EPISODE 16: Dead C Atmos (a.k.a the couples show) w/ Catherine Debard
It's a joy to be alive. It's good to be glad. Good to survive. It's great to be mad.
Jakub:Man, that woman sounds exactly like Catherine, actually.
Catherine:Sorry? Oh, is it Quebec accent? No.
Jakub:No. It's it's it's the tone of the voice and everything. That was totally you singing. Excellent.
Leon:I never I never picked up on the Quebec accent in the the intro tune before.
Justin:That film was made in Montreal, a large part of it. So Oh, there you go. Yeah. Mhmm. But I'm pretty sure the singer is not from Montreal.
Jakub:Hey. Happy New Year, by the way.
Justin:Happy New Year.
Leon:Oh, did. Oh, happy New Year. Yeah. We made it over on this side over on this side of the time. Happy New Year to everyone.
Leon:Episode 16. Spamane 16. Yeah. And we're on this flaming train of guest hosts.
Justin:I'm very excited about this one. I have an inflammatory guest host. Incendiary. Incendiary guest Yeah. Absolutely.
Jakub:With no stops planned.
Leon:No no stops.
Justin:No stops.
Leon:Expressway. To
Justin:your skull.
Jakub:Yeah. It's gonna
Justin:go there.
Leon:Such To the host. Expressway to the host.
Justin:To the host. So I have a great way to introduce this guest host because and I I this might even be a surprise to the guest host, but the guest host played my very favorite show I've seen in the past ten years of Montreal, probably. It was this really sweet, very kind of, like, intimate performance in there was there was a series that was going on that my friend Rory was putting on. And I can't remember what the name of the series was, but he did a bunch of them in his living room and some of them in my house and in our in our me and Dennis space. And it was one of those, and it was your performance.
Justin:Are you still performing under Lang Lang too? Are you still that's great. Yeah. Yeah. Yeah.
Justin:Mhmm. And it was a very, like, I'd say, like, you know, for me, my first exposure to your work and my wife and I were both like, who is that? Like, it was such an amazing show. We were so floored by it. And really my favorite live show I've seen in Montreal since then, like, haven't seen anything I had that strong of a reaction to.
Justin:So it is such an honor to have you on the show, and so exciting.
Catherine:Remember that show, though. It was so chill. They they put fruits everywhere. Yeah. It had a cushion.
Catherine:It was really luxurious. Yeah. And very chill.
Justin:That was the idea. It was supposed to be this very, like, you know, celebrating the artists and yeah. But it was yeah. It's a really, really special show.
Catherine:So I'm touched. Thank you.
Justin:Yeah.
Catherine:Yeah. I don't have a a connection per se with because they're on that time, I was going to in Saint Etienne, my best friend was coming to shop at so he was bringing back things because I was living in still. So we benefited I benefited from his shopping at City's Adery. Amazing.
Leon:Yeah. Shout out to Julien Champagne. I I really remember him from the store, actually. And he hasn't changed one bit. He looks exactly the same.
Justin:Mhmm.
Leon:Really super amazing amazing talented talented artist super talented artist. Yeah. I I guess it's worth mentioning to our listeners that well, our guest host, Gatron Da Bauer, is my partner in crime
Justin:in Yeah. Bruno's. Bruno's.
Leon:In art and in life. So, yeah, preparing this episode was really fun because we tend to just make each other listen to anything amazing that we come across. And then we had, like, kind of a quarantine session of, like, not not sharing any music,
Jakub:which was
Catherine:It was hard. And also, I've been obsessing for a month about how what I'm going to play because it's just two songs. It's two songs. I'm freaking out. Anyway and I tend to to really be excited about sharing music, And now I'm like, oh, did I make the right choice?
Catherine:And also and it's really difficult because also I try to be mindful about playing not just guys' music. But then the problem is that I played so much music to Leon and all the sessions that I've done this month to dig in the music. The two favorite ones I have is from guys, and then, like and then I gave it one last shot yesterday being like, no. No. But I can, like, find someone else.
Catherine:But then, no. Like, I I gave up. I have to
Jakub:I have a woman. I have a woman today.
Catherine:Thank you.
Leon:I'm out. Yeah.
Jakub:That's my sister's.
Catherine:Also, I don't yeah. It's I I'm not just curating so that I I represent everybody, but it's always in the back of my mind since I I'm young. Like, I I try to be mindful about it. And also, I I listen to music by tons of female musicians and, like, non white people, but then, yeah, my two choices are, like, white men. Anyway, I can live with that.
Leon:So I don't know. Maybe we should we should kick it
Justin:off Mhmm.
Catherine:Okay.
Justin:With that time.
Catherine:Okay. So I'm excited. Okay. So okay. I'm gonna drop it now.
Leon:Yeah.
Justin:Okay. You're incredible. Incredible. Incredible. I'm just really mad that you cut it off before parsnip soup surrender.
Justin:The
Catherine:titles are all so so ready. Yeah. Yeah. The album is called Last Orders. It's Adam Bowman.
Catherine:And, yeah, that song is called Burgundy Barrage. It has lots of jokes about food and wine in the titles. And, yeah, the the instrument that he plays is it's written homemade string instruments, tape, bells, trumpet, animals, etcetera. Performer, wine glasses, wire brush on tiles, springs, toy telephones, ballalaika, trumpet muted.
Justin:Wow.
Catherine:It's all a really beautiful album. I've been a bit obsessed with that. It's everything I like, like, really beautiful pads with like textures and chaos and beauty. It's it's really lovely. That's the hit of the album.
Catherine:It's like the most it's the the top song.
Justin:I could feel it. It's rocking the charts. It's
Jakub:Yeah. And very organic too. Very organic sounding.
Justin:Yeah. Yeah. Mhmm.
Leon:I'm well, Catherine already heard this story because we were talking about it yesterday. But this actually I didn't know that this was gonna play or that this kind of music was gonna play. But Jacob, what you said about how it sounds organic reminded me of I was distractedly listening to a an awful YouTube documentary about unexplained natural sounds, like mysterious sounds. And a lot of the sounds were actually or phenomena were were collected from, like, journal travel entries of great explorers, and they're like these things from from, like, the, you know, hundreds of years ago. So there's actually no recording of the mysterious sounds to go on.
Leon:So the they actually recreated it or or put in, like, placeholder sounds to say, like, it would sound something like this. And it was all god awful, you know, sound library kind of sound effects. And it all sounded like a Netflix show. And it was, like, so bad. And this sounds like the the sound of wind playing sand in the desert.
Leon:Apparently, that has that makes a sound. Mhmm. That's that is supposedly unexplained. And that's what it sounds like. And it's, like, so much more organic.
Leon:Like, you you feel the texture of everything. And it's like very vaporous, but also there's a lot of definition in unexpected places. And I think that's what's missing from Netflix, basically.
Justin:I mean, there's a few things missing, but that is one of them. Yeah.
Leon:But, yeah, it's so beautiful. Just the texture. I get I I suspect it's all multitracked unless
Catherine:it's Yeah. I bet.
Leon:Unless it's like
Catherine:a And the other of the album are really more texture oriented, and you have a lot of also little mechanical toys, so it's rhythms. There's a song with a a tape recording of bells, I think, but really buried in the background and lots of rubbing and Uh-huh. And there's even a song called Days of Sand and Shovels.
Leon:Yeah.
Catherine:We're in this the right the right category here.
Justin:There it was really neat to know on the Bandcamp page that Eric lends a lot of contributed to to the kidding. Yeah. And just, like, huge shout to that guy. Hey. Like, the anomalous really kind of created the ground that the shoulders of the giants that we were standing on at Esoteric and
Leon:Yeah.
Justin:The just the incredible. I'll never forget when we had the when they had the anomalous shutting down sale, and we piled on all the stuff that we brought to Esoteric for the cabinet, like all the weird flexes artifacts and stuff that we got. That was mind blowing. So cool.
Jakub:I have a pretty pretty funny anecdote with anomalous. You know, I used to get their, like what is it? Like, mailing list with all the, you know, scenes. Yeah. And my my Internet was really bad, so the more stuff they had in that list and it was just text, the list.
Jakub:There was, like, no pictures. It was just, like, a list of, you know, music that they had available for, like, mail order. And the more albums they had there for sale, the less I could see. So, essentially, like, after a while, I couldn't get to zed, and then my tea was missing because my Internet connection was so low. So I would have to I would have to, like, write to him and be like, excuse me.
Jakub:My Internet connection's really bad. Could you send me s to zed? Because I can't open it. And so he would just send me, like, s to zed because I wouldn't get there. And then every week, would see less and less.
Jakub:Like, my mailing list would be shorter and shorter or every month rather, I should say. But it was just, like, text. It was amazing.
Justin:It's really great. I
Jakub:love the an anomalous, though.
Leon:Yeah. The
Justin:sound of that piece also really brought to mind. I wish you guys could go there. It's now probably I can't know if it's closed for political reasons or for health and safety reasons. I'm hoping it's political because I spent a lot of time there. But in New York City, there's this very kind of incredible and, like, wildly epic place called Dead Horse Bay that basically I could talk about this for, like, three hours, but I'll I'll put a link to a documentary about it in the thing.
Justin:But, basically, the administration this is a very short version of a very complex story, but the administration of the city basically plowed relocated and plowed under about 40,000 people's homes and created this island. This this we turned a chain of islands into a, like, a jetty in Queens. And it was where they had previously been doing all the horse rendering from all the horses that, you know, there's, like, when horses were cars. So the horses would die, they need to deal with them, and this was this area. And it was also one of the first African American freed relocated freed.
Justin:I'm not sure the right term, but, like, the people that had come from the South from slavery made neighborhoods there, and they were all relocated, this area was torn down. It's really a horrifying story. But what's quite incredible about this place is you go there and the the actual landmass is made of all the plowed down houses and stuff, and it's on the water. And so you walk along the the water side and, like, there's literally, like, people's glasses and stuff sticking out of the Mhmm. Out of the ground, out of the sediment layers.
Justin:And, like, you pull out a paper and it's all all the papers are from, like, this one week period. So you get, like, newspapers from like, it's all from this time, and they they flatten this place. And in the sand and the water is, like, all of this, like, household cosmetics and telephones, and and the water is constantly moving it, and it just sounds a lot like what we just listened to.
Leon:Oh, wow.
Jakub:It's just
Justin:this kind of constant, like, tinkling and humming and of this kind of unearthing of this one week of history in New York.
Leon:So It's crazy.
Justin:Yeah. And it they used to so people I know did a really incredible documentary about garbage that I I hope we'd find a link to that. It's gonna be tricky to find that one. But they used to do tours there and would take people out there, and you'd go and get a full history of Danahorse Bay. And it's really one of the most profound experiences I've ever had in my life going there.
Justin:And whenever I go to New York, always just make a trip out there to go and, like, people also did, like, kinda cleanup work there and whatever. You just go and I I did some recordings there that I hope I can dig up one day, but they were it's really one of the most profound and really, like, you feel like you're really seeing the world as it is when you're there. It's pretty pretty powerful place. Mhmm.
Leon:It sounds like it's a really, really dense dense air in the atmosphere. Like Yeah. Mhmm. Really charged.
Justin:Yeah. And they said that they closed it because of radioactivity. So, yeah, it went away. It's little. So the the air is pretty dense for sure, but it's a it's a it's a wild experience to go there.
Justin:It's pretty pretty awesome. I took a few different people there. It's also like I mean, the weird thing about it is it's also fantastically beautiful and eerie and magical and, like, it's, yeah, it's really it's quite a quite a powerful experience. So thank you for invoking that song. Who gets to follow that?
Leon:I think I could go. Yeah.
Justin:I'm excited.
Leon:I'll go.
Justin:That sounded very
Leon:think I got something
Justin:that's Great.
Leon:I got something that'll that'll follow.
Jakub:It's like who it's like who's going next down the water slide. Except that think I could go.
Leon:Except that no one is rushing. Okay. Yeah. I I got something actually that'll that'll follow it nicely in in a same contemplative mood. Yeah.
Leon:So this is a tape release by a band called The Miracle. The tape is called Choir Boys from Jupiter, and we're gonna listen to the last couple of minutes from from side b.
Justin:I mean, too short. No. Too short. Too short. Short.
Justin:So good. Yeah. So good.
Catherine:I thought it was going to go even more than that. It felt on the verge of a momentum or something at the end.
Leon:Yeah. For sure. So that's the miracle with an excerpt from their tape, Choir Boys from Jupiter. And the tape is made up of just one jam session, just excerpts from one jam session. This came out in 1989 on harsh reality music.
Leon:Hour long cassette. Very I I don't know much about this at all. It seems to be out of Colorado. The musicians involved include Ashley Edwards, Chris Culhane, Dave Clark, Ed Fowler, Evan Cantor, Gene, Stuart Selovich, Joe Catola, Lauren Swain, Leo Goya, and little little Fyodor, who apparently is the one who's most possibly most active or most known in because I've seen his name pop up a lot. Yeah.
Leon:But I just think it's really, really pretty. It's that freak scene, you know, loose, jammy stuff, but it's incredibly beautiful, I find, at the same time.
Jakub:And the vocals are so unexpected.
Justin:It's so
Jakub:beautiful when they come in. Yeah. Really, really amazing. The music is
Justin:This is, like, super weird halfway point between like, I'm so glad that Golden Colorado is the exact halfway point between no neck blues band and the lounge lizards. Like, it's like, it's like, it's like, wow. This is so That's
Jakub:a good call, though. It's totally Yeah. Isn't it? Yeah.
Leon:I'm also I mean, sound wise, it's it's actually pretty decent. Yeah. Meaning, it's the recording is is fairly competent technically. So Mhmm. It which is not always the case.
Leon:Not in this kind of music, you know, but it's not always a bad thing that it's it's just recorded with, like, a mono tape recorder in in some corner of the room sometimes. But this somehow, the additional attention to the recording makes it I find it makes it really evocative just spatially.
Jakub:Yeah. The mood is amazing. Again, too short. It could've I could've list I could've totally
Leon:Yeah. Well, since an hour long tape.
Jakub:Take heavens. Yeah.
Leon:It's obviously not all like this. I mean Yeah. You know, it hints at skunkier territory that's definitely exploited in the rest of the take. No. But this is beautiful.
Leon:Yeah. The excerpt was really nice.
Justin:The other thing I really love about it is it's, like, pre codification. Like Yes. Either it's Colorado or it which like, the great thing about scenes like that is they you know, like, this is where, like, some of the best early proto punk stuff was from, like, Ohio or whatever. Like, it's where things don't have the and the Internet's kinda destroyed this, but, like, these remote scenes where people would see an album cover and try and make music that sounded like the album cover that they'd never heard the music of. And the just this kind of really uncodified pure exploration of that, that's like, wow.
Justin:I love I miss that set, like, that so much. Like, there's so little calculation and so much more just like, we're doing this thing. You know? It's so awesome.
Leon:Yeah. Yeah. You're you're you're you're right. It's like this the these little islands are well, you know, no more borders, obviously. Yeah.
Leon:Musically. But, yeah, the islands are are are starting to to get overrun with tourists now, I guess. Yeah. So everything's there's definitely a flattening out. Also, like, 1989, it doesn't I I see the the recording date, and it means it there's no significant significance in my mind when I when I juxtapose it to the music because I have no idea if that sounds like 1989 or or like 1999 or 2009 or '79.
Leon:I, like, I really don't know. I I can't place it. It's seems kinda really out of time.
Justin:Does it for me, the only thing that puts it in that time period is a relationship to jazz, like, to a certain kind of saxophone playing and a certain kind of, like like, noir, like Yeah. Urban kind of sexiness that, like, that's edgy, that, like, is really well dressed. You know? Like, it's a funny it's a it's a particular particular moment,
Jakub:and that
Justin:that sound feels like that to me. That's the only thing that really places it that way for me, but I love I also really particularly am sad that that version of jazz, that idea of jazz kind of disappeared and or it's kind of only dealt with ironically now, but there's a lot of sincerity in that at that moment that's really lovely. Yeah. Okay. Jacob, hey.
Justin:You are me.
Jakub:I don't know. The thing that I had planned totally doesn't go I mean, you guys created such a great mood with the past two tracks. And I had planned to play something, but then I've got something that would totally go with that mood. So maybe Come on. Do have something, Justin?
Justin:I do. I do. I have something I have something that goes with that mood where it kind of transmogrifies it, but I also am happy to to to listen to what you got if you wanna keep the mood going.
Jakub:But what should we do?
Justin:Keep the mood going, Jacob. I think that's what should happen. It's great.
Jakub:What? Keep the mood going. Yeah. Okay. I'll try it.
Jakub:Okay. I wasn't planning on playing this, but let me play it. But I think it may be kind of in the mood, but kind of well, we'll see anyway. But when I was listening to this music, I was like, oh, maybe I should play this. It might be nice.
Jakub:So So that was Anne Tardo's jamming with her defrosting refrigerator. The track is called refrigerator defrosting with vocal improvisation 1975, but quite a nice piece.
Justin:The thing I love about that piece is that it's still going. It's never stopped. Somewhere, it's never stopped. It's it's the it's the eternal music. It's really
Jakub:the eternal music. It's the eternal music. Yeah. Yeah. But, you know, sing along with your appliances and Yeah.
Jakub:And whatnot.
Justin:And the world's a better place.
Leon:So much. So much. I mean, music like this just makes me so thankful for the entire world. And also thankful for for for musicians making music. You know?
Leon:It's like Yeah. Really important thing. Man, that was incredible. Wow.
Catherine:Yes. Spectacular. Such a venue. The beat is so hard.
Justin:It does.
Jakub:Yeah. The beat's
Justin:amazing. Hard. Yeah. Like, pedal.
Leon:And it's kinda like sounds like Tavaria Voltaire or something.
Jakub:It does. Yeah. And towards the end, she's, you know, giving it all the props. She's doing its own thing. Speeding up a little bit and slowing back down.
Catherine:And the way that she wanders around with the microphone too, so that, like, the harmonics change.
Justin:Mhmm.
Catherine:Like, within all that last section, I was like, where are we now physically? Like, are we underneath? Like, it's just trying to wrap myself around space
Justin:Yeah.
Catherine:And time. Like, is it close to being done? And that's why it's accelerating, like, so many informations that we don't know and we can just imagine.
Jakub:Yeah. Pretty cool lady in in any case.
Justin:She's incredible. And, actually, she she is a huge I have a big I got so excited when I saw this because I've been a immense Antarctis fan since I was 20 studying poetry. And her and Jackson McLough are a couple, And they did so much incredible stuff together, and Jackson McGlow was a huge influence He's amazing. On my writing when I was writing. And Yeah.
Justin:He also it ties another thing back to the Montreal scene because Will Murray got obsessed with Jackson McGlow for a while, and some and a couple of his shows, like, a whole era of his painting was really influenced by Jackson McGlow. So yeah. But a beautiful like, those people are just so special. Oh my god.
Jakub:They're so
Justin:incredible. And they did so much incredible work together over the years. Like, so
Jakub:yeah. Really And the the energy behind it is so healthy too. Yeah. It's just so great. Yeah.
Leon:That was that was literally exhilarating. Like, I'm kinda that's great.
Jakub:Yeah. I'm glad you liked it.
Justin:It's so funny too, Catherine, because I know you're talking about the space of it because I've got this fancy car that has, like, a Dolby Atmos stereo system in it. And I actually got the car just because of the stereo. I'm like, this is gonna be the
Jakub:best place to listen to music in
Justin:the world. And and Apple sucks. Like, this was so much better than in terms of, like, space and stuff. I'm like, oh, this is the most gimmick y bullshit I've ever heard in my life. And listening to this, I'm like, now this should be, like, what happens.
Justin:This is incredible. Yes. So good. Yeah. So crazy.
Justin:Wow. So I have a thing that's gonna follow that really. Like, I feel like this is it. This is the most complete voyage we've had on
Leon:this show. Like, I'm
Justin:like, 16. Just this train ride
Leon:through Yeah.
Justin:This the express beautiful voyage to heavenly effect. So I'm gonna add to that. Just gotta pull it up here. Can I get
Jakub:to the track that I wanna get to? So everything's working out.
Justin:Yes. It's I mean, the world could not be more perfect. And then the other thing for me about this about this episode is I'm tired I'm, like, I'm, like it's important to play new music. You know? Yeah.
Justin:Like, I keep playing the music. I keep playing the old music. And I think the old music is great, but I really wanna play the new music. So this is a new release. Both things I have scheduled are new releases.
Justin:One came out about a month ago, this one, and the other one I have came out, like, yesterday. So or, like, a few days ago. So the first one also has three women, And and, like, I it's it's only three women, so we're making up for all the dudes. It's fantastic. That's great.
Justin:And this is just yeah. There's so much to say about this, but I'll I'll I'll say it after I play it. That is the extraordinary Amelia Cooney whose Yeah. Discography goes really deep with her. That's really incredible.
Justin:With Sylvia Toretzee, who I'm a huge fan of, and Deborah Walker, a cellist. And this track started as a mashup originally where Bernard Durand and Emilia put this her, like, you know, just vocal for acting this over top of Vinelya and Radig, Aachen River two, which was Sylvia and Deborah's performance. And then they were totally blown away by the kind of interaction. And then, apparently, Eliane Madig was also really fascinated by it. And so then in the almost very similar to the kind of approach of that Cassandra Miller track that we played, they played it independently from memory.
Justin:The like, did record individual tracks of violin and cello and then reassembled this posthaste of all that process. So and, like, just this really kind of extraordinary yeah. It's a really, really, really incredible piece.
Leon:That's beautiful. I I was gonna say that there was definitely a fatigue feel to it, but that makes total sense. Who is Amelia Cooney?
Justin:Oh, she's, like, one of the great western vocal interpreters of Indian music and has kind of, like, renowned for her microtonal singing availabilities. And she's one of the only people that's kind of balanced both like, she's extraordinarily respected in India as as one of the great singers, but she also has done a lot of really experimental practice with reggae form and and stuff like this. Kind of the one of the great avant garde twentieth century Western people dealing with Indian music and, yeah, like, pals with Terry Riley and Leong Yang, etcetera, etcetera. But very yeah. She's she's just incredible, and her her her records all all her recordings are really epic and really, really worth listening to.
Leon:Oh, did she do the John Cage piece?
Justin:Yes. Yeah.
Leon:She did. She did. Alright.
Justin:Yeah. Yeah. Yeah.
Leon:That's quite her
Justin:name. Yeah.
Leon:Rang about. Yeah.
Justin:And she's she's married to Vern Duran too, is also a very cool, interesting couple. They've done some really extraordinary stuff as well. So, yeah, I like these I'm really into this idea of these cool couples that do interesting things like the the people we're sitting with here. Inspiring the new generations. It's great.
Justin:But
Leon:I also love the the the idea of avant garde mashup. That's, like, so good.
Justin:Yeah. Yeah.
Leon:It's it works. I mean, yeah, there's no way of telling that that was the it just sounds so natural, this piece. Like, it just sounds like it's exactly the way that it's supposed to be, and it doesn't seem to be much left to chance. You know? It's like so but it's just because of how how balanced everything is.
Catherine:Yeah. It's really delicately done. That's what made me think of Ilian Radzig too. It's really the slow pace in which the song reveals itself. It's at the beginning, your ear is so attuned to the vocals that when once stops things start bubbling in the back and, like, starts to open, it's really jarring.
Catherine:I was extremely surprised at the direction that the that the song was taking.
Justin:Just keeps going from there too. Like, I strongly recommend everybody listen to the whole track. It's so powerful. It's really intense.
Jakub:God. Every time her voice would hit the microtones, I would just get these, like, blasts of Yeah. Goosebumps. It's I'm such a sucker for that stuff. When it just hits it, and then it's just really and then it goes out, and then it goes back in, And everything is attuned with the vocals, and then she goes out and then back in.
Jakub:It's some of the best stuff out there.
Leon:Yeah. There there was a moment where she she really hit this this amazing she just held this one note for slightly longer than than all the others and just against the the everything that's going on harmonically behind her. And it was just, like, so so thrilling. It was really, really beautiful.
Justin:I'd love to hear her do something with Kyle Dan. You know? Right. I think we have to write her a letter.
Jakub:We have to collaborate with Kyle Dan. That's wonderful. That was super beautiful.
Justin:So I guess we're we are back to our guest host. Wow. Wow. It's gonna
Catherine:be such a huge contrast. Wow. Okay. But, like, we're starting fresh. But, also, I was thinking about how that's Yeah.
Jakub:We're starting fresh. We're starting fresh.
Justin:We're totally starting fresh.
Catherine:Because that was the synthesis of everything that played so far. Acoustic, and they have these pads and vocals. It it was perfect. So the song I'm going to play, I just want to say the title because it's so good. It's Intensest Weakness by Richard Earl, and it's from 1981.
Catherine:It's a member of S'well maps. But it's a solo project, well, the the only solo album that he did. I was really, really floored when I discovered that, so I'm excited to play it.
Leon:Yeah. Amazing. Awesome.
Justin:The one thing I can't figure is how does he have the same refrigerator as Andrew. That's exactly
Leon:it. That's exactly it.
Catherine:There's a really cute text on on Discogs that someone posted. It's someone that was his neighbor, and he says and one of the percussion inclement was a series of beer taps strung together at the end of a broom handle.
Justin:Wow.
Catherine:Hole was banged on the floor. I know this because Richard's floor was my bedroom ceiling. Uh-huh. And it's just like this really cute text. But yeah.
Catherine:Because I do the the technique that Leon showed me that just digging through discokes for hours and hours, and it's rare that I hear a song that I just have to stop. Yeah. And I was shocked, know. My my my face was just like, in awe. Mhmm.
Catherine:It's yeah. I've been obsessed with that song. It's so it it sounds like ecstatic to me, like, a very condensed emotion. Yeah. I'm losing my English, but yeah.
Catherine:Just like a raw condensed, really intense emotion. That's why I like the title also, intensest weakness.
Justin:It's incredible. It's, like, so raw and so complex at the same time. Like
Leon:Yeah.
Justin:It's it's such a nice mix of, like, just kind of, yeah, like, just visceral, but then super, like, thought out. It's really interesting. It's such an incredible piece.
Leon:There's a lot of space also. But it's like, yeah, there is that kind of ecstatic feeling where you you've you there's this sense that it might go off the rails. You know, like, the the the rhythm is so, yeah, just like out of control kind of thing. But then there's, like, the very spacious guitar and the the singing over top that's kinda coasting on a on a like, a fraction or a multiple of the the energy of the the rhythm. So it's, like, really, really amazing.
Leon:So good.
Jakub:And the mood of it the mood of it is incredible too.
Leon:Just the mood is just well. Yeah. Yeah. That's great.
Justin:Swell maps, man. They like, just everything that came out of that is so like, those the epic soundtracks records are so great. Nikki Sutton's records are so great. Like, what a what a group.
Leon:Yeah. Well, that's a that's a good find.
Justin:Yeah. Well done.
Catherine:Thank you. Yeah. Yeah. I think it's the contrast between the the per the percussive aspect and the guitar. The guitar, you may think a little bit of, early microphones albums that I So really yeah.
Catherine:Yeah. I was really happy about that. The rest of the album is okay, but not as as amazing as that one, let's say.
Justin:I I have very high expectations for you as guest host, and you have exceeded them. Well done. Done.
Jakub:It reminded me it reminded it reminded me also, like, it's funny to say this, but, like, a lo fi version of the Dead Sea or something like
Justin:that. Yeah. Yeah. Yeah.
Jakub:Because the
Justin:Dead Sea is so high five. Yeah. High five. Yeah. Yeah.
Justin:Basically. Basically. Know?
Leon:Yeah. They're definitely, like, 9.8 surrounds. But I I sorta understand what you mean. Think of in a weird way. It I think it's like the the way that I'm interpreting your comment is like it's a less dense version of the dancing.
Leon:Yeah. Yeah. Yeah. Or more skeletal Yeah. Version.
Leon:But yeah. Yeah. But a
Jakub:similar mood, like a similar kind of mesanthropic kind of melancholy. You know?
Leon:Okay. Well, I'm going to change the mood tiny bit, although this track I'm gonna share kinda builds off of that whole music, the shoulders of those musicians. This is a new band newish band from Marseille called Jean Marie Mercimek, and they put out an album last year called, and we're gonna hear the track. So that was Le Camion by Jean Marie Mercimet. Obviously, a reference to the Marguerite's film of the same name.
Leon:The rest of the album is very disparate, but it's all very much soundtrack y kind of stuff and staying in that general MIDI sound palette, which is kind of charming.
Jakub:It was beautifully impish. It was beautifully
Leon:impish. Yes.
Justin:The ending was fantastic. That was such a great way to end the song. Yeah.
Leon:I'm yeah. Like you said, Justin, it's important to also just bring it back to the present. And I'm interested in in finding out what the what young people are doing these days. Yeah. That's super interesting.
Jakub:Yeah. Yeah. It's really refreshing. Find that the sound of that. It's amazing.
Catherine:I like that band. They're really, really cool. Like, I I dig a little bit about them because I played one of their songs on our radio show.
Leon:Oh, okay. Well, we play so many songs.
Justin:I know.
Catherine:And I was just researching them, and they just look like they're having lots of fun. Yeah. And it made me think a little bit of I don't know if you know Hype Williams. Yeah. Yeah.
Catherine:So it's duets, you know, just experimenting and having fun and super playful and nonchallenged. Like yeah. I like them. They're cool.
Justin:Yeah. It brings blush blush blush to mind a bit too.
Leon:Oh, right.
Justin:Yeah. Definitely got that energy too that's like, what's going on in something really melodic, but then also really not. And, like, really it's really interesting. I love the the relationship to melody there. It's pretty wild.
Justin:It's great.
Jakub:To me, thought a bit of native hipsters.
Leon:Has Yeah.
Justin:That's kind of Weird.
Leon:Yeah. That that that proggy or or, like, post prog kinda attitude.
Justin:Yeah. And, actually, that makes it a line like, actually hear a really direct line from that to, like, stuff like Slap Happy. You know? Like, there's definitely Yeah. Yeah.
Justin:A little bit of Degmar Krause there. It's
Jakub:great. Love it.
Justin:What's your what's your move after that, dude? Oh, I totally
Jakub:I have something after that, and it was planned, and it works beautifully.
Leon:Oh, amazing. Yeah.
Justin:Yeah. Yeah. Yeah.
Jakub:But I'll play, like, maybe five, ten minutes of it. It's, an hour long, but you'll get the point of it in five, ten minutes. So but it maybe it'll go well with it.
Clark Coolidge:Of what can it such as which sense can it not? Then as nor can of whence what never even as a single ever still of still of when is now then about not whence ever till such can what it to through, as about then as till such hence its which of what it can since which not, even that of as now till since then down of among like both and either whole, A bolt, then of which, when thus of, so what then, now so, then such as then how, do, and then this of a part whole, or such even, did then as how, till, now as since then, of that, that's on then of, now where both light, all either like both another, there how at often, from down same, from does above, ever part with, a with, all sense other both like hul how it's into means of that since then forth, at along, there mid now, of that till did part then, of then whole this such as this then as since then, whatever does like all downs and all its since since this is from or for into near how long a much nor whom itself yet all only under are nor much whole not often kind of yet forth were a while a since a yet some part often only all of same post.
Clark Coolidge:Never will those means what of it's there. On either kind, yet often only all, above even, same when where, it's what's, and not so yet, still often all must. This that hence evens till once unto about once, down switch ever some those do and the it such as such while once. The near like of since even, all part whole of a same even, and not in then that this is never either down much at kinds. Danes, once as by, forth toward holes, and up into even till sides with.
Clark Coolidge:A knot, a more left parts or till, a those means of all of most that tends yet, kinds about of such like. The, there, what's, itself those means even both parts of still is, or how such long was till, and only hence, whole, tends, stills either kind will those be one. A that's one hence a toward much only, and only another yet apart stills. What can sense it, whatever wants it, as often as yet forth kinds of the both part. Ever of is ever what, some as, as both as, still as what, till as parts means, those much nor whom stills the both of ever those how means, how either yet, how either as, a whole another parts, and even as it might still is both.
Clark Coolidge:Often beyond is beside as is yet those will must be much even in near to a most whatever once a fourth whole part another ever somewhat never. All's only this, much it's is, not's ever are, were most and all of, is down it's much, of a when it's for was to, it's even more never of it such, toward their since, both other very never will, a once, as of these at a. Which will like as how those other only either much can sense which not will howl once toward not parts there when same then some from come such both will may one's all once whole itself much. A above once whole be about by, often below in on out a. A whir most is done if it's even, about part much by it still besides which, can't of it not even as still often means all, long as once most for part, such a both, what of another never, as to onto, till to way.
Clark Coolidge:Its were means, how both will, how only this swear, forever that such a kind means, however tends, that one can only till both are what's there what's itself, how it's often by hence such a. As most is down so much by it still, such like is either only, a once not parts it not, most for parting it another onto, itself willing, one both way also, such as be much even only, nearly, in on how it's often, a both such willing never like as other, onto another never, Its tills even have been through to which, and either bolting even as ever and only, a both never toward a once as still, which as one of which not middling from near over. It's those kind even means till it's into since that even same this even. They are willing of that such till then from along from at part hence what then likes, it's like all with a part, almost even yet willing above apart, both in on out among same, This sense which until there part some likes forth yet some, this is was even into means, as only much so parts been never as till now evens part, as with this and all downs, since so then do such, since means into there at that can now so do as then, how do those about don't those since about whole itself into other of those either doing whilst part then of willing parts hence a while is among same both same as both do part hence its all yet willing likes as means what can it not it does liking do medium as does it who will.
Clark Coolidge:Of what nears from over then's and even even in then same so often that once either those that will do same above willing both once still will. Such likes apart is like of a one, that both will some once those will those those will. Do about by the means, as like about below, amid, partway forth yet once, still may will much apart hence, it does it who as will, kind of yet even besides, do it by, means that such this will is where only means itself even still both, and never part besides, do part about then such, of what's itself stills part yet once forth means back, means by it stills another also even besides, even mid. Most part both ways will, to yet, that all do means only as still itself, it's never down much at kinds, of stills by much it's about out, has been by, does, and kinds hence means they do, only a knot are often between as even, Itself itself between has and does even and still. Such a part does it by besides.
Clark Coolidge:Downs do a much whole often kind out while once, yet most to that all that all do means means even mid besides. Long can till tends still, part often even of what are both itself there. Till and tends to one stills, they does by willing and kinds do between as even and often will. Whatever will part once mostly longs as once it can, it has been by and does even and evens out besides out means beside. They tends and stills as one do when yet that to all does do by means backs mean as ones.
Clark Coolidge:Long, whatever once it has and even been for our since under whole once till between only they do does kinds, does do as ones are both by back means and often such most part the tens may while and it's never too yet even out like as of means a part of a one some wants either this or that since another that either will do since that is them's do such as some means does. How what willing part downs as much, to often most parts may much with, as doth forth will, to only toward other of those either, do or means ever, and even still most won. How to have within willing most part in beside by a part below a to yet both most part into forth all kind yet, though as tend to besides by means kind of of, and to may apart yet the does still itself it kinds off, below all for the most both part, and other to of ever willing do apart forth deign, all often besides of tens. Only a deigning not whole and often which till once it has and out as does, but still a which to other yet part that does it, does bin by, and even in most the Maybach means having, have between had, still most ones did have, and were to either, they yet most part liking, and has both doing forth have been and stilling mean the it?
Jakub:I don't know what to say.
Justin:What is with what the other the something did be without?
Jakub:So that was that was Clark Coolidge reading or an excerpt of him reading his poetry book called Polaroid, and it plays on your mind. It's a beautiful piece of music.
Leon:Yeah. It's insane. It really replicates the experience of of learning a new language, I think. Like, my my brain was, like, heating up, like, trying to understand. His delivery is so Incredible.
Jakub:It's amazing. Incredible. His re And
Leon:and, like, such you know, because with poetry like that, it's it's hard not to get tripped up on on the
Justin:Oh, No. That was outstanding. Like, first
Jakub:of The rhythm the rhythm of it is so incredible. It's so musical too.
Leon:Yeah. It has it's
Jakub:like it's amazing.
Justin:Very titanically. Yes. Very titanically. Yes. Very
Leon:Yeah. That that came up
Justin:Very titanically.
Leon:That came up also. I also couldn't help imagine shout out James Shlodowski. Of course. The whole time. Really had something of a James Shlodowski timber to
Justin:to his voice. The other thing too is, like, how poetry reading sucks, like, 99.999% of the time. Like, it's really so appreciated. Like, this is just like, what? Like, how?
Justin:How? How? Yeah. How do you get there? That's, like, so wonderful.
Justin:Oh my god.
Jakub:Yeah. I love to the point, like, what you said, Leon, you kind of forget the words, and it's just like g sounds that just kind of build and kind of collide. And then it's it's kind of an amazing experience.
Leon:But the the the phrasing makes sense. You know? It's like, if he's letter he's definitely telling, well, a story, whether it be narrative or not. He's he's there's something there and that's what you're cluing in on, but then nothing like the blocks that the Yeah. The things themselves, you can't make any sense from.
Leon:So it's like a very perplexing experience. Yeah. It's a
Catherine:It's almost like a like a a sports feeling. It's like if you're grasping little bits
Justin:and then like
Catherine:hitting your wall and then trying to grasp something else and hitting another wall. Yeah. It's a it's a really demanding. And it's true that it makes me think of when I was learning English And, you know, like, your brain gets in a tired phase that you understand people, and then suddenly you stop understanding and it becomes abstract and whoop, like you you grasp another sentence.
Jakub:I think it's the best feeling.
Catherine:My first English speaking friend when I was, like, I don't know, in my twenties, I would hang out with her and, like, at a certain point, I I expressed something really, like, emotional and heartfelt, and then there's a silence and she just says, wow. You really sound like poetry. And after that, I felt so exhausted. I was like, did she understand what I said? Like, it's
Justin:so hard.
Leon:Well well, thanks, Jacob, for that.
Justin:That is incredible. I have James Chodowski has been invoked. This is amazing. Because I have so I've been wanting to play this artist since the first episode. I've gotten so many tracks that I could do a whole episode on just this artist, and there the most incredible thing about this artist is someone that James really loves too, so I'm thinking about him, is that this is someone that has been putting out the best records of my life since I started listening to music and has never stopped and has consistently put out at least one record a year the entire time I've been listening to music, that's just been mind blowing to me.
Justin:And I've never ever ever and his discography is, like, hundreds of records. It's crazy. And you guys will immediately go, oh, yeah, as soon as I put it on. But this came out a couple days ago. So excited.
Justin:It's really, again, next level. I can't. I just have so much admiration for this guy. He's incredible. Just the best.
Justin:So that is Richard Young's. The inevitable, the incredible, like, just genius that that guy is. It's it's just impossible to, like, talk about how incredible Richard Young's is and consistently incredible for, like, forty years of making music. Yeah. Unbelievable.
Justin:It's a zill Zilliqrax. It just came out. It's pretty awesome. It's free on Bandcamp or pay what you want. I have this dream of, you know, like, you can gift it to people and how when the iPod came first out, Steve Jobs gave everybody the YouTube record.
Justin:You know, Steve, do something analogous here with everyone in the world receiving a copy of this.
Jakub:They have to have it.
Justin:It would be a better world. I was also thinking about how, like, if Emerson, Nick, and Palmer, like, instead of that, we had, like, Wyatt Young's Hollis. It would be a way better world. Incredible. Incredible.
Justin:This is a a record he made named after a mythical being that only exists inside of his head.
Leon:So Oh, okay.
Justin:Also, it's a very nice nice and, you know, yeah, I can't say. And it literally, like, the last three or four years of Richard Young's output have been, like, next level. Like, everything he's put out has just been mind blowing for the past few years. So that's my very passionately excitement about that guy.
Leon:Yeah. That that that track was really great. You know, stories are nice, but sometimes you don't need stories. You need, like, micro climates, just like situations, you know, with stuff going on and just have it play out and not really need to find out anything. Just like be there and live it.
Leon:It's it was really, really great. Richard Young does songs also. Right?
Justin:I mean, that's the most beautiful record he put about his dog dying, like, the Safie. That was such
Leon:a like,
Justin:as beautiful as Nick Drake. Like, it's crazy. It's just like Yeah. His his range is pretty balanced.
Leon:Yeah. And it's amazing that he's still active. I actually do see online, like, he's he's, like, playing shows and stuff.
Justin:Oh, yeah. No. He's relentless. It's amazing.
Leon:Amazing. So great. And that props to the drummer, man.
Justin:Yeah. Yeah.
Leon:I love that snare.
Justin:Yeah. It's been a really drum like, this is the drum show. This is the drum show. The drum episode. It's great.
Catherine:Was there also, like, these wind pipes?
Justin:This is a I learned the name of that instrument. It is a it's a karugophone.
Catherine:Oh, okay.
Justin:It's the greatest karugophone performance of all time.
Catherine:Yeah. It's athletic. Yeah. Great.
Leon:That's so good.
Catherine:I like the how the fact that the song starts at the peak and it just doesn't stop.
Justin:Relentless. It's relentless. And
Catherine:at first, feel like, oh, it's almost like falling down the stairs. And then once you understand the rhythm, then you get hooked on it. Yeah. It's just so deconstructed, but there's a momentum, the whole song. It's really amazing.
Leon:Yeah.
Catherine:It's funny because I I didn't know that musician, and I discovered him earlier this year, but with a piano album.
Justin:Oh, yeah.
Catherine:And then I started to investigate more like the folk record. So I'm really stoked to hear that. It's like, what a great journey.
Justin:Oh, yeah.
Leon:Yeah.
Jakub:Yeah. It totally has, like, a closing note kind of feel. It's almost like it only reminded me, like, you know, coming really late to a show, and you open the door and it's
Justin:back, and
Jakub:then you
Justin:get glazed
Jakub:over. Like, you
Leon:just get
Jakub:glazed over.
Justin:It's a glazing. It's totally I'm glazing. I
Jakub:was a sham Jacob, but I missed it, but I was I was glazed over the last time.
Justin:It was incredible.
Leon:Yeah. It's true. It and it also sounds it's amazing when it ends because it doesn't it feel like it should logically be able to end anyway, but it it somehow does.
Jakub:Yeah. It's wonderful.
Catherine:Is the b side like this too?
Justin:Oh, yeah. The b side's super intense too. It's great. And this this is a sequel of another record. So there's two in this series, and the one before it is also I would say, like, that makes it a little bit more like Albert Aylor.
Justin:Like, just there's some really scrunky, heavy sax stuff on it. It's also fantastic, that record. It's incredible. Yeah. Man,
Jakub:great music today. Incredible.
Justin:Incredible. Incredible. Thank you so much, Catherine. Like, it's amazing to have you on. Like, so special.
Catherine:And Thank
Justin:you so much. Was incredible. Yeah.
Catherine:I'm so happy. Like, I really like listening to you every month, so I feel a privilege to be here with you.
Justin:Oh, that's so nice. And and I love that we had so many great couples in the show today. It was also the couples show. It's good.
Leon:The couples show.
Justin:The couples show. It's good. Yeah.
Leon:Well, that was a great, great time.
Catherine:Yeah.
Jakub:And a great way to starting a new year.
Justin:Yeah. Great way to start. 2026 is the best year ever. It's gonna
Jakub:be incredible. Yeah. I can feel it. Yeah.
Leon:If this is if this is any indication, it will be the best year ever. Yeah. For sure.
Justin:You're putting the right energy into the cosmos for the beginning of the year. Feel the cosmos run with it. We threw you the ball.
Leon:Alright. Well, thanks thanks, everyone, and we'll catch you next time.