Episode 8: The good things, you put too much of it w. Olivier Borzeix
See beyond the audience. The hall so you can deal with the future. Malcolm X. Muhammad Ali, Marcus Sparrow, Rick Holmes, Miriam McKeebah. Richard Pryor.
Speaker 2:Adam Clayton Powell.
Speaker 1:Martin Luther King. Elijah Muhammad. Elijah.
Speaker 2:W. B. Du Bois. Delores.
Speaker 1:What
Speaker 3:a world we're living in.
Speaker 1:This could be a ten hour all night flight, and he could just keep naming them. Yeah. And naming them, and it could just go on and on and on and on and on.
Speaker 3:We need it. We need it. We got we we we welcome to episode eight. We have an excellent guest. One of the like, another amazing guest host.
Speaker 3:Leon, I think you know more about what our illustrious guest host has been up to over the past years since he was an astoundingly excellent member of Rivers and Mountains. But since then, I I think you can do the best intro for for our for our awesome guest host.
Speaker 4:Yeah. For sure. Our wonderful guest, Olivier Balzik, aka OJPB, FKA Boley, x Rivers, x Saint Sophie, I guess. Yes. X Heavy Eye.
Speaker 4:Uh-huh. X LeBlack Noise.
Speaker 3:Yes. Yeah.
Speaker 4:X Yeah. A whole bunch of things. Incredible incredibly talented human, Olivier. Thank you for for coming on. Yeah.
Speaker 2:Good things, you know, good things I don't have a camera on right now because I'm busting heavily. Also, you didn't see me grooving to the to the intro tracks. Yeah.
Speaker 4:Rest in peace for
Speaker 2:your ears, by the way.
Speaker 4:Yeah. Yes. Yes. Rest in peace. What are we're missing
Speaker 1:a whole bunch. I should I should actually mention an ex black metal.
Speaker 4:Yeah. The well, that's it. That's it. Yeah.
Speaker 2:Ex ex black metal band, Iri Lone.
Speaker 4:Iri Yeah.
Speaker 2:That was my band in the nineties.
Speaker 3:Yeah. We missed that one.
Speaker 2:Well, not Jacob Chalkowski. I should have known him. Nailed it. You miss it.
Speaker 3:Nailed it.
Speaker 2:There was, like, this this moment I remember when you had told me that you you did, like, a review of, like, one of, like, the the the
Speaker 1:Oh, right. I did. A EP?
Speaker 2:And you were so ashamed because you didn't say good things about it back
Speaker 1:Oh, but I completely I've completely forgotten that I was writing reviews for this stuff.
Speaker 4:So
Speaker 2:Yeah. You were. My god. And it was before we knew each other that blew my mind, honestly. Oh my god.
Speaker 2:And it actually made me, like, so it was so cute so cute and so so and so infuriating at the same time that you told me I I didn't want to say to you because I didn't know how I could tell you that that I just, like, didn't like. And I said a bad review of your of your band back then. I was like, oh my god. You knew my band before we knew each other, and you're ashamed because you said bad things? No.
Speaker 2:It's amazing. I love it.
Speaker 4:It should
Speaker 1:it should be said that maybe me and Odie, you're ashamed of the vast knowledge we have of black metal. Yeah. I'm ashamed of it, actually. Yeah.
Speaker 3:You why?
Speaker 1:Oh, I don't know. Wonderful thing to
Speaker 3:have knowledge of.
Speaker 1:But in any case, I was as I was mentioning or saying, I remember when when Olivier first came to the store, and that was a long, long, long time ago, very, very long time ago, and he was all dressed in black. He looked like Stephen O'Malley. And and he he he came in and and was interested in experimental music, and and then he was a regular guest. And it was always way back then, it was always such a pleasure to have you in the store and then just play, obviously, in in in a band together and have you be part of, like so many other people from the store, a part of the music, you know, society, I guess, we had or whatever.
Speaker 2:Is that right? It's yeah. I remember I was actually, I was like my girlfriend works close to close to to where Esoteric used to be. And so every time I'm passing in front of me, like, what is the new store now? Because it's always something different.
Speaker 2:Yeah. But I've so I've been say but I've been telling her, especially because I knew I was coming. Also, I was telling her what what that store was, what it meant. And yeah. Also, the fact that, yeah, I was I was I was just, like, what, five metro station?
Speaker 2:I was studying in UCAM. So at some point, I I pretty much every day, I think I was a few a few few times few times per week, I was just, like, coming with my lunch and coming to most of the time, that was you that that was Jacob working. Some very often, I came in just to eat and just chat with with you guys. You know? And This
Speaker 3:is such a great vibe.
Speaker 2:And another thing is, like, honestly, also, Cities of Tarik was the I knew the name of the store and that the store existed before even moving to Canada. So Really? Oh, yeah. Yeah. Yeah.
Speaker 2:I knew it was it was it was I I forget now because it's so long ago. Twenty six I mean, twenty six years ago, but it was on some
Speaker 1:That's crazy. That's crazy.
Speaker 2:I was I was on a I was on a forum or a chat or whatever with some people into industrial music, and there and there was this girl's thought there was going this girl talking about how like, I was I knew I was gonna move to Canada, and I don't know. I just, like, got interested in one of the threat intros saying, oh, yeah. If you go to Montreal, you have to go to as as an esoteric. That's the place where you can find, like, the most interesting stuff. And, god, I was not disappointed.
Speaker 2:Yes. Anyway
Speaker 4:You also you also have a a history of being behind the record store counter.
Speaker 2:Mhmm. Absolutely.
Speaker 1:That's right. That's right.
Speaker 2:I was working at Adam Hart Records.
Speaker 3:Which still exists. It's still kicking.
Speaker 4:Respect to Adam Hart.
Speaker 2:It still exists. Yeah. Yo. Like, big respect to Adam Hart, which is also where I met Leon the first time. I think probably two weeks or three weeks after moving to Montreal, walking walking to my internship at Just Velas.
Speaker 2:No question asked, guys.
Speaker 3:Wow. Wow.
Speaker 2:Complex,com complicated complicated, like, story not very interesting also. And I was just walking, I saw this record store. I was just, like, turn my I was like, oh, record store. Okay. Cool.
Speaker 2:I'm into this. And I went inside and, like, people were super nice. And then I just well, I was on my way to work every day. So I was, like, stopping every once in a while. And one day, I see two kids.
Speaker 2:There were kids back then. Yeah. Yeah. Yeah. You and Simon, we were coming to Leon Leon and Simon.
Speaker 2:You were blinking the first Natasha's recording CD. I was fuck. The the it's I still have it. It's the the pink one.
Speaker 1:Yeah. Yeah. Yeah. For sure.
Speaker 2:Yep. And and I was like, oh, local music. Called local people. And you were super nice. And I just and I remember there was, like, the flyer for the first for Classe Vert or something show.
Speaker 4:Right. Yeah.
Speaker 2:And I went there, and I by the time I had listened to the things, and they were, like, the bands of the of the that were most of the bands I mean, a lot of the bands that were under completion were playing, and I was just like, that's where first time I saw France Samiro. I don't think, Geek, have you around? Mhmm. Pretty sure Justin was not around.
Speaker 4:I saw both This was before the This was before. The cross pollination Yep. Event.
Speaker 2:But, yeah, I was and then I eventually ended up working at Adonhardt for, I wanna say, two thousand eight to 02/2011. Yeah. So a few years. And, yeah, and actually part of my part of also, like, my when I when I accepted the job at Atomarta, it was not a big it was not a big thing to accept. I was so happy to to work there.
Speaker 2:But I said, like, one thing I wanted absolutely to do is, like because at that time, like, Esoteric already had had had disappeared. And I was like, you know what? I wanna bring, like if I can, like, just, like, a little bit of, like, that kind of, like, vibe in in Adam Heart, specifically be the place where all the local bands can drop their thing, and we're gonna listen to it. Everything we're gonna be listening is gonna be a a place where you can see it all. And, you know, I mean, it was not as nice as the the the glass counter, but it was there.
Speaker 2:It was the that was a little bit of the idea. So yep. And that was a great time for me working there, honestly. I knew a whole lot of people, and and it ended up making one of the next endeavor we had with Leon Leon, which is like ESL was actually meeting meeting people at that record store.
Speaker 4:Yeah. That was such a a funny funny it's all like it's all blind dates. Right? The the whole thing, it's it's all blind dates.
Speaker 2:Yeah. Because I told you about them, and then you went on a blind you went on a blind dates with them. And then I remember you telling me phoning me the next day and saying, oh my god. I haven't had this much this much fun in so in so long. These people are awesome.
Speaker 2:We're gonna do something.
Speaker 4:Yeah. That was fantastic. Such a yeah. The record stores as nexus for for human connection. It's like a big thing.
Speaker 2:It's crazy. It's crazy. Yeah.
Speaker 3:I mean, it's beautiful too because you like, I think we you like, you read about these other stores in other places or other cities or how, like, scenes evolved at a record stores. And it's like this I mean, it's a lot like our opening track. Like, there's just this kind of like, you learn about that. And then I remember when I started working at Esoteric, I knew about the store in Detroit that Moody Man and Jay Dilla were hanging out in. And, like and that that that whole scene kind of evolved out of.
Speaker 3:And so just being like, how can we, you know, create that here and all the like, the the experiences that you have going to stores that inform that, like, it's it's just such a it feels like a a a genuine lineage and something that's, like, kind of happened over generations. You know? And and I love and I think part of what I love about this podcast is just, like, the idea that people can hear that and know that and move that forward in another way. So, you know, back to the why that song is our our our theme song because I think there's a lot to remember and and move forward, and that's really important.
Speaker 2:Yeah. I
Speaker 1:should add also I'm sorry to interrupt. I should add also, speaking of which, you know, I remember a little anecdote. At one point, we had I don't know who was working with me back then, but we had Ken Vendermark came with Matt Gustafson. You know? Wow.
Speaker 1:And Matt Gustafson came in, and he's like, ugh. So good to be back here. And we're like, what? And he's like, you know, this is my favorite store in the whole world. And we're like and, you know, this guy travels all over the world and stuff like that, and he absolutely loved Esoteric.
Speaker 1:So it was really it was a good props to get from him. So
Speaker 3:And we had some nice moments like that. It was Yeah. Yeah. It was a good it was a special place. It was really good.
Speaker 4:I really feel like any record store has starts with that potential. Mhmm. Like, mean people are just hungry for that kind of place, like kind of a public place where anyone can encounter anything. And it's just like a matter of fostering it, you know, and encouraging that to happen. And then, you know, there's some places that do it really badly where it's like completely sterile and they're just thinking about shifting units or whatever and not fostering that aspect of of, like, being a place, you know, like an alive place.
Speaker 4:So
Speaker 2:Mhmm. And I think it also comes to the it comes to also, like, the effect the the effect and, like, the emotional the emotional relation you get from some place. I know I'm very passionate in both ways about a record store. I mean, now a little less because, I mean, in a way, there's less of them. I mean, there's more and less.
Speaker 2:But I know there's, like, a couple of place, of course, I will not name in Montreal that I'm, like, particularly don't like. And I and I and it's, like, exactly for the reason you were saying, Leon. Mhmm. And and it's that that potential the the the the kind of potential you can have with a record store and how I see I see them doing their thing. I was like, no.
Speaker 2:No. But and also because it's it's also a way of interacting with the environment. I mean, that's the one thing I always loved about Esoteric was also, like, the non the absolutely non musical or per se musical or record shopping phenomenons, like the the the the neighbors kept in Quebec. The guy was coming to in to every day or every two days to sell to sell some stuff. You know?
Speaker 2:Like, they were absolute they were, in my in my opinion, super part of the experience.
Speaker 4:Yeah. Absolutely.
Speaker 2:And how you yeah. How, like, a a place like this interacts with its environment. Mhmm. I don't know. It's it speaks volume about about, yeah, like, the the energy.
Speaker 2:And especially in music, I find, like, there's so much so much aspect of the environment, like, that is that is that is present in music and music, listening in music, and understanding and, like, having this guy this this place being a resonance for, like, this neighborhood that was, like, still super weird, but was very weird at the at the time. You know? It's like this mix of university university place. Now I call it the real the real Chinatown because, like, honestly
Speaker 4:Oh, yeah. For sure.
Speaker 2:If you wanna eat, like, the best, like, Chinese food usually or Asian food in general is in that neighborhood. Yeah. Unfortunately, not in Chinatown, but that's another that's another problem.
Speaker 4:So it's basically New Jersey. Is that it? That's
Speaker 3:Ah, yeah. Fuck. Yeah.
Speaker 2:I mean, I don't know New Jersey, but, yeah, it actually sounds about right. Also, my favorite restaurant that was that was just open, like, a couple years and just moved to Saint Albert. So, I mean Oh, wow. And it was there, and it was it was next to when Esoteric was. And now they moved to Saint Albert, and I was heartbroken.
Speaker 2:I was like, how am I going to Saint Albert?
Speaker 4:So Saint Albert is the is the new The New Jersey.
Speaker 2:New Jersey. Yeah.
Speaker 3:That's it.
Speaker 4:That's it.
Speaker 2:The Garden The Garden South Shore. I
Speaker 3:think there's something too about the social like, the specific kind of sociohistorical circumstances that were happening in Montreal at that time that really, like, esoteric was a a interesting outgrowth of because the whole kind of, like, chin scratchy, very serious experimental music thing that was happening in Montreal at that time and, like, kind of some remnants of post industrial culture.
Speaker 2:Mhmm.
Speaker 3:But, like, this very, very serious kind of thing. And we you know, for me, like, I love that music and, like but I also hated the culture of the seriousness of it, and I think that was a really big part of what we kind of disrupted at esoteric and and brought a really different energy to. I'll never forget being at the Malcolm Gladwell I mean, Malcolm Gladwell, Malcolm Goldstein, terrible mistake to make there, but Malcolm Goldstein and and oh, what Leroy Leroy Jenkins.
Speaker 4:Presences. Leroy.
Speaker 3:Bless. And the that show and we were just losing our shit, and it meant so much to them. Like, they like, I remember, like, Leroy coming up to me afterwards. He's like, this is the best town to play music in. Yes.
Speaker 3:You. And Malcolm was totally freaked out by it. And, like, they were and and then I have a really hilarious follow-up story about that because I had such fond memories of that. And then we did this show at my place, at me and Dana's place, with I curated this jukebox full of bird records, like a bird record recordings of birds, and the whole jukebox was just bird sounds.
Speaker 2:And you this is so young.
Speaker 3:And then I got my friends Aaron and Mariel, who we played some of Aaron of their music on the podcast. They programmed a concert of improvisers to come and improvise with the jukebox on random. And one of the and it was a beautiful and we did this garden thing, and, like, I made a special cocktail. It was, like, it was really, like, so kind of spot on,
Speaker 1:but it was
Speaker 3:still really loose and and really kind of, like, you know, in the garden, and people are coming and going. And Malcolm was one of the people that got invited to come and play, and he threw a fit. Like, he was just completely awful. Like and Oh, and, like, a total diva. Oh, no.
Speaker 3:And, like, was, like, like, yelling at and do, like and
Speaker 1:Oh, yeah.
Speaker 3:Muriel refused to play because he was, like, come and play
Speaker 1:with me. He refused
Speaker 3:to play because he was being such a diva. And, yeah, it was a bit it was a bit heartbreaking.
Speaker 1:You know, this this reminds me, in fact, when I think when we saw Leroy Jenkins across the street, the Sun City Girls were playing.
Speaker 3:Yeah. That was And Leroy
Speaker 1:Jenkins and Leroy Jenkins went to that show.
Speaker 4:Wow.
Speaker 1:And then we I don't know if I was with you or something, but that anecdote is in my mind. And and we asked Leroy Jenkins, what do you think of this, like, Sun City Girls? He's like, I don't understand it, but I appreciate it.
Speaker 3:Oh. That's awesome.
Speaker 2:That's why I missed this show, actually. I was at the Sun City Girls show.
Speaker 3:Okay. Yeah. I mean, it was a great that was a great
Speaker 1:That's one of the best shows I've seen with Leon Jenkins. Yeah. That was so profound. Phenomenal.
Speaker 2:That was I was so I was so heartbroken that I that I missed it because I saw you guys after I think I saw you, Leon, especially after the show on the street, and you were, like, totally moved and blown away. Yeah. And I was just like Shit. Fuck. Should have gone on the other side of the street.
Speaker 3:I mean, Sun City Girls.
Speaker 4:Sun City Girls are amazing. Like, definitely.
Speaker 2:But also, like, I had, like, so many of I mean, I have a few occasions to see the Sun City Girls after that. I didn't know that. Bye. Yeah. Yep.
Speaker 2:How it goes?
Speaker 3:But I think we need to play a piece of music. So Yes. Let's do it. Guest host always gets to start the Yeah. The show.
Speaker 2:So Oh, fuck. Yeah. Me? Okay.
Speaker 3:Right? Yeah. Yeah.
Speaker 2:Okay. So I'm I'm gonna play you know what?
Speaker 1:You can surprise us. You cannot tell us at all and then tell
Speaker 2:us Oh, yeah. I'm gonna I'm gonna I'm gonna I'm gonna, okay. I'm gonna surprise
Speaker 1:we recommend we recommend surprising us.
Speaker 2:Yeah. Yeah. Okay. I will do it then. Okay.
Speaker 2:So I'm right here. But so don't look at your screen because you're gonna see what I'm gonna play.
Speaker 1:Oh my god. What is it? Jesus Christ.
Speaker 3:I mean, you win a prize for best first track ever played on the show. That's like, I give you like, you get that bingo or something.
Speaker 1:That was amazing. That was incredible. Oh my god.
Speaker 2:That track made me so happy.
Speaker 1:So good.
Speaker 2:Coming back to it, it made me so motherfucking happy. Yeah. Because I thinking about, like, the tracks I was gonna play on the show, I don't know. But somehow, I had, like I was just, like, think I was always looping back to Henry Flint all the time. So that was Henry Flint, by the way.
Speaker 2:Yeah. I mean, I'm sure you guys knew that already. It's called violin strobe of the Hellbilly tape music album.
Speaker 3:Total esoteric canon. Like, that's
Speaker 2:completely insane. Very esoteric canon. Yeah. Yeah. Even though you know what?
Speaker 2:Funnily enough, I think I probably bought this at at
Speaker 3:at at Chipotle.
Speaker 2:Oh, no. You know what? No. No. I'm shit.
Speaker 2:I'm full of shit. No. No. That's totally a turk. No.
Speaker 1:I remember. You bought it from Henry Flint himself. Remember? You told me. Right.
Speaker 1:Do you remember?
Speaker 3:Do remember?
Speaker 1:You you bought it from Henry Flint. I remember that.
Speaker 2:Really? Yeah. Yeah. No. And and yeah.
Speaker 2:So and I just so I looked back. I I I I went back for so it's till ugh. I forget the name of it. Yeah. It's still be so it's still no.
Speaker 2:It's still a still being, but something like this.
Speaker 3:Yeah.
Speaker 2:So it's But then the track is forty each of the track are forty five minutes. So I was just like, oh, shit. Accept and stuff. And then I was just like I went back to the other thing, and I was like and I heard this. This is the first track of the album.
Speaker 2:And I'm like, exactly. Exactly.
Speaker 3:Yeah. Exactly.
Speaker 2:Exactly. It made me so happy, so pumped up. I was just jumping on my chair like this. I was just, like, going crazy. So good.
Speaker 3:Yeah. I I have the craziest Henry Flint story.
Speaker 2:So Yeah?
Speaker 3:There's this track that Jim White album that Jim White from the dirty three did called the double that's really it's like him and a drummer I mean, and a guitar player, and it I I was convinced a thousand percent that it was a Henry Flint bite. Like, it was a great, great record, and I was sure that it was, like, influenced by Henry by by Henry. And so Dana and my wife was collaborating with Jim on a project, and Jim was staying with us. And I was driving Jim around in the car, and I put on Henry Flint just to be like, he's gonna know this track, and he's gonna be like he's gonna be like, oh, yeah. I did that now.
Speaker 3:I wanted to ask him about the double. And so I just put it on, and we're listening to the car, and he's like, what the fuck is this music? It's so great. And I'm like, he never heard Henry Flynn.
Speaker 2:He had never
Speaker 3:heard Henry Flynn. And he was like he's like, oh, yeah. I've read about that guy, but I've never heard this. And it like, he was super into it, but it had no and, like, if you guys listen to that double record, which I highly recommend, it's, like, it's so, like, similar. So oh, wow.
Speaker 2:It's on my list now.
Speaker 3:I know That's a great, great record.
Speaker 2:Also, I really don't know the dirty three well enough, and I know I like it, but it's something I need to to, at some point, check.
Speaker 3:Oh, man. Jim's other stuff that he's done since then too, like the Xylorius White, that those records are incredible. It's with a Greek, like, guy who is, like, he's, like, like, a beetle almost in in in Greece, and he's he's incredible. They played a show when they when when they were collaborating and got to meet George too, and he was just the greatest dude. Like, they're such amazing people.
Speaker 3:But and them them live is one of also one of the best live experiences I've ever had. It'll go on for, like, hours and hours, and they just get into these hypertrance kind of Greek blues, like
Speaker 2:There you go, man.
Speaker 3:So powerful. Yeah. It's amazing.
Speaker 2:There you go. That's where it's at. And that's to me, also, I think that's why I keep coming back to and Reflint because, like, these are the tracks, like, forty five minutes and they're there's not they're not exactly the same kind of intensity as this one. What I like but this one is, like, super intense. And I I just somehow reminded I mean, it's I think it's something like that speaks to, like, the some of the things we did with Saint Sophie, with Jacob Yeah.
Speaker 2:And and Francis. And but also some of the thing we did with with James as Xavier of the Sun. Mhmm. Yeah. And and, yeah, I was just like, yeah, like, exactly what you said.
Speaker 2:Like, these trances. That's when I was I mean, and still to this day, actually, even with, like, electronic music I'm doing this day, like, it still it still speaks to to that kind of idea of, like, like, the this trance this this this trance state, this ecstatic state. And and, yeah, I remember, I think that was, like, the way I was describing it's a sans of fie for people. I was just saying too much good things.
Speaker 3:And I Too much
Speaker 4:ice cream.
Speaker 2:Too much Exactly. Too much good things. Like, the good things, you put you put too much of it. And it's just Yeah.
Speaker 3:And I actually
Speaker 2:came back with this the other day. I was just like, you know, in a way, too much good things, I still stand by that thing. Yeah.
Speaker 4:For sure. It's it's so funny that that we were were talking about Leroy Jenkins just before this.
Speaker 1:Yeah, it's funny.
Speaker 4:Because it's like Leroy and Henry Flint are like the go to SARS, you know, violinists in my universe. Mean, that's and they're both really like very complimentary. And you were talking about the look I had after the Leroy show. It's basically, you know, how you're feeling after this track. This track.
Speaker 4:This just complete elation. It was just ecstatic, ecstatic music. I'm really Back to your point Justin about like people not knowing Henry Flint. Actually get that a lot also when I talk about Henry Flint to people. Have no clue.
Speaker 4:But then it's it's it's funny because of the for some reason, he's always quoted whenever people are talking about Besquiat and stuff because of his What? His Samo photos. Like, he he's basically the person who documented every single Samo graffiti in New York City. Oh. Like I
Speaker 3:have no idea.
Speaker 4:Are are you I really? Yeah.
Speaker 2:Yeah. Yeah. Yeah. Have no idea about that.
Speaker 4:Any same old photo that you're gonna see on the Internet is credited to Henry Flynn. He he basically, like, was documenting it as it was happening in the, you know, in New York in the eighties. So yeah.
Speaker 3:God. I love I love the shit I learned talking to you guys. Like, I'm just like, my mind is blown right now. Like, I I think of Henry Flint as this, like, abstract mathematician, like, philosopher dude. And I'm like, this is like yeah.
Speaker 3:And I'm just like, what? Like
Speaker 2:But with Henry Flint, there's a lot of that. And also that and also that. Oh, and he's also that guy. Yeah. Once you, like when I just read a little bit again just to just remind me a little bit of the thing is I know he was like I knew about the philosopher of Mathematician.
Speaker 2:Now I just learned about the photograph. And I don't know. I I learned some other I don't know. I just, like, learned some other things. Like, earlier, I was just like, oh, yeah.
Speaker 2:Really? He was doing this? I was like
Speaker 3:He was part of the the theater of eternal music. Right? Too that he was part of the pre Velvet Underground. Yeah. Like that.
Speaker 3:Yeah. Wild. Wild.
Speaker 2:Yeah. And yeah. It's funny. Like, I'm I'm hanging out in love with my neighbor now. Like, she's actually my neighbor.
Speaker 2:Like, next like, I'm see I'm seeing her right now on her on her on her on her porch, like, from my window. And and yeah. She and I yeah. I don't know how the other day we went. Because she's really into, like, more she's really into dance music and, like, and more, like, takeouts kind of things.
Speaker 2:And but we really we make each other we almost, like, every every every week, we just see each other and we make we play each other songs we like. You know? I don't know how the other day I ended up showing her the well to the well the well tune piano, I think. Yeah. By by Lamonte Young.
Speaker 2:And honestly, comment like, it's wild because these things and she was completely fascinated by it. Yeah. Even though that's not that's not, like, that's not, like, stuff, like, she would normally listen or Yeah. She don't even know about these things too much. Like but just right away.
Speaker 2:It's so great. And I was just telling her, I've never seen it. I I think, Jacob, you've seen it. But the also the Marzan Zodzilla, the the
Speaker 1:the the car installations.
Speaker 3:Yeah. The light treatment. Yeah.
Speaker 2:Light treatment in their in their internal house. So what is
Speaker 3:The the yeah. That's a really special
Speaker 1:so long ago, in fact.
Speaker 3:Yeah. The dream house. The dream house you're talking about. Yeah. On Canal Street.
Speaker 3:Yeah. Yeah.
Speaker 2:Shit. I would have dreamed to to to go to go there.
Speaker 3:They're doing a bunch of new dream houses right now.
Speaker 2:Oh, yeah.
Speaker 3:I just got an email. I'm on their mailing list. And
Speaker 2:Surprise. Yeah.
Speaker 3:There's a yeah. They're they're doing a bunch of installations. I'll forward it to you after the call so you might get a chance to see it. I have the craziest story about Dreamhouse. I think it just about killed my wife.
Speaker 3:So for real, like, we went, and the frequencies go through certain phases. Like, it's these intertwining frequencies that very slowly, you know, evolve. And Mhmm. Sometimes I've been many times. And sometimes when you go, it's very pleasant.
Speaker 3:And other times, you go, and it's harrowing. And we hit one of the particularly harrowing parts, and we stayed in the in the room for, like, Dana really wanted to go. She couldn't take it. And I was like, no. I really, really wanna stay, and we stayed for a long time.
Speaker 3:And we felt so fucking weird after we left. And the New York City, like, we're just, like, totally tweaking and, like,
Speaker 2:fuck.
Speaker 3:I I, like, it was so altered by it. And I had to get on a plane super early the next morning. And I got on the plane, and I got to my Toronto stopover. Mhmm. And I called Dana, and she's like, in a taxi hospital, and she can't And she had this severe, like, anaphylactic reaction
Speaker 2:Oh, shit.
Speaker 3:That's insane. And I'm in the airport. Like, I'm like and I called friends of hers to go meet her at the hospital in New York, and I canceled my flight and waited like, I was gonna try and fly back to New York, and she got EpiPen at the hospital and was fine. Thank god. But, like, she's convinced it was, like, some tuna.
Speaker 3:She has no allergy food allergies, and she's convinced it was some weird tuna thing, but I'm convinced it was Lamont Young. Like, I'm
Speaker 2:like Imagine imagine, like, imagine, like, the the the title of your of your book. La Montay Young almost killed almost killed my wife. I mean, come on, bro. Yeah. It's a or like the movie Sundance saw your Sundance movie or something.
Speaker 2:Yeah. This year at Sundance, how La Montay Young almost killed my wife.
Speaker 3:Yeah. It's great. I love it. But it's pretty wild. But I
Speaker 1:Was it a tuna, or was it a tuna?
Speaker 3:Could've been you know, you never know. You never know.
Speaker 4:Or the tuning.
Speaker 3:Yeah. Yeah. The two the the
Speaker 2:tuna tuna. Oh my god.
Speaker 3:Oh my god.
Speaker 4:Sorry. I'm from yeah. I do that sometimes.
Speaker 2:Quebec is Quebec restaurant pun level right there.
Speaker 3:It's fantastic. Eggspectation. I've got a I've got a track that I really am dying to play if you guys are okay after that because it follows on that so deeply. So if I can take the floor, I really wanna play this because it's and it's actually something I discovered yesterday.
Speaker 4:Oh. Oh.
Speaker 3:And I was gardening to this, and I would like, I just stopped doing everything and sat down and listened to it because it blew me away so bad. And if anyone can tell me I know this has been sampled in something, and you guys are all, like, pros of that world. So if anyone recognizes the thing that's been it's driving me crazy because, like, I'm like, I know this sample. Okay. But and it's it's actually what it starts with.
Speaker 3:So I'll I'll I'll play this track.
Speaker 2:Curious now.
Speaker 4:Wow. Wow. Amazing.
Speaker 2:I had forgotten about I had forgotten about this this city. I have this city, actually.
Speaker 3:Oh, wow.
Speaker 2:I love this city so much.
Speaker 4:I I think there was a a really famous sequence in Baraka with this
Speaker 3:Oh, that's so yeah?
Speaker 2:That's what I was gonna say.
Speaker 4:I think that that might be where where people may have heard it before or sampled it from. But
Speaker 3:was it's it's it's it's incredible. It I haven't had music stop me in my tracks like that Mhmm. In a long long time. So it's Ketchak, the Ramayana monkey chant from the Bali golden rain explorer series series Indonesia CD. It's yeah.
Speaker 3:It's
Speaker 2:It's insane.
Speaker 3:And more of the just kind of, like, ecstatic.
Speaker 2:Mhmm.
Speaker 3:I was thinking before it's funny because I've seen what playing this before, and I was thinking about possession and being possessed and music that creates possession and how that doesn't seem to be a part of like, as we move into this Internet world that this is less and less a part. And I think it's because everyone is fucking possessed all the time right now. Wow. And so I think that we're so possessed and we're so occupied by like, we're literally walking around in a state of possession. Mhmm.
Speaker 2:And
Speaker 3:so this almost feels like a a panic like a what's not not it's like, you take like, I feel super like, I was flattened when this came on. Like, I had it on random, and it just was like, I couldn't do anything for the whole time I was playing.
Speaker 2:Well, I mean, it's super difficult to do anything when when you're exposed to that thing. It's, like, so relentless. It just, like there's so much dynamic. It seems to die down, and then it takes you back. It just, like it's yeah.
Speaker 2:It's it's visceral. It's I mean, it's an overused term, but, yeah, it is totally visceral. By the way, the rest of the series, mix explorer series, I think I have three or four. I was trying to to to to see which other ones I have. Amazing.
Speaker 2:Amazing. Amazing series of of music. Horrible name. I I find, like, the the Explorer series are really fucking rough. But I hate the name number one.
Speaker 2:Other times
Speaker 3:Colonialist asshole series. There you go.
Speaker 2:But, no, there's a I think there's one on the that concentrate on the Java Island. Mhmm. I was trying to find it while it was playing. It's that is, like, insane. It's like the contrary of this, though.
Speaker 2:Mhmm. It's like because the Bali the Bali thing, there's, like, also some some Gamlan thing on this.
Speaker 3:Really sick Gamlan.
Speaker 2:Like, amazing. And but it's, like, the Bali Gamlan is, like, the really, like, in your face super intense super intense music music. And, like, the and the Javanese Javanese Gamlan, if I remember well, is, like, completely different. It's, like, super suspended. Almost feel like almost feel like the instrumental of sipping on some syrup.
Speaker 2:Yeah. It's like, snotty ups. Yeah. If you maybe you will not understand why I'm saying this. Maybe I'm the only one hearing this.
Speaker 2:But, like, super suspended, like, chords, like, just it's me. It's beautiful. Yeah. Anyway, highly recommend this series. It's amazing.
Speaker 1:You can also really feel the influence on the Sun City girls here so much. Yeah. It's incredible. Yeah. Just the kind of demonic kind of voices in the back and
Speaker 3:yeah.
Speaker 1:Really amazing.
Speaker 4:The the depth of the this is like virtual reality, basically. Yeah. It's it's hard to tell what's what. I mean, it's hard to tell what is captured because it was happening at the same time or if it's part of the composition. There's like stuff where you're not sure whether it's percussions or if it's just like ambient sounds happening.
Speaker 4:When I was talking about the excerpt in Baraka, I used to have that CD when I was younger. That's the, yeah, I was into that. So and it was a very short sample, very short excerpt. Think it was like, I guess radio friendly kind of edit. And it was basically the first part, the opening part of that track with the chanting.
Speaker 4:But then Justin, just before you kind of cut it off over the Zoom where there's the
Speaker 3:The Don Cherry lick comes in.
Speaker 4:Exactly. Yeah. Yeah. Yeah. And that totally ties it to the the Gamelan composition where you have, like, the the the lower Gamelans playing the the slower melodies Yeah.
Speaker 4:And then the the higher the higher bells doing the the super intricate complicated patriarchal top.
Speaker 3:Deep into that, like, Don Cherry orient territory than in the track too. Like, it's just wow. So great.
Speaker 2:If I remember well so this is a it was a ceremonial chant that was a ceremonial chant at the court that was, like, that was, like, performed in court, and it was, like, a war chant that come Ramayana, the monkey the monkey king. And it was it was like there's a guy who just direct. He was just, like, calls this thing. He's the guy we hear, like, just screaming more. And, like and all the other ones, they they they answer, and it's it's it's to imitate what, like, a monkey army would sound if they were on the warpath or something like I seem to remember this is the this is the thing.
Speaker 2:I remember seeing Amazing. Remember hearing this for the first time in my ethnomusicologist Oh, wow. Back in back in back back when I was in France still. And I, yeah, I remember that. Back then, it blew my mind.
Speaker 2:First time I heard Gamelan, I was like, I was totally out of my depth. You know? I was pre Internet guys. And I remember I was like, okay. So bunch of people are are are banging on pots and pans.
Speaker 2:At first, I had no idea what the fuck I was listening to. And then I was just like I was just like, wait.
Speaker 4:Yeah.
Speaker 2:There's all these things happening. And, yeah, I remember it was my my teacher who, like, who just, like it was in the technique they put and, like, it was, like, to throw throw us up because most of the time, we're listening to classical music, and we're supposed to recognize, like, the time and, like, what kind of formation, like, who could have composed it. It was, the game. You know? Was amazing.
Speaker 2:And then I remember she threw this, and we were all like, what? Yeah. The teacher. It was amazing. Actually, I every time she come in Montreal, I she she comes to visit.
Speaker 3:Oh, that's awesome.
Speaker 1:Isn't that amazing?
Speaker 4:Yep. That's nice.
Speaker 2:I love that teacher.
Speaker 3:So who is next?
Speaker 4:I I have something. I don't wanna Jacob, did you have something lined up?
Speaker 1:Well, I mean, if I have something, it's more it's along this mood. Yeah. And I'm wondering if too much of a good thing is a good thing.
Speaker 3:Bring on too much of a good thing. This is what we're talking.
Speaker 4:Go for it then.
Speaker 1:Okay. Should I should I put it's gonna be okay. Well, this this this piece really does something to your brain. So it's kind of amazing. But it's really along the same lines very much.
Speaker 1:So let me just share. This was coined by the composer James Tenney. It's a crazy track. No?
Speaker 2:It's amazing. Incredible.
Speaker 4:It's incredible. Yeah.
Speaker 2:It it was it's funny. I I I I know the name, but I don't even know if I know any of his music before before before the track he played. It's amazing.
Speaker 3:Yeah. He's also a a famous erotic film star. So What? Yeah. Yeah.
Speaker 3:He's Fluct twist. He's in he's in one of the great feminist, like, kind of sexy
Speaker 2:Oh, it's true.
Speaker 3:Erotic films called Fuses by Karoli Schneemann. You're right.
Speaker 4:Lovers at
Speaker 3:the time.
Speaker 2:Yeah.
Speaker 3:Yeah. And I think probably more people have seen his cock than have listened to his music,
Speaker 1:which is
Speaker 3:really tragic because his music's incredible. But I also love this whole kind of idea of phenomenology's music, which is such a huge part of what what he was doing. But yeah. I mean, he's incredible. And and Jacob, I'm it's hilarious.
Speaker 3:This is on my short list of stuff. Not that track, but something at one of the other postcard pieces.
Speaker 1:That's amazing.
Speaker 3:Yeah. On my shortlist of stuff that for this for for the podcast, and I love That's amazing. So much.
Speaker 1:You know, I was once with with our mutual friend, Mark Loser. We went to see Stan Brackage in Toronto. You know, he had, like, a retrospective and for, like, a for a weekend, for a couple days. Yeah. And there was Stan Brackage in front on the stage, and he goes, oh, I'm so happy that my friend James Tenney is in the crowd to see me.
Speaker 3:And that you know, to see,
Speaker 1:like, James Tenney, like, standing up and saying, like, hello. And with Mark, we're like,
Speaker 3:oh, James Tenney. It was pretty cool.
Speaker 2:It's funny. I was like while I was yeah. While I was listening to this, I I was like, well, this is very macho zerkor.
Speaker 3:Yeah. Yeah. Yeah. Yeah.
Speaker 4:That's beautiful. And also, like, with the the Henry Flint track that you played that you did, like, all these crazy overtones happening.
Speaker 3:Yeah. That's
Speaker 4:just insane. It's so And the way
Speaker 1:it lifts you the way it lifts you too, you're always, like, kind of, like, glowing. It's so weird.
Speaker 3:I just sorry. Go ahead, Oliver.
Speaker 2:I just just like I was just, like, out of breath at the end of the day. Like, because there's something also. I I kept hearing these voices, like Yeah. Human voices.
Speaker 4:Yeah. You
Speaker 2:that's insane. But by the way, I I don't know. I kept thinking violin. It's violin. Right?
Speaker 2:It's not cello. Okay.
Speaker 1:It's violin.
Speaker 3:There is a string quartet version of this piece too. This is really, really amazing that was written
Speaker 1:for her. Intonation, I think. In just intonation, I think, also.
Speaker 3:Oh, yeah. Yeah. It's a really extraordinary piece of music too. And Yeah. I mean, it made me feel like I had a golf, like, green sized hole in the top of my skull and my body, like, everything was slowly leaving upwards through that.
Speaker 3:My Amazing. I was like, this is what's going on. Wow.
Speaker 4:But it's also, you know, having having played violin in the past, this the whole time I mean, I was very transported by the the music, but the whole time, my fingers were just, like, were just
Speaker 3:about to
Speaker 4:crack. Yeah. It must
Speaker 2:be Yeah. It must be so
Speaker 4:hard to play. So difficult.
Speaker 2:That's exactly what I'm thinking also. It was so difficult to play that thing.
Speaker 4:Yeah. But, wow, that's that was really beautiful. Thank you.
Speaker 3:Yeah. It was amazing, Jacob. Great Great choice. Leon, you're ready to follow Leon?
Speaker 4:Yeah. Yeah. I think it's gonna conclude the the ecstatic round really
Speaker 3:well. I
Speaker 4:I will emit a a content warning. Balloons? Okay? Great.
Speaker 2:The the balloons? I'm excited.
Speaker 4:I'm excited
Speaker 3:for the balloons.
Speaker 4:You know, there's some people who have, very averse reactions to balloons. So, you know, feel free to skip ahead. But we're gonna be enjoying some balloons.
Speaker 3:Oh my god. Oh, eight.
Speaker 1:What episode eight? Why is every show the best show?
Speaker 4:Why is that?
Speaker 3:That was mind blowing.
Speaker 4:That's That's so great. Judy Dunaway performing live in 02/2016, playing Twister Balloon. Wow.
Speaker 1:That was incredible. I've never seen anything like it. I've never seen anything like it.
Speaker 3:Think I saw her on the Gong Show when I was a kid, but
Speaker 4:Judy Dennoy is I I I totally stumbled upon this, but it turns out she is a g. Like, she's she's really an o g. Yeah. She's been she's been a balloonist quote unquote since 1990. She studied under Alden Lussier.
Speaker 3:Of course.
Speaker 4:Of course. And Yeah. She's performed with Roscoe Mitchell, Yasunao Tone, John Zoran, Cheddar Cheddar Cheddar and Annie Sprinkle. And so her thing, her whole thing was she was like a an experimental musician doing her thing in the eighties and then started experimenting with balloons on her prepared guitar and saw that as a way to address the question of the AIDS epidemic and how at that time people in charge either religious leaders or political leaders were not putting contraceptives in the forefront. So she basically decided to focus entirely on latex balloons as a meme for
Speaker 3:us Wow.
Speaker 4:Wow. Of proposing that that message. So and she's like super active with as an activist for sex workers rights since forever.
Speaker 2:Oh, she's a g, man.
Speaker 3:She's a Yeah.
Speaker 4:Yeah. No. Exactly. So this is, like, this is you know? And, you know, listeners will should check out the video.
Speaker 4:It's incredible.
Speaker 3:I kind of love that if you didn't see that video, like, there is something that makes it really entertaining and and and kind of delightful and and about, like, I was losing my shit watching it. But musically
Speaker 4:Yeah. Amazing.
Speaker 3:It's phenomenal. Like, it's like and I'm just like, this is better. Yeah. I mean, it's it's really. And I and I can't believe, like because I know you don't improvise.
Speaker 3:Like, you had that preplanned that you're gonna play that today. Exactly. It's my my mind is so blown. Like, massive astral collapse. You know?
Speaker 3:Like, I'm just like, how is that you had that planned?
Speaker 4:I mean, as soon as Aliyah put on the Henry Flutt, I was like, yeah. Episode eight.
Speaker 1:I got
Speaker 3:this. I got it.
Speaker 2:For real.
Speaker 3:And
Speaker 2:also the also the the the the the her facial expressions when she's doing
Speaker 1:this thing. Yeah. Yeah.
Speaker 2:It's like they're both, like it's sort of funny, but at the same time, it's she's so she's so I mean, she's so expressive, like, the way she's interacting with the thing. Yeah. Wow. Facial expression were mesmerizing in my opinion.
Speaker 4:Yeah.
Speaker 2:Also and, like, yeah, musically and technically, it's insanely, insanely well done.
Speaker 3:No. Has And
Speaker 2:you know what? Feels this
Speaker 3:all day.
Speaker 2:Victor Victor, guys. Victor Avila. Yeah. This is what you need to get. Yeah.
Speaker 3:Yeah. Get it. This is
Speaker 2:what you get.
Speaker 4:Apparently, she's she's performed in Montreal before.
Speaker 3:Oh, wow.
Speaker 4:Yeah. How did I Yeah. Miss Exactly. I mean.
Speaker 3:Man, I wanna do duet with her in RP Boo from that thing that Moss has brought us. That would be so sick. Yeah.
Speaker 4:So Judy Dunaway.
Speaker 3:Oh, that was incredible. Incredible.
Speaker 2:So good. Love it.
Speaker 3:So we're back to you, a guest host.
Speaker 2:Oh.
Speaker 3:We're excited for your second choice.
Speaker 2:Well yeah. Okay. So we're going somewhere pretty different. But hey. So, yeah, the next track, I don't know.
Speaker 2:In a way, I'm know what? I'm just playing. We'll talk about Play.
Speaker 1:Play. Play.
Speaker 3:Play. Yeah. We're we're ready. We're ready.
Speaker 2:Glass.
Speaker 1:Glass. A carafe.
Speaker 2:A kynein glass. Cobalt. Glass.
Speaker 1:Green?
Speaker 2:Glass.
Speaker 1:Glazed.
Speaker 2:Engraved,
Speaker 1:cut, cut, cut in white, a piece of crystal,
Speaker 2:Glass. Glass. Glass. Glass. Glass.
Speaker 2:Glass. Bulb. Glass. Lenses. Bottles.
Speaker 2:A graph.
Speaker 1:Eyeglass. Window.
Speaker 2:A kind glass. What
Speaker 1:is this thing? I saw a vision in glass, red and white, strong and bright.
Speaker 4:Wow. That was That
Speaker 1:was wonderful. That was so pretty.
Speaker 2:Yeah. Yeah. It was so, yeah, I'm just gonna say what it is first. So it's Karen Krug images in glass. And, honestly, it's I it's a little bit with Justin in mind that I
Speaker 3:I know I was losing my shit.
Speaker 2:I know. I had this because do you do you know Karen Krug?
Speaker 3:I do. I actually I was ran I was scrambling to find a track by her that I wanted to play in response to that because I love her so much. So, yeah, that's good.
Speaker 2:Because I was I was I was like, every when I got this rec when I got this it's a compilation. It's that Light in the Attic published.
Speaker 3:Oh, yeah.
Speaker 2:It's called just don't just sing. Also, that track is amazing. There was, like, so many contenders for me to play on this compilation. And I and and when I got this comp, I was just like, I don't know why actually I should have told you, actually. I just like, I hope Justin has heard that.
Speaker 2:Yeah. Hope he knows that. And I knew you would probably know that. But I was like, I hope he has heard that because all of this compilation, it's so diverse. So it's like this this Norwegian singer.
Speaker 2:I don't know. Do you do you guys know know her too?
Speaker 4:No. First time I hear of her.
Speaker 3:First time I
Speaker 1:hear of her.
Speaker 3:Yeah.
Speaker 2:Yeah. She's this Norwegian singer. Apparently, she was, I mean, in in the liner notes, literally, he said she was probably unknown outside of Norway, but, like, very in Norway, she's very, very well known. Yeah. And and she did all kind of stuff, like super, you know, super just funky stuff, complete complete, like, vocal experiment.
Speaker 2:And also the name the name Just Don't Say It also just somehow reminds me of, like, Joan LaBarbara's voice of the first instrument. Like Mhmm. You know, like, really super on the nose things about, like, what you're gonna what you're gonna get in the in the in the thing. She did, like she does this mind bending covers also of the maiden maiden voyage. Yeah.
Speaker 3:She also
Speaker 2:does, like, love supreme. Yeah. That actually sam I have sampled quite a lot of this brand.
Speaker 3:Oh, beautiful.
Speaker 2:There's one drag of mine. I'm not even sure how I could release it if I if it was to be released because, yeah, it samples her pretty, pretty intense. But yeah. I don't know. Just amazing.
Speaker 2:And so this track is unreleased because I mean, it's released on this compilation, but, like, previously unreleased before this compilation. Wow. And I was that blew my mind even more. It was designed for to be the soundtrack of a documentary. And guess what the documentary was about?
Speaker 2:Glass?
Speaker 1:Glass. First,
Speaker 2:people do documentary about Glass? Can you show me this documentary? I wanna see it.
Speaker 4:Yeah. Exactly.
Speaker 2:It sounds like a
Speaker 4:Yeah. It sounds like an amazing documentary. Super super
Speaker 2:Styron, like, the Styrofoam documentary by Alain Reyes or something.
Speaker 3:Yeah. Oh. Yeah. And styrofoam.
Speaker 2:And then then she does, like, this drug that is glass. Imagine glass, and then I don't know. It's amazing.
Speaker 3:Is is the track is the Steve Kuhn track Meaning of Love on that comp?
Speaker 2:Let me just get that. Meaning of Love, you said?
Speaker 3:Yeah. The Meaning of Love. If it's not, I'm gonna play it because it's, like, it's insane. It's it's my favorite track of hers.
Speaker 2:No. It's not in there.
Speaker 3:Okay. Amazing. I'm gonna play that. And the I was gonna play something else, but I really wanna play this just because it's one of my favorite vocal performances of all time. And, like, it's the phrasing, like, her phrasing.
Speaker 2:Oh, yeah.
Speaker 3:It's just, like, how how do you be that I love singers and, like, how
Speaker 2:do you
Speaker 3:sing? I mean, it's, like, Oh Who is the other, you know, like, my Mina track that I played that never on the episode that never got got out. Yeah. But, like, this is another one of those tracks where it's just like I completely fell in love with her listening to this and was like, I want like, it it just yeah. I'm just it's I'll play it.
Speaker 3:It's crazy.
Speaker 1:Learn, can't begin to know the meaning of love.
Speaker 3:The way that ends is hilarious.
Speaker 1:It's fantastic.
Speaker 2:So good.
Speaker 4:What's the track. Sorry. What what's the the difference the temporal difference between the two tracks that we've just heard?
Speaker 3:This is '77, I think.
Speaker 2:Yeah. And the one we I played it's from the September.
Speaker 3:'6.
Speaker 2:Oh, the one that I played is from the nineties.
Speaker 4:Okay.
Speaker 2:'6 '97 Wow. Actually.
Speaker 3:Wow.
Speaker 2:Yeah. She did all all kind of, yeah, like, this compilation I have spans from '72 to '99. '73 to '9 till no. '63 to '99.
Speaker 4:Wow.
Speaker 3:The thing that's sorry.
Speaker 2:Do you mean to Go. Go. Go.
Speaker 3:The thing that's really strange for me or or beautiful about this track too is, like, there's a very like, Steve Kuhns, the the Rhodes player. I love him. Like, also a really interesting vocalist, but, like, super laconic, and his version of this track is so laid back. Like, some some like, it's, like, sleep like, you're dead asleep listening to it. It's like the most harrowing jazz ever.
Speaker 3:And to go from that to this, and he's also playing on this track. And it's like, it's so jittery and hyper and and crazy. And, like, what's going on with the rhythm section is just
Speaker 2:Yeah. The rhythm section is crazy. The drums, I was losing my mind.
Speaker 3:Yeah.
Speaker 2:Drums are insane.
Speaker 3:And and I love this complete mad ending where it's just like we're just gonna cut to the bass player noodling for, like, three minutes and then and perfectly on one note. Like, it's just so crazy. So beautiful. Steve Swallow is a bass player. Amazing bass player.
Speaker 4:I had to look it up while we were listening, but the flexitone work on this is very good.
Speaker 3:What is a flexi? I was wondering what that is.
Speaker 4:Flexitone. Yeah.
Speaker 2:What is it?
Speaker 4:It is the they were kinda and I've always called it a spoon, but it's not a spoon. It kinda sounds like the sound the spoon would make, like like that metal percussion instrument. But, yeah, her her I understand what you're talking about, Justin, with her name is Karen
Speaker 3:Krug.
Speaker 4:Krug. Yeah. And her delivery is really, really very, very charming.
Speaker 3:Man, and she's just like yeah. You just fall in love with her. And there's, like, the way that she's pushing and pulling the time on the track is Yeah. So crazy because the the beat is really straight, and then she's just, like, moving it. Like, it's just wild.
Speaker 3:Like yeah. Yeah.
Speaker 1:The tempo is amazing. The tempo is amazing.
Speaker 3:Yeah. So thanks. I I would never thought to play that on the podcast, and, Olivier, you totally called it, like, with you. Like, oh, Justin's gonna love this. And, like, it's, like, right down the line, man.
Speaker 3:It's perfect.
Speaker 2:Yeah. It's yeah. I mean and I when you see, like, who she's she collaborated with also, like, she, like, some cover of Callablay. I just, like Zhu King also, she she collaborated with Dexter Gordon and everything. I was like, yeah.
Speaker 3:Oh, yeah. She's so incredible.
Speaker 2:Justin Coursitt.
Speaker 4:It's amazing.
Speaker 2:Thank you for the discovery, by the way. I'm I I definitely need to to know more because, like, on the compilation, there's all of these different kind of stuff. And it goes from, like, the most, like, surreal things to, like, super groovy, super hard yeah. I don't know. It's just like this compilation, I got it, like, out of nowhere because it just interested me, and I just, like, listened to it fast.
Speaker 2:And I just thought, you know what? Yeah. I'll get it. And then I remember I just, like one time I listened from beginning to end with my friend Nico, and we were just like, what the fuck, man? That girl is amazing.
Speaker 3:Yes. She's incredible. She's incredible.
Speaker 1:The
Speaker 3:name of the record this is from is we could be flying, and it's I can't recommend it highly enough. Like, it's such a great, great record through. There's a really amazing Joni Mitchell cover on it too.
Speaker 2:Oh, yeah. It's on it's on the compilation.
Speaker 3:Yeah. Yeah.
Speaker 2:All All I Want. Right?
Speaker 3:Yeah. Yeah. Yeah. Yeah. Yeah.
Speaker 3:It's so good.
Speaker 2:So great.
Speaker 3:Okay. Is it it's Jacob.
Speaker 1:Yeah. I've got a song Great. As well where the vocals are pretty charming
Speaker 4:as well. So let me just play it.
Speaker 2:Amazing. Yeah.
Speaker 3:Episode eight.
Speaker 4:Oh, man. Episode eight.
Speaker 3:Was so good. What the hell was that? That was incredible.
Speaker 1:So that was Kango Ayuchi. And, you know, I have never heard of him before. And the Oh. The time I did meet or find find out about him is Alienate released this record by MSBR called One, and it's a split with Kengo Ayuchi with this guy.
Speaker 4:Wow.
Speaker 1:And and when I first heard that record, I guess, you know, 2000 or something, and then I just heard Ken Gohuchi. I was like, what the hell? This guy's incredible. And so this is off of his first cassette, which is, like, I guess, a demo, and I just love it. That's amazing.
Speaker 3:Oh, that track's completely mind blowing.
Speaker 2:Like, Yeah. Beautiful.
Speaker 1:And what's he he he released, like, five albums, and it's all the same songs on all of the albums.
Speaker 2:Wow. Albert Taylor.
Speaker 3:It's, like, super conceptual. I love
Speaker 1:I think it's amazing.
Speaker 4:It's totally while we were listening to it, I mean, the the jump cuts in the in the recording, I'm gonna say quality Yeah. Of the the abrupt jump cuts totally made me think of, like, when when electric guitarists are just kind of flicking through their
Speaker 3:Yeah. Things. Yeah.
Speaker 4:And it just sounds like he has a switch to, like, choose which universe he wants to be
Speaker 3:in. Yeah.
Speaker 4:It just Yeah.
Speaker 2:But it's it's just also something like Internet kind of, like, you know, Internet connection changing quality kind of thing.
Speaker 3:You know? Yeah. It's what I thought it was at first. I thought, oh,
Speaker 2:Me too.
Speaker 4:At first,
Speaker 2:I thought it was a glitch.
Speaker 3:Yeah. And I was
Speaker 2:like, oh, no. What? This is amazing. His
Speaker 1:vocals are so amazing. Oh, yeah. It really reminds me of that Alan Bishop moniker. What is it that he has?
Speaker 3:Albury's b.
Speaker 1:Yeah. Totally has that vibe.
Speaker 4:It's just
Speaker 1:it's so totally committed. It's incredibly totally committed, the vocals.
Speaker 3:I remember reading, like, PSF records, like, talking about Ken McKamy and, like, wanting to hear it and and being really disappointed when I heard it, and I was expecting it to sound like that. Like, that's what I was expecting Candy sound like.
Speaker 2:Yeah. It's so true.
Speaker 1:It's better than Candy Cami. Yeah.
Speaker 3:Yeah. And this I know
Speaker 2:that cover I have seen that cover before. Maybe you played that for me before. I have
Speaker 1:No. I know. Don't think I don't think so.
Speaker 4:Don't understand. You had a beautiful artwork.
Speaker 3:Yeah. It Beautiful
Speaker 2:artwork is insane.
Speaker 3:Everything about it was mind boggling.
Speaker 4:Yeah. Wow.
Speaker 3:It also reminds me of this, like, you know, the music moments that change your life. Like and I think I was 14 and got this nation saving grace by the fall. And Yeah. There's this amazing part in paintwork where it just cuts to, like, him talking on a tape, and it like, the sound quality goes completely bonkers. And it it it had that.
Speaker 3:Like, I was back there at 14 listening to the fall. You know? Being like, what? Like, this is possible. This can happen.
Speaker 3:Oh, shit. So great.
Speaker 4:Jacob, have you heard all of his records, Or have you heard, like, the the different takes on the songs?
Speaker 1:Yeah. They're all the same.
Speaker 3:Pretty much
Speaker 1:yeah. I mean, I think it's just kinda, like, him just trying it out again.
Speaker 3:Yeah. Got the record, but it's just sucks. It's great.
Speaker 4:That's fantastic.
Speaker 1:Known about him. I know the only thing that I read about him is that he stopped doing music. So it's I guess it's from
Speaker 3:the '9
Speaker 1:not it's from the nineties, I guess. So but yeah. Really fantastic. I wanna
Speaker 3:know what he's doing now. What are you doing? He's, like, running guns in Oh.
Speaker 4:Oh, he's totally, like, playing the same songs.
Speaker 3:Yeah. Same.
Speaker 4:That's what I wanna that's what I wanna think.
Speaker 2:Yeah. Exactly. Cable Internet somewhere. That
Speaker 3:was amazing. Yeah. Well, Riyadh, it's up to you to take us out, man. You're give us a track.
Speaker 4:I think I think we're gonna stay on the on the slightly druggy tip.
Speaker 2:It goes with my brain right now.
Speaker 4:Yeah. Let's see. I
Speaker 3:just don't want Judy, man.
Speaker 4:Can we just keep
Speaker 3:you? Yeah.
Speaker 4:Okay. So here it goes. I'll I'll talk about it after.
Speaker 1:Stick.
Speaker 2:Yeah. Amazing.
Speaker 1:Beautiful way of ending the show that one.
Speaker 4:Yeah. It's a nice nice one to take us out on. That was Abstract with their cover of the Hawkwind song Silver Machine.
Speaker 2:Okay. That's why.
Speaker 4:Yeah. Yeah. That's why it's
Speaker 2:so rang a bell. Okay. Okay. Wow.
Speaker 4:And also Abstract Nympho is the is the name of a Chrome track.
Speaker 3:Yeah. Yeah.
Speaker 4:Yeah. Ah. And Abstract Nympho is basically a Berlin based duo. And one of the members has another project called Pharaoh Chromium which is another Chrome track.
Speaker 3:Yeah, yeah,
Speaker 4:It's like kind of a very hermetic universe that's going on there. They build themselves as a Dream Noise project. That's kind of like the prettiest thing that I've heard of theirs. They have stuff that goes into more tortured territory. Yeah, that was released in 02/2019.
Speaker 2:And that was also the last Shall It Be Effect album. Right?
Speaker 4:Yeah. Of course.
Speaker 3:It also made me it also gave me a little bit of emerald cloud cobra vibe. I was, like, thinking about That was nice. Miss emerald cloud cobra.
Speaker 2:I forgot about that completely.
Speaker 3:Yeah. That was great. Yeah. Who stopped talking to me after I recommended that he watched the the Maccabay of Sweet movies. So
Speaker 2:Oh, shit.
Speaker 3:That was my that that I've lost a few friends with that one. That's I mean,
Speaker 2:a great
Speaker 1:movie, honestly.
Speaker 3:Yeah. So viewers, don't hold it against you.
Speaker 1:Yeah. Okay. It's okay. No. That was really wonderful.
Speaker 1:Beautiful way of just what a great show again. Yeah.
Speaker 3:Yes. Episode eight. Man, Olivier, it was amazing to have you on the show. Like, so I'm so glad we bumped into each other at the at the, banquet machine. Yeah.
Speaker 3:I know. It's fantastic.
Speaker 2:And I was just like, I'm excited. I'm gonna be on the job.
Speaker 3:I love it, man. You brought, like, amazing vibes.
Speaker 4:Oh, thank
Speaker 3:you. Such a and it's so nice to have somebody else from the record store community of Montreal and, you know, like, obviously, your esoteric family and, like, it's yeah. It's and and have phenomenal taste in music. So, like, what a what a gift.
Speaker 2:It's yep. I I mean, honestly, I wouldn't be half, like, the the the the musician or, like, the almost the person I I I am I am if without, like, the influence of of you three and other people. But, like, yeah, it's just you you had, like, a tremendous influence on my life through the record store, through music, through other things. And, like, for me, it's just, like, very, very humbling to and, yeah, to to be here and to have been in your in your presence. And, again, hearing this fantastic fucking music you guys are are bringing to the fore always.
Speaker 2:You know?
Speaker 4:Well, everyone everyone brings for sure. Yeah. I I I have to say, like, Olivier, you're an incredibly, incredibly talented I'm like very, very I count myself super lucky to know you. And that you're manifold. Your talents are manifold.
Speaker 3:They're manifold.
Speaker 4:I don't think that people understand how deep you go, like, and how far you reach. Because I mean, you're you're known in so many different Circle. Different circles that don't always overlap. It's like yeah. It's it's
Speaker 3:He's kind of the Henry Flint of Montreal.
Speaker 2:Exactly. Oh my god. I haven't written the book. I haven't written the book again, and don't quote me on math because you're gonna fail your test.
Speaker 3:It's great.
Speaker 1:No. The inner your your energy is as opposed to Henry Flint, which I think he kind of talks like that. Whereas, Eddie, you're always in my in my in my memory and and my feeling. It's just so excited about music and any kind of music. That's what's amazing about it.
Speaker 1:You're you're transcend that excitement to, like, every kind of music, and and it's just amazing.
Speaker 2:Look. I'm I'm I'm feverish, and so I'm, like, getting shaky, but I'm also, like, very, very, very, very yeah. It's very emotional to hear that from you guys and to hear your points and to be, like, in this virtual space we're in right now.
Speaker 4:Yeah. Yeah. So for listeners at home, we've been looking at this. Adige doesn't have his camera on.
Speaker 2:I was just finishing I don't have a camera.
Speaker 4:At this random icon
Speaker 2:of, like,
Speaker 4:orange juice bubble tea thing in kind of a wallpaper cartoonish kind of style, which is very disconcerting. But Mhmm.
Speaker 2:And it's it's frustrating, but yeah. I I don't I don't have I don't have I don't have a fucking a fucking webcam. So
Speaker 3:Yeah. I am very excited that we go out on this particular episode with Ornette Coleman's friends and neighbors because
Speaker 2:Mhmm.
Speaker 3:Yeah. Olivier, as long as I've known, has been a friend and neighbor, and I'm pretty freaking happy to live in a world where I get to bump into that guy on the street all
Speaker 2:the time. Yeah.
Speaker 1:And I'm always really, really happy that I get to bump into you guys once a month.
Speaker 3:Yeah. Yeah. Look forward
Speaker 1:to Thank you guys
Speaker 2:for doing that Thank
Speaker 3:you guys for doing that
Speaker 2:show. It's so good.
Speaker 3:Yeah. Thank you for
Speaker 4:being part
Speaker 3:of it. It's amazing. Have a great Thank month, everybody.
Speaker 4:Yeah. Take care.
Speaker 1:Take care. I'm forgetting I'm a Texan now. I've even got the Texan accent.
Speaker 2:Sweetheart.
Speaker 3:Oh, I
Speaker 1:love you too, good looking doll.