No Filler Music Podcast - Andy Stott: The Darker Side of Electronic

Episode Date: January 18, 2021

Our first episode digging into the deeper, darker side of electronic music, we listen to a handful of tracks from UK producer Andy Stott. Leveraging a slew of genres from industrial and ambient to Detroit techno and deep house, Stott's adventurous and experimental sound keeps the listener on her toes throughout his varied and wide-ranging discography. Travis is also convinced that Stott samples a John Carpenter track from the first Halloween film. Listen and judge for yourself. Part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

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In store online at Sephora. And welcome to No Filler. The music podcast dedicated to sharing the often overlooked hidden gyms that fill the space between the singles on our favorite records. My name is Travis. I got my brother Quentin with me as always. And Q. We're about to go deep. We're about to listen to some deep, dark techno music.

Perhaps for the first time on this podcast. So we're going Deep House. Is that what you're trying to say? I'm getting some house vibes, dude. Yeah. So here's the thing. We're talking about a Manchester-based electronic producer named Andy Stott. Here are some of the labels that are thrown on him.

So techno, I would say, is like the big umbrella, right? that he lives under. But, you know, depending on the record, it's industrial techno or trip hop, which is, if you listen to our rewind episode two weeks ago, that's what Aiman Tobin is considered trip hop, right? Yeah, I was going to say, let's backtrack a little bit and refresh, do a little refresher course on what we've covered so far, because we're trying to hang out a little bit in the electronic world again. We don't, we just haven't spent enough time in this genre.

It's a genre that we both like absolutely love, you know. It's up there. I can't get enough of it, man. Yeah, for me, it's, it's electronic and rock. All forms of rock and all forms of electronic music, with the exception, obviously, of like, you know, there's some electronic music I don't like. I don't like really heavy EDM stuff, you know, with like the freaking chipmunk voice and stuff like that. And the, in the really cliche, like, drop and stuff that you'll hear if you go to. you know, insert electronic music festival name here, you know what I mean?

Oh, yeah, you're talking about like raves. We're talking like the rave scene and shit. I don't, yeah, I'm not really a fan of that kind of stuff. But, I mean, for the most part, I'll, I'm a huge fan of just about every type of electronic music, with some exceptions, you know. So just to throw this out there, I, this, I'm coming in blind here. I haven't listened to any of this guy's stuff. So trip hop

That's a big blanketed term I feel like man It is And I feel like I feel like Amin Tobin's stuff Some of the music that we covered Is kind of like

The The quintessential kind of Tripop sound Or at least that's what I think of So Andy Stott You know I would not consider him Primarily a Tripop

I was going to say like Amin Tobin yes And I think mainly because of the complexity of the drum beats and it's a little more like jazz centered even with the with the percussion Andy Stott I would put him into like it's that four on the floor deep house like I feel like that to me when I think of house music I think of that four on the floor just constant bass drum beat you know very repetitive and but like really lushly textured or layered you know I love that kind of

stuff, dude. I'm excited to dive into this, man. Okay, so here's the thing. That song that we played in, we're going to play a little bit more of it later, but this was my intro to this guy, and I would say that it's the most of the music that I've listened to from him, it's the most house sounding, if you will, like you just described. That song had a really kind of perfect house sound. Like, it's almost like generic house music. And that sounds bad, but I'm saying it has the, like all of the trademarks of what you think of when you think of like really good, like deep house techno music, right? But the rest of the stuff we're going to play today is very more, I would say more like

experimental and like I said earlier, like more industrial sounding. And it's really cool. So anyway. Should we dive right in or should I go ahead and just mention those three letters that I feel like both of us have tried desperately not to say yet because of the pretentiousness of the three letters. You know what, dude, I'm not afraid of it. I probably say it. Let's talk about it. Let's dive into it a smidge. Or you want to play a song and then we'll talk about it? Yeah, but do you think that he would be considered that? I'll let you know after this first song. Um, all right. So,

and dude, I just realized how pretentious this entire exchange just now felt. Well, you know, Because we're still not even talking about the three letters. Well, we talked about the, you know, the more popular cousin or whatever. Yeah. You know what I mean? You're talking about an idiot. Yeah. So anyway, yeah.

Let's just, we'll talk about those three letters. Okay. In a minute. So yeah. So here's my background with this guy. Here's a rule that I live by, Q, that I think you probably live by as well. You got to have Shazam at the ready if you're ever walking to a record store or if you're ever waiting for the headliner to set up on stage, right? And they're playing some house music.

Not that kind of house music, the actual. The venue is house music, right? Right, right, right. So anyway, I couldn't tell you the show, couldn't tell you the venue. but I shazammed that first song that introed us in at some venue. I was at a concert. And the funny thing is this happens all the time. A lot of times you're at a rock show and the house music that plays in between the bands

getting set up is like electronic stuff like this, which is kind of cool. So it's almost like the, you know, whoever's the controlling the sound or whatever is just going to play whatever they want to play, I guess, you know. I'm not sure how it works. But anyway, so let's listen to this again. I'm going to let it play out a little bit longer because, as we have talked about countless times in the past, anytime we talk about electronic music, it's all about the layers, it's all about the buildup, and then like the bringing back the layers and then I like good stuff.

So we're going to let this play out a little bit more. And again, this is called Tell Me Anything. So we've got three more tracks. So, like I said earlier, that's actually the most tame picks that I'm bringing. So if you thought that was a little bit kind of repetitive and maybe a little too, a little too mellow for you, the next three tracks that we're going to play are a little bit more lively and more, there's a lot more going on, which is what I like about the majority of his stuff. So I'm also playing this in the order that it was released.

So this song came out in 2010. And you could tell he starts, he becomes more and more like experimental with the things that he does and like the sounds that you're going to hear. He starts playing with voices and stuff like that. And well, we're going to talk about it later, Q, okay? But are we going to, do you want to bring up the three letters? Let's do it.

So, and I'm going to say just based on that song, Yeah. I would put him in that category. Talking, of course, about IDM or intelligent dance music. And Travis, I'll never forget, you told me the story of, I guess there was some coworker of yours that you guys were kind of just like exchanging music that you're into. Yeah. And you said something like, I mean, you know, I like dance music, but it's got to be IDM dance music. And that does, dude, you can't help but sound like you're a pretentious, like hoity-toity, like, pinkies up, highbrow kind of like, if I'm going to listen to dance music, it better be intelligent.

Well, see, because here's the thing. This particular person, she's a co-worker of mine, she is a huge EDM person. She loves EDM. She loves going to those kind of music festivals and stuff like that. And so, you know, IDM, when you say, oh, I listen to, I listen to IDM, not EDM. Oh, what's IDM? It's intelligent. Okay.

She thought that I was, she didn't think that that was a real thing. So she thought I was just saying, that stuff that you listen to is fucking stupid. The electronic music that I listen to is intelligent. But that's a real thing. Hey, I didn't make that up. It's an actual genre and it actually does mean something. And I think that honestly, like the main difference is it's got it's got the heavy, it's got the dance beat, but you're not going to hear this at a dance festival,

like a music festival. Yeah. You're not going to hear this kind of stuff there. So here's how I think of it. EDM is the kind of music that that you bust out the glow sticks for, right? and you pass around the, I don't know the term, the, the, the ecstasy or something. The Molly. Yeah, the Molly, whatever, whatever the kids are in.

Yeah, you tell me what so. But IDM is more, I guess it's more passive, maybe. It's more like ambient sometimes. IDM is the kind of stuff that you might hear if you got invited to like a super hush-hush, like rooftop party in New York City from a bunch of like artsy I don't know like art critics or something you know pretentious snobs just very well-dry yeah okay I'm fine with it no one's gonna be dancing it's gonna be a cocktail party no dancing but this is the kind of stuff that's gonna be playing in the background well here's and I love it dude I love yeah here's the way that

Wikipedia defines it is actually perfect to style of electronic music originated originated in the early 1990s that is regarded as cerebral and better suited to home listening than dancing. And just like you, Q, most of my music listening is while I'm working. So I don't, you know, hell, I'll listen to really heavy fast-paced stuff too while I'm working, depending on what I'm doing. But I typically like more, like what this is saying, cerebral background. kind of passive stuff. And this kind of music is perfect for that.

It's a constant, you know, driving deep, usually like bass drum, kind of beat that just, you know, I love that kind of like you always say Q the four on the floor or whatever, because it's just, it puts you in a, in a, in a, in a, in a, in a groove, you know what I mean? Yeah, that repetition is a necessity. I think if you're listening to music while you're coding or if you're studying or something you know like you can't have too much change or for me at least like when i'm studying that kind of stuff will will interrupt my my focus but this kind of music will keep me going and yeah like you said keep keep you in the zone yeah so i'm curious to hear how he evolves dude let's see

let's see what else he does all right so the next track that we're going to listen to is a couple years later 2012 this is the title track to this record It's called luxury problems. I feel like, actually, I feel like I've talked with you about this, and it's not something that you usually go for. And maybe it gets under people's skin when electronic artists do this. But I love when someone will splice up someone's vocals to where it's, not incifable, where it's where it's yeah yeah yeah it's no longer like a complete set of words or whatever yeah yeah right right and like kind of chop it up man i feel like in our i love that kind of stuff dude i want

to say on our deaf punk episode and i could be wrong on this but they may have been one of the first ones to do that i might be totally wrong on that but i i'm pretty sure that i i read that anyway i love that kind of stuff yeah but here's the thing i don't like it When it, okay, let's have a conversation here. So I feel like with down tempo, there is a very generic cookie cutter down tempo formula that a lot of artists that you can find out there kind of follow. And I feel like what those artists typically do is take a sample from like a 40, the 1940s fucking like. Yeah, or something from the 60s or 70s. And they throw it into their song.

Yeah. And they're done or whatever. That's what I don't like. But what's interesting about the female vocalist in this song that we heard is that is that's Andy Stott's former piano teacher, which is cool. A beautiful voice too. Yeah, right? And can I say the imagery?

We like to throw picture, what images come to mind when. especially when we're listening to electronic music for some reason this kind of music just kind of like conjures up like the vibes just put me in in a space um this for whatever reason and it's funny we were talking about like you're not going to hear this in a dance club yeah immediately what came to mind was a you're watching like a cinematic piece and it's one of those like um overcrowded dimly lit dance club so and it's like very low to the ground like steady cam view and it's just slowly panning through like pushing through the audience and it's a really slow-mo footage. It's funny

you should say that cue because one of my favorite movie scenes one of my favorite movies and one of my favorite scenes in that movie is almost that exact thing. It's this movie that came out I don't know when but it was I think it was Christopher Nolan

no it's not Christopher Nolan No, I got to figure this out. It's the movie Collateral. Have you seen that cue? It's got Tom Cruise and Jamie Fox. Yeah, dude, I think you just brought this movie up in our last recording. Really? Okay, so it was Michael Mann.

Anyway, there is a scene. It may have been off the record. Oh, because we were talking, you know why? Because we were talking about Jamie Fox because I watched that movie. Well, we talked about Soul. Oh. We were talking about Jamie Fox. Anyway.

So there's a scene in this film where they're going through a, they're walking through a, They're walked through a club, and there's like a shootout that happens in this club. And there's this great song by, um, fuck. He's a really popular electronic producer. Moby. But it's a remix. No, it's, um, I got to figure it out. Collateral.

Fat boy slim. Nope. You're, uh, no. Uh, Paul Oakenfold. That's his name. The reason that scene is cool is because it's this great electronic song happening in a club, but it's, but it's suited to the, the movie and the scene, right? Anyway, all right, so real quick, let me just read.

So this album Luxury Problems showed up on Resident Advisor, which is a website that I think focuses primarily on electronic music and pitchfork's best albums of 2012 list. And that's where I read about the piano teacher. I'm so I'm going to read Resident Advisor's summary here. It says here, immediately noticeable was his use of crystalline. vocal clips, fragmented recordings of his former piano teacher, Allison Skidmore. In a display of mixing mastery, Stott worked Skidmore's nostalgic voice into the thudding grooves that together defined the album. So yeah, that's kind of, like they said, it's

mixing mastery, right? Because it's the great, like, juxtaposition of her voice, which is kind of like more of a classical sounding like. Almost like a smoky, like. Almost a shimony, like. Almost a shoegaze voice. Like massive attack or something. Yeah. All right. Let's move along here. And this next one is probably my favorite of his music that I've heard so far.

He's got a lot of stuff. And what I like about him, another thing, this is a side note. But I like it when an artist has like consistent imagery, I guess, or consistent, like, brand, if you want to call it that. But Andy Stott always has these really sharp and, like, interesting. black and white photos that he uses for his album art. He started doing that back in 2011. Anyway, this is an album that came out a few years later in 2016 called Too Many Voices. The song we're going to listen to is called New Romantic. Love these vibes, man.

I'm telling you, it just puts you in a headspace, dude. Dude, I've been living in this headspace, man. You know this, dude. Yeah. Because my music of choice for the last month or so while I'm studying is this kind of like really dark, ambient kind of stuff. Yeah. Like this kind of music always puts me in this like Blade Runner, cyberpunk kind of like cityscape. Yeah, I hear you. I love it, dude.

But we've talked about that. Like a lot of this kind of electronic stuff for some reason just conjures up imagery of like nighttime drives through a city. You know what I mean? Something like that. Yeah. I really like how, and he did this in the last song that you played. Like with this one, it sounded like you were, like the music was like pretty far away and you were approaching like a room that the music was playing in and you're walking up to the door and you finally open it, you know?

Yeah. I like that kind of stuff. Like he does a lot of reverb at the beginning that kind of like got more and more sharp and focused. Yeah. So that was the same vocalist. So he uses his piano teacher there quite a bit. Allison Skidmore again.

She's got those shot A vibes. I really like it. A little bit. Yeah, that's a good call. So I wanted to talk about one thing in particular. And man, I would love to do an entire episode on the history of the legendary Roland TR 808, most commonly known as the 808 drum machine, right? So like, I've watched a documentary on the 808.

I think they mentioned it even in that rap series on Netflix that we've talked about for. Yes, they do. Because it's kind of like the, the, you know, sounds that came right out of the machine, you know, just straight out of the gate, right? When you plug it in. Yeah, the stock beats that are on the, on the, on the, 808. Yeah. They are responsible for electronic, the sound, like the sound that we associate with electronic music

a lot of times is from that 808. Legendary. So, like, he used the cowbell 808 sound, uh, in that song. So yeah, I, I, I love that. I love that he, that he used almost the stock 808 cowbell sound, right? Well, and how many, like, 808, you know, evangelists, you know, people that love the 808, They must know it. You know it immediately.

Yeah. And that's the thing. Like when you hear it, oh, yeah, it's that sound. I've heard that a billion times, right? Especially in like the 80s and stuff like that, you know. Because that sound is like instantly like retro now. You know, it sounds like so many are like hip hop songs from the 80s too, right? Which is cool because this is not a hip hop song at all.

It's a deep house techno song. You know what I mean? That's pulling in that classic. 808 cowbell sound into it, which is cool, you know, really cool. Yeah. All right. So we got one more song. I think, you know what, dude?

I think that's what makes it so intelligent, you know? You're right, dude. That's what makes it intelligent. And this was created, this album was in Andy Stott's Basement Studio. That's what I'm reading here on Wikipedia. I wish I had a basement studio, you know? Yeah. I wish I had a basement, honestly.

I don't have a basement. Anyway, I got one more song, and I don't even know how much we need to play of this song other than like the beginning. And we'll let it play out a little bit, but there's only one reason that I wanted to play this song. So we're at least going to hear that part, which is literally the first sound you hear. But let's just let it play out. So this is off his record that came out last year called It Should Be Us. And this is the first track. It's called Dismantle.

And by last year, I mean 2019, because I'm not used to last year being 2020 yet. So 2019. All right. This is called Dismantle. For a song that is so repetitive, like, man, he sure knows how to, like, I don't know, it's very unique. The sounds that he gets from his synthesizers, like, he's doing some really cool stuff to that. Yeah. And like I was saying earlier, it seems like he gets more and more experimental, right?

Like, I've been playing this in order. This is what he was doing in 2019. But anyway, dude, I would love to go down to that basement and just hang out, man. I just hear what the hell. What kind of experimental stuff he's doing? It's like a madman. Yeah. So first thing that I thought of and like it has to be lifted straight from it is a little song cue from John Carpenter's Halloween soundtrack, which we talked about John Carpenter a little bit on our bonus Halloween episode.

But yeah, listen to this. I'm not to maybe click around here until I find it because I don't remember what the song is. Just bear with me here because I might be dead wrong on this, but it sure sounds like it to me. So, all right, let's listen to this here real quick. Okay, now let's listen to the opening seconds of dismantle. That's it, right? It's very similar. You know what, dude?

Come on now. It's got to be it. John Carpenter's got to be an 808 fan. Well, no. Do we talk about the machine that John Carpenter used? That's not an A-O-A. Dude, not everything is an A-O-A. That's not the cowbell sound that we talked about earlier.

But no. I know that. I think the 808 does more than just a cowbell sound. I mean, if we want to talk about exactly what John Carpenter used, we... I forgot, you know, I'm sorry. I know you mentioned it. I don't remember the name of it either, but he did have like a particular, like, go-to machine that he used. Let's find out what it was called.

E-M-S-V-C-S-3 synth, that old, that whole thing, you know. Of course, of course. Anyway, but here's why I, even if it's not true, I want it to be true, that he sampled in a sound from John Carpenter's Halloween score because as we talked about, John Carpenter was kind of like one of the pioneers of like synth music, you know what I mean, in movie scores, right? Yeah. So being that Andy Stott uses 808 sounds and like, you know, does all this experimentation and stuff like that, I would like to think that he's nodding to, you know, one of the pioneers of synth music, because those are the same notes at least. It's

manipulated a little bit and whatnot, but I would like to think that that's what he's doing. So that's what I'm going to tell myself. Anyway, well, even if that's the only reason you played that song, dude. I'm glad you did because I liked that. And it was a lot different than the other two. The other two songs I played had those female vocal samples in there. They were kind of in the same wheelhouse at least. But that song was a lot different. So like I said, this guy's got a lot of, he just sounds really different. Like I've never come across another electronic music that sounds quite like him. He does a lot of really interesting things. And I feel like this is the first time that we've played this kind of electronic music on this podcast.

I feel like typically it's been either down tempo type stuff like Tosca and like arms and sleepers or it's been like hypnagogic IDM like Boards of Canada and Tyco or it's been like synth music like Comtrus. Or architect. Yeah, exactly. So we haven't really touched on this type of stuff yet, which is why I wanted to play Mr. Andy Stott. And I think next week, I don't think.

we've landed on an artist yet. Well, next week we're doing our What You Heard episode, Friends. That's true. Let's talk about that, dude. Okay. Yeah. So if you didn't listen last week and if you're a regular listener of the show, why didn't you listen to last week's episode number one?

But number two, you're probably used to hearing our What You Heard segment around this time of the episode. But we are trying something new for 2021. on, and that is to save our What You Heard's, if you will, for an episode each month. So, and it's not going to line up perfectly every time, but basically every three or four episodes we'll do a What You Heard episode where Q and I each bring three to four tracks each of songs we've heard since our last What You Heard. And I'm excited about that format. I kind of miss and I'm disappointed that we're not doing what you heard right now.

But I think it's going to be fun to do a monthly what you heard because... Dude, yeah, I had a lot of fun in our 2020 recaps kind of playing the DJ on the fly game. Yeah, yeah, yeah, yeah. Try to pick a song that kind of flows well with the song that you just played. Right. And it's going to be fun to bring six to seven, six or eight. new, you know, different artists, different songs every month. Exactly.

I mean, we do that anyway. It's just spread out. But yeah, basically what made me think to do this was I went back and was listening to our, we called it the 2019 like discoveries episode or something like that where, you know, basically in 2019, when we were doing our recap episode for our top tracks of that year, I went back and realized that a lot of my favorite artists that I listened to were actually like older artists. You know what I mean? Yeah, or it was artists that didn't release any new material in 2019.

Yeah. And so we did 10 songs, I think, on that episode. Yeah, I had an Al Green song on there. Exactly. And I had like this kind of obscure like math rock band that was great. And it was a really fun episode. And so I wanted to sort of bring that format. and make it more of a thing.

So we're still doing What You Heard's. We're just not doing them every episode. So, Q, that was that. So I think we're going to kind of stay in the same pocket as far as like this branch of the electronic tree or whatever. Like we're going to stick with the house kind of music, the deep, the more deep ambient stuff. And I think the next artist that we're going to cover after our What You Heard episode is more

of a an IDM musician than this guy was. I think this music is more sort of like your more classic IDM type stuff. Dude, if you don't like intelligent dance music, then you've just got a low IQ.

I don't, like, it does make you wonder the origin of, like, I, like, the origin was a rooftop cocktail party in New York. It's possible, Q.

It's possible. possible, but it does make you wonder because, I mean, not that Wikipedia is an NLBio here, but Andy Stott does not have the IDM label on him. So I think it means something for, you know, maybe it's whatever you kind of want it to be. You know, IQ, let me just tell you this, because I want to read the next sentence on Wikipedia, okay? Sometimes you've got to read two sentences in. So are they the endelial?

Maybe. emerging from electronic and rave music styles such as techno acid house ambient music and breakbeat IDM tended to rely upon individualistic experimentation rather than adhering to characteristics associated with specific genres so in that case I would say that Andy Stott is IDM because of all of his experimentation see that I'm tell you man uh to me that foreign the floor beat is is heavy in IDM. That has nothing to do with IDM. I know, dude.

But like to me, that's what makes it still dance music. Yeah. Intelligent or not. I see. So the word dance is still being used because it has that characteristic of your typical. It's easy to dance to. Yeah. But you're not going to.

It's not more complex beats and stuff that are switching up all the time that make it hard to dance to. Hmm. I don't know. I don't know. Well, hey, you know, if you send us your thoughts, you know. We need to fucking. Reach out to us on Twitter. To chime in.

If this is your jam, give us, you know, send us a message on Twitter. Let us know what you think. Because, yeah, it's really hard to classify this stuff, man. It's one of those things where it's like, you know it when you hear it. Yeah. Yeah. And, you know, really, it's only if you're smart. Are you going to know it?

You know, dude, I've never heard this before. Drill in bass. I've heard drum and bass, but not drill and base. Drill and base. Drill and base is a subgenre of electronic music, which developed in the mid-90s as IDM artists began experimenting with elements of drum and bass. Drill and bass. This is just fucking dumb.

That's just fucking dumb. Just call it drum and bass for crying out loud. When I hear drill and bass, I think some guy with his drill up next to the mic going, reet, reet, reet, reet, reet, reet. Well, Q, it's funny you say that because, and I didn't mention this when we talked about, the Doom Eternal soundtrack by Mick Gordon. He actually sampled in a chainsaw and turned it into a guitar sound. So there you go. All right, we're done.

We've just been yapping for the last 10 minutes about bullshit. All right. So, yeah, next week is it going to be our very first what you heard episode. So I'm excited about that. I've got some interesting music to bring to the table as well. But yeah, that's next week. Until then, you can check us out on our website, nofilterpodcast.com. And where you can find all of our music.

You can find all of our show notes for each episode. And we have an entry on the site right now. It's the first thing on the homepage that has each of our, last four episodes, I guess. If you want a single place to find all of the 2020 recap episodes, it's all on one place on the website. But obviously, you can also just listen to us on Spotify, or you can listen to us on any number of different podcasts formats or platforms, I should say.

And then you can find us over at, I mean, you can find us in all these different places, The Pantheon Podcast Network. It is the place for music lovers, Q, the podcast haven for music lovers. So if you want more podcasts that talk about music and nothing but music, go over to pantheonpodcast.com. You can find us there. You can find plenty of other great music-related podcasts on there as well,

something for just about everybody. And that's that. Follow us on Twitter at No Filler Podcast. and shout at us over there. We love hearing from the listeners. We don't hear from you enough. So, hey, you know what? While you're out,

why don't you go to iTunes as well and rate the podcast? I don't think that's something we ever say. We never say that. You know why? Because we're, you know what? We don't. We're humble.

We're humble, dude. But give us a little bump. Give us a little iTunes bump. That would be awesome. Give us, you know, a five-star rating. Tell us what you like about it. All right, Q, that's that. Let's stop yapping and sign off for the day, for the week.

And we will talk at you guys next time for our What You Heard segment. By segment, I mean What You Heard episode. I'm so used to saying this segment. Our very first What You heard of the year. So check us out next week. That'll be fun. All right. My name is Travis.

And I'm Quentin. And we'll talk to you guys next week. You know.