No Filler Music Podcast - Daft Punk: Homework

Episode Date: March 2, 2020

Arguably the greatest electronic act of all time, we talk about the origins of the men underneath the helmets - before they wore the helmets! The electronic french duo Daft Punk put out their debut record, Homework, in 1997 after a couple of successful singles, including Da Funk, started a bidding war between record labels to sign the young DJs. The album has gone on to achieve iconic status for how the duo expertly tied the past to the future by revitalizing house music and paving the way for the surge in popularity that EDM would soon see in the coming decades. Tracklist High Fidelity Teachers Rollin' & Scratchin' Yppah - Light Cycle Cherry Glazerr - Moon Dust LCD Soundsystem - Daft Punk Is Playing At My House This show is part of the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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We get the deals. You gift the good stuff. 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. Got my brother Quentin here. always and today we are talking about one of the biggest most well-known most influential electronic

groups of all time and if you didn't recognize that song that played us in we're talking about daft punk today the two guys with helmets as you probably know them the two the two robot boys the two exactly you know know, I didn't look this up, but there's so many artists that do that now, right? Like, what's his name, marshmallow, right? And Dead Mouse. I would, I would bet the Deaf Punk was one of the first to do it. You're probably right.

Yeah, and I know for a fact that, you know, trying to conceal their identities has been important to them almost since the beginning. Like, there's early interviews where they didn't wear any masks, right? But before they got the helmets, they would just wear, like, random, like, masks that you pick up at a costume shop or something. So, like, they've always been doing this. Because, you know, they wanted the music to sort of speak for itself. Like, you don't really, you know, much like, you know, with rock bands and stuff, it's all about the persona, you know, like the lead singer and stuff like that. You know what I mean?

With electronic music, they didn't want their identities to be. to be part of it, you know. Well, I like that too because, you know, these kind of artists, if you see them live, they're going to be standing still, you know, behind their keyboard and their laptops or whatever. You know, their appearance, you know, and their personality doesn't really matter. Yeah. People don't go to a daft punk show to watch them. You know, they go to dance.

Right. That's exactly right. And to get lost in the music. Exactly. like that's the opposite of a rock band, right? You're going to see the singer sing. Yeah, and you're going to see the guitar player, you know, shredding those licks. Exactly.

So anyway, Daft Punk, this is one of those groups that, you know, we don't have to to give you much information about these guys, right? I will give you a little bit of, so, okay, first off, we are talking about their very first record today. It's called homework. And this was before they had the helmets. So this came out in 1997. This was their first full-length album.

Basically, I'll just give you a little bit of history on what led to them to this point. And then we'll just dive right into the tunes. This is going to be, I don't want to say tune heavy because I only have like three songs. But we're going to get right to the tunes. We're not going to mess around here. So daft punk, it's a duo from Paris. I'm going to try to pronounce these correctly. Okay.

Because the first guy's name, it's like, it's a doozy. His name is Guy Emmanuel de Holman Christo. Wow. I got to say that again. Do you, no, no, no. You just blew me out of the water, bro. That sounded beautiful. Okay.

I thought I put a little extra cheese on it. Maybe you did, but that was well received. Okay. All right, fine. Dude, I'm going to spread that cheese. All right. Spread it. Spreading on them crackers.

Well, I know for a fact that I've been mispronouncing this guy's name incorrectly. Because, you know, they're French. You say it differently. I would say Thomas Bangalter, like an American prick. I watch. What is it, Tomas? Yeah, something like that. Yeah.

Tomas bangaltur, Bingaltar, something like that. Anyway, you know, this is a running joke on this podcast. You know what I mean, we're just a couple, you know, Texas, good old boys. Silly Americans. All right.

Anyway, those are the two guys. You know, dude, I bet guy is ghee or some shit. That's what I said. I said that, right? I say, Guy, Manuel. Oh. Thank you very much. That's where you were so amazed.

I told you. Put that cheese on it. No, it was the last name. The Omum, Omong, Game of the Goosepoms. Gleastel. Game in the goose. I'm telling me, I'm not pronouncing that right. Anyway, those are the two guys.

That's what you got to know. But, you know, for the most part, I bet you most people don't have no clue what their names are. You know, because, again, it's not, that's not part of what they're about, you know. That's why they wear the helmets. It's not about the two guys. It's about the music that they're making. Anyway, so kind of an interesting background here. with what led them to record homework, their first record.

So basically they put out two singles that blew up. One of them was called The New Wave, and the other one was defunct, which is the song that played us in. By blew up, I mean like they sold quite a bit, like 15,000 copies or something like that. It got so much popularity that it is rumored, although I would guess it's,

it's it's pretty pretty accurate that um what are those guys that did they did the fight club soundtrack chemical brothers the chemical brothers started like incorporating it incorporating it into their sets right so massive popularity and then basically this started like a bidding war between record labels right so anyway um they got signed by virgin records and that's that. They started making homework. And what's interesting about this record is that, number one, they were both 22 years old when they made it. And when you hear how, like, masterful their, like, handle on electronic music and the way they were able to incorporate all these different genres and all these different past electronic styles into their music, it really is pretty amazing. It kind of reminds me of, we talked about the guys from Kimmiss that do metal band, right?

And how, like, they were, they're students of metal, right? Like, they're really young guys. They know so much about the history of metal. And that's basically what they do is incorporate all these different, you know, milestones and metal. They put it into their music, right? Same thing with Def Punk. And that's one of the reasons they call this record homework, is because that's kind of what they felt like.

They're doing their homework, you know. Nice. So anyway. There's a really cool magazine cover, too, on Wikipedia. Oh, yeah. It's an August 97 magazine. It's called MixMag. I guess it's probably just electronic music magazine.

And yeah, they were, like you said, before they had to, yeah, they had to, yeah, they just got two, like, it almost looks like the karate kid. No, not the karate kid. Remember the three ninjas? Yeah. that movie from the 90s. It kind of looks like those like devil-looking masks. Yep.

It's pretty cool. Maybe we'll post it on our show notes. That's right. That's right when this record came out in 1997. So I got a quote here really quickly. And this is from Tomas Bang Altar, in 1995. In 1995, this is before they put out homework. Basically, they're reacting to and are getting interviewed with regard to like the success that they got from those two scenes.

singles, right? And I thought this is really cool. He says, we have received faxes from Denmark, Sweden, Spain, Japan, New York City. So it's very funny, but also really shows that there are people who are interested in this music everywhere. And by making things in our bedroom, we can reach people to the other end of the earth. So there you go. Another, you know, project that started in the bedroom, right? That seems to be kind of a theme with these, Artists that we've talked about. One of the great things about electronic music is that literally anybody can make it, right? Yeah.

And you can do it from your bedroom. You can be just one person in a bedroom. And you can do stuff like Tycho did. You can do stuff like Com Trues did. It's, dude, I'm reminded of maybe my favorite line of yours, Traff, and this, and the run of the show. When we were talking about hip hop and rap, like. I'm honored. You know, the barrier to entry is just so low.

You know, anyone can do this. I mean, and that's the thing. I mean, for, we talk about rap music, like, that's even lower because literally all you need is your voice, you know, and you can. You need your voice, but you need a, you know, an ear for. Yes. For music and rhyming and stuff. But yeah, yeah, all you need is your voice there.

Right. You need a, you need a keyboard and a laptop, you know. Yeah. A decent keyboard and laptop to, that's your, your barrier there. to get into electronic music. But yeah, still, it is something you can do in your bedroom. Or as is made very apparent on this record especially, all you really need is like a Roland 808 or a Roland 909,

which is what they used. You know, the 808 is a very famous like synthesizer piece of equipment that was, you know, pretty much like responsible for electronic music in the 80s, basically. And the 909 is like the successor to it. Like I said, very apparent on this episode, or on this record, so much so that there's a track called Revolution 909, which is actually a single off of this record that sort of pays homage to people who are making electronic music. Basically, there was like this sort of like this band on, like the French government had like a, they're trying to shut down these electronic music clubs. basically. And Revolution 909 is basically about, you know, these underground electronic clubs and stuff like that that would play electronic music and would get shut down by cops and all this kind of

stuff, right? Anyway, so let's jump right into it here. I'm actually going to do something a little bit different. We try to play songs in the order that they show up on the record, but I'm going to kind of mix it up a little bit here because I want to end on one particular song. But anyway, we're going to play. And here's something else that you got to know about this record. They composed each of these tracks, not as if they were putting together like a sequential piece of like a hole. You know what I mean? A lot of these songs are made for the set list or like for the live performance, right?

And so, you know, when you hear some of these songs like. Because track, track two is almost like a radio spot. You know, it's 28 seconds. Yeah, well, the name of the song is WDPK83.7F. Well, you know what's funny about that, dude? I didn't even fucking realize this. It's all right now. What?

And I wonder, probably not. But it kind of, it kind of reminds me of the Queens of the Stone Age record. Because it's a, I don't know if it's a fictional radio station, but they talk about in that little clip. And let's just play it. It's 28 seconds. Let's play that real quick. Okay.

Now, it bleeds into Revolution 909. So I think it's part of that story that the, trying to tell with Revolution 909, but let's just listen to it anyway. that into the microphone. It sounded very French. Yes. Anyway, so yeah, that was track two. It's called WDPK 83.7 FM.

That's track two on the record, 28 seconds long. All right, anyway. Which track is it on the record and what's the name of it? Anyway, so like I was saying, you'll notice on some of these tracks that they have like this really long sort of runway in the beginning, right? And that's because, you know, how these DJs. these electronic musicians, when you're doing a live set, you give that long runway, if you will,

because you might be blending it with the last, you know, 30 seconds of the song that you just played before it, and you're blending it. Yeah, it gives you time to like match tempo and stuff before you, before you bleed into the next song. Yeah, exactly. All right, so this very first track that we're doing, it's called High Fidelity, and what you're going to, you're going to hear a vocal sample

on this record. And what it is is a Billy Joel song, which is interesting, right? So it's a Billy Joel song called Just the Way You Are. I love that song. Well, do you? Yeah, it's a great song. Okay, yeah. It's a very famous Billy Joel song. It's off of his record. Fifty Second Street. Oh, it's on The Stranger. Yeah, it's off his record The Stranger, which came out in 19th. 177. Hang out you, brother. Came on 1977. So, and this is going to be part of our discussion here,

because I've always thought it's interesting. Why do bands choose, like, why did daft punk two French electronic musicians decided to sample in a Billy Joel track? Anyway, we'll talk about that when we get back from the Claibere. But here we go. This is, again, this is track number 10 called High Fidelity. I found this really helpful article, really good. article that consequence of sound put out. They literally go track by track. The name of the article is

called the past, present, and future of Daft Punk's homework. So basically the case they're making, and they're not the only one that make this case. But basically, this record is, you can listen to every track and pick up on influences that they pulled from the past and then how they influenced artists that came after them. So basically, and it's going to be apparent on the last song we play. But with high fidelity, this track that we just played, it wasn't that like chopping up samples was something that had never been done before, but not to like the extent that they did it where like, you know, I'm going to quote the article here.

On high fidelity, they dissect Billy Joel's just the way you are, rearing arranging it into a creature at once completely new and hinting at some innate connection that can't be denied, no matter how much Joel's syllables get split apart. While acts like the hood internet and girl talk looked at the act of sampling and made bold new leaps into reinterpretation, daft punk had turned Joel's words into their own unique language all the way back in the mid-90s. So you have to remember this came out in 1997. that makes me wonder is because that's very common now and heavily sampled and you know spliced up music you know you you take words from a sample and and dissect words up into the syllables and

just rearrange them around yeah and that's cool I wonder I wonder if I yeah I guess I didn't realize that maybe they were actually one of the first to do that you know back in the 90s right that's cool Well, you know, and the point that this article tries to make over and over again is that like, these guys were, like I said, students of electronic music. And they took the past and essentially set it up for the explosion of electronic music in the next two decades, right? Oh, yeah. Electronic music just wasn't as popular as it is now. It's almost like it's everywhere now, you know? That's the, you know, almost the preferred genre of the generation after ours.

You know, and daft punk really was the, you know, they laid the groundwork for all of that with the, with the massive stage set up and the way that they had their, you know, you've seen videos of their live performances back then. Like that, that is the template for like the massive EDM music festivals that you see nowadays, you know. Yeah. And that's what, like 23 years ago? 1997. I mean, it's crazy. Anyway. So, yeah.

And I also just wanted to talk about, again, like, it's always amazing to me, especially when you, like, if you didn't know that that was a Billy Joel sample, do you think you would have caught that that was that song? I would have, I would have thought Billy Joel or McCartney just because of the voice. Yeah. If you know how Billy Joel sounds, it's, there's no question that's Billy Joel singing. Yeah. And I would not have known that that was just the way you are. Yeah, exactly. And that's the, that's the point.

It's like, you know, like this guy was saying, the way that they are chopping it up, but still retaining some of it. You know what I mean? And turning it into it. And now, if I was like an Uber Billy Joel fan, I probably would have known. Yeah, exactly. Like if I was a major fan, like a mega nerd fan. Yeah, exactly. So we talked about this on our side track for the Tyco, not the Tyco, for the Tosca episode that we did on Suzuki.

You remember we did the Pat Mathini side track? track and how we were like, especially because it was like a two second or three or four second guitar line that they looped. You know what I mean? Yeah. And how it just, you know, it's crazy to think about like what, how did they, like, what made them, what chain of events happened to where they were listening to records, stumbled upon a Pat Mathini record, you know what I mean?

Like a jazz guitar player. Well, here's my guess with all of these guys. They're probably just big fans of these artists. I've tinkered around with making remixes and, you know, I started out with a shot A song because I'm a huge shot A fan. So, you know, they're probably just, they're probably just fans of Billy Joel. They probably love the stranger. And that's exactly the point. That's how two 222-year-olds can put out a record like this.

And I've only played you one song. But they were bringing in all of these different influences. So anyway, they were doing, you know what? Some might say they were doing their homework. Exactly like you. And you know what? That ties in perfectly and perfectly to the next track that we're going to play. It's called Teachers.

I see what you did there. Homework? Teachers. Now this song is literally a list of names and artists that are influences on them. You'll see what I mean when you hit play. So you mean their teachers? Exactly. It's a list of their teachers.

teachers. So keep in mind when you hear this, every single name that you hear mentioned in this song is unique. They're not repeating any names and then see if you can pick up on anything, but it's pretty straightforward. It's literally just a list. It's dozens of artists that they see as influences and they turn that into a song. So here we go. This is called teachers. What I like about this song is that they're not, they're putting it out, all of it out on Front Street. You know what I mean? Like, hey, we're, we're paying homage to all of these people that came before us.

This is what. That is straight up hip hop, dude. Exactly. That's hip-hop. Well, they mentioned, Dre, like you said. They also mentioned George Clinton, who is, I looked it up, because I know I recognize the name. He's of the parliament. Yeah, parliament funkadelic.

Right. So, and that definitely informed that they incorporate a lot of hip-hop beats and stuff into their music. And again, like, I feel like I'm not able to do this record justice because there's so many tracks on here and they're all very different. And I'm only playing three out of 16. But the next track here, if you've been, if you've been, you know, ho-hum about this so far, get ready. Now, you're going to have to be okay with about a two-minute stretch of buildup, but this song is all about build-up, okay? I get it, dude. You know what?

I haven't been a ho-hummon. Okay. I understand that, you know, this is a dance record, and I understand how it goes. It's a dance record, and these tracks are not, you know, the radio edits, if you will, right? You know, I appreciate this for what it is. To wrap up the commentary on teachers, the song we just played, what I like about it is, How many times do you listen to a rock band and you think, man, I wonder who their influences were? Like, here's a list of 30 plus influences on daft punk.

They're not trying to hide it. You know what I mean? And I appreciate that. Yeah. All right. So cute. This last track that we're going to play today. Again, talking about how daf punk was a massive influence on the explosion of electronic music that would happen.

in the next two decades. This track is called Rowland and Scratchen. And let me just read from this article here from Consequence of Sound, because I think he lays it out perfectly. In a world where waiting for the drop has become the national pastime and industrial-adjacent synth scrapes are just a part of everyday parlance, Roland and Scratchen shows you exactly how far ahead of their time Daft Punk were.

So, the drop. Everybody knows the bass drop, right? Oh, yeah. Like, dubstep, it's all about it. There's about three drops in this track, and we're going to have to listen to all of them. So, strap in.

But it is important to remember, like I said earlier, 1997, electronic music was not, was not what it is today, and Daft Punk was essentially laying, like making the blueprint. Like, here you go, Scrilicks.

Here's how you do it. And I think this song is going to sound a little bit more modern or ahead of its time than some of the other two tracks I played. So here we go. This is called Rolling and Scratch. All right. So there's the first drop, barely a drop, right? But, you know, it's all about, and it wasn't even really too much of a drop at all.

But the point being, it's a buildup. And then there's that pause, right, where the drumming is removed. And it's this long, you don't know how long it's going to last, but it's this buildup of anticipation because you know that it's coming back, right? That song must have been crazy. Yeah, imagine being in a club. Exactly. I don't think the massive outdoor festival for electronic music was necessarily happening in 97. I don't know if it had gotten to that point yet because like the guy in this article pointed out so perfectly.

It's become a national pastime I lost, the drop, you know, at the festival. Anyway, let's keep playing and then we'll let it play out. The song, and what I like about this song is that the intensity continues to build. This song is a lot more aggressive than the other two I played, right? I mean, Teachers was kind of just not so much a song other than them paying homage to their influences, right? But this song, you hear that sort of like drill sound, right? Like the drilling kind of more industrial sound. Yep.

You know, again, they have so many different influences, like I pointed out, you hear a bunch of different genres in this on this album. And this is one of them, you know, that sort of paved the way for Dobstap. So anyway, let's keep it going and we'll close it out. Yeah, man, that's just a perfectly executed, you know, dance song. Yeah. Yeah. I mean, it's, you know, it's all about getting in a trance, you know, when you're,

when you're listening to this kind of, you know, if you're going to a festival to get lost in dance music, you know, this is, this is perfect. Yeah. It just keeps going, you know, and it's just so subtle like the changes. Right. And when they bring, and when they keep bringing it back, right, when there's the lull and then they bring it back, the intensity builds every time. gets brought back, which just, you know, enhances the moment even more.

Yeah. You know, because that's what you're waiting for. You're waiting for it to come back. That's what you want. Like, that's a successful dance song. And like, as far as this is concerned, you know, it doesn't always happen with dance songs. It happens with down to both songs.

It happens with all sorts of electronic music where whatever, it's take, something's taken away and then it's brought back. And that's what you're waiting for. Like, you wanted to get brought back. You wanted to come back. Like, there's been moments where I'm. I'm hearing a song for the first time from an electronic artist or something like that. And they take something away.

And I'm waiting for it to come back and they never bring it back. And it's so, like, dissatisfying. You know what I mean? Yeah. It's like, okay, here it comes. It's going to be great when they bring it back. And this is going to be a great song. And then they don't do it.

And it's like, okay, well, good on you for, you know, subverting my expectations. But like, some things you just need to follow the formula. you know anyway um again i can't stress this enough that this was 1997 and maybe maybe this is not a big deal but from what i've read this was pretty groundbreaking and amazingly influential and daf punk goes on to be to win a grammy for random access memories right they go on that's such a good album right right and i what i love about random access memories is all the people that collaborated with them on that record. Oh, yeah.

Some of their, some of their heroes, right? It's, uh, was, was, yeah, for, obviously for L. Williams. But, you know, Nile Rogers. Julian Casablancus is on there. Panda Bear shows up. I love doing it right. That's one of my favorite songs on Random Access Memories. Yeah, exactly.

Anyway, um, you know, they also scored the Tron legacy soundtrack. That was a great soundtrack. And I don't, I can't, I don't. I don't know if this is true or not, but to me, I'm seeing more and more, like, I listen to a lot of movie soundtracks, a lot of video game soundtracks. There's a lot of electronic producers that are making movie scores nowadays. And I, I don't know if they were, they weren't. Obviously, they weren't among the first, but I'm just saying they may be one of the first really, like, popular artists to kind of do that, right? I mean, obviously, you go back to like we were saying, when we talked about the 80s

soundtracks that were hugely influential on synthwave, those were all electronic soundtracks, but it wasn't a electronic super popular duo that was doing it, right? It was John Carpenter scoring his own films. Right. So anyway. Yeah, I do remember getting like just being super pumped when I heard that they were going to be doing the soundtrack for that. And it's an amazing soundtrack.

It's great. Yeah. Yeah. It's awesome. So anyway. Like that, knowing that kind of, it added to the excitement for the Tron reboot, you know? And it's the perfect marriage. I mean, you remember, they were even in the film.

Remember they were in that club? Yeah, they're DJing. Exactly. Anyway, Q, you and I, we talked about this a little bit. We've been doing electronic episodes, electronic music, the last few episodes. and we wanted to make sure that we did and more proper quote unquote electronic artist and album

and this is like the perfect like Def Punk is the quintessential electronic group right arguably the most popular of all time. I think so and still relevant. You know what I mean? People are going to listen if Def Punk puts out a new album everybody's going to be talking about it right? The last one they put out is the one that won the Grammy.

So anyway, next week for our side track we're going to talk about Thomas we're going to do basically we're going to keep it this is going to be more true to the old approach that we used to take on side tracks and we're going to talk about another film that one of the two guys scored Thomas or Tomas scored a film called Irreversible and I feel like we've referenced one of the tracks off of that record once the one that makes you really feel uneasy

like you got to, you know, like you're about to lose your lunch, you know, when you hear it. We're not going to play that song. That song is called Rectum, listen at your own risk. But anyway, we're going to talk about a couple tracks, a couple of really solid electronic tracks off of that record. And then we'll be done with electronic music. And let's do our what you heard real quick. And then we can talk about if you want, Q. I sort of teased this in my intro to the Tyco episode.

about what our plans are for future episodes. So we can... Let's tease it in the sidetrack. Okay. So I'm going to make you wait another week if you're wondering... We don't want to spill all the beans. All right. Anyway, we've got plans in the future.

So for how to... I don't know. We'll talk about it later. Don't worry about it. Don't worry about it. All right. So what's your heard time, Q? I'm going to let you go first. Oh, I see.

I'm looking at your screen. here, Q. Guess who my wife and I are going to go see on Wednesday of this week. Are you going to go see Yippa? We're going to go see the artists that you're about to play in two days. He puts on a great show. It's basically it's Yipa and little people. Oh, dude, they tour together all the time.

Well, there you go. They're torn together again. They're always playing together. Yeah, Yip was one of my favorite electronic artists from the last decade. He just dropped a new album earlier this month, or I guess February, depending on when you listen to this. So it's safe to say that I'm going to be hearing this live in a couple days. Oh, yeah. Dude, man, I'm so excited of you, man.

I'm glad because I saw him. It was after his album Tiny Pause came out. So it was around 2015. One of my favorite songs from the last decade, Bush Mills, is on Tiny Pause. And dude, I hope he's touring with the same drummer that I saw him with. Just a phenomenal drummer. Really, really great show, dude. I'm pumped for you.

So this album is called Sunset in the Deep End. It's his latest record. It's just more of Yipa doing what he does best. So, you know, if you're a Yipa fan, you're going to love this album just as much as the last three or four that he released. This is track two off the record. It's called Light Cycle. Yeah, man.

That'll be a good show. show for sure. So I was just thinking like, you know, because I'm, I'm anticipating the concert that I'm about to see. Yeah. What I like about, what, what I love about electronic music is, is just how, you know, you go to a rock show, it's loud, depending on the band, obviously, you know, it's loud. There's some aggression sometimes, right? Again, depending on their artist. But when you go see an electronic artist, especially like this kind of music. The people that are there and like the experience that you're going to have is it's almost more like passive almost, right? Like that's going to be a laid back show and I can't wait for that.

Yeah, this kind of music is, it's like going to a museum and, you know, admiring fine art. Yeah. Like you're there to, you're there to appreciate what they're doing live. I mean, of course you're there. Yeah. You know, that's how it is at a rock show too, but you're there. Yes, yes. You go to a rock show to fucking rock house.

Yes, you're there. Yeah, exactly. To experience, you know, a moment with this artist. It's just him and his keyboard and his guitar or I think he plays bass. He might have a drummy. He may not know how it's going to be this time around. But yeah, dude. And it's not like when you go to a rock concert, you're not there to experience a moment with the band.

You're there to do that too, obviously. But like you said, it's two different worlds of music, right? two very different worlds. Yeah. But it's nice to see to go experience music like this. And yeah, I've only been to a handful of what I would call actual electronic, proper electronic musicians like this. And it's always, it's always great.

It's always such a different vibe. I've been to so many rock shows in my life. It's always great, dude. It's a different vibe. And I always love it. Yeah. All right. Anyway, so speaking of rock, we're going to do some rock here.

This artist, and this is why you always got to have your Shazam ready to go, Q. You got to have it ready. Or have subtitles turned on like me. So basically, here's the story. I mean, I know you're excited to hear this. I was watching the first episode of a Netflix show called Lock and Key. Never won't be on the first episode because it wasn't that compelling. Anyway, there's a scene where they're driving to this house.

That's all you need to know. And there's a song that the teenager in the back seat is listening to in her earphones. And it's a Cherry Glazer song. I actually offered a new record. So I was like, okay, I'm intrigued enough. Let me hear what else this artist is putting out. So I went back to her first record. And just for the record, Cherry Glazer is not the name of the artist.

That is the name of the band. So I went and listened to her record called Apocalypse, because the album art intrigued me. It's incredible. Yeah, it's awesome. And I love the name, just everything about it. Apocalypse, right? Amazing. So anyway, this record, man, I'm really impressed with this record.

I've listened to it all the way through a couple times now. And it is a great sort of homage or continuation of like the post-punk stuff that was happening in the early 2000s, like the strokes, like Interpol. but, you know, it's obviously modernized, right? It's modern. It's the next evolution of it almost. And there's so many different sounds on this record. The very last track is straight up a doom, a doom rock sound, doom metal, which is we've talked about that quite a bit. So anyway, I love hearing that kind of style. I love hearing a wide range of rock and metal influences on a new record from a relatively young artist. You know, I think she was like super young when she put this record out.

But anyway, we're going to play a song off of her record. Came out in 2017, Apocalypse, called Moon Dust. That's what rock and roll is all about. It's just a great song. I love it, man. It kind of reminds me of the Pac-A-D or like maybe some Taco Cat vibes. Good stuff. Yeah. So like I was saying, right, it's got a lot of different genres throughout the record, but it's an indie rock song, right?

Right in line with the stuff that was like our heyday of music in the early 2000s, right? So much so that it was even produced by a man named Joe Chichorelli who produced both the strokes and the white stripes back in their day. So there you go. here's a quote from the Guardian. Now this is in reference to the lead single off the record, which is called I Told You I'd Be with the Guys, which is the opening track. But I think it applies to the whole record. It says that, he says, it is a tremendous indie rock tune powerful enough to restore

your faith in the genre. I would say that's true for the track we just played. And I would say that's true for the entire record. And it's a no-filler, it's a no-filler record, dude. You can hit play and just everything is seamless from track to track. Sweet. And it ends with straight up doom metal, dude. And I love that shit.

That's amazing. And it's not like heavy metal. It's not metal, but it's very much doom. Slower. It sounds like it sounds like it could be on a doom record. That's all I'm saying. Cool. Anyway, so that was Cherry Glazer.

That was the record Apocalypse. It came out in 2017. That track was called Moondust. And we're going to wrap this episode up, Q. That was Daft Punk that we talked about. We talked about their first record, homework. And I don't think I, I don't think I did it justice because you can't do it justice in three songs. So I'd highly recommend, if you're a fan of Daft Punk, if you know the singles that everybody knows, like around the world, which is off this record.

Such a good song. Yeah. That song's still, I mean, that's a timeless song. That came out on that record, man. So that's what I'm saying. Like they were writing, they were already, they were already on top of their, their game as far as like what they were doing. They knew exactly what they were doing.

They knew they were from the beginning almost. Yeah. So anyway, if you, if you are familiar with the singles, but don't really, haven't really gone too much further than that, go back and listen to homework. Just hit play. Again, it's, it's a no-filler record. And just, yeah, just keep in mind that that was their first record and that they were 22. And, you know, that's all you need to know.

Anyway, so like I said, next week we're going to do a little sidetrack episode on the irreversible soundtrack that was scored by Thomas Bengaltar of Deaf Punk. And that's going to wrap up our electronic episode marathon we've been doing. And then we're going to get right back into rock and roll cue, most likely. We'll tell you more about what's coming on the next episode. In the meantime, check us out on the Pantheon podcast network. That's Pantheonpodcast.com. Or you can head over to no fillerpodcast.com. We can find all of our show notes for every episode,

which include track lists and any articles that we reference. And that's that. Q, what's you got for our closing track here? I mean, I couldn't leave us hanging without playing. an LCD sound system song from their first record is I think maybe their first single. It's called Daft Punk is playing at my house. And it's an awesome song. Have you heard it?

Maybe not, dude. Maybe not. It's great. Perfect way to close the record out. Dude, you know what's funny? You and I. We do that all the time. The word record and episode and album, all three of those are interchangeable at this point for some reason.

Probably because our episodes are about a specific album. So it's almost like they're one of the same. Anyway, to close out this episode, that's a good one. Yeah, and this is a song that came out in 2005. This was released as a single in 2005. Again, it's from LCD Sound Systems debut self-titled. This song is called Daft Punk is playing at My House, and that's going to do it for us today.

Thank you, as always, for listening. My name is Quentin. My name is Travis. y'all take care how i'm just kidding show you the rose show you the