No Filler Music Podcast - A Different Shade of Grunge: Lush's Early EPs

Episode Date: April 11, 2022

Tracklist: Thoughtforms Baby Talk Scarlet Leaves Me Cold Downer Sweetness And Light Breeze Learn more about your ad choices. Visit megaphone.fm/adchoices

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the music podcast dedicated to sharing the often overlooked hidden gyms that filled space between the singles on our favorite records. My name's Quentin. I've got my brother Travis with me as always. And today we are covering Lush and their first three LPs, Scar, Mad Love, and Sweetness and Light. So this is another one of those groups that kind of fall kind of in between Alt Rock and Pop, Grunge, and Shugays, you know, that were really making waves in the UK in the late 80s, early 90s. And yeah, they were under our radar for the longest time, Trave. We missed out on this in the 90s because we were, I mean, this, we were very young when this stuff was happening. And it just wasn't making enough sound in the US

for it to ever reach us. Yeah. I mean, we were just, you know, I think we missed out on a lot of these bands that we've been covering over the last month or two, because it just wasn't mainstream enough for, this is going to sound like a dig at our brother, but our relation to 90s rock was purely from whatever Spencer had in his CD collection, our older brother. And he had, I mean, don't get me wrong, he had great stuff, you know, he had the smashing pumpkins and the stone temple pilots and the, you know, presidents of the United States of America and the totes and all that stuff. but he didn't have any of this more alt-rock stuff.

He didn't have anything shoegazy whatsoever. And that's probably kind of like what you said. It was just not, it didn't make the mainstream. It didn't, you know, you weren't going to hear this stuff on the radio, at least in our, you know, the little suburb of Texas of Dallas, right? So yeah, now we're kind of just, we're catching up, you know. Yeah. And, you know, we've been repeating ourselves a little bit here over the last few weeks.

But, you know, this is kind of what we've been. covering, you know, so it's important, I think, to keep bringing that up, you know, because like the more I learned about these bands, it really is more so that they weren't, like, their record labels that they were on just weren't really focusing on the U.S. markets, at least early on, and depending on the record label, but these bands were huge in the U.K., huge. So the three EPs that were covering today, I mentioned the name. in our little intro.

I was not aware that this album with theirs called Gala, which came out in November of 1990, is actually a compilation record that was released primarily for the U.S. and Japan markets, and it consists of these three APs. That was the first album of theirs that I dove into, and again, it dives into all three of these EPs. and it's interesting because the tracks are in reverse chronological order for each three.

So I think it's interesting. They start off with songs from sweetness and light, and then they end on SCAR. So it goes from 1990 down to 89. So it ends with their earlier stuff. But anyways, so the band formed in 1987 in London, and they were initially named Baby Machine, which I thought was funny. off of a line from a Susie and the Banshee's song, Arabian Nights. Dude, that's funny.

This is the second, I want to say this is the second band that named themselves after a Susie and the Banshee's song name or lyric. So it just kind of tells you how, of course, I can't remember the band, but I mean, I know I've heard that before. Was it a band that we covered? I think so. Or at least we've mentioned them in a bunch of heard or something, but it just tells you how influentially or...

Yeah. So the original lineup consists of Mariel Barham on vocals, Emma Anderson on guitar and vocals, Mickey Berengi on guitar and vocals, Steve Rippin on bass guitar and Chris Ackland on drums. So I want to dive straight into SCAR, their debut EP that came out in 89,

and just kind of talk about their early sound a little bit and then kind of where they went from there. So I'm going to quote Emma here. Again, she's one of the vocalists of the group. She says here of the band's beginnings, we were kind of punk rock in one way. We did think, well, if they can do it, why the fuck can't we?

Basically, our idea was to have extremely loud guitars with much weaker vocals. And really, the vocals were weaker due to nervousness. We'd always be going, turn them down, turn them down. Dude, that's something else because if it wasn't for her nervousness, right, in her vocal abilities, then they wouldn't sound the way that they sound, you know? And then that was true for Catherine Weill when we covered them a few weeks back. On their first record for Mint, his vocals are like more subdued and stuff,

because he just wasn't as confident as a singer yet. And that's why that record got more of the shoe. Gays label and then that label stuck with him even though by the time they got to Chrome the record we talked about, he was much more confident and like comfortable with his vocals and they were more up front, you know. Yeah. But that's interesting because that description is part of the shoegaze dynamic, right? Really loud guitars. Extremely loud guitars. And soft vocals, you know, so that's really interesting. So I'm going to just jump right into it. Let's play track one on SCAR. Just so we can get a feel for this sound from their early stuff.

And really, we're only going to cover two years worth, well, really one year worth of music, I guess, in a way, because we're going from 89 through 90 with the EPs that we're covering. But there's really pretty big shift in sound between the three EPs. So that's cool. Yeah, we get to see the evolution here. Yeah. And we'll kind of talk about why that was. So again, we're going to dive into their first E.P. Scar.

we're going to play the first track on the record. This song is called Baby Talk. Yeah, so there's like the punk energy that she's talking about. Such an awesome song. And I love the guitar. The guitar is great. That is what makes that song stand out. Yeah, really cool.

Yeah, just that sort of wall of sound is not the best way to describe it, but almost like the term used to describe some of hums stuff on Down Mortar's. I haven't worried that we talked about last week. It was just a wall of guitar, at least. Something I read here that I thought was interesting. So this is from an article from Melody Maker that came out. I don't know the exact date it came out, but it was around the time that they released Gala. And I believe they were following them around in the U.S. for this interview. Walking around this record shop in North America, and this article here says, she doesn't even cringe when the shop assistant describes the band as a cross between the cocktail twins and the pixies.

As far as comparisons go, this one goes out the window. But it adequately describes Lush's mix of velvet and vitriol, honey and belladonna. So I think, again, that kind of goes with, and that's something we mentioned with, hum, you know, with that kind of quiet loud, quiet loud. That kind of stuff happens a lot in Lush's music. I'm seeing a name jump out of me in this article that you're looking at. Did Robin Guthrie produce the record? Not this one.

He produces Mad Love. Yes. We're going to get into that, dude. Okay. Well, there's a cocktail twins tie right there. That's awesome. So as heavy, you know, and punk as that song was, there are definitely elements of, like, what is later to come, I guess, in their sound on this EP

scar. And I'm quoting Mickey here. again this is just speaking of their their beginnings and kind of how quickly their style started to change he says there was a very rapid shift from the minute we started to write for records the music and the lyrics became much more thoughtful and expressive more important really i remember that change beginning when emma wrote thought forms it certainly made me think i needed to get my act together. So Thought Forms was the song that we introed in this episode with, which is one of the tracks on this EP Scar. The first track we just played, Baby Talk was written by Mickey and she was the one

who was speaking there. So, but I wanted to play just one more track from Scar just to kind of show, you know, what else they were doing at the time and just kind of where they were heading. So this is a, uh, song that was written by both Emma and Mickey. This is track three on the record. This song is called Scarlet. Man, you can hear the influence. I mean, it's the same style of music, I guess, but we've talked about the dream pop of the 2010s and stuff, right?

And how, you know, dream pop is kind of the next iteration, the next wave of shoegaze, right? But man, I mean, this is 89. Right? Yeah. That sound is still just, you know, part of, it's kind of the indie music dream pop sound that's still very popular right now. Like, it seems like Shugays, just the generic term of Shugay's Dream Pop is one of the most consistent rock sounds, you know? Yeah, you're right.

It doesn't really change much. Grunge was around for just a small window. Obviously, it's having a resurgence in some way right now, but it went away, you know. But Shugay's in Dream Pop, it's been around the whole time. It hasn't gone away. Yeah, Grunge was almost entirely gone. Yeah. By the end of the 90s for, you know, for a while in the early 2000s.

Right. Anyway, but it's interesting that Baby Talk and Scarlett are on the same EP because they sound so different. Yeah, and that's what I was saying. And that just speaks to the different writing styles between Mickey and Emma. Well, yeah. And as that article, the person who wrote that article said, it's like a mashup of the pixies and cocktail twins, right? Like those two songs, that's it right there.

Yeah, dude. Because one is very loud, quiet, loud. It's a mix of velvet and vitriol. Yeah, perfect. Yeah. I love it when we can quote writers who are just better at words than we are. Right. Velvet and vitriol.

So I'm going to quote another article that came out in 1990. I'm just going to read the first few lines of the article. And so it's called A Different Shade of Grunge, is the name of the article. It says for the past couple years, the somewhat legendary British music press, NME, and Melody Maker in particular, has become almost hyperbolicly enamored with a slew of bands whose sound is built from a split-level bass of catchy, melodies and fogged, feedbacked guitars. My Bloody Valentine, the Pale Saints, the Pixies, and Grunge veterans, Jesus and Mary Chain, have all been bombarded with such praise.

As the most elegant addition to the bunch, lush have been lauded as brilliant by the Brits. In this case, that daunting epipat just may be valid as their glittering debut LP scar jumps from stomach churning guitars to languid airy vocals with the greatest of ease. Again, that speaks to it, and I think maybe that's why people were paying attention to them, you know, because there was just that stark contrast from song to song. Yeah, and, you know, to some degree, Sonic Youth kind of did that, and they had been doing that much earlier than this, right? and we talked about with David Brown on an episode last year.

He's a Sonic Youth biographer that we had a chance to speak with about just how influential Sonic Youth was, right? So I don't think it's a stretch to think that they were influenced by Sonic Youth, at least to some degree, right? Oh, yeah, they probably were, dude. So I want to touch real quick on the record label 4 AD, which is what they were signed to at this point. Heavy hitters did. That's where all of them were.

Heavy hitters and, you know, again, just not something I was aware of, I guess, because 4 AD is still around. But back then... You know what's interesting? There is a... So you've been to Josie Records, right, Q? Oh, yeah. It's like the best record shop in Dallas. No question. Huge. And they have their collectibles and like expensive records kind of in the corner, right? and they have, you know, record stores have genre dividers, right? They have a divider just for 4AD. Now, I think it's shoegase slash 4AD, which is kind of funny.

But that just tells you how many of those types of bands were on 4AD. They're kind of lumped together, but they actually group them and, you know, they get their own genre divider. That tells you a lot right there. If you're a record collector, that's how important this one. record label was, is that they want to call out, call your attention, hey, here's the 4 AD stuff, you know. They probably had so many people coming into the store asking specifically for 4 AD records from the 80s.

Or asking for artists under that label or something. Yeah. But yeah. Anyway, I thought that was interesting. So another subgenre. That 4AD is basically responsible for, they were like the main representation for this genre is called Ethereal Wave,

a subgenre of dark wave music that is variously described as Gothic, romantic, and otherworldly. Looking up Ethereal Wave, it is, the stylistic origins come from dark wave, Gothic rock, post-punk,

and new wave, derivative forms dream pop and shoegazing. So I think those really breathy, you know, calm, quiet vocal stylings, I think, is what I think of when I think of ethereal, you know, kind of otherworldly, it's interesting that people don't really use this name anymore when they're talking about this kind of music, but it fits with the sound so well.

Yeah, it's a good way to say it. Darkwave, just that alone, right? but if I were to go back and think about the types of shoegaze bands at all I like, I think ethereal wave and dark wave shoe gaze is a good way to describe it. There's a lot of, you know, you could almost say that doom gaze stuff is kind of drawing from the dark wave side of this kind of stuff, you know. Absolutely, yeah. So moving on to Mad Love.

So this is the next EP that they, dropped. So as you had mentioned earlier, Trev, Robin Guthrie produces this record. So he's one of the guitarists in Cocktow Twins. And a very accomplished at this point ambient music producer, right? That's kind of what he's gone on to do. I guess he's always, I think he's always more known for his cocktow twins, being part of the Cocktaught Twins. But I was a fan of his ambient stuff before I even knew he was in Cocktaught Twins. Yeah, it's really good stuff. His guitar tone is like, perfect.

So I'm going to quote from that alternative press article again, a different shade of grunge that speaks of this new EP, Madlove. Says the new record is another EP produced by the Cocktow Twins, Robin Guthrie. If you're expecting it to echo the morose pound of scar tracks like bitter, you may be disappointed. I think a lot of people want to hear more the same, and the new one is quite different than the old one. Not the actual music, but the production and the way it's been done. I suppose it's more commercial.

It's not nearly as raw or as rough as Scar was. So again, this is 1990. Their second EP, Mad Love. I'm going to play a couple songs from this one. First one is going to be track two. The song is called Leaves Me Cold. They seem to do this thing with, you know, they did it with, baby talk where this is where I hear like the Sonic Youth influence or at least the same

kind of thing that Sonic Youth did where the guitars seem to kind of, you know, go into this kind of chaotic moment. I feel like their, their chaos is a little bit more controlled than Sonic Youths, but it's still trying to do this more aggressive kind of guitar attack, you know, that just, and what I love about her, her vocals are so soft. And I think it works so well. with that. I think we heard both of them. So they have very similar vocals. Okay.

Very similar. So that's between Emma and Mickey. Because they're doing this kind of back and forth thing throughout the song. Yeah. But yeah, it's interesting to think about like, because reflecting back on that article, a different shade of grunge. And, you know, they put in My Bloody Valentine and the Pixies and the Pale Saints as grunge, but a different shade of it.

But then you think like 1990, this is right before grunge blew up and right before never mind. Which is interesting that they're using that term. Right. That the term grunge had already started to, you know, enter into the cultural zeitgeist. Right. But it was used to describe bands like this, which is interesting. And this was the same year that Sonic Youth released goo, you know, they had already released Daydream Nation. But like that kind of noise rock, you know, noisy punk kind of.

no wave kind of stuff, was starting to mature. And bands like Sonic Youth were kind of going into a slightly different direction. And yeah, it was starting to feel more classic grungy. But it was before, this is right before everything changed. Yeah, it's just interesting because by and large, like the sound of grunge in our head is smells like teen spirit or pearl jam or, you know, to, like, like the heavier extent like Allison Chains and stuff like that. Yeah.

But the term was already being used for bands that sound nothing like Nirvana. Right. So it's just interesting that, you know, depending on, well, you know, we talked, I think we talked about this band. Our second episode, Q was on the band Green River, who was like the first band to get the label applied to them. Yep. And of course, they were a lot heavier than this group, but I just think it's interesting that

the term grunge is being used in some way. at least to describe lush because as far as I'm concerned there's nothing about it that's grunge but that's because I can't shake the separation like I can't separate grunge from from the heavier side of it that comes right around the corner and like in 92 93 right and this was heavy right like this this song but is it more punk like though like right it's more punk it seems more punkish to me and you know like that article is saying if you if you're if you're expecting to hear an echo of what Scar sounded like, you're not going to get it. I was getting it on this song. Again, that was leaves me cold. That, to me, sounded just as raw and rough as, you know,

baby talk. This next song I'm going to play is more of the same, just kind of really heavy, you know, loud sporadic guitars up against those vocals. So here is the next track on Matt Love. the song's called Downer. Definitely a bit different, like sonically. Yeah. I think that's what Robin brought to the table. You can definitely hear the change. And what was that like a, is it philanchi?

Flange, yeah. A little bit of a phalanche, yeah. Yeah. Like a phaser maybe. You talk about the effect on the guitar. Space rock, dude. Space rock. Yeah.

Yeah. I mean, you could put that, call that a space rock thing. But something I was thinking about, dude, I want to get your thoughts on this. Imagine if we had the original mix of the song or whatever and we could isolate the vocals. Just think about it. Try to think about just the vocals by themselves. Like, what would you label the song?

Because I think the vocals, they're almost, the song, the vocals could almost be used on like a more straightforward 80s pop song like from like the go-goes or the bangles or something. Strawberry Switchblade. or Starberry Switchblade, yeah, it might be a better choice. But like, it really is the music, the instruments that make it so special. Not that, dude, not, that sounds like I'm attacking her vocals. I'm not at all. It's all part of it.

No, I know what you're saying. It all plays together and makes it what it is. But I'm just saying the melody, at least for this song, was kind of a little bit more pop forward, you know. Yeah. But that's what makes it cool. But again, like, I can hear the cocked out twins meets. the pixies. Totally.

It's a perfect description of it. Especially seeing now that you got Robin in there, producing it. All right, so I've got two tracks. We're going to blaze through these two, man. We're going to jump down to sweetness and light, which also came out in 1990. So this one was recorded in August and released in October of 1990.

So they were definitely like flush with ideas, you know, in the 90s. These were, you know, really tiny little EPs. Mad Love was, four-track EP. This one, Sweetness and Light, was only three tracks, but, you know,

they were, they were just starting to discover their sound, you know, so they were getting into the studio whenever they could. And I think it is, yeah, I think it was a good idea

that they decided to drop that compilation record, but, you know, you're just kind of getting these tiny little, uh, snippets of how their sound progresses within the span of a year, really,

which is cool. So we're going to play, two tracks. So basically we're going to play two-thirds of the record or the EP. We're going to play the title track. So this one was not produced by Robin Guthrie. Just throw that out there. So this is track one on the EP. This one's called Sweetness and Light. I love that song, man. Yeah, that's great. That's one of those riffs that you could just listen to on repeat. The main guitar melody of that song. Oh, yeah, dude. This is it, man. I feel like this is, Lush has arrived officially.

Yeah, sure. And so this is like, yeah, like you said earlier, it's so interesting to hear just how far they came in a year. Yeah. And just how big of a difference the producer makes, right? You can kind of see it start with what Robin Guthr was doing, just sonically with how Mad Love sound. And then you've got Tim Freezegreen,

who funny enough dude I was just talking about this band worked a lot with the band Talk Talk from 83 to 91 Talk Talk is another one of those UK art rock kind of synth pop new wave groups so makes a lot of sense

that he was able to bring that sound to the sessions so that was actually Mickey who was doing the lead vocals on that song I believe it was Emma again that wrote it, but it says here, both Mickey's lead vocal and Emma's backing vocal, it says in parentheses here, which drew comparisons to Belinda Butcher of My Bloody Valentine, are mixed low and obscured. That's when you're starting to get the more dream poppy shoegaze kind of sound, when you've got

vocals, you know, mixed really low, to where it all just is kind of like a wash in the wall sound, right? Mm-hmm. And it says here, the recording sessions took considerably longer than Lush's previous sessions with Robin Guthrie and John Friar, but resulted in a more atmospheric dream pop sound. Yeah, totally. So they took their time a little bit more during these sessions. And honestly, I feel like this is when, again, like this is when Lush is born. Like the sound that Lush continued to do is right here, sweetness and light.

And I got one more track to play, dude, and I'll wrap it up. This is the final track on Sweetness and Light. This song is called Breeze. Sounds like a completely different band than the one we were dealing with just a moment ago. Yeah, it's a lot brighter sounding and like not so dark. Definitely more, the production value is definitely higher than their first EP, but that would be expected. What I was going to say is like, that sounded like the Stone Roses to me big time. Really?

They mentioned a lot in quite a few of these articles that I read. Are they? Yeah. Yeah. But that's the first time I thought about the Stone Roses was this song only. So I'm not trying to say that all the stuff we like that they're similar to Stone Roses as a whole. I'm just saying that seems like that's maybe the way their, the direction their sound was headed, which to me is a more straightforward alt rock, Brit pop.

Stone Roses don't really flirt with shoegaze much at all. Yeah, here's what's interesting, dude. I'm looking right here on this Wikipedia. article. I think you're spot on, dude, because what it says here is, so this is talking about sweetness and light again, the first track we played from the CP, says the drum and bass instrumentation

are arranged in a Mad Chester style, trying comparison to the Stone Roses. Madchester was a musical and cultural scene that developed in the English shitty of Manchester in the late 80s, closely associated with the indie dance scene. Madchester, that's cool. Indy dance saw artists, merging indie music with elements of asset house, psychedelia, and 60s pop.

Huh. Okay. Well, yeah. Yeah, it sounds like those tongue roses to me, but I mean, yeah. I've never heard that. That's a cool term, Mad Chester. Mad Chester, yeah. So that might have to do with the drum and bass instrumentation, you know, just the rhythm

section, really. I do like how up front the bass guitar is. Yeah. Like, you can hear it. And the last song we played, too. before this last one. But as it, you know, as it said here, it's a more atmospheric dream pop sound

that you're getting from sweetness and light compared to both Scar and Madlove. So, and I think that's kind of just the pocket that they stayed in. Yeah. Oh, it's great. What a great collection of tunes, man. Because you don't get such a wide range of,

of sounds from a band very often, you know? No, especially not in the span of a year. Yeah. It's crazy. Yeah, I mean, a lot of bands do, you know, while they're trying to find their sound might kind of bounce around, but not, a lot of bands can't pull off each sound so well. That's the funny thing. Like, Lush is like three different bands almost. And all three of those bands are awesome, you know. Yeah. And, you know, I did, I'm glad that I did, what little research that I ended up doing for this episode, because if, if I didn't realize that, that. that Gala was a compilation record. The first song I would have played today was Sweetness and Light because, again, the track listing for Gala is reverse chronological order.

We would have ended with PAPY Talk. This would have been a totally different episode. Yeah, yeah. Especially if we had thought, this is the 15 tracks on their first album. Yeah. As it kind of looks to be, if you're not aware, that Gala is, in fact, a compilation record of their first three EPs. So, yeah, it's really cool to.

hear what they did from it's almost exactly a year's worth of recording and record releasing so scar was recorded in july of 89 and then sweetness and light was recorded in august of 90 so 12 months dude this is what they that's how they evolved in just 12 months time really cool yeah really cool well that's all i got dude. Yeah, great. Great tunes. Another great, lesser known, at least lesser known to us and probably most people that only tuned into the mainstream stuff in the 90s. Lesser known band, right, from the alt-rock 90s landscape. And we're just going to stay in this pocket, dude. We got the next like six weeks planned out, I think. Yeah, it's pretty crazy. Including our What You Heard episode, which will be coming up in a few weeks. So next week we're going to talk about a band,

called Drop 19s. And I am really stoked, dude, because I know that your familiarity with this record is basically the one song that I've shared with you, and that was a few years back. Yes. And I'm definitely going to bring that song to the table, but I've got,

there's plenty of other great tunes on this record. So the album is called Delaware. It came out in 1992. And this is another one of those, it seems like with shoe gaze, there is like this starter pack almost of records that are recommended to people who are trying to get into shoe gaze. Obviously, my bloody valentine's at the top. Loveless specifically. Loveless, yeah.

It's always loveless. But Lush sometimes will show up on that list. Catherine Weill will sometimes show them that list. But for sure, this record from Drop 19s, I always see it mentioned, you know, hey, I'm kind of dipping my going to Shoe Gaze. What should I listen to? Like, it's always this record is one of them. And, dude, it is amazing. So you're in for treats, dude. Yeah, I'm excited, dude. I just keep forgetting that it exists. So I never press play on it. The song in particular that I'm kind of excited most about sharing with you all, it has one of my favorite moments in Shugays, period.

A bold statement, sir. It's amazing. So anyway, that's going to be next week. And after that, we're going to talk about another group that's often mentioned, which is called Chapter House. Yeah, and, too, my mind's getting blown right now because this was not planned in any way to link back to any of these other groups. But it says here that this is, I'm quoting Andy Kelman, who wrote for AllMusic. It was a retrospective four out of five review on AllMusic on the Lush album Gala. says Andy Kelman praised Lush's ability to, quote, veer from violent and edgy noise breaks to pop effervescence. Kelman noted how the material on Gala was a direct influence on Chapter House.

We're doing it, man. Connecting dots. And also, dude, get this. The album that I want to cover from Chapter House is called The Whirlpool. Guess who produced it, dude? Robin Guthrie. All right. Among others. There were a few producers for it, which is interesting.

But we'll get into that in a couple weeks' time. Okay. So, yeah, I'm excited to. I just kind of got into Chapter House, and I haven't even listened to this album all the way through, but the first two tracks drew me in. So that will be after Drop 19s, and then I think we've got our next What Youard to wrap up the end of the month. And they were going to crank up the volume after that. That's all I'd say.

Yeah, yeah. But we'll talk about that later. All right. Well, you can find us on Instagram to search for no filler. I am going to make a promise to the listeners right now, Q. I'm going to post some stuff on Instagram soon. If you're an avid listener, none of the posts will be shocking and new content for you. You know, it's basically going to be, hey, here's an episode that we put out two months ago. That here's the first time I'm hearing about it on Instagram at least. But, you know, trying to Trying to, you know, in order to form when you have it, you just got to start.

You know, you just got to start. And you just got to do it every day. Stick with it. Yeah. That's right. So, anyway, at the very least, you should use Instagram to get in touch with us. So if you want to, you know, tell us, tell us what 90s alt rock band we're not thinking of or that we, that you would love to hear us talk about or shoe gaze band that you would love to hear us talk about. Because that's kind of the pocket that we're in right now and we're pretty happy with.

with this realm of rock music. We're going to stay here for a little bit. Or if you have a song that you've really been jamming through or a band that you've been really into lately, you know, drop us a line on Instagram. Tell us about them. And maybe we'll have that as the outro song in our next What You Hear episode. We like to do that sometimes. So find us there.

Just search for No Filler podcast. You'll find us. And then, of course, we'd like to always remind you that there is a massive podcast network out there of similar shows like ours. And it's called the Pantheon podcast network. That is the network that we are a part of, the network that we are proud to be a part of. And you can find them on Spotify and anywhere else you get your podcasts. But you can also go to their website, Pantheonpodcast.com. We'd also like to thank AKG for sponsoring the show and the network. And yeah, that's it.

I'm going to fade out with a little more of that sweetness and light, because I think that might be my favorite song of luscious. So we'll just fade out with a little more from that track. And yeah, next week we'll be coming at you with drop 19s. Until then, thank you as always for listening. My name's Quentin. My name is Travis. And you'll take care. Unwrap holiday magic at Holt Renfrew with gifts that say I know you.

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