Randomizer 10.5

WEBVTT
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Okay, anyway, welcome to shuffle repeat. Maybe this is a
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continuation of our previous discussion, more women, more random. Let's
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get right into it. I guess, is it my tarian? Yes?
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All right, let's start off with I think the least.
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Oh no, actually, let me think. How do I do
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this now? I guess I'll break up the weird. Let's
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talk about Cauldron by fifty foot hose. All right, what
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a name? Yes, and actually, I think, just to break
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the rhythm a little bit, I'm actually curious to hear
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your take on this first.
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Well, yeah, this means really going to space. The intro track,
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this sounds like a thrust on a spaceship spoiling up
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from some sci fi movie. And it's that's mood. It's
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riffy rock, just laden with weird, trippy early electronics, just
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a delightful halfway between old occult rock and the legit
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space rock that was about to start really becoming a
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big thing. And that's a cool crossover point. I don't
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hear too many bands. Maybe there are a couple nowadays,
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but back then I can't think of made bands that
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were just as interested in space.
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As sounding occultish.
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Although I don't think this band really had much in
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the way of occultism going on.
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I maybe was listening to this.
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At work and also saying it's not a particular highlight,
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although I did note a couple spots the singer kind
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of dips into this almost pre black metal shrieking that
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I was not expecting, and that was cool. But the
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bizarre musicalities what really won me over in this album.
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I liked it. It was a cool album. It's just wild.
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I'm not sure. It almost sounds like Deep Purple may
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have borrowed one of the riffs in this album for
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Space Truckans chorus. I forget the song tale it had
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red in it, but it the riff in that sounded
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almost identical to the chorus from Space Trucking. So just
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food for thought for me anyway. Fifty Foot Hose, I mean,
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it's mind bender, It's got riffs of plenty. What's not
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to like about it besides the singer just kind of
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being along for the ride and a lot of the album.
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But yeah, that's no no scoring on her.
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I agree fifty foot Hose is really more one of
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the guys projects than the singer, whose name is Nancy Blossom,
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but I have been meaning to talk about fifty foot
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Hose since episode one. I think they were actually removed
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from one of my early randomizer picks in favor of
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Electric Lucifer. And yeah, they are somewhat of a cult
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favorite now, not even somewhat. They're a cult favorite now.
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They picked up a lot of steam in the nineties.
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I believe they show up on the Nurse with Loving
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List a lot of out there industrial bands like Wire
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and Chrome and Thrubbing Gristle and parret Ubu and Nurses
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Wound Themselves and that whole well, that whole UK neo
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folk scene some other time on that because they started
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picking up a little bit more steam. But we're pretty
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much unknown in their own time. And I think it's
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really unfortunate because well, I do think a lot of
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these early electronic pioneers just were ahead of the game.
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Because it happened with fifty foot Hose, it happened with
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Bruce Hack himself, it happened with the band that is
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often listed as fifty Foot Hoses Contemporaries, which is the
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United States of America. We'll probably talk about them at
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some point. And yeah, so this was an early experimental record,
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A lot of the instruments that are on this album
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are homemade by the member Cork Marchesi. I believe his
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name is a lot of a homemade sense. There's also
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a lot of other early electronica. Theoreman is prominently featured.
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You know you're in for something special when there's a
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credit for audio generators and also siren. There's also piano
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and colimba, which is not an electronic instrument. I think
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it's I think it's similar to like a xylophone maybe,
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or some sort of chiming instrument for sure. The album
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is very spacey. Like you mentioned, it does have a
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little bit of an ocult sensibility to it as well,
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but she's not a powerhouse vocalist by any means. I
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do really enjoy Nancy's voice. I do think it's somewhat
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chant like and mysterious, and I think no more so
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than on the final track Cauldron, which is where the
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fuzzboxes and the like vocal effects and everything just go
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completely batshit and singing and start sounding more like my
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other weirdo woman pick for this episode, and also where
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the occultism really bubbles up. Bubbles up as appropriate because
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there's also some weird electronic bubbling going on as well. Also,
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that's what a cauldron does, It's true, which is probably
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why they named it that and why they use that
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effect on that song. But yeah, the rest of it
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is so surprisingly accessible. That Cauldron at the end of
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the album actually is kind of a knockout punch because
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you're not really expecting something so sinister. I don't think
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from something so spacey. And if I had to recommend
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one track from this album, that would probably be hit.
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But I do think the whole thing is worth your
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time and exploration if you haven't heard it before. But
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they were a great group, and they influenced a lot
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of really important electronic musicians who in turn influence a
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lot of the women we talked about on the main episode.
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I'm sure, so yeah, give them a shot you haven't
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heard of them before. And on that note, Ian, let's
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move away from fifty foot Hose and talk about your
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first one for the bonus.
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Well, let's hit my last eggs off from the Singer
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Songwriter episode and that be Sharon Bennette. And with the album,
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are we there another album of Jennison from that episode,
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But this album, I don't think I really had an excuse. Besides,
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I've heard her name said a couple more times than
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a lot of those other singers.
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Sharon's on the.
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Lighter end of things musically, very much in the singer
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songwriter kind of vibe, although she does have a good
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rock edge, not not too fuzzy where it gets in
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the direction of metal, but yeah, got.
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A good bit of fuss to it.
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Songs are tight, they have effective hooks. I mean, it's
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exactly what you want from sarah songwriter style of music.
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What I think gives this album an edge is Sharon's
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voice and her lyricism. She has a great voice for
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stuff like this, but I think the lyrics are really
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what made this album for me and me being the
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music guy a little bit different. There's just a sense
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of brutal honesty to a lot of the songs here,
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you know, Thematically, a lot of it's focused on these
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just broken or failing relationships, and the lyrics are just
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this outpouring of frustration and being upset that things couldn't
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get worked out. I think I kind of did this
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sound a little dirty by not giving more distance between
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the singer songwriter episode I curated and listening to this
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but I think Sharon van Etten could have hung in with.
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Anybody on that episode.
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I might not have liked Ris mush some of those choices,
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but are we There is still a great album and
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if you want some good sad girl music, I think
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you're not gonna go wrong here, just really good.
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What'shoot think of her? I loved it excellent. Yeah, if
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anybody remembers from the Ian Singer Songwriter episode, proper, I
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think my favorite of that week was the Phoebe Bridgers,
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and Sharon reminded me a lot of Phoebe, mainly in
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that lyricism, the broken relationships, the brutal honesty, the very raw,
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real sounding stuff of USA's terms a lot this episode.
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But it's true. I love her voice. I do think
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it's a little bit unique, and not to shame you,
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but I kind of wish that she was on the
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Singer Songwriter episode because I do think her voice actually
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has a little bit more of a retro vibe to it.
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Not so much in a six season seventy cents, but
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she actually reminds me a lot of like songstresses of
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the nineties, like your Amy Man's, your Lucindia Williams even
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actually Sarah McLaughlin I would throw in there. She has
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that very like powerful coffee house voice that I was
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really taken with and reminded me of the best of
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the sad boy lyricists as well, of course our old
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favorite boy of comparison, David Berman. I throw Mark Etzel
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in there as well as I always do, maybe even
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Kurtvill maybe I could see it. Yeah, she really holds
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her own. I would stack this album up against any
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of those, and I think it would hold up just
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really good stuff. And I'm very curious to dip into
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her more. I really like Sharon Moon Eaton all right, excellent,
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very glad to hear that. All right, Well, okay, let's
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go to my non weird one, and then it will
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be the self titled album by Phantom Blue. And this
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album was another switch out, and this was picked actually
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in response to one of Ian's remaining picks for this week,
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which we'll get to here shortly. One of Ian's picks
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features a hell of a guitar player, and we'll get
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there soon enough, and that reminded me of Phantom Blue,
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who were an all girl metal group from the tail
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end of the eighties who I believe are the only
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real heavy question mark there all female group to be
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signed to Shrapnel Records during their commercial and well not commercial.
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I don't know if Shrapnel ever was really all that commercial,
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but Shrapnel's a peak in the late eighties when they
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were sweeping up all these masters, Shredders and neo classical dudes.
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The album is mainly the focus of the guitar players,
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and it's a dual team. Always thought that twin guitar sound,
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and that's a Nicole Couch and Michelle Mildrum. I think
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the drummer on this actually ended up in the Iron Vadens,
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who people might be familiar with if you're a fan
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of Racer X or Cacophony, I believe, actually, speaking of
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which Marty Friedman I think produced this, which it sounds
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like a Marty Freeman album, so I'm no surprises there.
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But if you like that classic shred metal, early mom
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Stein impultery, any of that kind of stuff, I think
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you'll definitely like this one. Although I will say, unlike
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a lot of those guys whose egos sometimes get in
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the way of a good song, I don't think Phantom
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Blue suffers from the same malady. None of these songs
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clock in at over four minutes. They have a great
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sense of songwriting, a song craft. I think that is
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the lingering glam influence that was a part of this
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band's aesthetic, but it is much harsher than a lot
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of glam metal is, although the influence is definitely there.
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I think Phantom Blue would much more easily share the
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stage with Megadeath or a peak period of Metallica than
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they would Faster pussy Cat. It's of its time, and
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if you're not a fan of shred, guitar and speed metal,
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this might not be your ticket. But for me, that's
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my sweet spot, that's my happy place, and I love
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this album. I haven't gone back to it in quite
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some time, and it did not disappoint. I am curious
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how you found it, because I know you're not a
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huge Shred guy, But what do you think.
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Well, that's right, Zach. Shred is typically not something I'm
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really too big on. But before listening to this, I
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listened to a Shred album that just came out at
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the beginning last week. We'll talk about that at the
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end in the extra listening notes, but that was just
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straight instrumental Shred fandom Blue does not really do that.
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This isn't actually what I was expecting when you said
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it was signed a Shrapnel, But I think I like
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what I got a good bit more than what I
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was expecting. It's way more riff centric, and I guess
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to touch on it, it gives a Cigar plenty of
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time to show up what she's got, which is pretty great.
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Her voice has this hoarseness to it that really gave
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everything a little bit of bite.
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Reminded me of a there's the.
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Whole story about how when Hart did These Dreams, that
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was the first song Nancy Wilson sang on, and she
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was really sick at the time, so she could never
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duplicate that like raw horse tone that she did in
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the studio for that the cinger on this album, it's
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kind of similar to what Nancy Wilson was doing in
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that song, beefed up to metal levels, and I loved that.
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I think her as a singer stole the show for me.
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It helps that they give her some great courses to
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work around. That said, when it is timed solo, who
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did those girls Blaze? The playing on this one was
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just extremely good stuff that I could never imagine really
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doing myself, although you know, I haven't put in the work,
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so I don't think that even matters. I'm not sure
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why this wouldn't have made a bigger splash than it did.
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I've never heard of Phantom Blue before now, and I'd
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say I like it about as much as any sort
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of trad metal that happened at the time.
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I mean, shit, this album got me really thinking. Do
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you think to.
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A degree at that point calling something female fronted? I
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feel like it's still a problem today, even but we're
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getting over it. Does female frontage just sound like, whether
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or not you meet it that way, it's gonna be
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a gimmick for good or bad. Because I don't know,
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I've gotten really bothered in the last couple of years
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with metal magazines or websites always having to point out that,
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oh girl.
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In this band.
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I don't know if it's just like overcompensating for years
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for a bit lyrical misogyny, but I feel like calling
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things female fronted nasar capacity really just condemns it to
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being Oh, that's that girl band, whether you mean that
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is good there or a bad thing. Do you think
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Phantom Blue would have suffered that? And I guess more broadly,
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Do you think I'm just talking out of my ass
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with that?
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No? Absolutely not, and I can cite specific examples of
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why you're not. As much as I do not like
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the Revolver decibel, et cetera handling of female musicians that
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are involved in the metal scene, I do think it's
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a slight improvement over how they were handled in the eighties.
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I don't know if you remember this or not, but
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way back on the second episode of our previous podcast,
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Are You Morbid? I talked about a band called Black Knight.
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We put out an album called Master of Disaster in
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nineteen eighty five, and Black Night is a Canadian traditional
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power metal band that has a vocalist by the name
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of what was her name? Lori Wilde? And Lori Wilde
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is probably one of the best girl equivalents of Rau
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Halfrid you'll ever hear. She has an absolutely incredible voice,
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and Black Knight's playing was up to snuff. They were
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an incredible band, extremely talented musicians, and not only did
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they have trouble getting signed, which is why the band
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broke up after that EP was released to not much
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acclaim at the time, but they actually had trouble even
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filling up venues because people did not want to come
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see a metal band fronted by a girl. There was
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just this rampant sexism. I don't know if it was
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also just I think we talked about this on an
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episode recently, where when you're a kid and like one
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of the one of the songs comes on a Disney movie,
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you kind of like pretend you're not paying attention because
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it's gay. I think that like a American society had
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like a severe case of that during the time, and
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a lot of metal dudes at the time would not
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pay attention to bands that had female members just because
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of that. I think they figured if they went there,
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that band was for chicks, which is extremely ridiculous when
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you think of what a lot of the men in
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bands that were popular at the time looked like and
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dressed like. It's definitely a weird contrast there. But you know,
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you can roll your eyes at this and call a
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virtue signaling or moral posturing all you want, but I mean,
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the facts are the facts. I mean, Phantom Blue a
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sinush Rapnel, but even among shredheads, you don't hear them
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talk about much. Black Knight never signed let's see Warlock
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never really got that much success in the States. Holy
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Moses barely ever hear them mentioned. They're not cut part
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of the Big four thrash in Germany. They're not even
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really mentioned ever as one of the replacements by a
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lot of people, even though they should be. That band
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is fucking incredible. Vixen was a glam metal band, their
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debut one of the most solid ruins through glam metal
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albums of the period. Barely ever hear them mentioned. They
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weren't that famous. The list goes on and on and on.
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There just were so many examples of bands like this
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that just did not make a splash. Girls School Rock
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Goddess two of the best bands from the New Way
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of British heavy metal scene as far as just out
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and out straight ahead rock and roll goes, somewhat well
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known in the UK, but never made that international splash
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and honestly not what I'm thinking about it. Maybe it
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is more of an American problem than anything I know.
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Like Acid in Belgium were pretty highly acclaimed and they
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were one of the first speat metal bands out there,
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and they were a female fronted I don't know, maybe
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it was just a North American problem and specifically the
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United States. But I definitely think you're onto something there.
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I don't think it's all bs. I think the proof
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is in the pudding. You look at the amount of
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female bands that were out at the time compared to
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the ones that found a huge level of success in
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metal spheares. I think your point is pretty well proven.
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And of course people could point to exceptions like Joan
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Jet or lead a Ford, but even them, I mean,
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outside of their status of the Runaways, they're considered one
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hit wonders and Joan Jet half of her catalog of
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hits his covers. But whatever, I think we've made the point.
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But no, no, I think you're onto something. It's definitely
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not bullshit.
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I'm also thinking of how like Atime Woman bandits respected.
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They're like, yeah, they do just as well as the guys,
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which hmm. Although while I was having that thought at
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work the other day, I just imagined somebody who really
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is missing the point listening to dreariness and saying, hell, yeah,
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this chick gets depressed just as well as any guy does.
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Yeah, the problem isn't exactly fixed. Case in point. Andrea
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Nebel from Aghast, who was senselessly killed in that Norwegian
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terrorist attack not too long ago. But I made a
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post on this on the r E Morbid page, which
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I used for memes. But a freaking metal sucks who
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always get criticized as being the sjw's of the metal scene,
339
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what did they do? Referred to her as Emperor from
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Man's ex wife woman put out one of the greatest
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dark ambient albums of the nineties, and in her fucking
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obituary they just referenced the credits of her husband. I
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think music journalism in general has a problem with exceptionalism.
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That might not be the word, but I think anytime
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a band has something that is seen as a little
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different from the norm, it's emphasized to a degree that
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it negates a lot of work that was done by
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other people in the scene. I don't know if that
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point is going to make full sense, so I'll just
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use an example. I remember recently there was an article
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about a side project of one of the members of Trivium.
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He had started this new band, and one of the
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members was from Thailand or the band itself made the
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base in Thailand, and the one article I saw about it,
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and I'm not even really sure why I write it,
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because I have no interest in Trivium, But the way
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it was phrased was as though this musician being into
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metal from Thailand was completely new and radical, and it's
359
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like Thailand has had a metal scene since the eighties.
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This is not some weird glitch in the matrix. I
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don't understand why they're being talked about like this, like
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they're the first Taiwanese metal band. You know, it might
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be true that no one in America pays attention to
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the Taiwanese metal scene or the East Asian extreme metal
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scene in general, although more recently Japan, I think they're
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black death metal scene is finally getting some attention, although
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I don't think people look into it as deeply as
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they should. And again, I don't think they really respect
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the history there, because everybody like, oh man, these Japanese
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death met or black metal bands are just so fucking
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crazy and blah blah blahlah blah, and they kind of
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ignore the fact that they've been like that for like
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forty years now. Japanese death metal from the early eighties
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is absolutely insane, and if you can get past the
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weird Nazi obsession that some of those bands had it's
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really worth looking into.
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I mean, hell, even China's got a burgeoning extreme metal
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scene that's got some cool stuff coming up.
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Yes, yeah, they do not go. I guess that's the
380
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other thing that kind of pisses me off about it
381
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is there are countries in the world where we are
382
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just starting to see the first touches of metal, China
383
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being one of them. I was just looking into this
384
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because they have a couple of Chinese episodes on the
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back burner. I don't think the state really it was
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too lax on rock music restrictions until relatively recently, so
387
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I think China's kind of playing catch up to where
388
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a lot of the rest of the world is, especially
389
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with like rock. I know they're pop scene. I think
390
00:20:30.000 --> 00:20:32.599
they've modeled it after jpop and K pop to an
391
00:20:32.640 --> 00:20:35.039
extent because I know cepop is not a thing, but
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I think outside of the spectrum of pop music, they're
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a little bit behind the curve, which I think could
394
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be to their benefit in long run, because I think
395
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it might prevent them from just stagnating and being derivative.
396
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But of course there's other also countries in Africa that
397
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don't have much of a scene or are just starting
398
00:20:51.359 --> 00:20:55.480
to South Africa kind of is the exception. They've always
399
00:20:55.519 --> 00:20:57.359
had a scene. But again, do you ever hear anybody
400
00:20:57.359 --> 00:20:59.079
talk about the South African metal scene.
401
00:20:59.279 --> 00:20:59.319
No.
402
00:21:00.000 --> 00:21:01.720
One of my favorite doom metal bands, it's from their
403
00:21:01.799 --> 00:21:05.559
Mad God. They're great. But anyway, my point being, also
404
00:21:05.599 --> 00:21:07.400
some countries in the Middle East, and I know every
405
00:21:07.440 --> 00:21:10.279
now and then you'll see one focused piece, like I
406
00:21:10.400 --> 00:21:12.680
know that one Mongolian band gets a lot of press.
407
00:21:12.799 --> 00:21:15.079
I can't think of their name right now. Or there's
408
00:21:15.119 --> 00:21:17.599
like that one African depth metal band that you'd always
409
00:21:17.599 --> 00:21:19.640
see people post about. I think one of the members
410
00:21:19.640 --> 00:21:22.400
passed away recently. And then there was that one documentary
411
00:21:22.400 --> 00:21:25.519
about like black metal in the Middle East. But again,
412
00:21:25.559 --> 00:21:28.319
it's this weird exceptionalism where I think people find one
413
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example or not exceptionalism tokenism. People find one example and
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hold that up and there's a whole scene there usually
415
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that could use the attention. But man, we've gotten off topic.
416
00:21:38.720 --> 00:21:41.599
Can of worms right there? Are you good? Yep? All right?
417
00:21:42.160 --> 00:21:45.640
What did we just talk about? Sarah Longfield and Phantom Blue.
418
00:21:45.799 --> 00:21:48.599
Oh yeah, it was my turn? Okay, well your turn then.
419
00:21:48.640 --> 00:21:51.559
Yeah, yeah, I'll hop right too. It Sarah Longfield and
420
00:21:51.960 --> 00:21:55.680
per album disparity. So actually, you know what, I'll get
421
00:21:55.720 --> 00:21:57.920
your opinions first, because it sounds like you were excited
422
00:21:57.920 --> 00:21:58.839
to talk about that.
423
00:21:59.079 --> 00:22:01.000
Yeah, this one, it really came out of nowhere, and
424
00:22:01.079 --> 00:22:03.599
I don't really know anything about Sarah Longfield, so I'll
425
00:22:03.640 --> 00:22:05.240
have to have you fill in the blanks for me.
426
00:22:05.519 --> 00:22:08.480
I love this one. I don't think it hit me
427
00:22:08.559 --> 00:22:11.880
until that first guitar solo comes in and I was
428
00:22:11.960 --> 00:22:14.599
just like, WHOA. But there's so much more to this
429
00:22:14.680 --> 00:22:17.920
than Shred. It's this really great mix of pop sensibility
430
00:22:17.960 --> 00:22:21.680
with metal. Reminded me a lot of, of course, some
431
00:22:21.720 --> 00:22:24.640
of your more symphonic metal bands like night Wish and
432
00:22:24.680 --> 00:22:27.279
with In Temptation and stuff like that, and that's usually
433
00:22:27.400 --> 00:22:31.039
a negative for me, but I think that it avoids
434
00:22:31.079 --> 00:22:33.480
the trappings that a lot of those symphonic metal bands
435
00:22:33.519 --> 00:22:35.519
fall into that make me not like them so much.
436
00:22:35.880 --> 00:22:38.359
Not being a ren fair band, I guess this is
437
00:22:38.359 --> 00:22:39.960
the way to put it. And I was surprised a
438
00:22:40.000 --> 00:22:41.960
lot of the guitar playing is very old school. It
439
00:22:42.000 --> 00:22:44.640
reminded me a lot of like Joe Satriani and like
440
00:22:44.680 --> 00:22:48.400
Steve I, and maybe Paul Gilbert but Vinnie Moore and
441
00:22:48.759 --> 00:22:53.799
all these great Shred albums, usually John Roth, these guitar
442
00:22:53.960 --> 00:22:57.079
gods whose work I was super into during the MySpace era.
443
00:22:57.200 --> 00:22:59.319
I always had a Shred guitar song with my MySpace
444
00:22:59.359 --> 00:23:02.000
profile song. It was usually about Buckethead, but sometimes it
445
00:23:02.039 --> 00:23:03.880
was about one of those other guys. It's great to
446
00:23:03.880 --> 00:23:05.680
see that come back. I feel like you don't hear
447
00:23:05.759 --> 00:23:08.160
much of that music anymore. I think even Steve I
448
00:23:08.400 --> 00:23:10.519
was kind of out of the picture until just recently
449
00:23:10.519 --> 00:23:11.799
he put out an album for the first time in
450
00:23:11.839 --> 00:23:14.000
a couple of years. It seems like it's really fallen
451
00:23:14.000 --> 00:23:16.599
out of fashion, with the exception of in the minds
452
00:23:16.599 --> 00:23:19.079
of a couple nerds, I think a lot of those
453
00:23:19.480 --> 00:23:21.880
guys that would have been Shred or girls I should
454
00:23:21.920 --> 00:23:25.240
say too, got picked up into the progressive metal scene,
455
00:23:25.519 --> 00:23:27.839
and so we don't really get as much of these
456
00:23:28.119 --> 00:23:31.400
Shred albums. So yeah, this was a really nice return
457
00:23:31.480 --> 00:23:33.920
to form for me. I loved hearing this. It's something
458
00:23:34.000 --> 00:23:36.680
that I thought was kind of dead and gone, and
459
00:23:37.160 --> 00:23:39.599
here it is, and it's been modernized and has all
460
00:23:39.599 --> 00:23:42.200
these other great influences. I love seeing that. This ca
461
00:23:42.279 --> 00:23:44.839
Battle of Season and missed it's kind of surprised me.
462
00:23:45.079 --> 00:23:47.319
A lot of prog elements as well. I think some
463
00:23:47.359 --> 00:23:49.200
people throw a gent in there and I don't know
464
00:23:49.240 --> 00:23:52.640
about that, but definitely some jazziness and I like that too.
465
00:23:52.759 --> 00:23:54.640
But yeah, she's one of my favorite guitar players that
466
00:23:54.640 --> 00:23:56.200
I've heard in a long, long, long long time. I
467
00:23:56.279 --> 00:23:57.599
might have a little bit more to say after I
468
00:23:57.599 --> 00:24:00.000
get your thoughts, but let's hear them all right.
469
00:24:00.200 --> 00:24:02.519
Yeah, my thoughts on my album, Well, you picked up
470
00:24:02.559 --> 00:24:05.680
on metal far more than I did, and I don't
471
00:24:05.680 --> 00:24:07.920
know if that's just because I knew she was from
472
00:24:07.920 --> 00:24:09.960
the metal spheres and I was focusing on the other
473
00:24:10.039 --> 00:24:12.839
stuff because a lot of her playing here with the
474
00:24:12.880 --> 00:24:16.440
phrase that came to mind was weather channel shred and
475
00:24:16.519 --> 00:24:18.400
I think I'm going to stick with that. Sarah's a
476
00:24:18.400 --> 00:24:21.960
guitarist out of fucking Wisconsin, but I won't hold that
477
00:24:22.000 --> 00:24:24.519
against her. Oh yeah, she's just got a major love
478
00:24:24.720 --> 00:24:29.880
for math rock and the talent for this super effortless,
479
00:24:29.920 --> 00:24:33.400
smooth technical playing. In a lot of ways, she reminded
480
00:24:33.440 --> 00:24:36.160
me of that of Stanley Jordan album we talked about
481
00:24:36.359 --> 00:24:39.920
a little while back, though definitely heavier since that album
482
00:24:40.039 --> 00:24:43.599
was late as a Summer Breeze. She's really well regarded
483
00:24:43.680 --> 00:24:46.640
as one of the better tap guitarists out there.
484
00:24:46.880 --> 00:24:48.920
Oh well, that would explain why she reminded you of
485
00:24:48.920 --> 00:24:49.599
Stanley Jordan.
486
00:24:49.920 --> 00:24:52.119
Yeah, that would be a big part of it. Yeah,
487
00:24:52.160 --> 00:24:54.759
so a lot of her playing is too hand tapping.
488
00:24:55.240 --> 00:24:57.400
Some people will call that cheating.
489
00:24:57.640 --> 00:24:58.160
I don't.
490
00:24:58.400 --> 00:24:59.960
I think it takes a certain amount of a bill
491
00:25:00.440 --> 00:25:03.279
Let me rephrase that, it takes a pretty major amount
492
00:25:03.319 --> 00:25:06.400
of ability to play that way and still make things
493
00:25:06.480 --> 00:25:10.759
sound really thought out, not like a complete god timp mess.
494
00:25:11.160 --> 00:25:15.319
The album's all tapstree of these just complex jazzy guitar lines.
495
00:25:15.799 --> 00:25:19.000
They just feel effortless. It feels like she doesn't even
496
00:25:19.039 --> 00:25:21.319
have to try. She's just that good at playing. The
497
00:25:21.440 --> 00:25:24.519
chunky riffing definitely pops up a lot of places, though
498
00:25:24.559 --> 00:25:29.240
you're also likely to hear these floating keyboards, wandering saxophones,
499
00:25:29.680 --> 00:25:33.960
and Sarah herself is just a great, light, airy voice
500
00:25:34.400 --> 00:25:36.720
that a lot of these Shred albums yet all hear,
501
00:25:37.079 --> 00:25:39.680
mostly because it's a bunch of dudes doing a dick
502
00:25:39.720 --> 00:25:43.640
measuring contest that I'd actually want to see. And yeah,
503
00:25:43.680 --> 00:25:46.079
I mean, our guitar playing is the centerpiece of this
504
00:25:46.240 --> 00:25:50.200
album for sure, and I'd say she's probably one of
505
00:25:50.240 --> 00:25:53.799
the best out there right now. Just outstanding material, and
506
00:25:54.319 --> 00:25:56.079
she has a little bit of a back catalog. I
507
00:25:56.079 --> 00:25:59.839
definitely need to check out more. This was the culmination
508
00:26:00.079 --> 00:26:02.599
of me knowing that sheos on season missed for years
509
00:26:02.640 --> 00:26:05.880
and saying, maybe I should finally do it, And yeah,
510
00:26:06.200 --> 00:26:09.720
Disparity is just a great freakin' album, and I was
511
00:26:09.799 --> 00:26:10.640
damned impressed.
512
00:26:10.960 --> 00:26:13.720
Yeah, well, I'm interested that you didn't pick up on
513
00:26:13.839 --> 00:26:16.680
much metal in this, and I like your description of
514
00:26:16.680 --> 00:26:20.559
a weather channel shred, but that to me symbolizes that
515
00:26:20.640 --> 00:26:23.640
we have some work to deal with shred guitar. Because
516
00:26:23.920 --> 00:26:26.799
if you like this, I'm thinking of like three or
517
00:26:26.839 --> 00:26:28.960
four other albums that I think might really be up
518
00:26:29.039 --> 00:26:31.880
your alley. So I'm going to work on that for sure.
519
00:26:32.319 --> 00:26:35.319
See if we can't get a Shred for Ian episode,
520
00:26:35.599 --> 00:26:38.480
so I guess one of my last one. What a change, Yes,
521
00:26:38.519 --> 00:26:40.519
what a change. So we are now going to be
522
00:26:40.519 --> 00:26:43.720
talking about Flowers of Evil by Ruth White. It is
523
00:26:43.839 --> 00:26:49.519
a electronic semi spoken word album. The lyrics are from
524
00:26:49.640 --> 00:26:52.599
the book of poetry Flowers of Evil by the French
525
00:26:52.640 --> 00:26:56.400
poet of Charles Baudelaire. I think it's pronounced, which is
526
00:26:56.440 --> 00:26:59.640
a pretty famous book of poetry, and from what I understand,
527
00:26:59.680 --> 00:27:02.359
I have actually read it, although I very much intend
528
00:27:02.400 --> 00:27:04.680
to after hearing this album. I know it was a
529
00:27:04.720 --> 00:27:07.240
band for a while in France because it violated public
530
00:27:07.279 --> 00:27:10.960
decency loss, which is really cool. So Flowers of Evil
531
00:27:11.519 --> 00:27:14.880
is a album that I found out about relatively recently.
532
00:27:15.519 --> 00:27:18.240
Came up in a couple places. I think this is
533
00:27:18.559 --> 00:27:21.680
also on the Nurse with Wound list, and if not,
534
00:27:22.319 --> 00:27:25.279
it also occasionally shows up one other lists of like
535
00:27:25.400 --> 00:27:29.119
disturbing and creepy music. I think what really makes this
536
00:27:29.160 --> 00:27:31.279
one before I get into the way it sounds, is
537
00:27:31.480 --> 00:27:34.720
the backstory of Ruth White. She was a composer born
538
00:27:34.759 --> 00:27:39.480
in nineteen twenty five and she is another early electronic pioneer,
539
00:27:39.559 --> 00:27:41.920
which amazing how many women were involved in the electronics
540
00:27:41.920 --> 00:27:44.759
scenes so early. On another topic I think might be
541
00:27:44.799 --> 00:27:46.440
worthy of discussion, I think we might have hit some
542
00:27:46.480 --> 00:27:49.000
of the best heavy hitters already. But between this when
543
00:27:49.039 --> 00:27:51.359
Dey Carlos just came up on an episode on the
544
00:27:51.440 --> 00:27:54.119
Christmas episode, and then there was that girl that worked
545
00:27:54.119 --> 00:27:56.480
with Bruce Hack all the time on his Children's records.
546
00:27:56.559 --> 00:27:58.640
We gotta look into that. Ruth White was an early
547
00:27:58.759 --> 00:28:02.599
proponent of the moog, and she was all around interested
548
00:28:02.680 --> 00:28:06.079
in electronic musicianship. She was a teacher and a lot
549
00:28:06.079 --> 00:28:11.759
of her early work is centered on either archival recordings
550
00:28:11.799 --> 00:28:15.680
of like songs from Japanese poetry or songs from Palestine
551
00:28:15.720 --> 00:28:18.279
and stuff like that. And then she started moving into
552
00:28:18.559 --> 00:28:21.000
children's records and that was pretty much the bulk of
553
00:28:21.000 --> 00:28:24.119
her career. Even after this, Flowers of Evil, along with
554
00:28:24.160 --> 00:28:27.640
one or two other albums, stand apart. I think this
555
00:28:27.680 --> 00:28:30.440
one seven Trumps from the Tarot Cards and Pinions and
556
00:28:30.480 --> 00:28:34.000
short Circuits are her very very weird ones. And then
557
00:28:34.039 --> 00:28:36.920
other than that, it's a lot of educational stuff. And
558
00:28:37.680 --> 00:28:40.000
I say all that just because this album is so
559
00:28:40.079 --> 00:28:43.759
goddamn creepy. The atmosphere and the mood on here would
560
00:28:43.759 --> 00:28:47.119
make a lot of black metal bands blush. She manages
561
00:28:47.200 --> 00:28:50.839
to just evoke so much mood and atmosphere out of
562
00:28:51.240 --> 00:28:53.400
very little. I mean, it's pretty much just her with
563
00:28:53.440 --> 00:28:57.799
some vocal effects and a synth and a mood and
564
00:28:57.920 --> 00:29:02.839
a couple other toys. She plays with this very slow, plotting,
565
00:29:03.240 --> 00:29:07.839
creepy electronic music that is obviously creative with the intentions
566
00:29:07.880 --> 00:29:11.440
disturb and unsettle you. And then this spoken word lyricism
567
00:29:11.759 --> 00:29:15.839
about God and the devil and women and feminism and
568
00:29:15.920 --> 00:29:20.680
all this, but through this very occult and Milton esque lens,
569
00:29:20.720 --> 00:29:23.960
and I just love it. I could recommend this one
570
00:29:24.079 --> 00:29:27.480
to pretty much anyone. Well, I get let me rephrase that,
571
00:29:27.640 --> 00:29:30.359
if you like this show, you'll probably like this and
572
00:29:30.480 --> 00:29:32.880
any fan of out there music I think will take
573
00:29:32.920 --> 00:29:35.480
a lot away from this. To me personally, one of
574
00:29:35.519 --> 00:29:39.960
the biggest factors that makes a Ruth White special is
575
00:29:40.319 --> 00:29:43.039
she was only forty four when she recorded this, but
576
00:29:43.440 --> 00:29:49.079
she has a very matronly sounding voice, and it almost grandmotherly. Yeah,
577
00:29:49.119 --> 00:29:51.960
that's the word grandmotherly, and it actually I have to
578
00:29:51.960 --> 00:29:54.720
harken back to what we were talking about on the
579
00:29:54.839 --> 00:29:58.880
Christmas episode in reference to erth'st Wolf, and then you
580
00:29:58.960 --> 00:30:03.119
brought up a Burlives and that comfort that we found
581
00:30:03.440 --> 00:30:07.920
in a older voice with a strong patriarchal presence singing
582
00:30:07.960 --> 00:30:12.279
these soothing songs about winter traditions and Christmas and all
583
00:30:12.279 --> 00:30:14.920
these warm, wholesome things, and how that worked in a
584
00:30:14.960 --> 00:30:18.519
way that Michael Boublay or something like that doesn't necessarily
585
00:30:18.559 --> 00:30:21.920
have the same effect. And it's interesting that this album
586
00:30:22.119 --> 00:30:26.119
I think is almost a complete reversal and bastardization of that,
587
00:30:26.640 --> 00:30:30.680
because you have this grandmother figure or this mother figure
588
00:30:31.039 --> 00:30:35.680
reciting what sounds like what every edgy, fourteen year old
589
00:30:35.720 --> 00:30:38.640
boy wishes their poetry sounded like. And it's such a
590
00:30:38.640 --> 00:30:42.920
weird contrast that I think it emphasizes the horror of
591
00:30:42.960 --> 00:30:46.160
it and the creepiness, and knowing that she is like
592
00:30:46.240 --> 00:30:49.599
this children's entertainer just makes it even all the more
593
00:30:49.640 --> 00:30:52.319
fascinating and weird, and you get a wonder about her
594
00:30:52.359 --> 00:30:54.799
motivations behind this. I do think if I had to
595
00:30:54.799 --> 00:30:58.559
recommend one track, if you're a little hesitant to toe
596
00:30:58.599 --> 00:31:01.680
dip into a spoken or electronic record, I would say
597
00:31:01.680 --> 00:31:04.599
throw on the last track. The Litany's of Satan. Litany's
598
00:31:04.640 --> 00:31:06.440
of Satan is a term that a lot of people
599
00:31:06.480 --> 00:31:09.200
may know from. What's her name, Dimanda Gallis? I think
600
00:31:09.200 --> 00:31:11.559
her name is pronounced. She had an album the same name,
601
00:31:11.599 --> 00:31:14.640
which I assume is also possibly taking inspiration from Flowers
602
00:31:14.640 --> 00:31:17.440
of Evil. But anyway, Ian, what do you think of
603
00:31:17.519 --> 00:31:18.799
Ruth White Flowers of Evil?
604
00:31:18.960 --> 00:31:21.200
Well, I guess to follow that up, I'm pretty sure
605
00:31:21.240 --> 00:31:24.279
that was just straight up Boude layer that Da.
606
00:31:24.359 --> 00:31:25.559
Monda Gollass was doing.
607
00:31:25.880 --> 00:31:29.319
But anyway, yeah, so here's the early version of it.
608
00:31:29.440 --> 00:31:31.640
I'm gonna throw out a point of reference that I
609
00:31:31.680 --> 00:31:35.920
guess for longtime listeners they may remember this. This album
610
00:31:36.079 --> 00:31:40.720
felt like an old woman fronted version of just in
611
00:31:40.920 --> 00:31:44.519
sound of that Lonnie Holly album we talked about, because
612
00:31:44.839 --> 00:31:47.680
I'd be hard pressed to actually call anything on here
613
00:31:48.119 --> 00:31:51.920
music technically. I mean, my notes are very short on
614
00:31:52.000 --> 00:31:55.000
this album, and the first thing I wrote is, how
615
00:31:55.079 --> 00:31:58.799
does one describe an album like this? It's it's something
616
00:31:59.039 --> 00:32:02.200
very different. It feels much more of a performance art
617
00:32:02.240 --> 00:32:05.440
piece than anything that I woul that I would call music,
618
00:32:05.799 --> 00:32:09.480
which it's kind of a weird not indictment, but an
619
00:32:09.559 --> 00:32:11.680
interesting thing to bring up as far as just early
620
00:32:11.720 --> 00:32:15.759
electronic music, because in addition to the undercurrent of a
621
00:32:15.799 --> 00:32:18.160
lot of women being involved, I also got to think
622
00:32:18.160 --> 00:32:21.319
for a moment about how so much of that early
623
00:32:21.400 --> 00:32:24.759
stuff is hard to consider music because it was so
624
00:32:24.920 --> 00:32:27.759
damned creepy and like had such a different kind of
625
00:32:27.839 --> 00:32:30.279
vibe to it. I felt the same way about Bruce Hack.
626
00:32:30.680 --> 00:32:33.920
This is an experience more than I would say it's music.
627
00:32:33.960 --> 00:32:38.079
To listen to and it spooked me out pretty well.
628
00:32:38.559 --> 00:32:42.599
Beaudelaire's poetry on this. I'm sure it's translation, but it
629
00:32:42.759 --> 00:32:47.480
still feels very otherworldly and bizarre. And the way that
630
00:32:47.759 --> 00:32:51.599
Ruth White delivers this poetry, it gets under your skin,
631
00:32:51.880 --> 00:32:56.960
especially with the weird processing and distortion on our voice.
632
00:32:57.720 --> 00:33:01.319
It comes through almost which like in a way, but
633
00:33:01.920 --> 00:33:04.799
more in the hammer horror kind of which way, not
634
00:33:04.880 --> 00:33:08.119
in the modern like Wick Girl way. It's an intriguing
635
00:33:08.160 --> 00:33:11.559
list and very easy to get sucked into this album
636
00:33:11.640 --> 00:33:14.000
and just kind of be terrified.
637
00:33:13.480 --> 00:33:16.079
To the whole thing. And I liked it.
638
00:33:16.200 --> 00:33:19.319
Something this old that still evokes reactions like that. After
639
00:33:19.640 --> 00:33:23.880
I've spoiled myself on stuff like Experdition.
640
00:33:23.279 --> 00:33:24.440
It's got to get some credit.
641
00:33:24.680 --> 00:33:27.440
And it's also remind me of Lonnie Ali while it's
642
00:33:27.440 --> 00:33:27.799
at it.
643
00:33:27.920 --> 00:33:32.039
I'm impressed. Yeah, awesome, I'm glad to hear it. I agree.
644
00:33:32.160 --> 00:33:35.279
This early electronic scene there's something about it that has
645
00:33:35.279 --> 00:33:37.359
this other worldly quality to it. And I don't know
646
00:33:37.400 --> 00:33:39.960
if it's just because of how early the technology is
647
00:33:40.000 --> 00:33:44.480
and how quickly it adapted that it very quickly became foreign.
648
00:33:45.000 --> 00:33:48.160
But this era is just filled with stuff like this,
649
00:33:48.279 --> 00:33:50.720
and we really do need to do that spooky electronic episode.
650
00:33:50.720 --> 00:33:53.160
I've been holding off on it just because I'm scared
651
00:33:53.160 --> 00:33:56.200
of doing instrumental albums. But talk for another day. I'll
652
00:33:56.240 --> 00:33:59.119
harken back to I have a special plan for this world.
653
00:33:59.480 --> 00:34:02.079
One of theffects that Current ninety three uses on that
654
00:34:02.319 --> 00:34:07.200
is they take a old speaking spell I think they're called.
655
00:34:07.279 --> 00:34:09.199
It's one of the things where like you pull the
656
00:34:09.280 --> 00:34:12.719
lever and it spins around and it's like the cow says, mooh,
657
00:34:13.119 --> 00:34:14.039
you know what I'm talking about.
658
00:34:14.360 --> 00:34:16.480
Uh yeah, there's like those children's toys.
659
00:34:16.840 --> 00:34:20.599
Yes, but they had one that was nearly broken. So
660
00:34:20.760 --> 00:34:23.679
when it plays back and they pull it after Leggatti
661
00:34:23.719 --> 00:34:26.400
finishes one of the verses or stanzas, whatever you want
662
00:34:26.400 --> 00:34:28.519
to call it, so it's just this like real garble
663
00:34:28.639 --> 00:34:33.480
like kind of thing. It's very very creepy, and it
664
00:34:33.639 --> 00:34:36.679
just evokes this sense of like degradation and ruin, and
665
00:34:37.280 --> 00:34:40.880
I think that's also present on this When Ruth Throwsy's
666
00:34:40.880 --> 00:34:42.920
effects on her voice, it just sounds like the wheels
667
00:34:42.920 --> 00:34:45.960
are coming off and the whole world is collapsing around you.
668
00:34:46.239 --> 00:34:49.559
And I think that's very special. I love that a lot,
669
00:34:49.760 --> 00:34:51.679
I guess just for the sake of mentioning. A lot
670
00:34:51.679 --> 00:34:53.880
of times when I talk about horror and stuff on
671
00:34:54.440 --> 00:34:57.320
this show, it horror to me is a god. I
672
00:34:57.320 --> 00:34:59.719
think it's not pretentious, but hard to be as a philosophy,
673
00:35:00.119 --> 00:35:04.760
and it's much much deeper than just boo, you know.
674
00:35:05.119 --> 00:35:07.039
So a lot of times when I'm talking about this stuff,
675
00:35:07.199 --> 00:35:09.119
I don't necessarily mean that the album is going to
676
00:35:09.199 --> 00:35:11.639
be like ah in your face and make you jump,
677
00:35:11.679 --> 00:35:15.559
but I do think it invokes a very deep fear
678
00:35:16.119 --> 00:35:17.880
of the foreign and the unknown.
679
00:35:18.599 --> 00:35:21.239
Say, from my own perspective, as far as harror goes,
680
00:35:21.239 --> 00:35:24.400
there's a big difference between being scared and feeling drid,
681
00:35:24.679 --> 00:35:27.079
and this leans hard on the drid.
682
00:35:27.719 --> 00:35:29.960
So there's here's a quote from Thomas Leggatti, and of
683
00:35:30.000 --> 00:35:32.400
course he's talking about literature, but he says, if you
684
00:35:32.440 --> 00:35:34.280
read a lot of horror literature because you like to
685
00:35:34.280 --> 00:35:37.039
be scared, then you're probably a normal, healthy person. If
686
00:35:37.039 --> 00:35:40.320
you read horror literature to fulfill some deeply personal predisposition,
687
00:35:40.719 --> 00:35:43.440
be assured that there is something odd and unwholesome about you.
688
00:35:43.719 --> 00:35:45.519
Don't ever let anyone tell you that it's not all
689
00:35:45.639 --> 00:35:47.840
right to be that way. I feel like with music
690
00:35:47.920 --> 00:35:51.400
like this or acts as a perdition or black metal
691
00:35:51.519 --> 00:35:54.880
or any of this crazy experimental stuff that we talk about.
692
00:35:55.039 --> 00:35:56.760
I do feel like that's why it appeals to me.
693
00:35:56.840 --> 00:35:58.840
That's why I love the pop group or Henry Cow
694
00:35:59.039 --> 00:36:01.760
or any of that Roy stuff. For the brutal prog
695
00:36:01.880 --> 00:36:05.880
stuff we haven't talked about is because it's insanity and
696
00:36:05.960 --> 00:36:10.960
it's decay and rot and just this, you know, complete
697
00:36:11.000 --> 00:36:14.079
disregard for norms. It's like someone patting me on the
698
00:36:14.119 --> 00:36:17.079
back and saying, you're right, Zach, good job. And that's
699
00:36:17.079 --> 00:36:19.559
why I love it so much. So it's even though
700
00:36:19.599 --> 00:36:22.280
I referred to it as horrific, it's very much an
701
00:36:22.320 --> 00:36:26.360
emotional pantsy. I love it. I have completely lost the plot,
702
00:36:26.679 --> 00:36:29.000
so I think I think we covered everything that I
703
00:36:29.039 --> 00:36:32.480
wanted to listen to this album. And on that note,
704
00:36:32.559 --> 00:36:34.760
let's talk about something that's a scary in a more
705
00:36:34.800 --> 00:36:37.559
traditional way. And that's your last one, but let me
706
00:36:37.599 --> 00:36:40.960
grab a water. Yeah, a bit more traditionally scary. Here
707
00:36:41.000 --> 00:36:43.559
we got Pupil Slicer with their.
708
00:36:43.320 --> 00:36:47.480
Debut album Mirrors, an album that I bitterly lament the
709
00:36:47.519 --> 00:36:49.559
fact that it fell off my end of the year
710
00:36:49.599 --> 00:36:52.360
list because I think for a good while it had
711
00:36:52.360 --> 00:36:56.639
a good chance. So this album is going for a
712
00:36:56.719 --> 00:37:01.840
nice blend of mathcore and more additional grind aesthetics and
713
00:37:02.159 --> 00:37:06.519
they are out of the UK and damn this album
714
00:37:06.679 --> 00:37:10.280
is chaos and it is awesome, as you would expect
715
00:37:10.320 --> 00:37:13.599
from something that's grind in math core. It's just an
716
00:37:13.639 --> 00:37:18.559
all out assault on the senses, disc discordant, jarring instrumentation
717
00:37:19.079 --> 00:37:23.719
that comes across in these weird, uncomfortable rhythms, and when
718
00:37:23.719 --> 00:37:27.400
it does actually lock into that kind of typical cadence,
719
00:37:27.920 --> 00:37:33.119
it's all grind riffs and just sheer aggression, although occasionally
720
00:37:33.159 --> 00:37:36.920
it does give way to brief atmospheric passages. Now, the
721
00:37:37.320 --> 00:37:40.639
woman of the hour here is Kate Davies. She is
722
00:37:41.039 --> 00:37:45.239
outstanding in her vocal delivery and dishrep playing all the guitars,
723
00:37:45.280 --> 00:37:48.599
which it always blows my mind that mathcore people can
724
00:37:48.599 --> 00:37:51.360
play guitar and do vocals at the same time. As
725
00:37:51.400 --> 00:37:53.880
far as vocalists for this style of music, I think
726
00:37:53.920 --> 00:37:57.760
she's one of the best. She almost has a DSBM
727
00:37:57.880 --> 00:38:02.679
sort of intensity to her hervocals. She's shrieking and rashing
728
00:38:02.760 --> 00:38:07.280
out lyrics mostly about mental disorder or social ills, with
729
00:38:07.480 --> 00:38:11.400
just this shocking intensity. And it really feels like it's
730
00:38:11.440 --> 00:38:13.840
coming from a personal place in a lot of this,
731
00:38:13.960 --> 00:38:16.840
and she's really pouring her guts out. And what the
732
00:38:16.920 --> 00:38:20.599
lyrical themes are again mental health. There's a song written
733
00:38:20.639 --> 00:38:23.119
about the panic defense, which is still one of the
734
00:38:23.119 --> 00:38:26.880
most insane things about American society. It's an album that
735
00:38:27.159 --> 00:38:30.440
just makes you really uncomfortable, which I think was the point,
736
00:38:30.639 --> 00:38:35.239
and Pupil Slicer is just damn good at evoking that feeling,
737
00:38:35.639 --> 00:38:39.159
and I'm glad they're getting as much buzz as they are. Shockingly,
738
00:38:39.239 --> 00:38:42.199
this album has managed to end up on a lot
739
00:38:42.239 --> 00:38:45.480
of major publications best Metal of the Year lists, and
740
00:38:45.639 --> 00:38:48.400
as cynical as I am about those things, I think
741
00:38:48.440 --> 00:38:52.480
I was looking through a revolver thinking like overrated, overrated.
742
00:38:52.679 --> 00:38:55.000
Of course they got to pick the classic overrated. Hey,
743
00:38:55.079 --> 00:38:59.199
Pupil Slicer. That's cool garbage, and it's cool seeing that
744
00:38:59.360 --> 00:39:03.159
one band that I get it. I understand why they're
745
00:39:03.400 --> 00:39:06.000
getting the hype, and I think they genuinely deserve it.
746
00:39:06.159 --> 00:39:09.079
Peopil Slicers do it some great stuff with mathcore, and
747
00:39:09.440 --> 00:39:11.639
that's a genre that I'm slowly getting more and more
748
00:39:11.639 --> 00:39:14.719
acclimated too. It took me a long time, but these
749
00:39:14.719 --> 00:39:16.440
guys are one of the best out there right now.
750
00:39:16.480 --> 00:39:19.559
I feel like, and uh, this is only a debut album,
751
00:39:19.599 --> 00:39:22.239
so I think we can expect a lot more good
752
00:39:22.320 --> 00:39:23.840
stuff out of Pupils Slicer.
753
00:39:24.119 --> 00:39:28.239
But how'd you like it? Excellent? Loved it excellent? I
754
00:39:28.320 --> 00:39:32.440
think the best summation I can give is that it
755
00:39:32.480 --> 00:39:36.039
is the natural progression or an evolution of the sound
756
00:39:36.039 --> 00:39:39.039
that Nuclear Death created. And that is a very, very
757
00:39:39.199 --> 00:39:42.000
very high praise for anybody that's familiar with Nuclear Death,
758
00:39:42.000 --> 00:39:43.400
and I don't know if you're one of those people.
759
00:39:43.719 --> 00:39:47.840
And in retrospect, they almost got on here, and if
760
00:39:47.880 --> 00:39:50.159
I would have listened to things in a different order,
761
00:39:50.519 --> 00:39:53.119
they probably would have because they are a female fronted
762
00:39:53.360 --> 00:39:56.800
death thrash band with heavy heavy grind influence. I don't
763
00:39:56.800 --> 00:39:58.199
know if there's a whole lot I can say about
764
00:39:58.199 --> 00:40:01.719
this album on the whole that you didn't cover, so
765
00:40:01.880 --> 00:40:04.400
I guess to just talk about it in more generalized terms,
766
00:40:04.440 --> 00:40:06.599
which seems to be the theme of this bonus episode.
767
00:40:07.000 --> 00:40:12.119
It's incredible to me how well grindcore manages to blend
768
00:40:12.199 --> 00:40:17.079
into artistic experimentation, because, as I mentioned to you in
769
00:40:17.119 --> 00:40:21.000
the chat recently, when we talked about doing a avant grind episode.
770
00:40:21.079 --> 00:40:23.920
I had to separate it into two separate lists because
771
00:40:24.320 --> 00:40:27.880
there was just too much experimentation. There was so much
772
00:40:27.920 --> 00:40:30.800
that I had to make a separate cybergrind list and
773
00:40:30.880 --> 00:40:33.559
then a list for other and both of those lists
774
00:40:33.599 --> 00:40:37.800
are absolutely massive pupil slicer. They do sound remarkably fresh
775
00:40:37.840 --> 00:40:39.960
to me, and I'm glad that they got praised. I mean,
776
00:40:40.079 --> 00:40:42.239
I know we've talked about it before that we like
777
00:40:42.280 --> 00:40:44.960
seeing this more experimental stuff get it to do in
778
00:40:45.000 --> 00:40:48.800
major publications. Even if it said publications in general really
779
00:40:48.840 --> 00:40:51.679
are forte, it's still cool to see them get praised.
780
00:40:51.679 --> 00:40:54.159
It's still cool to see these bands outside of the
781
00:40:54.639 --> 00:40:58.039
norm get attention. And I hope a trend continues, and
782
00:40:58.199 --> 00:41:00.400
particularly with this style of music, because a lot of
783
00:41:00.440 --> 00:41:04.079
the bands that get praising in this style bands like
784
00:41:04.440 --> 00:41:07.159
Nails in particular. And I don't mean the Nails as
785
00:41:07.199 --> 00:41:10.199
anywhere near this mathy or anything. I just mean in
786
00:41:10.280 --> 00:41:13.400
terms of extremely harsh music that gets a lot of
787
00:41:13.440 --> 00:41:16.000
good press. I do think this has a little bit
788
00:41:16.039 --> 00:41:18.639
more artistic variety to it. I don't want to say
789
00:41:18.679 --> 00:41:21.320
merit because it's insulting to people that like that stuff,
790
00:41:21.400 --> 00:41:23.159
even if that is how I feel, but it doesn't
791
00:41:23.199 --> 00:41:27.199
seem as generically harsh as some of that stuff is.
792
00:41:27.400 --> 00:41:29.639
It feels like it's coming from a very pure placed
793
00:41:29.760 --> 00:41:32.679
experimentation and I'm very excited to hear what they do next.
794
00:41:32.719 --> 00:41:35.480
And I absolutely love her voice reminds me of a
795
00:41:35.519 --> 00:41:38.800
lot of the greats from the extreme metal scenes, not
796
00:41:38.840 --> 00:41:41.559
just as girls, but in particular, like Lori Bravo from
797
00:41:41.599 --> 00:41:45.840
Nuclear Death, like the girl from Oh God. It's too
798
00:41:45.960 --> 00:41:48.599
late for me to remember names that one British thrash
799
00:41:48.639 --> 00:41:52.159
band that I can't think of. So yeah, great album.
800
00:41:52.280 --> 00:41:54.599
I love people Splicer. Very excited to see what they
801
00:41:54.639 --> 00:41:58.599
do after Mirrors, I guess. On that note, let's move
802
00:41:58.679 --> 00:42:02.400
on to the non pod listening, and I think I
803
00:42:02.480 --> 00:42:05.159
probably have way more, so if you don't mind, I'm
804
00:42:05.199 --> 00:42:07.000
just gonna blast through mine quick and then i'll let
805
00:42:07.039 --> 00:42:10.639
you finish up. All right, Okay, So I'm gonna go
806
00:42:10.679 --> 00:42:14.199
through this relatively quickly because although I did listen to
807
00:42:14.320 --> 00:42:16.880
a ton of stuff this week, most of it is
808
00:42:17.360 --> 00:42:19.760
genres that we've touched on before, so I don't feel
809
00:42:19.760 --> 00:42:23.400
like they need a ton of explanation. So starting off today,
810
00:42:23.559 --> 00:42:26.880
I listened to the nineteen ninety album by Warrior Soul,
811
00:42:27.159 --> 00:42:30.760
Last Decade, Dead Century. They're fantastic. They're one of the
812
00:42:30.800 --> 00:42:33.320
best from that early alternative metal scene that came out
813
00:42:33.360 --> 00:42:35.360
of the very late eighties and the nineties, like with
814
00:42:35.800 --> 00:42:38.239
Helmet and a lot of those bands like that. I
815
00:42:38.320 --> 00:42:39.960
think they've aged a lot better than a lot of
816
00:42:39.960 --> 00:42:42.760
that stuff has. I listened to Welcome to the Rodeo
817
00:42:42.920 --> 00:42:45.639
by Gary Lee in The Showdown. Gary leean Showdown is
818
00:42:45.679 --> 00:42:48.440
best known for the song Welcome to the I think
819
00:42:48.440 --> 00:42:51.039
it's just called Welcome to the Rodeo. I posted on Facebook.
820
00:42:51.039 --> 00:42:53.440
I don't know if you saw it. It's just incredibly vulgar.
821
00:42:53.639 --> 00:42:57.039
What's not actually that vulgar? But it's a little blue
822
00:42:57.039 --> 00:42:58.760
grass ditty that has a lot of swearing in it.
823
00:42:59.199 --> 00:43:01.559
And I always wonder to what's his full length sound like?
824
00:43:01.920 --> 00:43:03.599
And he does have a couple. I listened to most
825
00:43:03.599 --> 00:43:05.000
of the second one too, but I'm not gonna talk
826
00:43:05.000 --> 00:43:07.719
about that. And yeah, it's actually really good stuff. It's
827
00:43:07.760 --> 00:43:10.159
like twenty eight minutes. He has two covers on there.
828
00:43:10.199 --> 00:43:11.960
I one have heard of the Love Song and Devil
829
00:43:12.000 --> 00:43:14.239
went down to Georgia, And I don't really think neither
830
00:43:14.280 --> 00:43:16.679
of those were necessary. I don't think they really elevated
831
00:43:17.039 --> 00:43:19.679
them at all. Although they were good. I think it
832
00:43:19.719 --> 00:43:22.559
was more annoyed with it because Gary Lee is actually
833
00:43:22.639 --> 00:43:24.880
a really talented songwriter and he has a great sense
834
00:43:24.880 --> 00:43:27.840
of humor. The last song is about a country band
835
00:43:27.840 --> 00:43:29.800
that learns to play disco so they don't lose a
836
00:43:29.880 --> 00:43:32.239
job at a bar, and it's called Redneck Disco and
837
00:43:32.440 --> 00:43:34.639
I just giggle in the whole time. Very fun stuff,
838
00:43:34.800 --> 00:43:36.960
so i'd really recommend people check that out. I listened
839
00:43:37.000 --> 00:43:40.039
to a song's about angels evil and running around on
840
00:43:40.119 --> 00:43:43.079
fire by a band called Thingy. I think they're from Portland.
841
00:43:43.360 --> 00:43:47.519
I think really good low fi slacker rock if you're
842
00:43:47.519 --> 00:43:49.280
into that. A little bit later. I think it's from
843
00:43:49.320 --> 00:43:51.760
like nineteen ninety seven, so a little bit past that
844
00:43:51.920 --> 00:43:55.280
genre's peak, but actually featured two singers, a girl and
845
00:43:55.320 --> 00:43:57.679
a guy, so notice back and forth there, and really
846
00:43:57.719 --> 00:44:00.440
good stuff. If you're into a nineties alternative, you've heard
847
00:44:00.440 --> 00:44:02.960
it all. Give Thingy a listen. Listen to a can
848
00:44:03.079 --> 00:44:07.000
side project called Phantom Band from the eighties. Really great
849
00:44:07.039 --> 00:44:10.920
stuff there, Ian I would highly recommend you check that out.
850
00:44:11.280 --> 00:44:14.239
A lot of great polyphonic drumming on that and a
851
00:44:14.280 --> 00:44:17.760
little bit of dub influence some reggae. To emphasize this
852
00:44:17.800 --> 00:44:21.679
is Phantom Band, not the Phantom Band, which is a
853
00:44:21.840 --> 00:44:24.679
pretty cool indie rock band from Scotland, but much much later.
854
00:44:24.840 --> 00:44:26.320
If you're out there, you want to look for the
855
00:44:26.320 --> 00:44:30.000
connection to can So let's see. I listened to Yeah,
856
00:44:30.079 --> 00:44:33.519
I listened to Field Songs, Volume one by a Ghost
857
00:44:33.599 --> 00:44:37.760
of Paul Revere. They are a I guess bluegrass slash
858
00:44:37.840 --> 00:44:40.800
old time revivalist band, but the only have familiar with
859
00:44:41.000 --> 00:44:43.480
one of their songs. It was called the Ballad of
860
00:44:43.480 --> 00:44:45.679
the twentieth of Maine, which I think is a traditional
861
00:44:45.679 --> 00:44:49.639
Civil War song about I think it's a battalion from
862
00:44:49.679 --> 00:44:52.119
Maine that was completely wiped out at the Battle of Gettisburg.
863
00:44:52.280 --> 00:44:54.440
That song always gives me chills and like it makes
864
00:44:54.440 --> 00:44:55.960
the hair on the back of my next stand up.
865
00:44:56.079 --> 00:44:57.719
The rest of the album didn't really do a whole
866
00:44:57.719 --> 00:45:00.159
lot for me, although they do have a bluegrass over
867
00:45:00.239 --> 00:45:02.920
a Boba O'Reilly that I did really like, so that's cool.
868
00:45:03.239 --> 00:45:06.000
On that note, I also checked out Strange Tales by
869
00:45:06.119 --> 00:45:10.199
Lord Huron. Lord Huron is a indie rock band of
870
00:45:10.280 --> 00:45:14.119
a somewhat similar vein. I would call them a elevated
871
00:45:14.199 --> 00:45:17.440
Mumford and Sons. I guess if you're looking for a
872
00:45:17.519 --> 00:45:20.039
replacement for them, because I know one of their members
873
00:45:20.039 --> 00:45:21.880
pissed off a lot of people, might not be a
874
00:45:21.920 --> 00:45:24.960
bad play as to start. I'm not honestly one hundred
875
00:45:24.960 --> 00:45:27.320
percent sure I liked it for that reason. As I
876
00:45:27.440 --> 00:45:30.800
mentioned on the show before, that stomp and holler kind
877
00:45:30.880 --> 00:45:34.039
of thing that was popular in the mid tens really
878
00:45:34.119 --> 00:45:37.079
rubs me the wrong way. This is not that, but
879
00:45:37.239 --> 00:45:39.159
much of that one band that you picked on, like
880
00:45:39.239 --> 00:45:43.079
one of the first randomizers folds, it has enough of
881
00:45:43.119 --> 00:45:46.119
that there that I was sqorming a little bit, so
882
00:45:46.400 --> 00:45:48.480
I definitely need to listen to it again. But it
883
00:45:48.519 --> 00:45:51.320
was a nice early morning listen for sure. I think
884
00:45:51.360 --> 00:45:54.440
I just need to shake off those woes a little
885
00:45:54.480 --> 00:45:57.360
bit more and check them out again. Listen to two
886
00:45:57.400 --> 00:46:01.199
sad boy nineties classics. Codeine for Stars, which is a
887
00:46:02.119 --> 00:46:06.400
somewhat well burned no It's a pretty well regarded Shoegaz's classic.
888
00:46:06.599 --> 00:46:08.840
I listened to Cure for Pain by Morphine. I think
889
00:46:08.880 --> 00:46:11.760
I've mentioned them on the show before. They're a great
890
00:46:11.880 --> 00:46:15.239
slowcohere band, most famous for having every instrument except guitar.
891
00:46:15.559 --> 00:46:18.320
The guitar is played by two saxophone players. They're very,
892
00:46:18.360 --> 00:46:20.719
very bass heavy, so you should really check them out soon.
893
00:46:20.760 --> 00:46:25.039
But listen to Let's See Ted Lucas's self titled album
894
00:46:25.079 --> 00:46:29.400
from the seventies. I think he is a Detroit musician
895
00:46:29.519 --> 00:46:32.760
who is a regional star but never really made it big.
896
00:46:33.000 --> 00:46:35.920
That stuff was really good. It was super laid back.
897
00:46:36.360 --> 00:46:39.679
He has a voice, and there's no way for me
898
00:46:39.719 --> 00:46:41.320
to say this is that being offensive, but like if
899
00:46:41.360 --> 00:46:44.800
you imagine like the stereotypical, like Native American voice that
900
00:46:44.880 --> 00:46:47.320
you hear in like old Looney Tunes cartoons and stuff,
901
00:46:47.440 --> 00:46:49.159
it kind of reminds me of that a little bit.
902
00:46:49.360 --> 00:46:52.119
And he has this weird tonality to his voice. I
903
00:46:52.119 --> 00:46:55.199
don't think he is native, but it's definitely something there.
904
00:46:55.360 --> 00:46:57.559
It's a voice I've never really heard anything like it
905
00:46:57.559 --> 00:47:00.360
in a singer songwriter before. Listen to I Am the
906
00:47:00.400 --> 00:47:03.239
Cosmos by Chris Bell. He was a member a big star.
907
00:47:03.719 --> 00:47:07.320
I have never listened to any of his solo career.
908
00:47:07.760 --> 00:47:11.760
This was apparently released in eighteen ninety two, although I
909
00:47:11.840 --> 00:47:14.480
don't I think it was recorded in the seventies, and
910
00:47:14.559 --> 00:47:18.000
it was really good. Stuff. Listen to Megatop Phoenix by
911
00:47:18.039 --> 00:47:24.280
Big Audio Dynamite, which is a British electronic dance project
912
00:47:24.559 --> 00:47:26.360
that will probably come up if we ever do that
913
00:47:26.480 --> 00:47:30.599
Primal Scream and Friends episode, So I'll leave that alone
914
00:47:30.679 --> 00:47:32.639
for now. And that's also probably the best description I
915
00:47:32.639 --> 00:47:34.920
could think of. Get down to the wire here. Listen
916
00:47:35.000 --> 00:47:38.159
to Come and Gone by Mason Prophet. Mason Prophet is
917
00:47:38.199 --> 00:47:41.119
a Detroit based country rock band. In a couple places
918
00:47:41.119 --> 00:47:43.480
I saw, they're considered one of the best bands that
919
00:47:43.559 --> 00:47:45.719
never made it, and I gotta tell you, I agree.
920
00:47:45.880 --> 00:47:49.000
That was some absolutely incredible country rock. I am very
921
00:47:49.000 --> 00:47:52.000
excited to get them on the show Somehow. Kings and
922
00:47:52.039 --> 00:47:56.000
Queens by Axel Rudy pell Nuff said there great power metal.
923
00:47:56.159 --> 00:47:59.039
Dude's never put out a bad album. Listen to Till Tuesday,
924
00:47:59.119 --> 00:48:02.000
speaking of Amy Man and Everything Different Now, which was
925
00:48:02.079 --> 00:48:05.280
really good. I've never checked out Till Tuesday. Great female
926
00:48:05.320 --> 00:48:08.599
fronted new wave with tinges of singer songwriter and just
927
00:48:08.960 --> 00:48:11.280
a little bit of a country twang, which is very
928
00:48:11.280 --> 00:48:13.400
interesting to hear in a new wave context. But I
929
00:48:13.480 --> 00:48:16.400
will definitely be revisiting that album and have there been
930
00:48:16.400 --> 00:48:18.519
more time that may have warmed its way onto this
931
00:48:18.559 --> 00:48:21.159
episode as well. Also listen to Warm in Your Coat
932
00:48:21.199 --> 00:48:26.119
by Romeo Void, which is another slightly more experimental I
933
00:48:26.119 --> 00:48:29.639
would say new wave band, but definitely much heavier on
934
00:48:30.519 --> 00:48:34.199
the post punk vibe. And then finally, speaking of minimalism,
935
00:48:34.519 --> 00:48:38.159
I listened to a Rainbow in Curved Air by Terry Riley,
936
00:48:38.280 --> 00:48:41.519
who is considered one of the founders of minimalism as
937
00:48:41.559 --> 00:48:45.559
a genre rather than a descriptor really good instrumental ambient
938
00:48:45.559 --> 00:48:47.400
stuff there, and I'm sure that'll show up on an
939
00:48:47.440 --> 00:48:50.159
episode at some point as well. Oh and then finally
940
00:48:50.280 --> 00:48:53.079
I listen to a vapor wave album called Depress Miss
941
00:48:53.400 --> 00:48:57.039
by a band called Moke, which is, as the name
942
00:48:57.079 --> 00:49:00.920
implies and the genre implies, a chopped in screw album
943
00:49:01.280 --> 00:49:04.840
of Crisps classics with some small soft influences and the
944
00:49:04.920 --> 00:49:07.440
usual vapor wave silings. And it did introduce me to
945
00:49:07.960 --> 00:49:11.800
one Christmas Catalog too Many by Captain Sensible, So thank
946
00:49:11.880 --> 00:49:14.519
you to Depress Miss. After all that Ian what you
947
00:49:14.599 --> 00:49:15.400
listened to this week?
948
00:49:15.559 --> 00:49:18.800
So this week start things off with listening to the
949
00:49:18.880 --> 00:49:22.280
latest voivod album of the week. It was recently announced
950
00:49:22.320 --> 00:49:24.960
they'll have a new album coming up the early next year,
951
00:49:25.079 --> 00:49:27.599
so getting the hype cycle started for that. Took a
952
00:49:27.639 --> 00:49:30.519
trip down memory lane and listened to Wired by Jeff
953
00:49:30.559 --> 00:49:33.079
Beck for the first time, and I want to say
954
00:49:33.079 --> 00:49:34.960
a decade at least, and just.
955
00:49:35.320 --> 00:49:37.480
Forgot how cool that album is.
956
00:49:38.079 --> 00:49:41.079
Like I don't maybe it's contrarian, but I think a
957
00:49:41.119 --> 00:49:44.280
lot of people who are big music nerds would agree
958
00:49:44.320 --> 00:49:47.199
with me. Jeff Beck was the most interesting guitarist come
959
00:49:47.239 --> 00:49:50.320
out of the Yardbirds, even if clapped in in Page
960
00:49:50.360 --> 00:49:53.480
got a bit more popularity, Like Jeff Beck was doing
961
00:49:53.519 --> 00:49:57.840
the weird stuff and I really like him. After that
962
00:49:57.840 --> 00:50:01.880
that aforementioned shred out I checked out was Andrew Lee's
963
00:50:01.880 --> 00:50:05.199
album Heavy Metal Shrapnel. I think the title gives away
964
00:50:05.239 --> 00:50:07.559
exactly what he was going for. It was pretty good.
965
00:50:07.719 --> 00:50:10.760
A couple of slaved albums because they're great. Checked out
966
00:50:10.760 --> 00:50:15.360
them Crawler by Idols, which I actually loved, very noise
967
00:50:15.480 --> 00:50:18.639
rocky stuff, got some heavy post punk influence to it.
968
00:50:19.159 --> 00:50:21.920
The band hates being called punk, so don't do that,
969
00:50:22.079 --> 00:50:25.320
but it's a good reference point and I forgot where
970
00:50:25.320 --> 00:50:25.960
I was going with that.
971
00:50:26.280 --> 00:50:29.159
Yeah, in light of deciding that the New War on
972
00:50:29.199 --> 00:50:32.000
Drugs album was my favorite album of the last year,
973
00:50:32.519 --> 00:50:36.519
listened back through their two previous albums and things just
974
00:50:36.559 --> 00:50:40.480
hold up. They're great, still great, and shoot, what else
975
00:50:40.480 --> 00:50:43.400
do I have here? Yeah, listen to the Joshua Tree
976
00:50:43.480 --> 00:50:45.519
by YouTube for the first time in a long time.
977
00:50:45.760 --> 00:50:47.760
I still think it's a great album. It is a
978
00:50:47.800 --> 00:50:48.519
great album.
979
00:50:48.639 --> 00:50:52.320
Yeah, there's so many good songs on there, but a
980
00:50:52.360 --> 00:50:54.440
couple of the hits I'm not as big on. But
981
00:50:54.840 --> 00:50:58.719
beyond those, there's some excellent material on that album. And finally,
982
00:50:59.559 --> 00:51:02.239
dug in somebody I don't have a good history with,
983
00:51:02.440 --> 00:51:05.719
and that was Diablo's swing orchestra. I don't know, maybe
984
00:51:05.760 --> 00:51:09.039
I'm warming up to the idea of avant garde swing metal.
985
00:51:09.679 --> 00:51:12.239
I know we discussed a little in the conversation or
986
00:51:12.280 --> 00:51:16.519
in the chat. Yeah, lyrics, that's not what I'm gonna
987
00:51:16.559 --> 00:51:19.119
be liking that band for if I end up liking them,
988
00:51:19.360 --> 00:51:22.559
But there's some pretty cool music on that latest Diabolo
989
00:51:22.639 --> 00:51:26.599
swing album. Shoot, what was even called? Swagger and Stroll
990
00:51:26.679 --> 00:51:29.039
down the rabbit Hole? I'm not huge in that title,
991
00:51:29.320 --> 00:51:31.800
but yeah, album trieve me a lot better than I thought,
992
00:51:32.000 --> 00:51:34.920
And beyond odd listening, that is my week.
993
00:51:35.159 --> 00:51:37.199
I also listened to that last week. I think I
994
00:51:37.239 --> 00:51:40.000
briefly mentioned it on the episode prior. Much like you,
995
00:51:40.039 --> 00:51:43.679
I'm not one hundred percent sold yet, but I'm getting there.
996
00:51:44.000 --> 00:51:46.320
And yeah, I'm not crazy about the lyrics, but I
997
00:51:46.360 --> 00:51:49.119
also don't really give a shit about Sleepy Time Guerrilla
998
00:51:49.199 --> 00:51:52.480
Museum's lyrics either, and I like them fine. So I
999
00:51:52.480 --> 00:51:54.679
don't know, getting more lenient in my old age. I
1000
00:51:54.679 --> 00:51:56.199
don't think I'll be one of those people, but I'm
1001
00:51:56.199 --> 00:51:58.760
starting to understand why so many people I know in
1002
00:51:58.800 --> 00:52:01.440
their forties just give up and like ghost. All Right, Well,
1003
00:52:01.719 --> 00:52:05.199
this was Shuffle Repeat, a very long and fun episode.
1004
00:52:05.239 --> 00:52:07.639
It's gonna be a bitch to edit, but I'm looking
1005
00:52:07.679 --> 00:52:10.400
forward to it and we will see you guys next weekend.
1006
00:52:10.440 --> 00:53:01.480
I should stopped here.