No Filler Music Podcast - Bloc Party: Silent Alarm

Episode Date: July 19, 2021

By the time 2005 rolled around, the garage rock heavy hitters had already made their mark. The Strokes and Interpol were both working on their 3rd records at this point, and bands that started with "The" were a dime a dozen. Bloc Party put their own stamp on the genre with elements of dance and Brit-rock infused into their sound, and a passion and energy in their delivery that made their debut record Silent Alarm stand out among the crowd. Tracklist: Positive Tension Like Eating Glass She's Hearing Voices The Price of Gas Luno Helicopter Schneider TM and KPT.michi.gan - The Light 3000 (The Smiths cover) This show is part of the Pantheon Podcast network. Pantheon is a proud partner of AKG by Harman. Learn more about your ad choices. Visit megaphone.fm/adchoices

Boarding for flight 246 to Toronto is delayed 50 minutes. Ugh, what? Sounds like Ojo time. Play Ojo? Great idea. Feel the fun with all the latest slots in live casino games and with no wagering requirements. What you win is yours to keep groovy. Hey, I won! Feel the fun!

The meeting will begin when passenger Fisher is done celebrating. 19 plus Ontario only. Please play responsibly concerned by your gambling or that if someone close, you call 18665330 or visit Comex Ontario.ca. With Amex Platinum. You have access to over 1,400 airport lounges worldwide. So your experience before takeoff is a taste of what's to come. That's the powerful backing of Amex. Conditions apply.

Unwrap holiday magic at Holt Renfrew with gifts that say I know you. From festive and cozy fashion to luxe beauty and fragrance sets, our special selection has something for every style and price point. Visit our Holtz holiday shop and store or online at Holtrenfrew.com. 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 Quentin, with me as always as my brother Travis. And today, we are covering Block Party's debut record from 2005, Silent Alarm.

Dude. I just found out that you are not really familiar with this album, other than that. than the mega singles that everyone knows. And that just fills me with joy, dude. I'm about to share some choice tunes with you. Yeah, I mean, I know, I know Banquet and I know Helicopter. Now, just hearing that intro song, I've heard it before. So like, I bet you I've listened to this record, but it's probably been maybe over a

decade since I've listened to the album all the way through if I've ever done that before. Looks like there's a lot of singles on this record, dude. There is, yeah. Which is crazy because I just thought Banquet and Helicopter were the singles. Well, and those are the two songs that, like, you know, put them on the world stage. Yeah. But Helicopter and Banquet, they're not really good representations of, like, the more, I guess, experimental stuff that you're going to hear on this album. Well, yeah, I'm looking at the genres that are listed on their Wikipedia page, Post-Punk Revival, Art Punk, and Dance Punk.

So yeah, that's probably what puts them sort of in their own separate category when compared to like the strokes and Interpol. Yeah, yeah, yeah. All the other post-punk stuff that was happening at that time, right? Right, right. And that's something that they set out to do. So members of the band, we've got, and I'm just going to do first names, dude, you know, that way we don't have to keep screwing up people's last names.

Nobody needs last names. So we've got Kelly, he's the lead singer, he writes most of the songs, rhythm guitar as well. We've got Russell lead guitar. So they are the founding members. They met in 99, and they started a band together. We've got Gordon on bass and Matt on drums. So electronic dance music was a huge influence in how they put their songs together. That's really what made them stand out, I think.

But, you know, again, you know, if you listen to helicopter or banquet, I feel like it just, you know, it feels more like, I don't know, like France, Ferdinand. Yeah. Yeah, I can hear that. The thing that always stood out to me about banquet was the back and forth guitar, the main guitar riff is like this back and forth between the two guitar players or there's like an effect on it or something like that. But I think it's, I think it's a guitar player is kind of going back and forth, which would be, I guess, the lead scene. singer and what was the guitar player's name? Russell. Russell.

Yeah. Yeah, which I always thought was so, so awesome. I remember, like, I had a delay pedal. Mm-hmm. You know, where you can just have a delay, like a looping pedal. And I tried to, and I got it to work, I think once. Well, like, I looped it and was able to play back in the two parts, like, with myself. Nice.

In my bedroom, you know. Anyway, I think they did that live, like, together. They would alternate. And I thought that was such a cool. sound. But I'm curious to hear kind of what else these guys do on this record. Yeah, and I'm, and I'm bringing songs that are a little bit different and, you know, kind of highlight that dance punk side of block party. So that intro song is called Positive Tension. It's a single, but it's one of my favorites. So it's why I snuck it in there as an intro song. But yeah,

So I'm going to quote Kelly again. This is just going to be a music heavy episode. I don't have too much info from this era. I read a bunch of articles, pulled some quotes here, but it's going to be mostly music today, dude. So I'm going to quote Kelly again here. He says, our idea of modern rock is really rooted in what is happening right now in terms of the musical consciousness.

Electronica, R&B, and pop informs how we put songs together. And then so they're big fans of Radiohead. And he says here, they are a mainstream rock band who are completely aware of their limitations. They are willing to try things that are unnatural to them. Radiohead realized as we have that the essence of what is going to make rock music survive into the next century is if people start mixing styles that aren't supposed to be together. That's a really great description of Radiohead. Yeah. And we talked about, we talked about that moment, I guess, after, what was it? After the bins? After the bins? Where they, where Tom was just kind of over like the, you know. The rock star lifestyle and yeah, the what was expected. Being

lumped into that category, right. Yeah, like the generic like formula and stuff. He was just tired of writing, remember he said he was tired of guitars. Remember? Yeah. He said he was just, he was over it. Like, you know what I mean? That's probably kind of what he's referring to here, the block party guys is when they realized that, like, you got to start mixing it up, make it sound different. Yeah, Kelly was interviewed just shortly after the album came out. And yeah, he was just saying, you know, at the time, I was just listening to a lot of electronic,

you know, dance music and that just kind of, you know, because of that, it just kind of happened. Like, it was intentional, but it wasn't. A lot of it was just because of what he was into at the time. There's kind of, I mean, there's a little bit of like, I'm reminded of the Foles guys, too, you know. Yeah, right. Yeah, dude. And that's kind of dance punky almost, right? For sure, yeah.

Like that math rock sound, yeah. All right, dude, let's play our first pick. So we're going to play the opening track, dude. And I've got two clips from this one. Such an awesome opener for an album, dude. And I think this is a good representation of what made them stand out. So this is again, track one from Silent Alarm. This song is called Like Eating Glass.

I have heard it before, but yeah, it's been a long time. So going back to like the math rock comparison, I think the drums and the bass, you know, I think that's something we've talked about before. Like with math rock songs, the drums are always doing something crazy. really complicated and sometimes the guitar and stuff might be a little bit more like subdued and stuff but the drums are always front and center like that's big time showcased in this song like this is a this is a song for the drummer and the bass player to like to shine and this is like the first track on the record which is really cool yeah and Matt so Matt Tong he's the drummer

they went through eight drummers before landing on Matt because eight drummers yeah eight drummers dude. Wow. And Matt is just a, he's a fucking machine. He's great. So, I mean, that tells you that, like, they needed, and always knew that they needed, like, a really strong drummer. If you go through eight, that's insane. Well, they were saying, like, you know, there were some, some guys that, that were behind the kid that, you know, they just didn't feel like, it didn't seem like they wanted to be there, like they weren't into it. Oh, okay. Or, you know, yeah, it just wasn't a good fit for the band. But yeah, you need this style of drumming and this, like, you know, like precision to pull off block party sound.

Um, you know, and that leads to that, uh, you know, the dance side of, of this post-punk kind of sound. Yeah. Well, so it wasn't necessarily that they couldn't find a drummer who could do what they needed the drummer to do. They just couldn't find one that messed with them or wanted to make this kind of music. Well, I don't know if that was the case for all eight of them, but like, you know, most bands don't go through that many drummers.

They're the entire career of the band, you know. the entire run of the band. Right. And this is before their first record even comes out. Yeah, exactly. Yeah, perfect opener for an album. So good, dude. And what I like about a lot of his lyrics, you know, they're very emotional.

So this is a song about dealing with, you know, those feelings of, you know, your relationship kind of failing, you know, falling apart. Like, it's so cold in this house. It hurts all the time when you don't return my calls. I can't eat. I can't sleep, can't sleep, I can't dream. And there's a great quote here from a guy named Mike Diver. He says, Silent Alarm didn't just make the band household names.

It was a pivotal post-millenium release. You can wear your heart on your sleeve while delivering punchy, pop-savvy rock music that appealed to radio heads and dance floor Doyens alike. I don't know what Doyens is. Could be like a British term. And that bridged the commercial critical divide brilliantly. Very true, dude. And yeah, he wears his heart on his sleeve with these lyrics.

And yeah, I love his voice. I love his delivery. Yeah. And I've got another clip here. I want to show just kind of the outro of the song, the buildup, and there's kind of a changeup at the end that's really cool. So here is clip two from like eating. Alas.

So awesome, dude. I love it when a song. It ends like that. It always gives me goosebumps, man, that ending. Mm-hmm. Mm-hmm. And I love those lyrics. He says,

We've got crosses on our eyes, been walking into the walls again. He was interviewed in The Guardian, and he said, cartoon characters have crosses on their eyes when they die. I always thought that was a really powerful image. I was just trying to convey in a really childlike way what it was like to be in a relationship that was falling apart.

The quality of being completely disoriented. It's great, dude. I feel like the tone of their guitar playing is kind of more in line with Interpol's guitar tone. Yeah. Or Friends Ferdinand. Yeah. Especially when you listen to the singles, Helicopter and Banquet, you know, the big singles. Yeah, but they don't do much distortion.

I feel like it. It's very angular style with some reverb on it. And I really like that style because it really, I feel it matches the lyrics and just the tone overall of the group is very cohesive, like his vocals, the lyrics, the guitar and everything and all works really well together, I feel like. Yeah, I love his voice, yeah. Man, where do we go from here? That's a great song, you know?

So this next one dude is a bit more heavy, I'd say, and very, uh, very, uh, percussed. cussive heavy. And I'm kind of cheating here because this is technically a single from their, they had an EP that came out before this in 2004. But this is a completely re-recorded song, you know, so it's totally different vibe. Sounds kind of different from how it sounds on the EP. But yeah, dude, this is, again, you know, just kind of showing what else these guys do on silent alarm. So this is track six. It's called She's Hearing Voices. Cranked up that distortion for you, dude. Dude, I love it. So do we know if this is probably mainly Russell, right, the guitar player, because he does the lead. He's the lead, yeah. Yeah, he's great, man. He's got a lot of,

I was actually looking at his sort of his gear rundown just now actually, well, this was playing, because I was wondering like what kind of effect pedals and stuff he uses. For this record, it seems like it was pretty minimal. Like he had a, basically like a distortion pedal, an overdrive pedal, and like a delay pedal, and that's it. Or at least that is what people noticed on his performance, their Conan O'Brien performance back in 2004 when they were promoting this record. That's all he had.

And they were playing banquet, right? But anyway, like, that's kind of his, his pelvis. set up for this era and like he does a lot with very little you know as far as his his uh his guitar pedals and the effects and stuff that he's putting on here but um yeah i just love it and i'm i'm hearing some foals yeah math rock vibes and a lot of these songs but um but yeah they take that and and make it more uh you know dancing even uh you know like that drumbeat especially it's very um it's you know, it sounds like an electronic dance beat, you know, like in the way they recorded, it's very punchy, you know?

Well, the drums come on very strong again, right from the outset of the song, you know. So I'm going to quote Kelly again here. He says, there's a real sense of space and atmosphere that you will hear in a techno house style, but you will not hear in a three-minute guitar pop song. It is a very difficult thing to put the two together without sounding lame. Yeah. That's what they were trying to achieve with this record. And they really pull it off, dude.

So it's worth noting, Q, if this matters to anybody listening, that both Russell and Kelly, back then at least, primarily used the telecaster as their main guitar. Both of them did? Yeah. Nice. Which is cool. Because, you know, it's the tele or the strad, as far as the Fender guitars that most people will think of. But I think it's interesting that they both chose to use the same guitar.

Yeah, that is cool. I think that, you know, that means that they, they want. wanted to be like in sync in that way as far as. And it makes sense with banquet, they're going back and forth. You know what I mean? Right. Kind of synchronized with each other. Yeah, let's talk about these lyrics too, dude.

I like him a lot. So she's hearing voices. It's about a paranoid schizophrenic. She's hearing voices call her. She's hearing voices warn her. I love the chorus, dude. She'd go red pill, blue pill. Red pill, blue pill.

Of course, that's a reference to the Matrix, you know? Yep. Really cool, really cool. Man, it's hard to undersell or underestimate the impact that the Matrix had on pop culture. Yeah, dude. Like, you don't, like, when they came out, I mean, you and I were young. I think it was, what, 99 that the Matrix came out? That sounds right.

Yeah, 99. So this is just a few years later. But yeah, that movie, man. I was watching, there's a documentary. I don't remember what it's called, but it talks about basically the world being a matrix type thing. This is all a simulation, dude. Yeah, but I was talking about the impact of the matrix on that whole mindset and stuff. Yeah, man.

Anyway, let's take a quick break. All right, dude, so moving on. This is my favorite song on the record. Always has been. I'm pumped right now, dude. I'm really hoping that you haven't heard this song before, dude. All right, so this is track nine on the album. It's called Price of Gas.

You ever heard that song? No. Oh, man. Which is crazy to me that I've never heard that before. Yeah. But that, yeah, that's great. That's a perfect example of everything that makes them different. Yeah.

That's the dancing side of it. Yeah, dude. And all the guitar, all the stuff that he's doing with his guitar, again, dude. Russell Lissick. He may not get as much credit as he deserves from that, from that era for what he was doing. But I love that they, that they reference Radiohead as an influence because, like, you can hear it. Like, you can hear that they're experimenting and doing different things. And they don't sound like Radiohead at all, but I'm just saying, like, as far as, if that's their mindset of, like, you know, Radiohead always strived to do different things and to experiment and to mix in different styles.

Yeah, they were role models, if anything else, you know? Yeah, I mean, I don't think that they are, with Block Party, it's all, it all sounds cohesive. Like, it all sounds like the same idea or the same band, I guess. With your head, like, you'll, they bounced around a lot more, I think. But yeah, you can hear it with the way they're experimenting with the guitar and like some of the effects they put on his voice. And, and yeah, really cool stuff, man. I love, I love all that stuff. in the background with that guitar.

He uses his effect pedals in a really effective way. Well, and you mentioned them using the same guitar, and yeah, they do kind of, like it feels like you're hearing just one guitar. You know, but you can tell they're bouncing back and forth. Well, I don't know, yeah, I don't know if they're doing that in every song.

I know they did it on banquet. Yeah. But, yeah, really cool. Yeah, and those drums too, man. Just, I mean. The drummers and the bass player. Just a machine, dude. Killer, yeah.

All right, man, I got one more song for us. So this is, again, going to be a little bit on the heavy side, you know, which I like. So this is track 11. This one's called Luno. Another great example of that guitar playing, man. So that's his delay. Like, you can hear his delay. Like, he's just kind of turning the knob on the delay a little bit.

Yeah, really cool. Which sounds really awesome. Yeah, man. Drums again, dude, front and center. Oh, yeah. This album stands out, man. It really does. But, you know, you got to listen to it from track one because,

again, like, if all you know is helicopter and banquet. I think helicopter and banquet are similar to other bands that were out at the time. And maybe that's why they were the songs that they made it to the airways and stuff because it sounded like what was happening. But like you said, that's not what makes block party block party, you know? No. It's more some of this other stuff, the other ways that they're experimenting. And that's why I was taken back by the, taken aback by the dance punk genre.

that I saw on there because... But you hear it. Yeah, you hear it on some of these other tracks, but you don't necessarily hear it in helicopter or banquet. Let's play helicopter, dude. We keep talking about it. I really want to, you know, bring this home. Do you want to hear helicopter or banquet?

Let's do helicopter, dude. Yeah, it's even more like... Helicopter is like in your face right from the beginning. And it's great. It is, but like, you know, like you were saying, it does feel more like the, you know, post-bunk garage rock stuff that you're going to hear around that time. Yeah, yeah, it does.

All right, so here is that mega hit that everyone knows, helicopter. There it is, dude. I mean, it's, you know, it's, I don't know, it feels different to me. There's, it's, it's just not as like. It's not as interesting. Yeah, and like, you know, he was saying there's a real, like, space and atmosphere that you get in, like, a techno house style. Yeah. You don't really get that with helicopter.

And so I'm going to quote pitchfork here real quick. So pitchfork gave the album an 8.9. and it got that seal of approval, best new music. So it was up there for pitchfork for music in 2005. But here is what they say about it in the review. Just kind of talking about how it did kind of fit into like a cookie cutter album. He says, so you get all the usual scrubbed up gifts. The slower song, the slower song that turns to a faster one, the one with the studio effects,

the one with the hand claps. A lot of this material is surprisingly scripted. I don't agree with him at all. And I feel like if all you know is helicopter and banquet and you hop on pitchfork and read this review, you know, like, why would you even bother listening to the rest of the album? If it's just another, you know, scrubbed up cookie cutter album, you know, like, oh, we've got the slower song.

We've got the slower song that speeds up at the end. We've got the hand claps. You know, I think there's some. selling it short here. Yeah, it's not, it's not really, it sounds like that person maybe just listened to it, you know, like a glance, you know what I mean, like took a quick spin through the album and then wrote a, wrote an article about it, you know? Yeah, exactly. Reviews aren't always accurate. I can't tell you how many times, uh, I've watched a movie and like loved it and then went on to, uh, round tomatoes or something like that just to see what the score was. And it just got like

completely, it just tanked completely on, like the audience score was really low or something like that. But I love the movie, right? So happens all the time. If I had, if I had went to Rotten Tomatoes and been like, oh, I'm not going to watch it. It got like a 40% score. Then there you go, dude, missing out on a good movie. Yep. Same goes for, especially with pitchfork.

Dude, and this is what we say, I think we've said this about pitchfork before. Back in this era, I feel like pitchfork was super. They were harsh, dude. They were trying, they were trying to. be confrontational and like super hypercritical. You know what I mean? Well, it's weird that, you know, they give him an 8.9 and then he says something like that. Yeah, that is fine.

Now, of course, I'm just pulling that, you know, like that's just one line from the review. Sure, sure. But I thought that was interesting. 8.9 is pretty damn high. That's actually pretty high, especially on pitchfork. But anyway, I think a lot of the pitchfork stuff in the 2000s was very like opinionated and super snobby. Yeah, very snobby.

They seem to have stepped away from that a little bit more nowadays. I'm sure they've changed hands many times since then. Yeah, just brought on more different writers and stuff. But yeah. Yeah. It seemed like they would like, who doesn't like this kind of music? Okay, you get to review this record because you're going to be, you're going to say stuff that's just like not even relevant, you know.

Right. Anyway. Well, dude, I've got another clip from Luno. I almost forgot. Another thing that I like about their songs is the bridge and, you know, the outroes of the songs are always really interesting and cool. They always change it up at least once in the song. So here is clip two of Luno. Fucking awesome, dude.

Love it. I just like the imagery of like your nose, yeah, like your nose is bleeding. Yeah. Yeah. In horror movies and stuff, that's always like a bad omen, you know, oh, the nose is bleeding. They're possessed. the nose is bleeding, you know, something, something's about to go down, you know. If your nose is bleeding, there's nothing good's about to happen, you know what I mean?

I wonder if he's talking about like a nosebleed from like doing too much coke, you know, because maybe. Like the rest of the song is about someone that he knows that has changed in a bad way over time. It's about memories you have of people and how life changes that is what Kelly says. Yeah, he says, your nose is bleeding. you've been lying to me. I just, I think it's funny the, the thought of him saying, you know, like, oh, hey, by the way, your nose is bleeding.

Asshole. Yeah. Anyway, anytime you see a nose bleed in a movie that's like, for some reason, that's like, oh, shit's about to go down. You're thinking about stranger things, dude? Well, stranger things. Speaking of Netflix series, there's a new one called Fear Street that I've been watching and bloody nose is it means you just got possessed.

Spoiler alert. Oh, shit. Yeah. Anyway, it's a trope, I feel like. Yeah, yeah. Well, that's all I got, dude. Quick and dirty on this one. Dude, a reminder to go listen to this record again.

For sure. That's what I'm going to do. That new appreciation for the guitar player, man, really. I've always loved what they did on banquet and stuff, but hearing all the other things that he did on this record, he did a lot of cool things on this record. With, like I said, I know there's some distortion here and there, but it's a lot of like that reverb, overdrive, delay.

I really like that kind of stuff. Yeah, and so I brought the more heavy, you know, more exciting, upbeat, you know, fast-paced songs. Like the guy from Pitchfork said, though, there is some slow songs on here, and they are kind of what you'd expect to hear. seems scripted, feels kind of forced, but still very good.

Definitely worth the listen all the way through. Definitely. And I just love how consistent the mood is, you know? Yeah, his voice, dude. I love his voice and his songwriting. Yeah, he has, there's a lot going on in that voice, a lot of like pain, anguish that he gets across. Yeah.

Standout album from that era. And, yeah, man, that's it. That's all I got. That's, yeah, good, good tunes, man. good tunes. Yeah, it's awesome that I was able to bring some tunes that you had never heard before, dude. Yeah, crazy.

Crazy. Because I know we had this record burnt on a CD because I could see the Sharpie letters in my mind right now. But yeah, dude, I broke one of our sins, man. I went straight to the singles, probably. How dare you? And then hit eject and maybe popped in an interpull or something. How dare you? How dare you?

Got to practice what I preach, man. So we went from blink to block party, which was kind of a shift. What are we doing next, man? I think we're going to shift it again. Well, next week we're going to do our what you heard. But after that, we have talked about during a, I guess he's a producer named Roiksopp.

Oh, hell yeah, dude. So we're going to do Rorke'sop next. And if you're unfamiliar with him, You probably know one of his songs from a Geico commercial. Oh, is it? Yeah, yeah, there's two-d-d-does in that band. Okay, okay. So, Roriksop, you probably know at least one of their songs from a Geico commercial.

That was pretty well-known. It was the very first, if not first, maybe second commercial of theirs with the Caveman, remember? Yeah, so there's a song playing in the background in one of those commercials that is a Roriksopp song. But anyway, one of the reasons that we're going to talk about this record. that's called Melody AM is that it features Ireland Oia of Kings of Convenience on some of the tracks, I think one or two tracks. Yeah, poor Lino and Remind Me.

And those might be singles. Yeah, they're both singles. Okay, we might play it anyway. Oh, yeah, dude. We'll play it. Yeah, because, you know, we talked about Kings of Convenience a couple weeks back, a few weeks back, we thought, hey, let's do Rourkesop.

It's a killer record. It is, man. It really is. Lots of singles on here. We're going to have to dig a little to find the good tunes on here. But anyway, so that's what we'll do after that. And then maybe we'll stay in that pocket for a little bit. It's been a while since I've been in a down tempo mood.

But I feel like we barely scratched the surface with electronic and down tempo on this show. That always happens on here, man. Yeah. Like we'll get back into it and then have like maybe two or three episodes and then steer into another direction. Yeah. It's really hard to, to, like,

have a good representation of down tempo, you know? Yeah, well, we've done Tosca, that was a long time ago. What else have we done, really? Really?

I mean, we've done, like, Ammon Tobin and bands like Comtrews, Tyco, stuff like that. But anyway, there's a lot that we could,

we could stay in that vein for a little bit. I feel like that would be a good, uh, transition from Rokesop, you know, kind of ease us into that. Yeah. all right well there you go so we'll mix it up you know we've been we've been doing a lot of rock

lately it's time to time to switch directions again so yeah we'll do worksop after next week's what you heard and then we'll see what happens after that all right well that's that's all we got for you for this week uh you can find us on twitter at no filler podcast I reach out to us and let us know what you think about just let us know what you think in general. What are you thinking? Tell us a song that you've been listening to lately that you've been really digging, or a band that you've been really digging on lately. If you get that into us before we record our watch you heard, we may use you as an outro and feature your song. We've done that before with a couple of listeners. So reach out to us.

You know, I want to do that for every what you heard, dude. I'm hoping we can get outros for our Watcher hurts from our listeners, dude. That's what I want. Yeah, basically, you know, we want to know what, what have you been hurting lately. What you heard. That's the name of the show, the episode. Yeah, what have you been hurting? Yeah. So, yeah, hit us up on Twitter.

You can also find us on the Pantheon Podcast Network. That is the home of many great music podcasts. It's the music-centric podcast network. We are a part of that family. That's Pantheon Podcasts. And, uh, Kim, I'm going to throw it back to you because you've got an outro song for us that you're going to tell us about. Okay, so I've spent the last couple hours searching for a song, uh, because according to Kelly, that song, like eating glass, was inspired by a remix of the Smith's

there is a light that never goes out. And that's one of my favorite Smith songs. It had to be a remix that he heard from around 2002 because that was around the time that they were working on like eating glass. I have looked everywhere, dude, and I can't find a remix of that song from around that time. Best I can do, and, you know, this could be the song that he was referring to. There is an electronic artist that goes by Schneider TM, very electronic-y, pop music, dance, IDM stuff. So it's very possible that this is what Kelly was listening to in 2002. It's not a remix. It's a cover of that Smith's song.

So we're going to play us out with that. So this is a cover of the Smiths. There is a light that never goes out by Schneider-TM. He calls it The Light 3,000. And that's going to play us out. Thanks again for listening. My name is Quentin. My name is Travis.

Y'all take care. I'm Sophia Loper Carroll, host of the Before the Chorus podcast. We dive into the life experiences behind the music we love. Artists of all genres are welcome. And I've been joined by some pretty amazing folks like glass animals. I guess that was the idea was to try something personal and see what happened. And Japanese breakfast. I thought that the most surprising thing I could offer was an album about joy.

You can listen wherever you get your podcasts. Oh, and remember, so much happens before the first. Chorus. At Desjardin Insurance, we put the care in taking care of business. Your business, to be exact. Our agents take the time to understand your company so you get the right coverage at the right price. Whether you rent out your building, represent a condo corporation, or own a cleaning company, we make insurance easy to understand so you can focus on the big stuff, like your small business. Get insurance that's really big on care. Find an agent today at Dejardin.com slash business coverage.

It was the night before the gathering and all through the house. The host rapid cozy cashmere throw from Home Sense for their spouse. Kids toys for $6.99 under the tree. And crystal glasses for just $1.49 for their brother Lee. A baking dish made in Portugal for Tom and Sue. And a nice $5.99 candle. Perfectly priced just for you. Happy holidays to all.

And to all a good price. Home Sense. Endless presents perfectly priced. Thank you.