.220
fractured bones and other serious side effects.
00:17:32.500 --> 00:17:36.349
The Electric Co. Some story, eh? Yeah, definitely.
00:17:36.609 --> 00:17:40.170
So it had to be quite severe in order for people
00:17:40.170 --> 00:17:43.750
to take these risks. What the hell? Yeah, they
00:17:43.750 --> 00:17:46.170
still do it, but these days, A, they provide
00:17:46.170 --> 00:17:50.049
anesthesia, and B, their currents are much, much
00:17:50.049 --> 00:17:55.789
more, let's say, limited and low in power. So
00:17:55.789 --> 00:17:58.289
they started out with raw power and no anesthesia
00:17:58.289 --> 00:18:02.150
on a level that really, really could mess you
00:18:02.150 --> 00:18:05.930
up. Damn. Did you see that documentary about
00:18:05.930 --> 00:18:09.009
Jeffrey Dahmer, by the way, on Netflix? I heard
00:18:09.009 --> 00:18:11.049
about it. It's supposed to be good, right? Yeah,
00:18:11.069 --> 00:18:14.549
it's good and interesting. I also saw some stuff
00:18:14.549 --> 00:18:17.210
about him on YouTube many, many years ago, but
00:18:17.210 --> 00:18:21.750
it reminds me of him because he was also drilling
00:18:21.750 --> 00:18:25.589
holes in people's heads in order to lobotomize
00:18:25.589 --> 00:18:29.390
them or turn them into zombies. Trepanation,
00:18:29.470 --> 00:18:32.089
that's meant to make you directly accessible
00:18:32.089 --> 00:18:34.269
for higher powers. That's probably the word.
00:18:34.450 --> 00:18:37.490
Direct channel into the brain, yeah. That's another
00:18:37.490 --> 00:18:41.329
theory I'm never going to try out. No, me neither.
00:18:41.609 --> 00:18:45.589
Shall we do something more recent right now?
00:18:45.710 --> 00:18:47.650
What do you think? Let's move on. Yeah, oh, good
00:18:47.650 --> 00:18:49.869
idea. What do you got? There's a band called
00:18:49.869 --> 00:18:53.990
Just Mustard, and they have released, I believe,
00:18:54.089 --> 00:18:58.180
five, four things on Spotify. Also, this is one
00:18:58.180 --> 00:19:01.059
I came across by accident. Let's play this track
00:19:01.059 --> 00:19:03.759
first. It's called Death. And then let's talk
00:19:03.759 --> 00:19:05.720
a little bit about it afterwards. Let's enjoy.
00:24:05.319 --> 00:24:07.960
Must mustard. This makes you realize how happy
00:24:07.960 --> 00:24:10.779
you should be that you're not deaf. Absolutely.
00:24:11.539 --> 00:24:15.660
Yeah, you're right. What I really liked is that
00:24:15.660 --> 00:24:19.119
small room reverb. They recorded it in some way.
00:24:19.720 --> 00:24:22.380
Quite intimate, you know what I mean? Yeah, I
00:24:22.380 --> 00:24:25.500
do. It has a totally different feeling than most
00:24:25.500 --> 00:24:28.039
shit I listen to. It's kind of dense. I don't
00:24:28.039 --> 00:24:31.579
know. Yeah, it's sort of lo -fi, but in an interesting
00:24:31.579 --> 00:24:35.109
way. So this is a band from Ireland, from the
00:24:35.109 --> 00:24:37.829
town of Dundalk. Have you heard of that, Dundalk?
00:24:38.109 --> 00:24:41.369
I don't think so. Nope, nope. Apparently that
00:24:41.369 --> 00:24:44.730
town is filled to the brim with musicians, I
00:24:44.730 --> 00:24:48.789
found out. The thing is, with these newer bands
00:24:48.789 --> 00:24:51.470
or younger bands, I like to play them because
00:24:51.470 --> 00:24:54.069
I think it's really freaking good, and you do
00:24:54.069 --> 00:24:56.650
too. There's not that much information to talk
00:24:56.650 --> 00:24:59.170
about. That's the downside, anyway. I found out...
00:24:59.369 --> 00:25:02.089
The town is located halfway between Dublin and
00:25:02.089 --> 00:25:05.049
Belfast. This band was formed by a group of college
00:25:05.049 --> 00:25:07.589
friends. They started noodling around with some
00:25:07.589 --> 00:25:11.289
synths and guitars or so in 2015, around that
00:25:11.289 --> 00:25:14.829
time, only to play on major festivals, by the
00:25:14.829 --> 00:25:19.529
way, and open for The Cure in 2019. Some achievement.
00:25:19.849 --> 00:25:23.049
So it's a relatively unknown band for most of
00:25:23.049 --> 00:25:25.089
our listeners, probably, but they did open for
00:25:25.089 --> 00:25:27.950
The Cure. Damn. More about The Cure later, by
00:25:27.950 --> 00:25:29.950
the way. We got a special one, a demo version,
00:25:30.029 --> 00:25:32.369
later this episode. Yeah, but this is another
00:25:32.369 --> 00:25:35.029
one of your finds, right? Yeah, I guess, yeah.
00:25:35.150 --> 00:25:38.650
Pepper and your red lorry, yellow lorry, and
00:25:38.650 --> 00:25:41.210
now a band called Just Mustard. I mean, do you
00:25:41.210 --> 00:25:43.950
specifically go out looking for bands with really
00:25:43.950 --> 00:25:46.390
weird names? How does that work? Yeah, you should
00:25:46.390 --> 00:25:49.670
think so. I don't, man. That's the beauty of
00:25:49.670 --> 00:25:53.410
Spotify. But I still have a lot of digital files
00:25:53.410 --> 00:25:56.970
and CDs. Yeah, you get suggestions listening
00:25:56.970 --> 00:26:00.970
to Spotify. You got your weekly specials. And
00:26:00.970 --> 00:26:03.809
I believe this was in my weekly suggestions or
00:26:03.809 --> 00:26:07.410
something. Well, you must be in some special
00:26:07.410 --> 00:26:09.529
category because they don't have a whole lot
00:26:09.529 --> 00:26:12.130
of plays. And generally just about 70k people
00:26:12.130 --> 00:26:14.269
listening to these guys, according to Spotify,
00:26:14.509 --> 00:26:17.309
on Spotify. Which is not huge, but I really like
00:26:17.309 --> 00:26:20.410
the band. The singer sounded a bit like the niece
00:26:20.410 --> 00:26:23.950
of Elizabeth Fraser. Yeah, I get what you're
00:26:23.950 --> 00:26:28.730
saying. Dreamy. Yeah. Probably, yeah. That's
00:26:28.730 --> 00:26:33.109
the sound you fall for, I know. And it's synth
00:26:33.109 --> 00:26:36.890
-heavy. There's one guitar in there, I believe.
00:26:37.670 --> 00:26:41.329
Oh, yeah. I just loved it. Got some goosebumps
00:26:41.329 --> 00:26:43.730
and I thought I'd share it with you all, dear
00:26:43.730 --> 00:26:46.849
listeners. Great track. Thanks. Thanks for sharing.
00:26:46.990 --> 00:26:51.349
And obviously, I don't go to algorithms to feed
00:26:51.349 --> 00:26:53.869
me music. I just listen to our listeners. Because
00:26:53.869 --> 00:26:56.369
we have up now, we have another band tipped to
00:26:56.369 --> 00:26:58.309
us by a listener. And we're going to be playing
00:26:58.309 --> 00:27:01.269
the Crook Shadows, an American dark wave and
00:27:01.269 --> 00:27:03.829
dark synth pop band from Jacksonville, Florida
00:27:03.829 --> 00:27:06.549
in the United States. Now, this band has been
00:27:06.549 --> 00:27:11.309
around for a long time, over 30 years. So long
00:27:11.309 --> 00:27:13.509
ago, they released their first album on a cassette
00:27:13.509 --> 00:27:17.539
tape. There we go again. How come we never heard
00:27:17.539 --> 00:27:21.819
of this? Well, I'm not sure, but they do have
00:27:21.819 --> 00:27:24.339
a very original sound. Many of their tracks feature
00:27:24.339 --> 00:27:26.359
the electric violin, which is quite different
00:27:26.359 --> 00:27:30.380
and cool. Rogue is the person on vocals, words,
00:27:30.539 --> 00:27:33.140
concepts, drum machines, song smithing and electric
00:27:33.140 --> 00:27:35.019
violins. And he's also the leading man of the
00:27:35.019 --> 00:27:37.680
band. Sometimes, in some periods, even has been
00:27:37.680 --> 00:27:40.400
the only man in the band. But after many years
00:27:40.400 --> 00:27:43.079
of record label troubles and floating around,
00:27:43.279 --> 00:27:45.700
he acquired control of all their artistic catalog.
00:27:46.099 --> 00:27:48.720
And it's now published on his own label, Wishfire
00:27:48.720 --> 00:27:51.559
Records. Smart move to keep creative control.
00:27:53.000 --> 00:27:57.099
And this one was brought to us by request from
00:27:57.099 --> 00:27:59.819
Emily K. Eichelberger. Thanks for putting this
00:27:59.819 --> 00:28:02.519
band on our radar by request. This one is for
00:28:02.519 --> 00:28:05.240
you. And it's called Marilyn, My Bitterness.
00:41:37.289 --> 00:41:39.389
putting this on our radar. Did you know they
00:41:39.389 --> 00:41:42.710
made a beautiful track about you? Clan of Zymox,
00:41:42.809 --> 00:41:46.030
Emily, check it out. It's also on Spotify. Seriously,
00:41:46.250 --> 00:41:50.789
it's a great one. Yeah, I must say the Crux Shadows,
00:41:50.789 --> 00:41:54.469
I'm not a big fan, in all honesty. I have a big
00:41:54.469 --> 00:41:57.690
problem with singers that try to fill up every
00:41:57.690 --> 00:42:00.929
single piece of space with singing. There is
00:42:00.929 --> 00:42:04.849
a solo on 4 Minute 40, something around that.
00:42:05.719 --> 00:42:10.159
I loved the executive slacks. I loved the rawness
00:42:10.159 --> 00:42:14.199
of it. It keeps dragging along for seven and
00:42:14.199 --> 00:42:16.960
a half minutes or so. It's right up my alley.
00:42:17.280 --> 00:42:19.940
Right, so that was also Emily who suggested them.
00:42:20.219 --> 00:42:23.059
Another band I've never heard of, but with an
00:42:23.059 --> 00:42:26.659
album title like You Can't Hum When You're Dead.
00:42:27.739 --> 00:42:30.300
You've got me, man. Freaking awesome, right?
00:42:30.579 --> 00:42:34.039
Yeah, those guys have a... They have a really
00:42:34.039 --> 00:42:37.679
weird selection of songs. Some of them sound
00:42:37.679 --> 00:42:42.739
like a sort of psycho version of 70s, early 70s
00:42:42.739 --> 00:42:46.559
pop music. And then it goes this direction. It
00:42:46.559 --> 00:42:49.000
can be very guitar heavy in some tracks. And
00:42:49.000 --> 00:42:51.360
then all of a sudden it sounds like the tune
00:42:51.360 --> 00:42:53.519
from Doctor Who. I mean, they go pretty much
00:42:53.519 --> 00:42:56.960
everywhere. I like the anarchy of executive slacks.
00:42:57.530 --> 00:42:59.530
I heard them before, by the way. There's one
00:42:59.530 --> 00:43:02.050
track I have in a playlist that I frequently
00:43:02.050 --> 00:43:06.070
listen to. It's called Say It Isn't So. It's
00:43:06.070 --> 00:43:08.530
also by the executive slack. So I remember the
00:43:08.530 --> 00:43:11.690
name, where do I know it from? But Emily is clearly
00:43:11.690 --> 00:43:14.909
a girl with taste. Well done. Thank you for sharing.
00:43:15.900 --> 00:43:19.400
Talking about this rawness of the executive slacks,
00:43:19.440 --> 00:43:23.079
this may be a smooth transition onto the next
00:43:23.079 --> 00:43:25.840
track we have selected for this episode, right?
00:43:25.880 --> 00:43:28.619
Yeah, what's it called? Let me stumble over my
00:43:28.619 --> 00:43:31.760
words. It's by The Cure. That's an easy one.
00:43:31.980 --> 00:43:36.119
The song is called Sadakik or Sadachich, however
00:43:36.119 --> 00:43:39.719
you want to call it. It's from 1984. It's a demo
00:43:39.719 --> 00:43:43.800
version and it's from the album The Top. It wasn't
00:43:43.800 --> 00:43:45.679
received quite well. It was kind of a breach
00:43:45.679 --> 00:43:48.980
with what they did before. But just first let
00:43:48.980 --> 00:43:52.579
us listen to it and then we can share our opinions
00:43:52.579 --> 00:48:10.400
about it. Shall we start ranting and raving about
00:48:10.400 --> 00:48:12.940
how good this album is? What do you think? Yeah.
00:48:13.280 --> 00:48:16.159
Oh, man, I love it. I love the top. I know everybody
00:48:16.159 --> 00:48:18.380
hates on it. I don't understand why, because
00:48:18.380 --> 00:48:21.659
I think it's a very, very interesting and quite
00:48:21.659 --> 00:48:24.280
different, but, you know, really great album.
00:48:24.420 --> 00:48:26.780
I have nothing to add. Different is not always
00:48:26.780 --> 00:48:30.000
good, but in this case, it totally is. I get
00:48:30.000 --> 00:48:32.880
it's breaching with the things they did before
00:48:32.880 --> 00:48:37.500
and probably also after, but goddamn. I like
00:48:37.500 --> 00:48:40.579
my Robert Smith served nice and angry. This is
00:48:40.579 --> 00:48:45.239
just perfect. Especially this demo version. Yeah,
00:48:45.260 --> 00:48:46.840
you can hear that they made some money off the
00:48:46.840 --> 00:48:49.280
first couple of albums. And by now he got some
00:48:49.280 --> 00:48:53.039
more expensive studio equipment at home. So his
00:48:53.039 --> 00:48:57.719
demos become more interesting. But also you can
00:48:57.719 --> 00:49:00.480
hear he's just messing around, right? almost
00:49:00.480 --> 00:49:03.099
80 % into the song, he sort of figures, well,
00:49:03.179 --> 00:49:05.159
I've done pretty much what the idea for this
00:49:05.159 --> 00:49:07.139
song was, and he starts punching buttons on the
00:49:07.139 --> 00:49:10.119
drum machine. All of a sudden, different sounds
00:49:10.119 --> 00:49:13.440
come at 80 % into the track. You get different
00:49:13.440 --> 00:49:16.079
drum patterns, and then he figures he might as
00:49:16.079 --> 00:49:18.260
well throw in an extra couple of guitar riffs
00:49:18.260 --> 00:49:20.460
just to see how they sound. I like the rawness
00:49:20.460 --> 00:49:24.139
of this. Right, exactly. And the recording quality
00:49:24.139 --> 00:49:28.070
obviously isn't on par, but that just adds. a
00:49:28.070 --> 00:49:30.989
new layer to the experience, man. He literally
00:49:30.989 --> 00:49:34.769
is saying, shout, shout, when he's singing. He
00:49:34.769 --> 00:49:38.829
is shouting, he's screaming. Man, I love it when
00:49:38.829 --> 00:49:41.550
he's angry. Or angry, frustrated, or emotional,
00:49:41.769 --> 00:49:43.530
I don't know. No, he was just letting it out.
00:49:43.570 --> 00:49:46.150
I'm pretty sure there were many times when there
00:49:46.150 --> 00:49:48.289
were not actually words coming out of his mouth,
00:49:48.369 --> 00:49:50.929
but just, you know, sounds. He was sort of tasting
00:49:50.929 --> 00:49:53.610
what the sort of wail or what the sound or what
00:49:53.610 --> 00:49:57.409
the direction would be. Worry about the lyrics
00:49:57.409 --> 00:49:59.469
later. That's definitely how it sounded to me,
00:49:59.489 --> 00:50:02.630
at least. Likewise, man. Goosebumps all over.
00:50:02.889 --> 00:50:05.030
Goosebumps. Yeah, great stuff. For sure. Great
00:50:05.030 --> 00:50:07.230
stuff, as we like to say. Cheers, mate. Is that
00:50:07.230 --> 00:50:10.570
what we like to share, right? Yep. Thanks for
00:50:10.570 --> 00:50:13.710
digging this one up. Of course. From the top.
00:50:13.829 --> 00:50:16.750
Great album. Everybody who says so, who says
00:50:16.750 --> 00:50:20.429
any different, you know. Yeah, unsubscribe and
00:50:20.429 --> 00:50:24.880
leave us forever. No, I'm kidding. Yeah. Okay,
00:50:24.920 --> 00:50:28.059
so moving on. Next up is Sour, a track from Void
00:50:28.059 --> 00:50:30.900
Vision's debut album Sub Rosa, which appeared
00:50:30.900 --> 00:50:34.500
on Berlin -based label Mannequin Records. Mainly
00:50:34.500 --> 00:50:37.260
solo work by singer and producer Sherry Vary.
00:50:37.659 --> 00:50:40.539
The album has an infectious wave synth sound
00:50:40.539 --> 00:50:43.260
with songs lush and dynamic in range and structure
00:50:43.260 --> 00:50:46.119
and with a strong sense of personality. Also
00:50:46.119 --> 00:50:48.739
a bit rough around the edges, but I like that.
00:50:49.019 --> 00:55:12.400
Me too. Here we go. Void Vision, Sour. This makes
00:55:12.400 --> 00:55:16.960
me want to dance. Doesn't it? Yeah. It sure does.
00:55:17.320 --> 00:55:20.159
We're recording this on a Wednesday, but this
00:55:20.159 --> 00:55:23.480
makes me feel it's a Saturday or something. It
00:55:23.480 --> 00:55:27.500
should always be Saturday, really. True. Nice
00:55:27.500 --> 00:55:30.360
find. Yeah, Void Vision. Fresh. Fresh sounding.
00:55:30.699 --> 00:55:35.909
You can feel that this is almost... underproduced,
00:55:35.989 --> 00:55:40.510
but I really like it. It's a bit older. The band
00:55:40.510 --> 00:55:43.710
was formed in 2009, when the minimal synthwave
00:55:43.710 --> 00:55:46.309
and coldwave genres were really greatly revived.
00:55:46.650 --> 00:55:49.829
They had previously recorded an EP and released
00:55:49.829 --> 00:55:52.670
one single, but this is really the first and
00:55:52.670 --> 00:55:55.789
only full -length album of Void Vision. It contains
00:55:55.789 --> 00:55:59.010
tracks that were recorded between 2011 and 2013.
00:55:59.710 --> 00:56:02.329
This actually was released as a single, Sour.
00:56:02.449 --> 00:56:05.320
It's an excellent synth -pop track. I like that
00:56:05.320 --> 00:56:07.500
Void Vision hits us with a quick chorus, and
00:56:07.500 --> 00:56:10.539
Sherry Vary's icy vocals combine perfectly with
00:56:10.539 --> 00:56:13.420
her epic synth sound to create a cool and catchy
00:56:13.420 --> 00:56:17.159
song. Catchy, absolutely. I also like the band
00:56:17.159 --> 00:56:19.920
name, by the way, Void Vision. Yeah, it's cool.
00:56:20.619 --> 00:56:23.159
I thought so, yeah. I tried to look up what she
00:56:23.159 --> 00:56:26.199
did after 2013, and there's a house DJ called
00:56:26.199 --> 00:56:28.039
Sherry Vary, but it looks like it's somebody
00:56:28.039 --> 00:56:31.119
else. So she seems to have disappeared off the
00:56:31.119 --> 00:56:33.840
face of the earth, pretty much, which is a shame.
00:56:34.559 --> 00:56:36.500
If any of our listeners know anything about the
00:56:36.500 --> 00:56:38.980
whereabouts or the musical exploits of Sherry
00:56:38.980 --> 00:56:42.440
Ferry after 2014, do let us know. Or maybe she
00:56:42.440 --> 00:56:46.739
just faded into obscurity. Yeah. We'll never
00:56:46.739 --> 00:56:51.760
know. We'll see. Yeah. So... Talking about fading
00:56:51.760 --> 00:56:56.500
away. Yeah. We had a loss. We did. Sad times
00:56:56.500 --> 00:57:00.599
when... A legend of the synthesizer genre and
00:57:00.599 --> 00:57:03.139
one of the fathers of many of the different genres
00:57:03.139 --> 00:57:07.400
of music that we love passes away. So it happened
00:57:07.400 --> 00:57:11.900
on March 28th, 2023. It only became public knowledge
00:57:11.900 --> 00:57:15.579
a couple of days later. Mr. Ryuichi Sakamoto
00:57:15.579 --> 00:57:19.659
was a music innovator and master of synthesizer
00:57:19.659 --> 00:57:23.389
music. Mr. Sakamoto -san, as I should say. To
00:57:23.389 --> 00:57:25.510
honor him, combined Western and Eastern sounds
00:57:25.510 --> 00:57:27.550
like no one else, a unique combination characteristic
00:57:27.550 --> 00:57:31.210
of much of his work. We played him only last
00:57:31.210 --> 00:57:33.969
episode with his Yellow Magic Orchestra. Yep.
00:57:34.750 --> 00:57:37.550
And this was from the beginning of his career,
00:57:37.670 --> 00:57:40.050
actually already at the University of Fine Arts
00:57:40.050 --> 00:57:42.510
and Music in Tokyo, where he studied composition.
00:57:42.869 --> 00:57:45.170
He showed himself to be a student of both the
00:57:45.170 --> 00:57:48.670
Japanese composer Toru Takamitsu and the Frenchman
00:57:48.670 --> 00:57:51.449
Claude Debussy. So he was always marrying those
00:57:51.449 --> 00:57:55.369
two worlds. As said, he founded the Yellow Magic
00:57:55.369 --> 00:57:58.250
Orchestra in 1978 with some close friends, which
00:57:58.250 --> 00:58:00.690
was a pop group with mainly electronic instruments.
00:58:00.989 --> 00:58:04.369
A quite novel idea at the time. The group was
00:58:04.369 --> 00:58:06.750
actually often seen as the Asian Kraftwerk, like
00:58:06.750 --> 00:58:10.909
you mentioned last time, Margot. But YMO's music
00:58:10.909 --> 00:58:14.530
was considerably lighter and more melodic than
00:58:14.530 --> 00:58:17.190
what our German friends did. In their own country,
00:58:17.309 --> 00:58:19.670
Sakamoto and his friends achieved Beatles -like
00:58:19.670 --> 00:58:22.820
popularity with it. And actually... Ryuichi was
00:58:22.820 --> 00:58:26.199
married to Akiko Yano, one of his bandmates in
00:58:26.199 --> 00:58:29.579
the Yellow Magic Orchestra for a while. So they
00:58:29.579 --> 00:58:31.599
combined traditional Japanese music with sounds
00:58:31.599 --> 00:58:33.800
like those heard in video game halls, and American
00:58:33.800 --> 00:58:36.440
genres like funk and disco also influenced the
00:58:36.440 --> 00:58:39.760
group. Outside Japan, they were much of an influence
00:58:39.760 --> 00:58:42.119
for British synthesizer groups such as Depeche
00:58:42.119 --> 00:58:44.000
Mode, Human League and Orchestral Maneuvers in
00:58:44.000 --> 00:58:47.039
the Dark in the 1980s. And like Kraftwerk's music,
00:58:47.300 --> 00:58:49.539
YMO's music laid the groundwork for later dance
00:58:49.539 --> 00:58:52.260
movements such as house and techno. but even
00:58:52.260 --> 00:58:55.500
Michael Jackson and definitely his producer Quincy
00:58:55.500 --> 00:59:00.059
Jones were big fans of Ryuichi and his Yellow
00:59:00.059 --> 00:59:03.300
Magic Orchestra. He also started working solo
00:59:03.300 --> 00:59:06.599
already in 1978 with his first solo album Thousand
00:59:06.599 --> 00:59:09.260
Knives, but his personal career really took off
00:59:09.260 --> 00:59:11.480
in the later 80s. He had great success with pop
00:59:11.480 --> 00:59:14.860
music, but also as a film composer. The music
00:59:14.860 --> 00:59:17.260
he composed from the 1990s onwards was mainly
00:59:17.260 --> 00:59:20.510
minimalist and meditative. The piano was often
00:59:20.510 --> 00:59:22.829
the main instrument in his almost classical piano
00:59:22.829 --> 00:59:26.070
works. Asia, as well as Debussy, shone through
00:59:26.070 --> 00:59:29.630
in it, and Eric Satie was never far away. In
00:59:29.630 --> 00:59:31.849
the 2000s, he mainly focused on ambient works.
00:59:31.989 --> 00:59:34.130
His electronic sound always carried an organic
00:59:34.130 --> 00:59:36.849
warmth, which is quite unique to the genre. And
00:59:36.849 --> 00:59:39.389
his cooperation with the German Alfa Noto is
00:59:39.389 --> 00:59:42.690
particularly worth checking out. Popular tracks,
00:59:42.849 --> 00:59:44.989
more pop style, were also always part of his
00:59:44.989 --> 00:59:48.119
portfolio, although never mainstream. 80s sound
00:59:48.119 --> 00:59:50.699
influenced him, and David Bowie was a definite
00:59:50.699 --> 00:59:52.760
inspiration, but he was not a singer himself,
00:59:53.079 --> 00:59:56.340
rather a composer. Sometimes he added some spoken
00:59:56.340 --> 00:59:59.880
word to his records. And his movie score works,
01:00:00.119 --> 01:00:02.539
finally, are deeply layered, each film score
01:00:02.539 --> 01:00:04.739
soundtrack somehow building on the previous one.
01:00:05.159 --> 01:00:07.679
Notable are his works for Bertolucci's The Last
01:00:07.679 --> 01:00:10.780
Emperor, which earned Sakamoto an Oscar in 1987,
01:00:11.179 --> 01:00:14.199
as well as The Revenant more recently. with its
01:00:14.199 --> 01:00:16.980
deep piano sound building into the great orchestral
01:00:16.980 --> 01:00:20.300
work as well as... With DiCaprio, right? The
01:00:20.300 --> 01:00:23.820
bear attack scene? Yes. So deep. It's a good
01:00:23.820 --> 01:00:27.820
movie. Okay, keep going, sorry. And the sound
01:00:27.820 --> 01:00:31.699
in that movie is great as well. Then I also want
01:00:31.699 --> 01:00:35.059
to reference Merry Christmas, Mr. Lawrence. This
01:00:35.059 --> 01:00:37.960
is a movie about an impossible love between a
01:00:37.960 --> 01:00:40.099
prisoner of war and a Japanese soldier in an
01:00:40.099 --> 01:00:42.869
internment camp. in which he starred together
01:00:42.869 --> 01:00:46.630
with David Bowie. Oddly enough, in this title
01:00:46.630 --> 01:00:49.449
track from the movie, it's not David Bowie that
01:00:49.449 --> 01:00:51.869
sings this track. The singer in this track is
01:00:51.869 --> 01:00:56.469
actually David Sylvian of Japan. This is the
01:00:56.469 --> 01:00:59.030
title track from that movie. Merry Christmas,
01:00:59.210 --> 01:01:27.090
Mr. Lawrence by Ryuichi Sakamoto. Never seemed
01:01:27.090 --> 01:05:24.110
to be I thought all I needed Was to build Love
01:05:24.110 --> 01:05:29.210
this introspective ending to another nice episode.
01:05:29.489 --> 01:05:33.969
Right? Yeah. Beautiful. The combination of the
01:05:33.969 --> 01:05:38.130
Asian and European sounds. The story, obviously,
01:05:38.190 --> 01:05:42.530
about his lover wearing forbidden colors. The
01:05:42.530 --> 01:05:46.690
opposites beautifully combined in the melancholy
01:05:46.690 --> 01:05:48.989
of loving something which you cannot attain.
01:05:49.409 --> 01:05:52.840
It's a beautiful piece of work. It's really hard
01:05:52.840 --> 01:05:55.420
when somebody who has such a great career, I
01:05:55.420 --> 01:06:01.820
mean, Oscar winning, fantastic piano music, really
01:06:01.820 --> 01:06:05.860
great pop stuff, one of the founders of the music
01:06:05.860 --> 01:06:08.719
that we love and an example for many, and also
01:06:08.719 --> 01:06:11.000
somebody who is very important in the ambient
01:06:11.000 --> 01:06:14.639
scene. Just picking one song to play is like
01:06:14.639 --> 01:06:17.199
torture almost, but this is a beautiful one and
01:06:17.199 --> 01:06:20.820
I think it speaks to many people. Rest in peace,
01:06:20.940 --> 01:06:24.900
Mr. Sakamoto -san. Agreed. And it's also kind
01:06:24.900 --> 01:06:28.460
of freaky. It's kind of a lame word to pick,
01:06:28.559 --> 01:06:31.340
but I don't know another word. But we just selected
01:06:31.340 --> 01:06:35.599
one of his first ones from YMO in the previous
01:06:35.599 --> 01:06:39.159
episode. And I believe after we launched that
01:06:39.159 --> 01:06:41.519
episode on Spotify and iTunes, a couple of days
01:06:41.519 --> 01:06:44.800
later we received the news. Really sad, yeah.
01:06:45.610 --> 01:06:48.289
So, a loss for music, but he's given the world
01:06:48.289 --> 01:06:50.750
many, many, many beautiful tracks. So, if you
01:06:50.750 --> 01:06:53.710
have not heard of him or haven't heard all sides
01:06:53.710 --> 01:06:56.849
of Ryuichi Sakamoto, go check him out. There's
01:06:56.849 --> 01:07:00.989
lots to discover. His music keeps living on.
01:07:02.469 --> 01:07:05.849
Okay. I think that takes us to the end, doesn't
01:07:05.849 --> 01:07:10.030
it? It does. I think it does. So, really enjoyed
01:07:10.030 --> 01:07:12.840
it again. Thanks for letting us do this. Thanks
01:07:12.840 --> 01:07:15.119
for listening to us and putting up with our bullshit.
01:07:15.300 --> 01:07:18.179
We appreciate you. Stay strange. And stay in
01:07:18.179 --> 01:07:18.860
touch. Bye -bye.
