Episode 7: Baader-Meinhoff blues
All of these people and more have made strong contributions to mankind because of their compassion and humanitarianism, dealing with their self identification. Based around love and unity, men are now profound and perfection. Factor that. These men and women have made a great contributions to mankind. We are to pass it on for the next generation.
Speaker 1:We shall never forget.
Speaker 2:Remember to remember
Speaker 1:to never forget.
Speaker 2:How long will
Speaker 1:How long will
Speaker 2:it it take, man? How long will it take? Welcome back to CD Esoteric episode seven.
Speaker 3:Yeah. Welcome back, everyone. Man, what a fun time. Episode six was.
Speaker 2:Oh, yeah.
Speaker 3:Christophe. Christophe.
Speaker 2:Thank you, Christophe.
Speaker 3:That was a a I think it it turned out to be, like, the longest episode that we had, but it went by so quickly with so much amazing, amazing music. So, yeah, thanks thanks, Christophe.
Speaker 4:Thank you so much.
Speaker 2:Yeah. And I wanna point out to our listeners, and, like, this is not meant self congratulatory only meant as encouraging to anybody out there. Christophe actually reached out to us and said, like, send us a little email. You can find the email that you can contact us through at the podcast wherever you listen to it. And just said, hey, guys.
Speaker 2:I like your podcast. Can I guest host? And we were like, hell yes. So, you know, anybody out there that wants to to join, give us a shout. We love we love sharing the stage.
Speaker 2:We love giving you a seat at the table. So anytime. Yeah.
Speaker 3:Yeah. I guess that's it. Jump into music. Let's do it.
Speaker 4:Let's just jump in.
Speaker 3:Let's go. Let's jump in. I mean, I think everyone is aware of the state of the world, so we might as well forgo that discussion and go straight into the music. I'm gonna start it off with something that I an artist that I've always kinda heard about and never really paid much attention to, Kathleen Ribeiro, a French singer, actor from the sixties until her passing last year. This is a song taken from an album she did with a band called.
Speaker 3:The song is called.
Speaker 2:Yeah. Wow.
Speaker 4:Know, this is music for now.
Speaker 3:Yeah, exactly, exactly.
Speaker 2:I was just thinking what the hell is wrong with the kids today? You know, like I was just thinking about how, listening to that, how they just caught the last Meinhof, last Bader Meinhof person just turned themselves in. And I was like, what is wrong with the children today? Like, what is wrong with them? They're not they're not doing that.
Speaker 2:They need to do that.
Speaker 3:This is definitely music for our times.
Speaker 4:What a place. Gonna be
Speaker 3:all with the band du Bis. The song was from 1969. The band du Bis this is the only record that she made under that band name because she made other records with the same people. The band
Speaker 2:Alps. Yeah.
Speaker 3:Exactly. Alps. Yes. Not Alps. In my in my mind, it was Andes, but it's not.
Speaker 4:It's like
Speaker 2:It's Alps. Yeah. Wrong continent. Same Exactly. Geological structure.
Speaker 3:Yeah. But they're those records are a lot more known, I think, in the Prague Prague community. But this this record, I find, for for my taste, a lot more palatable because it's more on the kind of freakful tip as opposed to the progant. And the thing about that band is the one of the main instigators. Sorry.
Speaker 3:His name is Patrice Moulet. He's like a instrument inventor. Yeah. And he has this instrument that's like a cross between a guitar and a and a lyre a livre. What do you call that?
Speaker 3:Anyways, that's called the cosmophone, and that's the one note solos in this song Mhmm. Is the the cosmophone. So it's it's really, like, super epic sounding.
Speaker 4:There's the
Speaker 3:sorry. Go ahead. There's also, like, a a Godal connection because maybe this is the theme of our Life. The entire lives. Both Catherine Ribeiro and Patrice Moulet, I think they may have met on set of a Goddard film, Les Carabinier.
Speaker 3:Oh, wow. Yeah. So Kathleen Guilbero was one of the stars of
Speaker 4:And that's a pretty revolutionary film too. Get the guns ready and go Exactly. Amazing.
Speaker 3:And Petsky Smurdera, I think, was more of, just a a an extra on that film where he played a secondary character. But yeah. So they they were acting in that film, but that was, like, a little while before they got into the the kind of freaky folk stuff. Because at that point, Kathleen Gribereau was more of, like, a pop singer, like, a little, more polite, chanson, yeah yeah kinda.
Speaker 4:Yeah. Yeah. Yeah.
Speaker 3:And then she went into the she went into the dark side,
Speaker 2:I guess. So I mean, we do have a theme evolving of French Prague as well from from the end of the last episode to this episode.
Speaker 3:Absolutely. Absolutely.
Speaker 2:You know, Jacob, if you're comfortable, I'm gonna continue that because I got something lined up.
Speaker 4:I I wasn't I wasn't expecting a Batter Meinhof theme.
Speaker 2:We're gone. We're gone.
Speaker 4:I'm I'm I'm I'm I gotta think my whole strategy now.
Speaker 2:This this next one, I got it's it's I don't want you guys to look it up because it's don't don't read too closely what I'm gonna show because the the voice, it's like invisible jukebox. I want you to tell me who the voice is at the end. And this you might know it by knowing the track. I hope not because it's kind of a wonderful surprise. But this is, I will say that this is the, you know, I would say that Robert Fripp is the anglophone version of this guy, you know, the lesser known Anglophone version of this dude.
Speaker 2:So we're going that direction. Got a good track to play here. Let's see. No. Wrong wrong window.
Speaker 2:Hold on. I share the right window. You can edit that out. Where did it go?
Speaker 4:You should just keep all those. Should edit that out.
Speaker 2:There it is. Just love it. K. Great. Okay.
Speaker 2:Here we go. Yes. Ready? So that is Richard Pinhas from Helden.
Speaker 4:And I know who's I I know who it is. Who is it?
Speaker 5:I could call you back. Who is it? I can I totally know who
Speaker 2:it is? Who is it? Who is it? Tell tell the people. It's Gilles Deleuze.
Speaker 2:It is Gilles Deleuze.
Speaker 3:Oh my god.
Speaker 2:It's Gilles Deleuze reading Nietzsche, all human, all too human.
Speaker 3:Oh, wow.
Speaker 2:Yeah. And am very, very proud. Did you read that, Jacob, or did you just recognize the voice? You just recognized the
Speaker 4:And also what gave it away was the 68 in the title.
Speaker 2:Yeah. Yeah. Yeah.
Speaker 4:But the voice is totally his voice.
Speaker 2:And the other part that's really beautiful, Pin has studied philosophy under Deleuze, and they have a a really long standing connection. And, like, he put on a record called Rhizosphere in, like, '74 and stuff. But and I really do believe that that, you know, of of him and Fripp, like, Fripp is definitely the Anglo pin house, not the other way around. Yeah. But, like, it's a but but, you know, the other thing that's really one of the most beautiful moments about, like, building businesses is I built a bar.
Speaker 2:I had a bar for a while, and and I owned a bar. And one of the great things about owning a bar is you get to have a jukebox, and then you get to put the music in the jukebox. And I actually tracked down the seven inch of this. Wow. So it was in the bar.
Speaker 2:I was like and I don't know if anyone ever played it, but I was just so excited to have people playing pinball. That's the lowest reading Nietzsche over Richard Pinhas. And whoever the fucking keyboard player is on that, like, that was, like, the sickest fucking Rhodes playing.
Speaker 3:Yeah. Yeah.
Speaker 2:So I'm, like, maybe second only to Keith Jarrett on the Miles Davis shit where he hates playing the Rhodes so much that he's, like, beating the crap out of it. This is the best Rhodes playing ever. But this is that was a yeah. That I also think that's an amazing track, like, just straight up. It's such a great track.
Speaker 3:It is so good. It's so good, and it's actually, like, closing my eyes. I mean, Justin and I are broadcasting from Montreal, Quebec, Canada. Mhmm. Closing my eyes, this was, like, total cab.
Speaker 3:This was
Speaker 2:such big crash. It's like. Why I fucking love Quebec? Why Quebec is the best.
Speaker 3:It's like Prague season with the with the Nietzsche in in French. It's fantastic. So good. Good.
Speaker 2:The Avenue At Quebec for. You
Speaker 5:know? It's great.
Speaker 2:It's why this place is it's really funny. I saw in Quora yesterday speaking of the time we live in, and it was, like, some map that, like, somebody talking about taking over Canada and, like, you know, like, the the North American borders. And it was, like, all of Canada and the independent region of Quebec. Like, the Americans have even given up on it because they understand that we're, like, delusion, Nietzschean fuckers who be the worst guerrilla fighters forever so they're like fucking leave those people home they're crazy I love it I love it we will resist the future is so good I love the deck.
Speaker 3:That that was great. And, yeah, the the roads, the that overdriven roads sound is is the best.
Speaker 2:To my heart. My heart. So, Jacob, you're you're next.
Speaker 4:I can follow it up, I think. And it's it's gonna and I'm gonna make up for for the Bazambo match for us. So I
Speaker 2:love Bazambo. That was a highlight. That was great. That was one of the highlights of the show.
Speaker 4:But this is maybe that's a revolutionary sounding, but it has, you know, like a melancholic revolutionary sound to it, if I could call it that. So, yeah, so I'll just play it. Let's see what let's see how it goes, but I think it'll go well with what you just played. That totally has a Batter vibe, actually.
Speaker 3:That was beautiful. That was so amazing.
Speaker 4:So that one just fell from the sky, to be honest. It's by Rato Mobio Venansen. It's called Min Mi, and I know nothing about it, but it's Battered Meinhof. The graphic design of that is
Speaker 2:so fucking beautiful.
Speaker 3:Yeah, absolutely. That was so pretty. The whole time when the baby is crying, the only other track I know that has a baby crying.
Speaker 4:I bet you're thinking the same thing maybe. What is it?
Speaker 3:It's the, the song from, Science Fiction by Ornette Coleman. Yeah. There's like oh, and there's like kind of a spoken word thing going on. That one's a little more, anxious, I think, than this track. But, what a beautiful, beautiful track.
Speaker 4:It's super warm too. That's, like, so warm. Yeah. So big and big again.
Speaker 2:The the roads too, man. Beautiful roads playing. And, like, the combo of roads and and and, like, acoustic piano, this is so great. I love this. I love this when people do this.
Speaker 2:Yeah. The synthesizers killed music. That's all I gotta say
Speaker 3:is Man, that's, like, reactionary.
Speaker 2:That's counter revolutionary. That's counter revolutionary. You're right. I take I'll I'll do my I'll go do my hail Marys and come back.
Speaker 3:Jacob, did you did you grab the album? Is that from the album or it's a single?
Speaker 4:I I think it's it looks looks like a single. I think it's like a seven inch.
Speaker 3:Yeah. Oh, wow.
Speaker 4:But I know nothing about it.
Speaker 2:Man, I want doubts from my jukebox. That's great.
Speaker 3:That's so
Speaker 4:know where he's from.
Speaker 3:Yeah. So pretty. And the the singing also is, like, really pretty. So good.
Speaker 4:Yeah. Yeah. Yeah.
Speaker 3:And it feels like we all understand what he's singing about.
Speaker 4:Yeah. Absolutely. Yeah. It's really amazing.
Speaker 3:Yeah. Yeah. Still still music for our times
Speaker 4:for sure. For sure. Man, what a show this is becoming.
Speaker 2:I gotta I gotta say too. We're already through the first round of tracks, and it's less time
Speaker 3:but I gotta jam this time because
Speaker 2:Oh, wow.
Speaker 3:Because the other one, the the the song that I had lined up would would kind of still be in keeping, but we kinda we kinda break things. But this this one I'm going to share is actually in reaction to the the the last track you played, Jacob. And I think it's a really nice nice theme to to play with. So this is an artist called Jean Francois Pouvecaux, and the track is called Mondang.
Speaker 4:Oh my god. What a track.
Speaker 2:Yeah. That was mind blowing.
Speaker 4:Yeah. That's Jesus Christ.
Speaker 3:So that was Jean Francois Pourrevoix with a track called Monon. That that came out in 1999. But this guy, I don't know if you're familiar with I was not at all familiar with him, but he's an experimental guitarist who started out in the seventies, eighties, was mostly active in the eighties. And he's actually released records with Keiji Haino Right. Mother's Temple also, like, in the more recently.
Speaker 3:But, yeah, this kinda he in his discography, he kinda has this kinda two poles, like one being the skronky, you know, improv guitar stuff and then the songs stuff. But this this track particularly has such a strange balance of both and that the song is, like, incredibly
Speaker 2:Incredible. Incredible.
Speaker 3:And there's just these tiny hints of, you know, the the weird experimental textures underneath and stuff. Yeah. When I heard that, I was just completely floored.
Speaker 2:It also has this I'm trying to remember the name of that band. It was something that we sold a lot of it esoteric. They were related to the band May, m a e. It was what was the name of them? They were, like, kind of a bit prior to Electroclash.
Speaker 2:Oh, man. They it was like a reissue that came out. Like, I mean, the original Electro stuff.
Speaker 3:Oh, sure.
Speaker 2:French. Ilitch. Ilitch. Ilitch. Ilitch.
Speaker 2:Ilitch. Ilitch. That I was thinking of.
Speaker 4:Yeah. Ilitch is a
Speaker 2:Yeah. Yeah. That totally invokes Ilitch for me. I was, like, in that and, like, that weird, really I you know, they always talk about how, like, music is so I don't know who they are, but, like, you hear a lot of people talk about the relationship between what drugs are being consumed and what music is being made. And I'm like, what?
Speaker 2:This is, like, totally salvia music or some fucked up thing like that. Like, I'm like, this is, like, what are people doing when they're making this music? It's so unsettling, sexy, but, like, uncomfortable, but, yeah, it's so beautiful. Wow.
Speaker 4:And also yet, like, purely a song. Like, you mentioned Leon that there's all this experimental stuff, but that to me is just, like, background, you know, like, this song comes through so much, and it's just so kind of intimate and his voice, the mix on his voice is so forward, it's amazing, it's just like rattling my eardrums. So one of the nicest songs I've heard in a while, that was beautiful.
Speaker 3:Think it can it still maintains the revolutionary kind of Oh, yeah. Theme that we we have going Yeah.
Speaker 4:No kidding. The
Speaker 2:What were you gonna say, Jacob?
Speaker 4:Oh no, I was just sighing.
Speaker 2:Oh my god. It brought to mind for me this track, I was really scrambling, it's like now totally outside of the ballpark of what I had prepared, but I was like, this it actually kind of reminded me of the song I'm about to play, and I would say that the song is someone who's known for songs, and it's it's how experimental like, to me, this is one of the most experimental tracks I've ever heard. What's going on compositionally in it is insane. The, like, the best single best just intonation vocal I've ever heard in my life and from a complete pop person, and this is and it follows that track, like, somehow spiritually really effectively for me. So I'm gonna throw this one in.
Speaker 2:And it's when I've been wanting to play, like, I've I've had it for a long time, and I just never had the moment in the show. So I'm gonna share this one.
Speaker 4:Wow. That was great.
Speaker 2:This is a couple of things about whoops. A couple of things about this track that I I I really, really blow my mind. So first of all, like, the tuning in that track is Yeah. So fucking complicated, and it works so beautifully. And it almost creates the stereo effect, like, that you don't like, my my head just expands when the guitar first comes in because it's, like, so detuned in such a weird way from the vocals, and the two vocalists are just, like, microtonally doing the weirdest shit through the whole track with each other.
Speaker 2:And then and then also, like, for me, I'm gonna say something super sacrilegious. This is the best guitar solo ever in the history of mankind. Smokes Megat Brain. Like, it's it's Eddie Hazel, same guy that did Maggot Brain, but it's like I love how it's just like, I'm just gonna get in here, shred the fuck for, like, five bars, and then just drop my my mic drop. Like, it's crazy.
Speaker 2:It's just like the way that and then into the, like, biggest, like, Jerry Rafferty sax solo shit in there right now. Doing like
Speaker 3:Oh, good. And, like,
Speaker 2:I realized compositionally, it's not, like, the thing that really it's just the arrangement is completely insane. Like, I'm like, okay. Now we're just gonna drop into this big Beatles string thing and then and then drop Eddie Hazel guitar solo for four bars. Like, fuck. So incredible.
Speaker 3:Yeah. It really feels like they they, they keep removing walls from the recording studio, like, every eight bars, and it just, like, gets bigger and bigger. Yeah. Yeah. It's insane.
Speaker 2:It's crazy.
Speaker 3:Yeah. I realized that I I I really should look into George Clinton because Oh
Speaker 2:my god.
Speaker 3:This is this is fantastic. Yeah. So it's so great.
Speaker 2:One of our story sorry. Go ahead, Jacob.
Speaker 4:I was just gonna just mention the obvious that it totally has a batter my
Speaker 2:hot vibe that we're doing. Absolutely. That's the sex that's the sex vibe with batter mine hot. Like, they were hot as fuck. You know?
Speaker 2:That's great.
Speaker 3:For sure. Yeah.
Speaker 2:It was great. I love the the other thing with the with the George Clinton stuff too, man. Like, that's actually George Clinton's son that wrote that track, Tracy Hunt. And Wow. It but the Clinton, like also one of our fave like, store favorites, which has never really caught on was the RTX records.
Speaker 2:And Yes. Jennifer Jennifer Harema is massive George Clinton fan, and, like, you can really dig into how that all connects up even to real
Speaker 4:trucks. Yeah.
Speaker 2:Yeah. Yeah. So much. Like, it's there. It's like take a little George Clinton, a little, Rolling Stones, and a little Ornette Coleman, and you get, you know, Royal Trucks.
Speaker 2:It's sick. Yeah.
Speaker 4:It's it's yeah. Yeah.
Speaker 2:But, yeah, it's I'm so glad to play that for you guys. That's that I got I had that record at 14 years old, and I listened to that rare maybe, like, 15, somewhere in high school. And I just it was on cassette, and, like, yeah, I just I I got I went so deep down the George Clinton rabbit hole. I mean, he's like
Speaker 3:Matt's one of the most one of the best and most thought provoking album titles ever. Think some of my best jokes are friends.
Speaker 2:Yeah. Yeah. And the album art, man. Like, you dig into that. It's it's it's a whole universe.
Speaker 2:It's really
Speaker 3:It's basically an Easter egg basket. Yeah.
Speaker 2:So great, I'm so glad you guys enjoyed that one.
Speaker 4:That was amazing. So beautiful. Arrangements are beautiful too. The arrangements are amazing. Well, I'm gonna follow this up with something.
Speaker 4:I think I've got something, so let's give it a try, we'll see if it works. So this song was called unquiet thoughts by the one and only Jerome Darland, who was a Renaissance composer. And, you know, I've been reading a lot about Renaissance stuff and just reading a lot of that stuff, and there's, like, a dark underbelly to the Renaissance, I must say. And this song really, really represents that kind of melancholy. But I just love the song and I think it's aged so well.
Speaker 3:Yeah, it's really pretty. Pretty.
Speaker 4:Just the polyphonies and all this stuff. It's a really pretty, pretty kind of timeless song, and and it has, like, a little bit of a revolutionary edge to it, I find too.
Speaker 2:I I mean, it's got the full bottom line off. He was a spy who was playing the the pope off of the queen. And no. For real. For real.
Speaker 2:He was like a double agent if you look it up. I was just reading about it because it's like, it's perfect for
Speaker 3:the Amazing.
Speaker 5:That is perfect.
Speaker 2:Yeah. Yeah. He was he was quite a notorious spy and like, it's like basically there was a play written about him back then about his life as like double life as a composer. He's kind of the Chuck Barris of his time. You know?
Speaker 2:Like, see how they age it at night and to to the homes today. It was amazing. So yeah.
Speaker 4:That's such a great, astral collapsing. Yeah.
Speaker 2:Yeah. It was really so you you nailed it, Jacob. That was perfect for the theme of the show. I love it.
Speaker 3:Alright. Justin, I like how you you mentioned the Gong Show as opposed to, like, Steven Seagal or something. Would have been a lot more lame than
Speaker 2:I mean, come on. Chuck Barris is my biggest hero. Like, I love this guy so much. Been trying to grow up to be Chuck Barris forever. It was great.
Speaker 3:That that piece actually reminded me, I I rewatched Orlando recently, Sally Ponder's film. And I have to say it still holds up. Like, it's still a pretty kick ass movie. Yeah. You know, you have to you have to have some tolerance for for camp and and all that.
Speaker 3:But it's it's like the the casting of Jimmy Summerville in that Yeah.
Speaker 4:It's amazing. Yeah.
Speaker 3:It's such a brilliant move.
Speaker 4:It is. Yeah.
Speaker 3:Yeah. That was that was really great. I was, thinking about how we're extremely good at playing beautiful music, like, on this podcast. There's, like, an inordinate amount of beautiful music on the on the podcast. But there's, also some, you know, other stuff apart from beauty, I guess.
Speaker 3:I'm gonna share something that's a bit of a a vibe change, but I I really, I think it stays in the revolutionary Perspective. Yeah. Perspective that we've got going on with this episode. Episode, guys. I
Speaker 2:love Yeah.
Speaker 3:It's it's really snappy too.
Speaker 2:Yeah. It's snappy. We're, like, we're going.
Speaker 3:Here it goes.
Speaker 5:I don't know what it means to be dramatically new. There's no new ideas in the world. There's only a new arrangement of things. Everything is new, every minute is new. That means re examining.
Speaker 5:Life changes every minute. The world is being created every minute, and the world is falling to pieces every minute. Death is present everywhere, as soon as we're born. And it is a very beautiful thing, the tragic What is tragic in life? Because there's always two pulls, and one cannot exist without the other one.
Speaker 5:So these tensions I'm always moved by.
Speaker 3:There you go. So that was that was the band wine with an h with a song called gauntlet taken off of their first full length, I think, called Guns on Television. It's a self released thing. Came out earlier this year. I'm I I've been wanting to play something from this band for a while.
Speaker 3:They've been around for a couple of not super long, but they're out of the the Bay Area. And I mostly knew about them because it's a guitar and drum duo, and the guitarist is the pro skater, Mary DeCourcy, who rides for them, shout out them, and also for Dime here in Montreal. Super I'm like a total Mary DeCourcy fan. When I found out that she was playing in this, she had this music thing going. I I checked it out, and it's, like, really good.
Speaker 3:So I don't I don't have the the I don't have the the punk dictionary thing, so I don't know what this is. I guess, like, what post instrumental, hardcore, or whatever.
Speaker 2:There's no words anymore, man. Yeah. There's no words.
Speaker 3:Yeah. But, yeah, I just wanted to play that because it's like a fairly recent thing also, which is nice to have on the show.
Speaker 4:Yeah. So she she plays what does she play in it? Like drums? Guitar. Okay.
Speaker 3:Yeah. So it's really a duo. This is obviously, like, a studio recording with, like, multi tracks and stuff. But Yeah. Essentially, it's like guitar and drums.
Speaker 2:Do you know what the source of the text was at the beginning? Was amazing.
Speaker 4:Yeah. Was super interesting.
Speaker 3:Do. This is gonna blow your mind. Yeah. So, yeah, I was really and also the the voice, the speaking Yeah. Of the tone and everything is so comforting.
Speaker 3:And this is Henri Cartier Bresson Oh, wow. Giving an interview in 1973. Wow. It's like when I found that out, I was like, oh, okay. Good on you, Augie.
Speaker 3:You know? Yeah. It's like every single, cafe bathroom with the laminated, black and white photographs. So crazy. Respect.
Speaker 3:You You're you're alright, Huggie.
Speaker 2:Things become cliches by the things that copy them, not the, you know, the original intent.
Speaker 3:So For sure.
Speaker 2:But that was a yeah. I mean, that I thought it I thought it was Vito Acconci. I was like, it was like yeah. It was really like, wow. It's like very different vibe than what I thought it was.
Speaker 2:It's crazy.
Speaker 3:Yeah.
Speaker 2:That's amazing. Wow.
Speaker 4:Vito Acconci. That's a good call, actually.
Speaker 2:I had him queued up to play, but I'm not gonna go there. You know, the the bodybuilding in the Great Northwest, the Pacific Northwest? I'm gonna play that. That's a good one. Walking, walking, walking.
Speaker 2:It's a that was that was something, man. That was great. And so I'm I'm gonna have to go since we're trying to keep that was, I'd say, some some good Montreal revolutionary vibes. So in the spirit of the show, I know this is a long term favorite of all of us. So but I have to pull it out because it feels like the energy is right for the show, and at some point, this track has to get played on the show.
Speaker 2:Yeah. It's gonna be a minute. It's gonna be a while, but it will be a joyful, delirious, revolutionary mile we are about to tackle. Are you guys ready for this?
Speaker 4:Thank you. Ready for this.
Speaker 2:It's a it's a very important thing to be ready for, and it's a esoteric canon, undoubtedly esoteric canon.
Speaker 4:Telling it. No.
Speaker 2:We have not we have not done any esoteric canon in this show, and this is fully fully esoteric canon. If you guys we can fight about this at the end if you don't think it is. Are you ready about this? Are ready for this? Okay.
Speaker 2:Let's do it. Yeah. Yeah. I say that with absolute fucking sincerity. That is the utopian, future national anthem of Quebec.
Speaker 2:I expect everyone to stand for the entire twenty nine minutes of it at every fucking hockey game.
Speaker 4:No. No. Every day.
Speaker 2:Every day. Every day. I mean, come on. I would. I would.
Speaker 2:And this is to the this is a Lempho Knee mantra that that their version of the Terry Riley piece for absolutely the like, maybe, for me, the greatest Canadian record of all time, the best Quebec record. I love this. This is, like like, inspired half the things I did musically, or maybe more the greatest fucking record ever.
Speaker 3:Like, it's all this. It's also the definitive version of n c. Like Yeah. There's no other version that touches this at all. Thank you so much for for playing this.
Speaker 3:I hadn't
Speaker 4:Yeah. That was wonderful.
Speaker 3:I I hadn't listened to this in so long, and, I forgot how tight it is.
Speaker 2:Oh, yeah. Oh, yeah.
Speaker 3:I mean, it's unrelenting, and it's, like, so tight. I you know, it's it's easy to, just dismiss this as, like, you know, free hippie kinda jammy stuff.
Speaker 4:It's
Speaker 2:Absolutely not possible to dismiss it that way.
Speaker 3:It's it's so good.
Speaker 2:What planet do you live on, Leon? It's a national anthem.
Speaker 3:Man, it's it's also it completely underscores the revolutionary potential of rave culture. Like, this is the rave that
Speaker 2:I wanna be in. Oh, yeah.
Speaker 3:You know, it's, like, such a utopia. It's it's so good.
Speaker 2:And I would also sorry. Go ahead, Jacob.
Speaker 4:I was just gonna say I I I could have sworn that I heard Tyler Knight playing bass on this. Oh, man. Not sure. I could have since when I heard it.
Speaker 2:Yeah. It's so Tyler Knight bass player. And Francis Amaro on the drums too, man. I was like, although a little bit too tight for Francis.
Speaker 3:I was yeah. No. Shay is going through his
Speaker 2:front line.
Speaker 3:A little bit tighter.
Speaker 2:I was always my, like, Francis' drummer. But the yeah. Shit. That was yeah. So so the Tyler's getting married, by the way, guys, finally in the summer.
Speaker 3:It's great.
Speaker 4:Yeah. Yeah. Yeah. Crazy.
Speaker 2:I'm very excited to go to his wedding. But the yeah. The other that that this music is, it's the energy of this music is so incredible. But oh, yeah. I remember the thing I was gonna say, Leon.
Speaker 2:Thing that's so crazy about revolutionary potential, right, is it's like a it's a nonspecific amplifier. Like, I was thinking about the the state of the world that we're in, and one of the key architects of it and Hyperdub or what was that was the movie you guys told me to watch?
Speaker 3:The Modulations.
Speaker 2:Modulations. I watched it, and, you know, we're living it was great. I live but we're living in this house scape that was basically predetermined by a bunch of, like, people, academic weirdo ravers in in in in The UK listening to Jungle.
Speaker 3:Sure.
Speaker 2:And I mean, thank you, Nick Land. Here we are. Right? Like Right. This is totally the roots of where we are.
Speaker 2:Yeah. So that energy can go any direction, but, yeah, too bad it went Yeah. That But I was thinking about Nick Land while we're listening to that, and and he's, like, pretty fascinating guy, complicated. But I was listening to him a while ago and he was talking about how the problem with most people's political thinking is they don't realize that the past does not create the future and the future future is that independent from the present and they're just big concrete blocks of nonmoving space.
Speaker 3:Yeah.
Speaker 2:And and that track really gives me that experience. I experience experience time in that way of listening to that. Yeah. So I have, like, a non, non processed version of time that you experience listening to that track.
Speaker 4:Fuck. That was
Speaker 2:a good thing. Track.
Speaker 3:Yeah. Yeah. But that's that's definitely I mean, there's no contest. That's definitely canon. Esoteric canon.
Speaker 3:Yeah. Go they go so deep with esoteric, this track. I I'm a little bit perplexed. I don't know if any of you have any background to this, but I instantly associate it with the Church of Anthrax record that Terry wrote.
Speaker 2:Yeah. It's on it's on that. It's on that. No. It's not
Speaker 3:on It's not on that.
Speaker 2:It's on the there's another Terry Riley record that it's on. It's it's it was included on
Speaker 3:I think it was No. It's a Reedstreams.
Speaker 2:Reedstreams. Yeah. Yeah. Yeah. That's what it was.
Speaker 3:But there's like a couple of tracks on Church of Anthrax Oh, for sure. The same thing. But it's not like related at all. But I was looking it up to see which one came first, and it seemed that they're absolutely contemporaneous. Wow.
Speaker 3:I I think this Lanfani's Mantra came out in '70, and Church of Anthrax came out, I think, in '71, but was but was recorded in in '69. So possibly, Nephewnee were were influenced maybe by some stuff that Terry Riley was doing live that wasn't put, you know, put down on record yet or whatever. But, I mean, it's it's really, like, a whole vibe kinda
Speaker 2:I wonder why thing. What year Rainbow and Curved Air came out because that's the other one that has this similar kind of ecstatic boredom vibe. But but this smokes rain this smokes Rainbow and Curved Air.
Speaker 4:Like,
Speaker 2:it's so much better. It's crazy.
Speaker 3:I we we had the record at the store. I mean, to bring it back to esoteric lore. It was on the wall for a couple of minutes. Yeah. And I was there when someone bought it.
Speaker 3:Byron Colby came by the store and tried to stay cool.
Speaker 2:Oh, come on, Byron. Like, you gotta lose your shit over that.
Speaker 3:And he was just, like, making small talk and, looking around the store. And, like, maybe, like, half an hour later, he's like,
Speaker 4:yeah.
Speaker 3:Can I see that record up there?
Speaker 4:I'm sweating. He
Speaker 3:ended up grabbing it, of course. But
Speaker 4:Or beating. Yeah. I
Speaker 2:mean, that was that was the most magical thing about we had some. I think, about the records we had on that wall behind us, and there
Speaker 3:were insane.
Speaker 4:Like yeah. I really remember fondly all those stock houses looking at each other.
Speaker 3:Yeah, that was some of the best store display art.
Speaker 2:The other stock houses in eyes all staring at each other in this game. And then walking into the store to the wall of stock house, and that was that was so good. That was great. Good good stuff.
Speaker 3:And thanks for playing that.
Speaker 2:Yeah. I mean, so nice to listen to that with you guys again. We listened to that many times in the store. That was, like, constantly on.
Speaker 3:I mean, it's it's been it's been a while since I heard it, but, like, I my my ear physically recognized every Oh, yeah. Every sound.
Speaker 2:Oh, yeah.
Speaker 3:Like, when every every new instrument comes in or new pattern comes in, it's like, oh, yeah. There's that bit. There's that bit. So good.
Speaker 2:There's a there's one other version of it that I really like that Mark Loeser, who seems to get shouted out every podcast, every episode. We gotta get him as a guest host, gave to me once that was a a mail room in Ghana or something with, like it was, like, an African mail sorting facility did a version of if I remember correctly. Wow. I believe it was Ghana, and it was, like like, involving all the machines that they used to sort the nails and stuff. Yeah.
Speaker 2:Was so I'll get him to come on and bring that version of that because it was it was also quite quite extraordinary. Like, I'm sure I've got part of the story wrong, but it was it was something akin to that. Like, I think metaphorically, have the idea of the record, but it's I
Speaker 4:will have to make it happy.
Speaker 2:But it it was in that conceptual realm, and and it's pretty extraordinary. So I'll I'll track that down for the pod at some point.
Speaker 3:Right. Well, yeah, maybe that'll be the definitive version of NC.
Speaker 2:No. No. No. No. No.
Speaker 2:It it doesn't have Tyler Knight on the base.
Speaker 4:It's That's right. It doesn't have Tyler
Speaker 2:Knight on the needs Tyler Knight on the base. Yeah. It really needs that. So, Jacob, you gotta take us home here.
Speaker 4:Oh, am I ever am I
Speaker 2:ever I'm so excited. I'm so excited to
Speaker 3:hear that.
Speaker 4:Man, this has got this has got everything. It's No. Hold on. It's got Batter Batter Meinha. It's got steediosoteric cannon.
Speaker 4:Got it's got Quebec legends written all over it.
Speaker 2:Wow. Wow.
Speaker 4:And I'm tempted to say this might be a world premiere of it. No one's heard Oh, of wow. And I'm gonna just put my headphones really loud, and I suggest everyone else does it, and here we go. And I think it's gonna really kind of end the show beautifully. So get ready.
Speaker 4:Ready? God.
Speaker 2:I don't know. That's why I'm saying play. Tiny tiny bit louder. Amazing. Amazing.
Speaker 2:I can't believe you have that.
Speaker 3:Oh, hold on. I I'm kinda remembering well, can can you introduce?
Speaker 4:Well, this is this is the one and only and only and only and only scream, baby scream.
Speaker 2:Yes. Yes. Yes. Indeed. The aliens.
Speaker 2:Aliens screamed. Like, it's so amazing.
Speaker 4:But you just missed the ending, I think, because at one point, they stopped playing, and then Greg just goes, that was great, but you forgot to scream because I didn't know.
Speaker 2:I couldn't hear. I was a little bit tiny little bit louder. But
Speaker 3:I I I'm kinda remembering is this Jacob, did you record this? Yes. Yes. That's the thing. That's what I remembered.
Speaker 3:Okay.
Speaker 4:Yeah. Think I went to their I went to their place and I recorded this. Oh. I don't remember.
Speaker 3:So good.
Speaker 2:Yeah. Is this in the same area you recorded the Tam record on ecstatic peace?
Speaker 4:No. No. I I think they invited me to their place and I recorded this. Yeah. So I have this.
Speaker 2:But I am so glad you have this.
Speaker 3:Man, that's so good. I'm so happy to hear that. That's so great. Yeah. I also shout out Greg.
Speaker 3:I I hadn't heard I I didn't know what he was up to for a long time. I I would run into Brian, you know, here and there. He's he's, like, out and about at shows and such. But Greg, I think, has, like, a record store now. What?
Speaker 3:Yeah. Yeah. Yeah. He has a little record store counter in a used clothes shop that his partner runs.
Speaker 2:Where is it?
Speaker 3:I think it's called Le Marche Noir. I might be getting this wrong.
Speaker 2:Oh, man. I gotta go there.
Speaker 3:That's amazing. But he has, like, a used used record store, and I think they also have, like, VHS tapes for Oh, amazing. Amazing. Flame alive.
Speaker 2:Oh, so happy to hear that. Last time I saw him, he was delivering pizza for Pizza Bouquet, but it was a while it was a while ago. It was, like, good ten years ago, probably.
Speaker 4:Yeah. That's pretty
Speaker 2:I love that kid. Love that guy.
Speaker 4:Yeah. I've got a pretty good attitude with Greg. I I guess I must have been their place a few times somehow. I don't know. And I went to his place once, he was sick.
Speaker 4:I was like, Greg, how are doing? He's like, oh, man. I'm not doing too good. I think I'm sick. And I'm like, what what are you?
Speaker 4:Are you, like, eating well or something? Are you drinking, like, teas? Like, no. I'm just smoking pot and eating candy. It was pretty great.
Speaker 2:Number one way to feel better. Yeah. Yeah. Yeah. That's so They were so great.
Speaker 2:That was such a great band. Every time I saw them, they were so good.
Speaker 3:They're horrifying. My god. They're so scary. It was, like, so it's so good. The the costumes, the the the madness, the yeah.
Speaker 3:Brian's well, the screaming. Yeah. So so good. One the one of those fans.
Speaker 2:Yeah. I love so much that your reaction, that is horrifying, mine was delight. Scared and delighted. Yeah. Yeah.
Speaker 2:I mean again. You know? Both they can both coexist.
Speaker 3:Absolutely. That's that's the world. That's the world.
Speaker 2:That is the world. That is wow. Yeah. That's good end note for this show. But
Speaker 3:shout out Scream Baby Scream. Yeah. That is that is such a legendary band. I'm not a 100% sure if they had I know that they had some self released records with, like, limited editions at one and some such. But, yeah, I would definitely love to hear some more recordings.
Speaker 3:Yeah.
Speaker 2:God. It makes me realize, like, I feel really lucky to have been in that little scene we were in because there was so much great music that was really committed to not being heard outside of that scene. And it and it really makes me wonder about all the fucking amazing music out there that we never crossed paths with because it stayed tight to its little community. Yeah. And how great that is.
Speaker 2:Like, I mean, in as an oppositional strategy and as a, like, a way to kind of exit, like, as a as a non accelerationist. It's a decelerationist exit strategy. Yeah. Yeah. I love it.
Speaker 2:I love it. It's really, really great.
Speaker 3:No. But it also puts the aspect of community, you know, know, community over overall. So Yeah. It's definitely a a model to to keep in mind. Yeah.
Speaker 2:Friends and neighbors. It's great. And neighbors. Yeah. Yeah.
Speaker 2:Thanks, Yeah. Guys. That was a hell of an episode. Oh, yeah. It's It's got me ready to fight.
Speaker 2:I'm ready to fight.
Speaker 3:Yeah. Great. Absolutely.
Speaker 2:I'm, like, charged off.
Speaker 3:Yeah. Thank you so much. Thanks, everyone. If you yeah. Like, by capitalism, if you like the podcast, we don't have any capitalist tools at our disposal.
Speaker 3:So tell tell everyone you know about this, and tell us nice things if you want and and not nice things. But, yeah, just get it out there. Thank you.
Speaker 2:Our goal is to rely on the word of your mouth to another ear. So yeah. Yeah.
Speaker 3:Alright. Take it easy.
Speaker 4:Take it easy.