EPISODE 22: The quality of the handclaps w/ James Schidlowsky
It's a joy to be crazy. It's good to be sad. It's good to be lazy. Great to be bad.
Speaker 2:Yes. Hello, everyone. This is I like the the alternate intro theme. It's it's growing on me. I used to the first time you played the alternate version, I was like, this is oh, yeah.
Speaker 2:It was like the parallel universe thing where it's like, oh. I thought
Speaker 3:it was the same one.
Speaker 2:I thought
Speaker 3:it was the same one.
Speaker 4:This was actually another one that's beyond
Speaker 2:Oh, really?
Speaker 4:Yeah. Yeah. Yeah. This is now the third alternate version of it. So it's
Speaker 2:Man of fault. Yeah.
Speaker 3:I thought I was living the same day every day. Thought it was not
Speaker 2:the same day.
Speaker 4:As we learn on the train, man. So
Speaker 2:I think this is is this episode 22?
Speaker 5:Yes. 22. Yes. 22.
Speaker 2:20 Yeah. 21 was
Speaker 4:a summit retreat.
Speaker 2:Yes. Very special episode. Super special guest. We've been trying to get on the microphone for, I guess, like, however long we've been doing this podcast. Mister James Schidlowsky is will be joining us today.
Speaker 2:And I'm super excited to hear what he's got to share. Super excited to just jam out on the microphone. Goes way back, CD Esoterik lore.
Speaker 3:Way back?
Speaker 4:Yeah. In every band that, like
Speaker 2:Every
Speaker 4:Yeah. Every single band that was part of that scene, James was a key key part of Yeah. Almost. It was incredible. And also purveyor of many incredible CDRs that came out in that time that were among some of my favorites.
Speaker 2:Yeah. That was definitely, like, a a parallel current going on, like, the the James Schidlowsky CDR. It was almost like a subscription, like Yeah. Columbia House or something. Yeah.
Speaker 2:Every now and then you get, like, the new the new James Schidlowsky edit, and it was, like, phenomenal.
Speaker 4:Yeah. Always always except unlike Columbia House, it was great music,
Speaker 2:which we made variably,
Speaker 4:which was really nice. Yeah. And I also have to say that James also is still fantastically active. I had the incredible experience, recently, like, a week ago of seeing his exhibition. James, I only get the name of the exhibition wrong, so I'll let you introduce it in a second because I'm terrible with that.
Speaker 4:But it was one of the best concerts I've seen in many, many years of installation work that James did that I'll get him to talk about because it's phenomenal, but literally floored me and made me, like, love live music in a way I haven't in a really long time. And I'll let yeah. I mean, we can introduce James, but that that show just closed. Like, it it's the I mean, last week, was it closed? But, yeah, it was really it's too bad that people won't get a chance to see it, but it was, one of the greatest pieces I've experienced in a long time.
Speaker 4:And and, yeah. Thanks, James. So welcome, James, to the show.
Speaker 2:Welcome, James. Yeah. Thank
Speaker 5:you. Thank you. Well, that's a a big buildup. There's a lot of stuff in there. I have to say that kind of I guess I could say that CD Esoterik changed my life.
Speaker 5:Wow. Because if I look around at, like, the friends I have, where I am, what I'm doing, a lot of it is, you know, because there was there were you guys at this crazy record store who, like, appreciated what I did. So that inspired me to, like, oh, I'll do more of it. I'll keep doing it. And then just all the, you know, the collaborations that were happening.
Speaker 5:I must say that when I first heard of CD Esoterik, I kind of, like, just thought it was a place that had, like, techno music. Like, because of the kind of the the style of the artwork and and just the name and stuff. Was just kinda like so I just let you know, it wasn't really on my radar. But then when I I remember, trying to promote one of my shows, would, like, brought around some flyers, and then I just started to talk to. I don't know who it was.
Speaker 5:It's working probably Justin, but, you know, and then I just, like, we started to talk about music, and then it's like, oh, hey. We're doing we're opening for Schlobbe Effect. And, you know, come come down. You know? Well, I was a Schlobbe Effect fan and saw them many, many, many times.
Speaker 5:But yeah. So then it was just, like, always people doing crazy music and and collaborating and digging each other's stuff. And and so, yeah, it inspired me to continue. And so I think, yeah, it changed my life.
Speaker 4:It's pretty wild, James, because I was prepped for talking to you because I already knew Alexander and Simon Brown at Saint Ange and Simon Brown. And they had told me about this guy, James, who was totally incredible. Like, Saint Ange is your biggest fan, man. Like, he was just like, you've gotta meet James. You gotta hear the stuff he does.
Speaker 4:And so I was so excited when you walked into the store. I'm like, oh, that James dude's here. That's amazing. So, yeah, I was so excited to get to know you and hear what you what you were up to, and it certainly didn't disappoint. You made some of the best music of that time period.
Speaker 4:It was so exciting to always you pop in. It's great. And, of course, you end up being the best singer in my band ever, so that was pretty great. That was pretty fantastic. That one of the end concerts of that era.
Speaker 4:That was fantastic too. But what was the name of the exhibit? Because I I wanna get that right. And if you could explain it a little bit to people because the I don't know if Jacob even knows about it, and it was so fucking awesome.
Speaker 5:Well, the name is it's actually in French, and it's a bit of a play on words, which I now kind of regret. But but it's it's sans sans speaker, which is like a 100 speakers, but it's all it was spelled s a n s. Mhmm. Like, well, sans speakers. So no speakers.
Speaker 5:Mhmm. Which is, you know, kind of like well, obviously, there are some speakers because it's a, you know, a sound installation piece. So yeah. So there are, like, a 100 speakers that were controlled and how can I explain it? It's a kind of complicated system.
Speaker 5:But it grew out of the Suite 32 speaker system, which was exhibited first at Justin's place. Stable. And, yeah, and then from there, I went to O'Bro, and then I already had ideas of where it could go. And then, well, ten years later, it was at or Esoterik as they say in French.
Speaker 4:Which is an incredible venue. It's like one of my favorite places in the city.
Speaker 5:Yeah. It's like when I discovered that place, it really really clicked and said, okay. Well, this is it's a different concept. Like, book a time slot, you go, and you're just there alone or with a couple of friends, and you get an hour you spend with the the work. And it's it's it's dedicated to generative artworks, so it's kind of artworks that change over time.
Speaker 5:And, yeah, it's just they're meant to be spent. You spend time with them, and they you know? So it's like kind of this meditative almost thing. And
Speaker 4:Did did Lynn do a tea for you? Because part of the part of what she do there I wanna know what tea you got. So part of what the curator does there is she curates a tea. So you can also go with her and have a tea service and experience the art, and it's always a different tea every time. So I didn't get to do that because I just came in at the end of the exhibition because I was with Jacob in Poland.
Speaker 4:But what what tea did you get? I'm so curious.
Speaker 5:It was a Darling Darjeeling
Speaker 4:Nice. First flush.
Speaker 5:Yeah. Was a turbo first flush kind
Speaker 2:of thing. Yeah.
Speaker 4:Amazing. And
Speaker 5:apparently, she chose it because it's supposed to open your ears. You know?
Speaker 4:Oh, beautiful. Beautiful. And for also, just because James does always a terrible job or a great job of underselling how awesome his stuff is, I'll explain it a little better. Like, the they are a little more in-depth. How many panels were there, James?
Speaker 4:Like, six? Is that right?
Speaker 5:No. There were seven. It's basically an octagon Yeah. Octagon space, but, like, there's one side missing, so that's the entrance. Right.
Speaker 5:So the the panel immediately, like, in front of the entrance is kinda like a it's the the central panel with the brain. And and then you have the six surrounding panels that have each 16 speakers. And so the brain is running a program that is actually, like, kind of artificial life. These things called cellular automaton that are two dimensional Turing machines. But anyway so there's another room where you can actually see the progress of those and wherever the little termite is, it that's the frequency that's, on that panel that it corresponds And
Speaker 4:and watch listening to this is unbelievable because, like, the diffusion of sound is kind of, like nothing you've ever experienced before. And it's also because the speakers are, like, of different quality, which is what is really remarkable at the piece. There's some really, really, really crappy, crapped out speakers. There's some, like, really like, it's all, like, a a call like, all of these different speakers that James has collected over years. So the same tone will take on so much different so much different coloration that it feels like a different sound as it bounces around these surfaces.
Speaker 4:And you're in the middle of it, and you're experiencing this just incredible experience of difference in repetition. Like, I keep thinking about Deleuze whenever I'm in that piece. Like, it's such a beautiful, like, kind of illustration of Deleuze in some ways and and especially, like, that book. And there's just this incredible sonic kind of hypnotic space that you get into. Other thing that I really brought to mind, I was talking to James about this before you guys showed up, is it's the only experience I've ever had of sound that's as immersive as oh, jeez.
Speaker 4:What's that thing called? The the Lamont Young thing in New York, the dream house.
Speaker 3:Dream house.
Speaker 4:And yeah. So it it has without the, like, kind of hippie stoner vibe that that has, like, the same level of, woah. I've entered into another planet, and, like, I'm actually being altered so deeply by being in this sound field. It's incredible. It's just, like, such an exceptional exceptional experience.
Speaker 4:And, like, when you did it at stable twenty years ago or whatever, like, fifteen years ago, it was just the one panel. It was still fucking cool. But being in the middle of it and, also, we saw a performance with performing it, which was really extraordinary too. And a really remarkable thing happened because this huge storm broke out outside while Eric was performing, and everyone in the room was convinced that the thunder was part of the actual performance. And everyone's like, James, how did the subs on this work after?
Speaker 5:No subs. Yeah.
Speaker 2:Just, man. I hate subs.
Speaker 4:You gotta let nature do its thing. You know? I mean, come on. But, yeah, it was it was exceptional. So yeah.
Speaker 4:And and I I dream of opening a concert venue that's just that set up permanently somewhere that people can come and perform. It's just I mean, yeah, such an incredible performance and and peace. Such a beautiful, beautiful, beautiful piece, James. So really cool to see you continuing to blow my mind every time I come across whatever you do.
Speaker 2:Yeah. Have to say, I'm really, really sad I missed it because I was when I found out that you were doing this when I got to Esoter's newsletter and I saw your name on it, I was like, wow. This is amazing. I have to, like, book two months in advance. And I came incredibly close to to making it.
Speaker 2:I I actually booked a time slot to go and check it out with with some some people, and something came up, like, last minute and made it that I couldn't I couldn't make it out there. And then I subsequently tried to go to the shows and and to book another slot, and everything was totally Yeah.
Speaker 4:It was sold out. Yeah. It was sold out.
Speaker 2:Was great. Me really kinda sad, but also like, yeah.
Speaker 5:Yeah. Good on you, James.
Speaker 4:This thing. It was great.
Speaker 2:That's amazing.
Speaker 5:You could've contacted me because I did.
Speaker 2:But do you actually remember? I actually phoned you that that that Yeah. Yeah. Yeah. Night that I was gonna go, and I'm like, yeah.
Speaker 2:I think I may not be able to go. And you're like, yeah. I'm not gonna be there. I'm not I'm not the person you should be talking to. You should be you should be
Speaker 3:Well, yeah.
Speaker 5:I was offering, like, the mornings private visits, which I did. But,
Speaker 3:How long is this? How long was it was that up?
Speaker 4:It was, like, a month.
Speaker 5:Six weeks? A month? Yeah. Okay. Yeah.
Speaker 5:Yeah. Cool. Sounds like
Speaker 2:totally enough time to, like, try again to see it, but I swear, I tried, like, really, really hard and and I couldn't couldn't book a slot. So I'm sad I missed it, but I'm super glad that people got to see it.
Speaker 4:Also, before like, we're excited to get some music going here, but before we do that, I have to make one big shout out because I've been wanting to shout this out, but the last episode didn't have any words, so it made it impossible to shout out anything. But Christophe Magon, also previous guest host and incredible artist and friend of the pod, just has two new releases out. So I wanna give a shout out to those that are really awesome. So there's the one that we played a track off of that's again, I'm not gonna know how to pronounce this. It's two o's.
Speaker 4:Like, oh, is it oh, oh, is it there's, like yeah. I don't know. But oh, oh. Oh, But it's it's out on Squidfucker now. We'll put a link to the to the oh, sorry.
Speaker 4:It's Squidpress now. It's not they got rid of the fucker because we all got grown up and and less transgressive. So it's so it's on Squint Press now. It's available. I will put a link to the to the to that.
Speaker 4:And, also, he has another release called on and on and off, which is easier to say the name of, on on Bandcamp, on a label called Kronica, and it it look. It's really, really cool too. I've listened to both of them, and they're awesome. Like, so big shout out to Christophe. And it did the on and on and off is with Marla, and it is it's a really, really cool piece too.
Speaker 4:So I I just wanted to make sure that that gets shouted out and that people people pick them up. So go and and that second piece was was commissioned by Kunst Radio in Vienna. I'll put some notes about it in the pod in the notes. It's really, really, really worth getting. So and he's also friends of all of us, and James knows Christophe too.
Speaker 4:And yeah. So it's just nice to give him a little shout before we start kicking off the music. Definitely. Christophe feels it's really cool too because Christophe feels like that was the landing pad of the avant garde that we landed on in Montreal, like him and Saint Ange and, some of the really interesting people, James. I think you were involved with those people before we knew you, and it was really cool to be Sam.
Speaker 4:It's obviously a huge, huge part of that that deserves huge credit for building a culture in Montreal that we were able to to surf on a little bit. And, yeah, those guys were all incredible. So it's such a yeah. It's a real honor to show them out too. It's great.
Speaker 4:I I love Christophe's work. These records are great.
Speaker 2:Amazing. Yeah. James, you gotta kick it off. You gotta
Speaker 5:okay. I'll I'll kick it kick it off by going back a little bit. That is to say, I think maybe two episodes ago, there was some fusion era Miles Davis.
Speaker 2:Yeah.
Speaker 5:And, yeah, there's there's a there's a kind of a story behind this release, bit of a mystery, but we'll cover that when we come back. Okay. Excellent.
Speaker 3:Looking forward to it.
Speaker 2:Crazy. That's amazing. What a way to start.
Speaker 4:I'm not going second.
Speaker 5:Come on. You can do it. Yeah. So yeah. So I came across this track on this blog, you know, back in the old days when we used to like
Speaker 2:Oh, yeah.
Speaker 5:There were like some really cool music blogs and then just like discovered so much amazing stuff. So there was this blog and and the story was that this is like a test pressing of this band by Art Jackson.
Speaker 4:I knew this.
Speaker 5:It was like 1974. This guy is like, you know, kinda crazy guitarist, maybe a heroin addict. Miles Davis got one of them, you know, paid for a session. The album went nowhere. Art Jackson disappeared.
Speaker 5:And, you know, that's it. You know? And then, yeah, I was searching it for information. I found that there was, like, even a review on Julian Cope's head heritage site.
Speaker 2:Mhmm.
Speaker 5:And people were like, this has gotta be a hoax, you know, because the the drums are too, they sound too modern, you know, for 1974. Right? And so, you know, there was some discussion, and we thought maybe it was this Italian prog band that is behind it. They denied it. So then, you know and then couple years later, I'm listening I'm watching Stanley Kubrick's Full Metal Jacket, and there's actually in one of the other songs that they have, there's a snippet from this film.
Speaker 5:And I'm like, well, okay. Unless these guys are time travelers, because the movie came out in 1987, it's like, this is this is definitely a hoax. So then I go on these blogs and I write this information and then nobody says anything. And it was like ten years after they've initially apparently, they initially posted this on Myspace or something in 2006. And in 2016, they they said, oh, it's us.
Speaker 5:So it's this band called We're Late for Class.
Speaker 2:They only got 100 people.
Speaker 5:It's let me read their description on Bandcamp. It's a live improvisational collective with nearly a dozen rotating band members. We're anti contract, pro herb, and avid cut and pastors.
Speaker 2:And That
Speaker 3:sounds amazing.
Speaker 4:That sounds pretty familiar. So
Speaker 5:they they do these like, they have, like, you know, sort of like imitation Faust, imitation Pink Floyd. They have, these each album is kinda like a different style, and they kinda, like, are inspired by something and just kinda do it their way. So but this was, I guess, their most elaborate hoax.
Speaker 4:It's a I remember this happening. And I remember when this record came out on the blogs, and I remember all of, like, the and it became kind of a thing too where people were, like, you know, later when stuff would happen, it would become it's kind of the ultimate reference for people that are pulling off blah like, hoaxes of and now with AI world, like, it's super relevant. Right? Because people are putting out stuff as, like, fake, but, like, you know, it's it's getting really blurry and weird out there. But this is it it kinda set the landscape landscape for that whole thing to happen in a really interesting way.
Speaker 4:So, yeah, that's great. Yeah. Was really interesting moment of music history.
Speaker 5:Plus, these guys are, like, you know, real musicians. Like Yeah. You gotta, like, hear that. And, of yeah, course, they're here. They were channeling some Pete Cozy, Reggie Lucas stuff from
Speaker 4:Yeah.
Speaker 2:For sure.
Speaker 5:Davis's band, but which I love.
Speaker 4:Yeah. Yeah.
Speaker 5:So yeah.
Speaker 4:I mean, that that was amazing. That's Yeah. Pretty cool. Are still active?
Speaker 5:Actually, it's funny because I was looking for you know, I was just looking up the web web page and yeah. Like, they're they're on release number a 100, and the ninety ninth release was, like, another Art Jackson atrocity. Woah. The unreleased 1978 impulse sessions. And they have a few others that are kinda, like, you know, jamming with sun sun raw and stuff like that.
Speaker 5:So they have, like, Sun Ra snippets and, you know, it's Great. Great. It's kinda cool. But this this album was kinda like I thought it was really cool for many. Yeah.
Speaker 2:So I'm trying to get this straight. Are they are they playing on top of tracks, or are they just saying that their the track is something else? No. It's like It's it's all of them?
Speaker 5:This is their music.
Speaker 2:Yeah. Yeah? Okay. Yeah.
Speaker 3:Well,
Speaker 4:I'm trying to understand the full metal jacket connection. Like, what what did I don't get it. Like, what happened with that?
Speaker 5:Because there was this there was a one track that had the like, there's a quiet set. It's more ambient, a lot of cymbal stuff and just like droney saxes and stuff. And then there's a quieter part where you hear, like it sounds like a snippet from a movie or something. And in fact, the on the Julian Cope, it wasn't him who reviewed it, but in that review, they say, oh, it's it's like there's some kind of snippet from some, like, obscure movie. You know?
Speaker 5:And then I just got you know, I I I heard. It's like, okay. It's actually Kubrick's full metal jacket.
Speaker 2:So Yeah.
Speaker 5:So then that that all that gave me the clue. I was like, okay.
Speaker 4:This can't be what it says it is. Yeah. Yeah. Crazy. Cool.
Speaker 4:Love it.
Speaker 3:Yeah. I could listen to it for an hour, two hours. It totally woke me up. That was really relaxing. I found it super relaxing.
Speaker 3:Until it just that that ending when it just I just jumped in
Speaker 2:my seat. Yeah.
Speaker 3:It was totally unexpected.
Speaker 5:Yeah. Well, get thee to band camp and
Speaker 2:Yeah. It's band camp, and you might know it. It doesn't touch Myspace. No. It doesn't touch Myspace.
Speaker 2:No.
Speaker 4:Although people are getting paid. I missimisskim.com ruling the universe, and I was having unlimited unlimited blog downloads on Sharespace. Oh, man. That was so that was such That was I know. And it's sad because even now all the hard drives that Mark filled up of shit from those days are have all crashed and died.
Speaker 4:So it's all gone into the digital ether. It's crazy. That's such a such a bummer. But okay. So, actually, unless I actually have a perfect response.
Speaker 3:That's hilarious.
Speaker 2:Yeah. After
Speaker 4:learning the story
Speaker 2:of it, now I've got the perfect
Speaker 4:It's great. And this isn't what I wanted to play at all, but Wait. For the show. But
Speaker 5:No AI on this show. Right? No AI.
Speaker 4:This is no AI. This is no AI. Although it's and, like, I don't want you guys to see this, so I don't know how to play it with hiding it, but it's it's it's good for the audience. They won't get it. And it's, it's another thing that's like, how what what time is this from?
Speaker 4:When did this happen? But it's, yeah, it's and, Leon, this track, I'm gonna dedicate this track. I I did this fantasy, you know, of, like I was thinking we should do a show where we all try and play music the other person would play. Like, this is a really fun fun game to play. Yeah.
Speaker 4:And so this is
Speaker 3:That's a great idea. Yeah.
Speaker 2:Maybe the, like, the Christmas the next Christmas episode, we'll have, Christmas games. Yeah.
Speaker 4:So this was my this was my, like it actually could be I could actually position this as either a Leon or a Jacob track, but I think it's fully fully a Leon track. I'm pretty excited about it. Alright. So k. Are you guys ready for this?
Speaker 2:Wait. Does that mean that I don't get to play a track after this?
Speaker 4:No. You don't. You don't. It cancels you out.
Speaker 3:Oh, you have to play you
Speaker 5:have to play a a Justin track.
Speaker 4:Oh, great. Yeah.
Speaker 5:Yeah. Wait a minute. No. You can't because you're gonna do that in the Christmas episode. Yeah.
Speaker 5:So
Speaker 4:And, actually, you guys can tell me if this is more a Jacob or a Leon, but I I think it it could be either of you, which is really exciting. I think if I didn't know what it was and it just sonically, it would be a Jacob track, but knowing what it is, it's a Leon track. Okay.
Speaker 2:So here we go.
Speaker 3:That's perfect.
Speaker 4:Yeah. That's pretty great.
Speaker 2:That was amazing. What did I play?
Speaker 4:You played something really incredible. That is that is from Piero Umiliani, from his record, which is a problem of today and the today's problems. And it's kind of amazing because
Speaker 3:it's it's really Are you talking in an Italian accent? I
Speaker 4:was reading Italian.
Speaker 3:But you're you're still doing it.
Speaker 2:I'm not. I'm not even
Speaker 3:it got hit. It infected me.
Speaker 4:Yeah. But it's it's Today's Problems. It's incredible, this record. And it's it's it is cited by some as the very first techno record. So I think there's kind of an inversion this is an inversion of, it's before the man the, know, the e two, e four, whatever that was Oh,
Speaker 2:yeah. Wow.
Speaker 4:It's before that.
Speaker 2:Wow.
Speaker 4:It's it's it's really pretty and it's kinda weird because it's like a library record. Right? Like, this is like
Speaker 2:Yeah.
Speaker 4:This is a guy who does library records and and film music and is I actually got so excited by this that I bought the vinyl of this. Like, this is incredible. It's such a and the whole and it's really the rest of the record kinda goes. It's a bit exactly like what you were talking about, James, except they it's track by track. Like, this track is this.
Speaker 4:The next track is Pink Floyd. The next track is Stones. The next track is, like and it's just totally, like, all over the place, but all of it is executed so weirdly and so unusually. And, like I mean, that and also this just fits my general ecstatic music only rule, so it's pretty ecstatic. It makes me go, like, when I'm listening to it.
Speaker 4:I love it. It's pretty but it it it felt like it feels like an interesting follow-up to that piece.
Speaker 3:Yeah. That was perfect, Yeah.
Speaker 2:Yeah. Was yeah. That was really, really great. Really delightful. And it actually reminded me of something I wanted to say about the what are they called?
Speaker 2:The late for class? Or
Speaker 5:Yeah. We're late for class.
Speaker 2:Yeah. We're late for class. That track, something that I noticed just on a sonic level, like, about halfway through the track, there's some, like, hand claps coming in
Speaker 4:Yeah.
Speaker 2:That are, like, pretty Yeah. Pretty driving. Yeah. And that the quality of the hand claps is a plus.
Speaker 4:Yeah. Those
Speaker 2:are, like,
Speaker 4:so Really hand claps.
Speaker 2:Super a plus crunchy hand claps. I love the hand claps in that track. But, yeah, this this this library proto techno track is is really, really, really delightful as well.
Speaker 3:You know what it reminds me of? And speaking of Leon, I think you played at one point this Jean Guerrein track. Was it Jean Guerrein's name? Yeah. Yeah.
Speaker 3:It has that kind of Yeah. Yeah. Vibe, two foot out there. Yeah.
Speaker 2:Yeah. You could totally go with it. Yeah. Totally. Yeah.
Speaker 2:Weird. But, yeah, the the two tracks really really go together well.
Speaker 5:Yeah. Yeah.
Speaker 2:I I would kinda follow it up with something that's gonna just keep the chuggy aspect going.
Speaker 4:It's gonna be the chug episode.
Speaker 5:Could I just say something?
Speaker 2:Sure. Yeah. Of course.
Speaker 5:Yeah. Because well, yeah. I mean, that was, to me, a totally Leon track. But it also it it gave me a tiny liquid liquid vibe.
Speaker 4:Yeah. Yeah. Yeah. For sure.
Speaker 2:I yes. I know what you're talking about. The the congas.
Speaker 4:Yeah. Yeah.
Speaker 2:And the with the reverb on it. Yeah. They should be. Yeah. Absolutely.
Speaker 2:Yeah. The there's something weird about that time period when electronics started happening where electronics were completely flat. Like, there were no effects on electronics whatsoever. Yeah. And then there's, like, super giant room for the percussions.
Speaker 4:Yeah.
Speaker 2:But the but the bleepy bloopy stuff is just, like, straight in front of your you know, like, right in your ear. It's it's so strange.
Speaker 4:There's also something about this track that's really important to note, is Jeff Mills is releasing it as a seven inch or a
Speaker 3:Oh, wow.
Speaker 4:No. I'm joking. I'm joking.
Speaker 3:Well, you got me.
Speaker 2:You totally got me.
Speaker 4:I know his own name. You know?
Speaker 3:Oh, you totally got me.
Speaker 2:That sounded very probable. It was all good.
Speaker 4:He's like not letting anyone know. He's just like, I'm just putting it out. I'm just bringing it up. Gonna be called the atomizer.
Speaker 5:Actually, I'm quite I'm quite fascinated by electronic music, but with real real drums.
Speaker 2:Yeah. Yeah.
Speaker 5:But I can't think of a lot of them off the top of my head except
Speaker 4:Because it's so hard to keep clock like that. You know? Like, that's why it's amazing. Like, how do you, like, how do you keep your exact pace with the machine? Right?
Speaker 4:Like, it's it's really, really challenging to pull that off. Well, there's some mad ass percussionists on that track. That's pretty sick.
Speaker 2:Yeah. Yeah. That was great. Well, I don't know. I I think I might kill the vibe a bit.
Speaker 2:But
Speaker 4:I thought you were chugging.
Speaker 2:Yeah. I'm gonna keep chugging. I'm gonna keep chugging. Gonna Gonna keep chugging. Yeah.
Speaker 2:So it's a bit of a classic, but it's worth really worth revisiting. This is a track by Peter Gordon called God's a Man. This is taken from the legendary 1976 Mills College rock show with that Blue Jean tyranny and Peter Gordon organized. So this is one of Peter Gordon's pieces.
Speaker 4:I took everything I could get, every push and thrust. But if he should come back to me, you know what I'd say. I don't want you. No, I don't want you. Not because you hurt me.
Speaker 4:Not because
Speaker 2:Yeah. Sorry. I took it in the heavy direction.
Speaker 4:No. It's great.
Speaker 2:That's a composition by Peter Gordon, God's a Man, that was composed and performed for a 1976 concert at Mills College. The the idea was this has been compiled in a release called Trust in Rock that was reissued recently. Well, recently ish.
Speaker 4:I also have this on vinyl. It's great.
Speaker 2:Yeah. Yeah. Also, there's like five Peter Gordon tracks, and three of them have lyrics. And the lyrics were written by Kathy Acker, which kind of explains the tenor of the of the content. They did.
Speaker 2:Of content.
Speaker 4:I'll let you go, but I I got a lot to say about that when we circle back to that.
Speaker 2:But, yeah, I mean, the the whole the whole thing is I I find very very amazing. It's like the reaction of the the new music, people kinda getting tired with the with the the ivory tower and just, like, wanting to to rock out and putting together the the rock show and has this kind of I mean, they they got it almost sounds like they got every chord in there. They stuck in every chord. But, like, in a very, very simple, you know, don't think too hard about it kind of way. But still, like, it's so loose but super sophisticated.
Speaker 2:The playing is really free, I find. The recording sucks, which is amazing. Yeah.
Speaker 4:It's fantastic.
Speaker 2:Yeah. So I I I just really, really I mean, I when I I was first drawn to this album because of the Blue Gene Tierney compositions, which are amazing. But the Peter Gordon track out of stuff I wasn't so familiar with, and some of them there's one of them that sounds like. It just sounds like the Yeah.
Speaker 4:Yeah. Yeah.
Speaker 2:The mantra, just like sci
Speaker 4:fi.
Speaker 2:Yeah. So it's like just really, really good. And kind of to to connect the thought with what you were talking about, James, about the previous track, making you think of Liquid Liquid. Peter Gordon has collaborated with Arthur Russell. Yeah.
Speaker 2:And even, I think, covered some of of Arthur Russell's pieces. So, yeah, everything is everything.
Speaker 4:It's it's wild too because the whole Kathy Acker thing, like, and Guts in high school was I read in high school, and it changed my life. It was, like, probably the most that's what I think it's her second book or her first published book is really a breakthrough, and that was about their relationship. They were married, Kathy Acker and Peter Burton. And it was kind of written about their relationship and and the deterioration of their relationship, and it's it's such an amazing book. And it was really funny because when Bob Ashley was at our house and we had made dinner for him, I asked him because he was at Mills and Kathy that was, like, very early Kathy.
Speaker 4:I mean, she's a baby at that moment. I'm like, do you remember Peter Gordon's girlfriend or wife, Kathy? And he was like in his very bobbash, was like, yes. She she had a lot of energy. It
Speaker 2:was so fantastic. That was that
Speaker 4:was really amazing. And, yeah, they did an opera together too that was performed at at BAM in '85. Their their stuff is that huge influence on each other. And, like, they did a there's a track that I've been trying to track down forever that's apparently on some obscure Peter Gordon record where she's singing and David Van Tiegum is playing, like, electronic drums.
Speaker 2:Yeah. I've seen this. I've seen this. Yeah.
Speaker 5:I wanna
Speaker 2:I think it might it might be a single, actually. Yeah. I'm dying album.
Speaker 4:Yeah. I'm dying to get my hands on that. So that's it. But, yeah, Kath man, Kath Hacker.
Speaker 2:Yeah.
Speaker 4:Gosh. So great.
Speaker 2:But, yeah, this this track also kinda makes me think of, like, the the live stuff that that was happening around CD Esoterik time.
Speaker 4:For sure. I just listened again to Gav's identity protest unit two that's on his band camp, and it's totally got this vibe. Like, it's really it's incredible that that that record's insane. That has almost everyone in the seat. It was one of those bands with, like, 200 people in the band.
Speaker 4:Like, it was crazy. Really, really amazing. And it's also cool to note that the greatest piano player on earth is also the greatest clavinet player on earth. Whenever the clavinet kicks into that,
Speaker 2:that's It's it's not it's not a
Speaker 4:super journey. No.
Speaker 2:I'm gonna fill it up. It might be worth
Speaker 4:because that was whenever yeah. Mean, that that lineup's gotta be crazy who's on that.
Speaker 2:Clavinet is by Janet Cuneberti.
Speaker 4:Wow. The greatest clavinet player on
Speaker 3:earth. Great.
Speaker 2:With Patrice Mangett on vocals, Peter Gordon saxes, Carl Jung saxes, Paul Drescher guitar, Steve Bartek bass, Gene Rifkin percussion, Blue Gene piano, and mixed by Rich Gold.
Speaker 4:Who's the vocalist?
Speaker 2:Patrice Mandrake.
Speaker 4:Yeah. You said that. Yeah. The other I mean, the other thing with that with it's just that we have to give a shout out to Mills College. Like, it's so heartbroken that it closed, and that that was such an exceptional place for so many years.
Speaker 4:And that that changing with the times, it no longer exists as of, like, last year. That's a really, really, really tragic loss because there were still really amazing stuff pumping out of it all the time.
Speaker 2:Yeah. Actually, we have a friend of of the family, Matt. He's a musician amazing musician from the from the the Bay Area, studied at Mills, does, like, really wacky, amazing improv electronic stuff worth checking out.
Speaker 4:Great. This
Speaker 3:track, I have to say, really reminds me of these kinds of situations I'm sure you guys have had also where you end up just, like, in some dingy bar and then there's a band that's playing and you're like,
Speaker 5:yes. They're pretty good.
Speaker 2:Yeah. Yeah. Yeah. Yeah.
Speaker 3:And it really feels like that to be just like, hey. That's that's that's a good rock music. Yeah. Really good. I can smell the bar already.
Speaker 3:Something like the jailhouse or something like that where you can just smell the dampness of the cigarettes. Yeah. It's so fantastic.
Speaker 4:Not the worst, the damp cigarettes.
Speaker 3:It's really, really great.
Speaker 5:Yeah. I also, like, got that, like, Leon said, the the looseness of it, you know, it's it's it kinda in the background, it seemed like a mess, but then, like, sometimes it just really came together. And it had, like, almost, like, these cues because it, like, kind of, like, went into another thing
Speaker 4:Yeah.
Speaker 5:You know, all at the same time ish. So, yeah, that's kinda weird. But, Justin, did did you mean the bicycle piece or the other piece by
Speaker 4:No. The the other piece, it's Identity Protest Unit 2. Three. So it's three. That's the one I was thinking of.
Speaker 4:Yeah. Yeah. Yeah. Yeah. Yeah.
Speaker 4:You for clarifying that because people should go listen to that. It's on the Gavin, John Sheehan, Bandcamp. I'll put a link to it. It's fucking incredible.
Speaker 2:It's worth mentioning that James would be the person to get that right. Yes. You're kinda like you're like you. James Schidlowsky is that historian of of of Montreal experimental music. Yeah.
Speaker 2:Yeah.
Speaker 4:Definitely has more clarity on it than anybody else.
Speaker 3:Yeah. That was classic actually.
Speaker 4:He's doing less drugs than everybody
Speaker 2:else. Yeah.
Speaker 4:Not not
Speaker 5:so organized archivist, but yeah. If you this you know, you're trying to find an old recording, maybe I have it.
Speaker 4:Amazing. But
Speaker 2:yeah. Jacob.
Speaker 3:Oh, yeah. I think I'm gonna wreck the mood. I don't I don't really know. We'll see what happens. I'm just gonna try this.
Speaker 3:I don't know about you guys, but this totally reminds me when I go to Chinatown or when I used to go to Chinatown and just went into a grocery store and the radio is playing, and it just sounds like that. It just sounds amazing. It sounds really, really fantastic. Just really, really bizarre sounding. So this is like a, I guess, like a book record, I don't know, by Yan Yun and Xiaoyu.
Speaker 3:I think Yan Yun is almost kind of like the Sam Shalabu of Beijing. Yeah. Just weird sounding.
Speaker 4:I love it. So great.
Speaker 2:Yeah. It's beautiful.
Speaker 3:And I have to mention also it has a great title. This album is called seven poems and some some tinnitus. So it's really, really, really wonderful. So anyway
Speaker 4:Again, it's one of those records where, like, I realized that and I don't know how, but it was like, oh, shit. My headphones are on the wrong ears. Like, it it, like, it totally gave me the just something was wrong with the space. And I had to fix it. It was great.
Speaker 4:Wow. And that there's some just also, with a lot of the Beijing stuff, like, there's surprising sounds in it. Yeah. It's so nice.
Speaker 2:So weird
Speaker 4:sounds. Nice to have stuff that's very, like, quotation mark experimental music that has sounds in it that I haven't heard before that are like Yeah. Yeah. Where is this where is this sound coming from? What is like, oh, which is really hard to do considering that there's such a mountain of experimental music out there now.
Speaker 4:Like, it's just like, wow. This is this this is I love that, Jacob. Thank you. That is I could listen that all day.
Speaker 3:And her voice is so wonderful. She has such a draw to it. It's just it's incredible sounding. Yeah.
Speaker 2:Yeah. My my Mandarin is not not very good at all, but the little that I could catch was really pretty. So Wow.
Speaker 4:I wish I could yeah. It would be amazing if maybe I can get the AIs to translate it
Speaker 2:and
Speaker 5:see what it that would be great.
Speaker 3:She can talk to me all day.
Speaker 2:Yeah. Yeah. Yeah. That does that does have a that's like one of the the the James' currents of you know, the currents that I associate with James. Because prepping for the show, was like, okay.
Speaker 2:It could go this way, this way, this way, this way. And this is definitely, like, up some James Alley in my mind.
Speaker 3:Yeah. Yeah. It's true.
Speaker 5:Is that is it well, I I actually listen to tinnitus, like, every second of my life. So
Speaker 4:Oh. Oh. Jacob, you're so mean.
Speaker 5:So I I know that part.
Speaker 2:I know. I know.
Speaker 3:I'm sorry, James.
Speaker 5:Yeah. Well
Speaker 3:And to all the viewers out there who might have the same problem. You know, it's an experimental music. Yeah.
Speaker 2:Yeah.
Speaker 5:Okay.
Speaker 3:How are gonna follow-up that?
Speaker 5:Well Look
Speaker 3:what I just did.
Speaker 4:Look what you did.
Speaker 3:I just did.
Speaker 5:Well, I guess yeah. I have an idea. It's I mean, it's it's in the same neck of the woods of the world ish.
Speaker 3:And what I really liked also, I forgot with this recording, I wasn't sure at first if it was a field recording with, a sax person playing and you can hear the street. Yeah. Or if the sax player is actually, like, there. Yeah. Yeah.
Speaker 3:Yeah. The sax Like, the space of it was so bizarre.
Speaker 2:Yeah.
Speaker 3:It had so many layers of space happening, which was really neat.
Speaker 2:Yeah. I was I was really sure that it was, like, a shortwave radio kind of thing at first. And then it all the the sounds the different sounds come in, you're like, okay. No. This is not this
Speaker 3:is not
Speaker 2:short, but that's beautiful.
Speaker 5:Well, it did sound like when she was doing the poem that it was like a different something different. There was something different in the audio qualities.
Speaker 2:Yeah. Yeah. Yeah. Yeah. But it it was actually like re replayed with like different qualities also.
Speaker 2:Yeah. Yeah.
Speaker 4:It happened again. No.
Speaker 2:It didn't.
Speaker 5:That's the
Speaker 4:end the
Speaker 3:track. Well
Speaker 5:I guess it just goes into the next track. You gotta listen to the whole album, man.
Speaker 3:That's amazing.
Speaker 2:What is
Speaker 5:that? What? I I figured for sure you'd know it.
Speaker 4:Is it o o I o?
Speaker 2:Yep. Yeah. Yeah. Yeah. I thought so.
Speaker 4:Yeah. Yeah. Yeah. I remember that. The ending was really, like, what gave up until the ending, was like, is it?
Speaker 4:And then that I I remember that part really clearly. What an incredible record.
Speaker 5:Yeah. And that well, o I o is spelled o o I o o, and I think, Christoph stole a few o's from there. Oh. But, yeah, another, like, a Yoshima Yoshima project.
Speaker 4:Boredom's adjacent.
Speaker 5:With a bunch of yeah. A couple of there's actually on YouTube, there's a video of that very tune. It's called Don Ah, and you can see them play live. And they're all in circle, and the and the two Gamelan musicians are, like, in the center. And she's actually playing guitar, not drums.
Speaker 5:But Wow. Mhmm. Yeah.
Speaker 4:It was I mean, still to me that kind of era of late boredom's, oh, I oh, oh, like, some of the greatest music ever.
Speaker 2:Like Yeah.
Speaker 4:It's just no one's touched that shit. Like, it's so crazy, like, for pure ecstatic. Like, so great. Oh, it's so good to hear that again. It's funny because in my memory oh, I oh, I was always a little bit like, oh, it's not as good or it's not as like but it's totally as good.
Speaker 4:It's crazy.
Speaker 5:It's like
Speaker 4:yeah. Yeah. Yeah. I I don't know if I was so boredom centric or or eye centric at the time, and this is fucking incredible. Mhmm.
Speaker 4:Thanks for playing that, James. That's so good to
Speaker 3:hear that again. And it's nice that we got to hear the ending
Speaker 2:of
Speaker 3:it too
Speaker 2:because part
Speaker 4:is so
Speaker 2:really good. Yeah. It's a really important part.
Speaker 3:Yeah.
Speaker 5:Yeah. It's well, of course, the boredom's CD room is I mean, that tune is, like, insane.
Speaker 2:Yeah. Mhmm. Yes.
Speaker 5:You still listen to it on headphones really, really loud.
Speaker 2:It's like
Speaker 5:yeah. Crazy.
Speaker 4:I mean, it's kinda awesome that they more or less stopped after that. Like, because it was really, like, what do you do after that? You know? Like, that's really it was a very reasonable move.
Speaker 2:The c drum, the really Alice Coltrane y piano stuff going on?
Speaker 5:Yeah. With, like, tons of tons of drums. Yeah. Even that, I think that they you know, there's, like they were, like, in some of the drums are in water. Like, it seems to be, like, they're recording them in a scene.
Speaker 5:You can actually hear that in the in the sounds. Just Oh, yeah. You're right. You're right. Yeah.
Speaker 5:Yeah. This crazy, like, yeah, piano. That was yeah.
Speaker 3:Yeah. That was amazing. I totally forgot about that record.
Speaker 2:Really good.
Speaker 4:Wow. Man, what do I that's a
Speaker 5:because I it was in my playlist of like possible things and I'm just like, okay. I think that has to be it. Although the image that I showed you guys was your exotic prince, is like a mysterious thing And that would have gone actually, and it's a slightly related story to the arch action stuff, but, you know, maybe at the end. I don't know. I did my two tunes.
Speaker 5:Right?
Speaker 2:Yeah. Yeah. That's good.
Speaker 4:Yeah. I've got I've got something to follow on this, and it's not it I was this is something I had from queued up for the very first episode and have never gotten to it till now. And it was it's the only thing I can think about playing after that, so I'm gonna play it.
Speaker 5:You're late for podcast.
Speaker 4:I know. So, yeah, this is the first time I've ever played an artist twice on the on the show. We listened to early episode something from Isaac Sundstrom's five dramas for swollen emotions, which was the record of one of my favorites ever. That's the all the the dialogue or or the non diegetic text from the scripts from from films by
Speaker 3:Douglas Cirque. No?
Speaker 4:By Douglas Cirque. Yeah. Yeah. So that would that record was incredible. And this is his earlier project called Rocks and Rave song circle, and it's a crazy story.
Speaker 4:Like, this is another one of those ones that, like, it really fits the episode theme of, like, it's very contested whether the origin of this record is real or not. But the origin story is he was doing field recordings in Mexico, and he stumbled across this choir on a beach and asked them to record some music with them. And this Haitian sopranos stumbled in and just started improvising, and then they wound up bringing them into the band as well. And they recorded a full album of just this music with this random choir that he met while he was trying to do field recordings. And it's the whole record is very beautiful.
Speaker 4:It's, like, really it's also, like like, I don't know what genre this music is. You know? Like, it lives in its own universe. It's completely completely of its own space. And, yeah, really, really, really special record.
Speaker 2:When is this from?
Speaker 4:Like, maybe ten years ago, some somewhere in that era, like, fairly recent. But, I mean, he's I'm I'm fascinated by Isaac Sundstrom. Like, what an interesting character. His visual art's really, really interesting too. Yeah.
Speaker 4:Really unheralded, incredible artist.
Speaker 2:Yeah. That was that was really, really, really beautiful. And, yeah, I don't know where this is from, when this is from. Mhmm. But it's yeah.
Speaker 2:And sometimes you just need the the one riff
Speaker 4:Yeah.
Speaker 2:To to get through it. I
Speaker 4:mean, about three quarters of my record collection, they've extended the moves on one riff. You
Speaker 2:know? I
Speaker 4:think we could do an episode about that. That
Speaker 2:would be hilarious.
Speaker 5:Yeah. I read very, very beautiful. Yeah. Music is the best. Yeah.
Speaker 5:It's the greatest.
Speaker 2:Absolutely. Absolutely.
Speaker 5:And doesn't really need a genre. Yeah. Yeah.
Speaker 3:Is the rest of the album like this? What does
Speaker 4:it have to do? Oh, yeah. Yeah. It's just this it's really rocks and waves. Like, it's basically what you get.
Speaker 4:The whole album is gorgeous. Like, it's really I was tempted to play, like, a side instead of just one track, but it's Yeah. It's pretty it's pretty great. It's 2016. So ten years ago.
Speaker 4:Yeah.
Speaker 2:Yeah. Really beautiful.
Speaker 4:Yeah. It's really special.
Speaker 3:I know this is, a recurring theme, but it could go on for an hour.
Speaker 2:Yeah. Yeah. Yeah.
Speaker 4:I mean, the album the album as a whole is really, really, really worth listening to. It's really, really, really special and weird. And, like, he's such a conceptual artist that, like, I feel like there's there's layers here that I'm not fully grabbing. But if it is just he stumbled into a choir and made a record on a beach with them, like, fuck. That's incredible.
Speaker 4:Like, that's so much better. Like
Speaker 2:Yeah. I love it. That's a really good
Speaker 3:song. Amazing.
Speaker 4:This whole show has reminded me so much of the track. James, were you on this at the Quebec Festival de Paris
Speaker 2:Oh my god. On the on
Speaker 4:the Lucent six six six.
Speaker 2:Woah. I mean my god.
Speaker 5:I'm not really on it, but I was the one who recorded it.
Speaker 4:It was your head? Yeah. It was the incredible Leica. Yes.
Speaker 2:What was
Speaker 5:It was my sound walk. Yeah. That was Yeah. Well, because no. Wait a minute.
Speaker 5:It wasn't Rivers and Mountains. It was the disco band. It's the disco band. Yeah. Glitter Glitter Right?
Speaker 5:Glitter Soul Orchestra. And we were gonna play that Quebec festival somehow. And this this huge rainstorm happened.
Speaker 2:Yeah. So then they they just kind of,
Speaker 4:you know, had us Into the church basement.
Speaker 5:Exactly. So we're just, like, sitting around and then, like, I think maybe Gavin or some people just started, like, singing and doing stuff. And then I was just like, oh, I have my recorder, so I just started recording. And then it started, like, walking around and and yeah.
Speaker 4:Yeah. That's a pretty crazy track.
Speaker 5:Yeah.
Speaker 3:Yeah. It wasn't there, I think. I don't remember that. I don't think that How
Speaker 4:did how did that wind up on a comp? Like, that was that wound up on a label comp from a label in Montreal. That was so crazy.
Speaker 5:Yeah. So I don't know. I've either Nikola heard it or something. Yeah. I don't know.
Speaker 5:I don't I don't remember.
Speaker 4:Yeah. It's pretty that's wild. I would love to hear that again. That's James, do you have a copy of that?
Speaker 2:It's in your it's in your,
Speaker 3:it's inbox already.
Speaker 2:Yeah. It's in your inbox.
Speaker 3:It's in your inbox
Speaker 5:already. Almost.
Speaker 4:Almost. All I remember, but that was me and Gavin doing, like, making fun of Stockhausen and doing a lot of, like,
Speaker 2:That was Maybe maybe hearing that track again might reconcile me with with that moment in time. It's kind of a traumatic moment.
Speaker 5:That was a
Speaker 4:traumatic moment. It was. I'm sorry.
Speaker 5:Oh, I thought you were talking about a certain certain Wainwright
Speaker 4:Oh, that that was wild too. Yeah. Was
Speaker 2:wild. Also that. Yeah. Yeah.
Speaker 5:Blaming us for the the weather or the the late the late sound check. It was like, well, it it was like there was a major storm. Yeah. We couldn't sound check.
Speaker 4:This is life.
Speaker 2:This is life.
Speaker 4:Yes.
Speaker 2:I'm gonna I'm gonna pivot. I I yeah. I'm gonna pivot.
Speaker 4:It's kinda
Speaker 2:hard not to
Speaker 4:not pivot at that point. Yeah.
Speaker 2:Yeah. It's just a track that I really wanna sneak in to this episode. I stumbled across it maybe last month, and it's really fantastic. It's like a Montreal track, but there's more to it. I'm gonna I'm gonna play this.
Speaker 2:The band is AIIAAF. It's a cassette from the eighties, and I'm gonna play one Great artwork. Beautiful.
Speaker 4:Great artwork.
Speaker 2:Good artwork. Here we go.
Speaker 3:Wow.
Speaker 2:Yeah. So
Speaker 4:That's in that's Montreal? That's
Speaker 2:crazy. Montreal, This and I have to sneak it into this episode because well, so the track is it also has, like, the most kept track name ever. It's it's La Ones, meaning, like, song number 11. Yeah. The band is Analystic Investigations.
Speaker 2:Although on this tape, it's credits to AI slash IA slash AF. The album is called Second Deployment from 1984. Wow. So this band I'm gonna share my screen again because Yeah. The the surprise is pretty great.
Speaker 2:Has some connection to people around here. So this is Analytic Investigations. Where are you? Yes. Analytic Investigations with member Jean
Speaker 3:Ralph Oh.
Speaker 2:Marcel Moggio and Stephane Claude. So this is like some really OG Montreal action happening. Wow. Stephane Claude, obviously James, you were talking about overall just at the beginning of the show. So
Speaker 5:Well, I worked with him
Speaker 2:Yeah.
Speaker 5:For three and a half years, but I never knew about this. Wow.
Speaker 2:Exactly. So there you go. It was a it was a pretty fun surprise to us.
Speaker 4:But I know that can't be 1984 because there's a snippet of
Speaker 2:Full metal jacket. Yeah. Yeah. Heard that too.
Speaker 4:I I just letting it trail off.
Speaker 3:That was amazing. What a riff.
Speaker 2:Yeah. Yeah. Yeah.
Speaker 4:I mean, much felt. I mean, again, you only need one. Right?
Speaker 2:Like, there it is. There it is. That's the cop. Yeah. And then he's
Speaker 4:he's gonna take it
Speaker 5:out of the bag. Incredible. Back.
Speaker 4:Wow.
Speaker 2:Yes. And. Yeah. Remember. So
Speaker 3:I'm on that compilation.
Speaker 5:Yeah. It has it has Saint Sophie and Ginger's Sussex and Panopticon eyelids, etcetera, etcetera, etcetera. Etcetera.
Speaker 2:Oh, yeah.
Speaker 4:Ginger in Sussex. That's
Speaker 2:so funny.
Speaker 4:That was incredible. Jacob
Speaker 3:Already, hasn't it? It's it's
Speaker 4:you gotta let us you gotta get us out of here. This is the
Speaker 3:I've got something that's very that has a conclusive kind of vibe to it, and it goes well with with with what you just played, Leon. Mhmm. It's something I discovered not that long ago. I'll just share the screen first. So this is this composer who's like a blind organ composer.
Speaker 4:Wow.
Speaker 3:This French guy. And look at this, and he just stumbled upon a 27 CD box
Speaker 2:set. And
Speaker 3:it's it's an epic read. Let me tell you. It's an epic read. I'm, like, three CDs in I'm, three CDs into it, and it's a lot of organ music. I did the
Speaker 4:those are heavy. I did the 10 CD messian organ box set, and
Speaker 3:that Yeah.
Speaker 2:Well, this is That
Speaker 3:would be No. That was, like, three times that. And it's it's pretty intense. It's very, very intense. Wow.
Speaker 3:Anyway, there's a one piece that's really beautiful that I wanna play that doesn't feel, like, so clunky as organ music can be clunky. And it feels really actually soft and really like just yeah. Just soft and delicate. And really, know, kind of like, when I think of organ music that maybe doesn't sound like organ music, I think of drone stuff, but this is really melodic. And it's kind of amazing how he manages to just really tone down the organ and make a really beautiful piece.
Speaker 3:And I think it might be a nice ending. So Yeah.
Speaker 2:Let me explain this here. Beautiful.
Speaker 3:And he's from the fifties, sixties, seventies. I think he died in the not sure yet. He went in the nineties, I think. In any case, here's the piece.
Speaker 4:Wow. Beautiful.
Speaker 3:Yeah. So that was Jean Langley and it's sweet Braves Opus 38 plant, and it's a really beautiful piece. Incredible.
Speaker 2:It's such an alien instrument, the organ.
Speaker 4:I I have Esoterik exclusive coming from Blake. Wow. That's pretty extraordinary because he's been doing this, like, world tour. He's got a great substack. I'll put a link to it about him doing this.
Speaker 4:His his writing's incredible too, where he's going to all the hyperorgans in the world that which is basically organs that are modified electronically, like, to be able to do things like MIDI or to be controlled with other kinds of controllers and stuff like that. It's like a whole universe. And these instruments are phenomenal. And Blake's been recording stuff on them. And, yeah, it's I I I was planning on playing it in this episode, so it's really interesting that you ended with that.
Speaker 4:But excited to play it in the future. And, yeah, it's it's the the the instruments are there's such a like, it's like a universe, the organ world. Like, it's completely, completely crazy. And the amount of organs in Montreal that are, like, you know, not being preserved, like, all of the it's such a it's such a crazy crazy thing.
Speaker 3:Mhmm. Yeah. This is so haunting, this track. Some of it reminds me a little bit. I mean, is the not really a good example, but of Twin Peaks.
Speaker 3:It almost has like a better lamenti vibe
Speaker 2:to it.
Speaker 4:Yeah. Yeah.
Speaker 3:Yeah. It really has a Twin Peaks vibe to it. It's very haunting.
Speaker 4:It's very melodic in a very particularly modern way. Like Yeah. It's really it doesn't feel like from the time it was written in. It's really yeah. It's quite quite special.
Speaker 2:I have to admit that at the beginning, when it first started, it I really couldn't help but think that a hardcore jungle track was gonna start up. But then it got but then it got really, really pretty. But the the the the first couple of stabs were pretty.
Speaker 3:That
Speaker 2:was beautiful.
Speaker 5:Yeah. But organs are pretty amazing things and they've always they have so many different pipes and sounds that they can do. Like Yeah. And there's I believe there's a church in Germany. I think I have this recording, actually.
Speaker 5:I think it's E Power Biggs who's a famous organist, but of the classical type. But it's like they have four organs in this church. Like Wow. A huge
Speaker 4:Wow. So, like, you
Speaker 5:can do these things where you and there's a console apparently. You can play them all for and,
Speaker 2:like, just like Oh my god.
Speaker 5:In terms of, like, the space and and yeah. It's just insane.
Speaker 4:Incredible.
Speaker 2:Are are they the no. They wouldn't be, like, the first mechanical instruments. I guess there are I mean, maybe a hurdy gurdy is could be considered mechanical in a certain certain sense. It's I
Speaker 5:don't know if hurdy gurdy's predate or if organs are came before because hurdy gurdy's are pretty complex instruments, actually. But I don't
Speaker 2:I don't know. Although, in my mind, I don't know. I I might not know enough about organs, but it seems like you need, like, a a generate like, not a generator, but, like, a a wind or air pump.
Speaker 4:You can jump up and down on the bellows. That's there's no other organs that work that way.
Speaker 2:Oh, really?
Speaker 4:People are physically compressing the
Speaker 2:Oh, wow. Yeah.
Speaker 4:Yeah. It's it's it's I think they've been around for a really, really, really long time, definitely before electricity. Mhmm. Yeah. It's there's some churches from a long time ago that have big organs in them.
Speaker 3:It's
Speaker 4:yeah. This is such a beautiful I feel like we could dedicate an episode just to organ music too. Like, there's so much. It's kind of it's also interesting what a moment, like, the last fifteen years or so has been for organ music. Like, there's so many like, at Mutek this year, there's, like, four organ concerts.
Speaker 4:It's crazy. Yeah. It's like a thing. It's a thing.
Speaker 5:Well, there's like Cali Malone.
Speaker 4:Yeah. And and Adwyer and Ben, there's a long list of, like, cool cool organ folks. Ellen Akbro, she played last year. There's yeah. I mean, the list goes on.
Speaker 4:But it's yeah. It's I think Kelly's playing this year at New Tech. What a what a wonderful thing it is to have you on this on the podcast, James.
Speaker 3:We'll have a PO box ready
Speaker 2:for everyone's comments. Was it?
Speaker 5:It was episode 22?
Speaker 4:Yeah. 22. Episode 22.
Speaker 5:Yeah. Yeah. Gotta go to, like, Episode 23.
Speaker 4:Yeah. At least.
Speaker 5:Episode 33 and a third.
Speaker 2:Yeah. Yeah.
Speaker 5:At least.
Speaker 4:Great. We gotta get there.
Speaker 3:It It went by really fast. It went by really fast.
Speaker 2:Yeah. Yeah. Snappy. Really snappy. Great music.
Speaker 4:Yeah. Thanks everybody for the incredible Yeah. Incredible sounds. That was really, really great.
Speaker 2:Thank you, James, for accepting the invitation.
Speaker 5:Of course. My pleasure.
Speaker 2:Sharing. It's funny because, yeah, like I was mentioning before prepping for the show, I was, like, thinking of all the James Schidlowsky strands that I could pull on. And you just went into, like, you know, headlong bangers. Episode was kind of unexpected and Yeah. And wonderful.
Speaker 3:Yeah. Yeah. Yeah. Yeah. Yeah.
Speaker 4:I was expecting to play, like, all this super delicate noise sound stuff and yeah. No.
Speaker 2:No. It was great. It was great.
Speaker 5:Oh, yeah. This is my list, you know?
Speaker 2:Yeah. Yeah. Yeah. It's true. Yeah.
Speaker 2:Some stuff some on the fly on the spot decision making happening for sure.
Speaker 5:Yeah. Yeah.
Speaker 3:I'm getting bad at those on the spot.
Speaker 2:No. I
Speaker 4:mean, Jacob, we always bring it, man. You always bring it. It's Yeah. Yeah.
Speaker 2:Also, that's the good thing about, like, thank God we're not hosting a top 40 podcast because, you know, experimental music, not you know, everything works.
Speaker 4:Yeah. You can do anything. Anything's experimental.
Speaker 2:Yeah.
Speaker 4:It's true. Although when we used to play Mariah at the store, people would get pretty choked. It's so good. I remember really upsetting the MicroSound guys when they come out and they would be listening to, like, Mariah Carey. They didn't like that.
Speaker 2:Well
Speaker 5:Yeah. And now they're probably sampling her.
Speaker 4:No. Exactly. She's untouchable. It's great. Although I do remember playing what was it?
Speaker 4:Oh, that the emancipation of Mimi for Roger, Tilly, Craig in a car in my car with a really pimped out sound system and completely blowing his mind.
Speaker 3:He was like, he couldn't get over
Speaker 4:the sound. It was I mean, the Sonics are incredible incredible in that record. It's insane. Yeah. It's experimental.
Speaker 3:I have an idea for the for the title of this episode. Yeah? I couldn't help but notice your little playlist there, Justin. Oh, yeah? You know?
Speaker 3:And it was written CD Esoterik approved. Yes. I think I think that would be great.
Speaker 4:Excellent. I'll use that.
Speaker 3:I'll use that. I think I think it's a great title. CD Esoterik approved.
Speaker 4:Yes. Because CD Esoterik approved. Featuring James.
Speaker 5:Yes. It's great. But yeah. Isn't it automatically Esoterik approved since it's the Esoterik podcast? It's Oh,
Speaker 2:you guys. You never know.
Speaker 4:But that's kind of the, you know, the the dark spiral of it all. It's not regress. It's great.
Speaker 2:Alright. I think it's time for the end credits.
Speaker 4:Yeah. Thanks, everybody.
Speaker 2:Thank you. Thanks, James.
Speaker 5:Thank you, guys.