No Filler Music Podcast - Ep 27: Radiohead - Amnesiac

Episode Date: January 7, 2019

No Filler kicks off the new year with another one of our favorite Radiohead albums, Amnesiac. After emerging from his musical existential crisis post OK Computer, Thom Yorke began loosening his grip on creative control and started to reach out to other band members in the songwriting process. The band ended up having over 60 sketches for song ideas and structures, narrowing down & piecing them together to give us both Kid A and Amnesiac within 8 months time. For more info, check out our show notes: https://www.nofillerpodcast.com/episode/ep-27-radiohead-amnesiac Learn more about your ad choices. Visit megaphone.fm/adchoices

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I could tell people I'm into minimalism. Anyway, when you save with Progressive by mumbling your home at auto, that's the easy part of adjusting to the suburbs. Progressive casualty insurance company coverage provided in service by affiliates and third-party insurers. Fucking rock music sucks, man. I hate it.

I'm just so fucking bored of it. I hate it. Fucking waste of time. It's like, it's not really the music. It's not sitting on a stage, playing guitar, um, drums and singing. That's not what I'm talking about. What I'm talking about is all the mythology that goes with it.

I have a real fucking problem with it. 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. In each episode, we'll dive into a little history of the artist and the album of choice with snippets from interviews and concerts, as well as, music from the album itself. On this week's

episode, we're diving back into Radiohead, and we're going to take a look at their 2001 release Amnesiac. My name is Quentin. I've got my brother Travis with me, as always, and Happy New Year, brother.

It is 2019. How you feeling? I always like the years that are even numbered. Why? I don't know It just sounds better 19

It's like we're in between You know The tens and the 20s You know This is the last year of the The 2010 decade So I think next year It's gonna be sweet dude

2020 Yeah I mean We're not gonna get into political stuff But there's a lot of reasons Why 2020's gonna be good bro Well I guess it depends on What happens And what

And what which flag that you like to fly. I don't know. I'm holding my breath, man. Holding my breath. So, we're doing it again, man. And by it,

I mean, this podcast, dude, we're doing it. We've done it for a whole year now. We're diving into 2019 and we're fucking going head first, bro. I'm excited to get back into it, man. Um, it's not like we took an extended break or anything. I know, I know, but I'm just, you know what, I'm just stoked that, that we're continuing

to do this every week. And, uh, we're getting back into Radiohead. I feel like they're an awesome band to start a new year. Um, indeed. Yeah. So, Kid A and Amnesiac all written and recorded throughout the same time. So let's get our what you're here. Well, yeah.

So let's do our what you heard's real quick. And then we'll get into some amnesiac. I'm going to let you go first, dude, because I know you're going to be stoked to hear what I got. So what you got for us today, brother, what you heard recently. So, as you know, I've been on sort of an extended break from work. Yeah, you're lucky, bass. So, well, you know, not going to brag about it. But so I've been, you know, I had some free time watching some movies here and there.

And I've always known that this movie was kind of a flop, but I wanted to watch it anyway, because I have a coworker who's really into Doom, like big time, like everything Doom really I'm talking about the video game. Not Doom Metal. For once, I'm not talking about Doom metal. I'm talking about Doom, the video game. They sort of changed video gaming forever, you know? Yeah.

Oh, yeah. So, some of you may have seen the movie Doom that came out in 2005. And you would probably agree with me when I say that it's not exactly the greatest video game adaptation. But, you know, it's, you know, it's just your good old-fashioned sci-fi action. Dude, now that I think about it, I feel like we saw that. Maybe in the theater. We may have. We may have seen it.

We were still in high school. I feel like I may have seen that, dude. Who was in that? The Rock. Okay. Dude, we definitely saw that, man. And yeah, you're right. It was campy, but like in all the right ways.

It was cheesy in all the right ways. Yeah. I mean, make no mistakes about it. it's not a good movie but sometimes you know that kind of that kind of film just kind of hits the right the right spot you know oh yeah so anyway i i pulled that up on netflix the other day just for shits and grins you know and um i guess i totally just this slipped my mind but i used to listen to the soundtrack all the time maybe maybe even like i'm not convinced that i saw this in the theater i may not have but i remember i i listened to the soundtrack you know i may have come up on on

you know, a Pandora radio station or something, right? But I listen to soundtracks all the time to movies and video games that I've never seen or played, right? But anyway, this soundtrack is great. It's Clint Mansell, who is kind of well known for doing the White Cream for a Dream for a Dream soundtrack, and he also did Moon, that movie with Sam Rockwell that came out in 2009. Yes. Yeah. He's done a bunch of really interesting things, but he did the Doom soundtrack.

And so anyway, just for, you know, I feel like I don't play too many soundtracks on here, if ever. Dude, and I know how much you love soundtracks, man, so. Yeah, exactly. So anyway, just for fun, we're going to listen to the title, the theme song, the Doom song. It's called Doom. And again, this is by Clint Mansell. It's off the 2005 movie, Doom. man that's a fucking kicking ass and take a name song dude like right from the beginning it's like

that better be in like a really sweet like action-packed scene in the movie well i think that's just the i don't know if that even shows up in the like in the film i think that's just the theme song you know plays during the closing credit or something like that yeah if you've ever if you've ever played any doom game that's what doom's all about right kicking us taking names taking names but anyway All right, dude. Let's hear your pick for the week. All right. So, I don't know, three or four days ago now, I did like a deep clean of our garage because it needed to happen, dude.

Let's just say if you're an Amazon Prime member, you know the struggles, dude. Dude, I've never seen so many of those boxes this year. That's what I'm saying, man. And it was taking up too much space in our garage and, you know, a bunch of other junk I needed to fucking sort through and figure out. Anyways, I needed a soundtrack for cleaning, and I just, I listened to Foles from Antidotes all the way to their latest album. I don't remember what it's called. What Went Down.

Anyways, we covered Foles and their debut album Antidotes. That was our eighth episode. That album came out in 2008. As we mentioned before, and it still holds true. Fools will always be my go-to math rock band, you know, like they're just the best at that. As far as it, man, the way I see it, they fucking wrote the book on it, dude. And I got reacquainted with their second full-length total life forever, which came out in 2010. Dude, it sounded like you said turtle life.

Really? Turtle life Dude, maybe that's just through our shitty Skype connection Maybe But anyways

dude I want to share the final track on the album It's a song I completely forgot about And dude It's just so good

man Like the thing I like about this song There's just a really subtle gradual build from like the intro

through the end of the song, really. And like, you'll pick up on it. And the clip that I've got is intro through first chorus. They're just doing what they do best, dude. So this song is called What Remains? You know, I got to be honest, I don't think I've, if I've heard that song, it's been years. Because I don't recognize it.

Dude, like I said, like I totally forgot that that song existed. So, like when I heard it, man, it just got me in the, feels man so and dude this is one of those prime examples um of how and you know this is what we preach on this podcast it is worth it to listen to an album all the way through and to pay attention to the songs that aren't singles this is the last track on total life forever it's not a single how many people you know hit stop before they reach the last track out an album you know and you miss out on great music. And I feel like a lot of times the very last track on an album is the last track,

like for a reason, you know, like a lot of times I feel like bands are very like conscious about the first track and the last track, you know, because it's the beginning and end of whatever statement they're making on this album. Yeah. Yeah. It feels like a lot of times the last track is almost like the encore, you know? Yeah. Right.

So anyways, man, I fell in love with Foles all over again this past week. And yeah, so that was what remains the last track on their 2010 release, Total Life Forever. So let's get back into some Radiohead, man. When we left Radiohead, we talked a lot about the in-between from OOK computer to Kid A lot of shit went down, dude. With Tom York specifically, he kind of went through a Rider's block and like an existential crisis where he kind of was like second guessing the whole rock and roll like path that the radio head was going down.

It's the mythology behind the whole idea of being a rock star that he had he has a huge fucking problem with is what he said like with the track how to disappear completely that's a song about how tom york felt staring out into the massive crowd uh that they were playing to in like an outdoor venue i forget what what country they were playing in but it was during their okay computer tours um where you know, with that whole rock and roll mindset, he just felt like he was completely wasting his time and like he might as well not even be there. Tom York, again, went through this weird state of like, basically he was pretty much just like second-guessing everything about his career choice.

It's what it felt like from the interviews that I've read. and then he got into electronic music heavily between OK Computer and Kid A. And he finally got past that rider's block and he started to shift his focus on rhythm over melody. Like the way he put it, you know, he just completely had it with melody. And that's, I mean, you know, you think about most mainstream rock bands. It's all about the melody, right? it's all about the catch or whatever um not the catch the uh the hook it's all about the hook right so unlike kid a they released some singles for this album um so it kind of made it a little bit

harder harder for us to pick pick songs on this album that we really felt like needed to be shared because i don't know about you but i might be wrong is one of my favorite songs on this album one of my favorite radiohead songs yeah me too and that's a single and uh same with uh knives out knives out's one of my favorite radio head songs and it's also a single yeah and those are those are back-to-back tracks on this album i might be wrong is the song that i i played for our intro so you got to hear a little bit of it um but anyways man listening to this album all the way through i was able to find a few other great songs to share.

The first one we're going to play is the first track on the album. It is called Packed Like Sardines in a Crushed Tin Box. So right off the bat with this song, being track one on this album, if you remember with Kid A, with a lot of the songs, he kind of masked his voice, you know, like behind effects and other things. But like with this album, it's right back there in the forefront. Like I feel like it's a, it kind of shows like the confidence that they all had as a band. You know, post-OK computer, post-the-funk that they had to get through, you know,

with Kid A coming out and all of the band members, you know, feeling really good about that album. Amnesia comes out and yeah, like Tom York's voice shines through again. And it's like a happy medium between what you hear in the bins and OK computer and like the new stuff, like the new sound that they have like when you hear Kid A. Yeah. Well, it's interesting that you talked about the like the masking and stuff that he put over his voice. Yeah. Excuse me, because I've got like a...

I'm recovering from a cold, so my voice might sound gravelly. Oh, no worries. So you were we talked about that, like, on OK computer, I think it's the song OK computer, right? Or, no, it's not that. Paranoid Android. It's fitter happier. It's that voice, right?

Yeah. That robotic sounding voice. And then they do it again on... they do it again on on kid A on kid A, the song KDA. Yeah, yeah, yeah. And then they bring it back again on Amnesia. They do. That's the point I was getting to.

On track three, right? Polk slash pull revolving doors. Yeah. Yeah, dude. They bring that back again. So I was on the fence about whether or not we should play a clip of that. Because it's, I mean, maybe we could now that we're talking about it. Yeah, let's do it.

But the only reason I bring it up is because, and obviously, there's an answer to this question out there somewhere. But my thinking is that like, it's not a coincidence that he uses that, that voice effect on, on every album now since OK computer. Like, it's got to be. Every album, really?

Yeah. Well, like, we just went through it. Yeah. It shows up on OK computer, Kid A, and the Nemeese. Yeah, yeah. Those are their, those are in order, sequential order of when they came out. Yeah. So it's just interesting that.

that it's almost like it's a recurring character or something like that, you know. Yeah. Well, yeah, let's listen. But it's got a really cool. It's got a cool beat anyway. I like it. Yeah, let's listen to it. So this is track three.

We'll just play a little bit of it. Yeah, this is called Polk. That's not a word. P-U-L-K-slash-Pull-Rolving Doors. Episode or what band or song I was talking about, but it's got that sterile vibe. know, like the, like, absolutely nothing human about it. You know, like that cold, sterile vibe. Yeah, exactly.

All right. So, so one thing I was going to mention to, like, I don't know if we got too much into this in our last Radiohead episode, but something had to change with, like, the dynamic of the band up to this point, or up to Kid A, at least. because Tommy York was just a fucking dictator. Like, it didn't matter what other band member, like what ideas other band members brought to the table. Tom York pretty much turned it all down.

It was, you know, his way or the highway. I mean, you kind of get that vibe from him, you know? Yes. He's a control. Absolutely. Probably a control freak and probably a little bit of a narcissist. An asshole. Yeah.

Let's just say, let's just say, it you know but no but like what what it seems like to me what it seems like to me is that and this goes back to you know this is why we we wanted to cover a fx twin as a sidetrack and we you know we we really want to focus on tom york's discovery of you know idm and downtempo you know electronic music it's almost like he pulled a 180 in a all aspects of his life after he got into electronic music, dude, because, like, in interviews around this time, he says, like, it was, it was completely, it's totally weird. He says, it was like starting the band again in some ways, because a lot of the time, you would have

something written, and then you would just go into the studio and just bash through it. But now, you know, ideas come from all over the place, which is great and much better. and I so I kind of some of those words I pulled myself from the quote but like that the whole point is like you know it was like it was like completely rethinking the whole aspect of the band like he realized oh I'm you know I'm I'm I'm in a band with some amazing musicians with amazing ideas you know I need to let I'll need to let their instruments and their ideas shine through. Like, you know. Wait, so when did he have that revelation? Because it sounds like you're saying that he was difficult to work with. Yeah.

You're saying he changed it on this album, that he let them have some input. Okay. So I'm, I'm pulling from an interview that came out in August of 2001. So this was an, but, but he's talking, he, he, he's referencing the, the, the, the, the, the interviewer was, you know, asking questions about the time frame in between OK Computer and Kid A. Gotcha. Yeah.

Well, what I want to know is like, where, well, like, where are the other band members' fingerprints on this album, you know, like, I mean, I know that, I know that, um, the Johnny Greenville. Greenville. I swear I'm going to, I'm, I bitched that every, butcher that every time. Greenwood. Johnny Greenwood. Yeah, yeah. Yeah.

I always think of Johnny Knoxville. especially Greenville. Johnny Greenwood, I know that he's heavy on the computer programming side as well. Yeah, yeah. So it makes you wonder about sort of the the beats and stuff.

Yeah. I wanted to go back. I know we're skipping around here, but that's fine. What is the percussion on the percussion on that opening track that we played? I forgot to bring it up the pack like sardines and a crushed tin box.

Oh, yeah, I don't know. I don't know what that is, man. Because it sounds like, you know, it's definitely not a standard piece on the kit, you know. Yeah. Yeah, I don't know, dude. Some kind of fucking... But it's whatever it is, it's cool. Yeah.

But anyway. So before we play our next clip, I want to quote someone here real quick. So there is an artist that... is responsible for the artwork, starting with Kid A through to hell to the thief. His name is Stanley Donwood. He's a friend of the band. He's a fan. And he was quoted as saying that, so, okay, he is quoted in reference.

Okay, hang on, let me see how it can do. Okay. He is quoted as saying that Kid A is like you pick up the phone, you call somebody and there's an answering machine on the other end. With Amnesiac, you get through to that person and you're engaged in the conversation. So I really like that quote a lot. So the way he sees it, you know, kid A is. is, you know, like the, I don't know how to say it. Maybe like the blueprint of Radiohead as they are now.

You know, and then with Amnesiac, it's like you're seeing the full idea realized. Yeah, so it's like they're kind of flirting with the idea. And kiddie. And then, dude, again, like, let's drive this point home here. these are songs and ideas that they were working on and writing all around the same time. Like Kid A and Amnesiac, it's all the same era of Radiohead, you know? So here is our second pick from the album. This song is called, hang on, what do we do next?

Oh, okay. So the next song that I'm going to play for you is track four. It's called You and Who's Army. And we're playing the whole song. So here it is. Come on. Come on. You think you drive.

Come on. Yeah, I love that change, the tempo change that happens. For me, that song, I just love the intensity behind it, you know. Well, I mean, it's such a slow song. Like, it starts so slow, you know. And there's almost no instruments besides his voice. and then everything slowly comes in and it really really changes the feeling of the song

and his voice, you know, picks up and gets more, you know, he really starts. Because, I mean, he's almost like, he's almost, I don't know, speaking. I mean, it's a singing voice, but it's not, it's very passive, you know. Yes, dude, and that's, I feel like that all just goes back to his hatred towards melody.

during this era of his songwriting, you know? Like, like, he, he tries to drive home and, like, think back to the intro clip. You can hear his annoyance and anger with just the basic, the music, you know, the rock and roll music. He fucking hates it, dude. So, you know, these two albums, like you're saying, like, it's a very passive, this. It's not very melodic. But man, that's what makes it so... I feel like I need to...

I want to look more into this because, like, I want to know... I mean, you know, this is post-grunge, right? This is like Radiohead, you know, they started in the early 90s. Yeah. And sort of, you know, if he grew tired of rock in the... Through the 90s while they were doing their first few... tours and stuff. Yeah.

Like, I wonder if he didn't like grunge music because that is what rock and roll was in the 90s, you know? Yeah. I'm just saying, I'm trying to figure out if he grew tired of rock as in grunge rock, you know, like the more heavier rock stuff, or was he just tired of just big quotes,

rock, whatever that means, you know, like the big umbrella term of rock music. Yeah, I mean. Because he was tired of like the lifestyle too, right? Or not tired of it, just he didn't like it. Like he didn't, like he felt, uh, okay. He didn't feel like he needed to, to do it. Or he probably was like feeling, I'm sure when they were on tour and stuff, like that

lifestyle is thrown in their face, you know, and he was probably just like, like this is not, this is fake, you know. Yeah, dude, I'll go back to a quote that I, that, that I said of him on our kid A episode. He says there's nothing more boring than a rock and roll star. Someone who has been on the road for 10 years, expecting attention wherever he goes, drinking himself stupid, who is obnoxious, incoherent, uncreative, and has a massive ego. There is nothing more pointless. So, yeah, he just felt like, I feel like for time of work he felt like,

okay, there's an obvious path that I can take. where it guarantees me success. It guarantees the band success. And I can continue down this road, you know. Or I can, you know, that's where that's where his creative, you know, mojo gets lost where he feels like, you know, I don't want to be this person. I want to do something completely different. And that might mean that I'm not going to, you know, get this attention wherever I go.

but I don't care. If I don't change, I'm going to go fucking crazy. Yeah. And then that's when Kida is born and Amnesiac. And let's fucking play our next clip, dude. So I mentioned in our KDay episode that I was going to play a track from KDay on this album. There is a almost like a, I guess an extension of, okay, it's not a, extension. It's the exact same song. So they redo, they, they do their own cover of Morning

Bell, which shows up on Kid A. They do their own cover of that song on Amnesiac. Um, so on Kid A, um, Morning Bell pops up on as track nine. It's like towards the end of the album. And then they play it again, completely reimagined on Amnesiac is track 7. And they call it Morning Bell slash Amnesiac. So like here's Amnesiac's version

of the song Morning Bell. So I wanted to play. So is that how they're positioning as like this is a separate version of the song? Dude, rethinking of it? This is why.

Because I always thought of it as just. No, no, no. This is why I wanted to play him back to back because yes, It is the same fucking song. It's just, it has a completely different vibe. So here is how Morning Bell plays out on Kid A. What a cool song, first of all.

Dude, yeah, I fucking love that song. I'll say it right now, dude. Okay, I won't say it right now. Say it. Nope, I'll say it after the FGM music version. But yeah, so, so with that, with that, version you know the drums are in the forefront you know the drums drive the song

let's listen to their reimagining of it for amnesiac so that's a more like a much more dreadful version which one do you like better dude yeah I would say I like the kid A version better same I feel like that's just for because I'm a sucker for the B that's what I was going to say dude but I think it's more it's a it's a more effective. But man, I mean, who does this? You know what I mean? Like who releases the same song?

Well, a reimagining of a song that they came out with on the previous, like, you know, who does? It's just one of those examples. And it's not even like they waited 10 years. They waited, you know, it's eight months. It's back-to-back albums. And it's not even like, you know, like one of our favorite bands,

Fleet Foxes, they'll go four or five years between albums. Right. head, you know, they released two albums within, you know, less than a year's time. And then they released the same song, uh, reimagined. I think it's cool. Like, it makes me wonder, did Tom York have these two different versions and, you know, like these two different vibes in his head. And so he wanted to share both of them or someone, like, did someone else bring

that different version to the table? because now we know Tom York is starting to you know he's not as much of a dictator he's letting the other musicians shine through like what what made this song

show up on on these two albums yeah it just it makes you wonder the thinking behind that and like how many other songs how many other radio head songs have alternate versions out there that never saw the light of day you know what I bet we're going to have one.

It's going to be one of those things where, you know, someone, like, what's his name, dude? Giles Martin, George Martin's son, he continues to release these remastered, remixed versions of these Beatles albums with like dozens of outtakes and different versions. I wonder if we're going to have the same thing with Radiohead in like a couple decades. I hope so, dude. I'm sure we will Yeah So let's just go Just diving in our last pick

Dude I got nothing else to share As far as like backstory Um So The last song that I picked For the album is track 8 Which is the next song

On the album after Morning Bell Um I love this song dude This is one of my favorite Radiohead songs It's called dollars and cents I just love the bass and drums in this track, man.

Man, for me, with this song, like, there's a few instances with their catalog that Tommy York's voice just, like, gives me chills. This is one of those songs, man. Like, the way he, oh, God, dude, he's like, it's, it's like a whisperer, you know. Right. Oh, man. And, dude, the lyrics, I'm going to read the first verse. This is one of my favorite few lines of his.

he says there are many things to talk about be constructive there are weapons we can use be constructive with your blues that's such so fucking cool man anyways there's a lot more of that song that that i could have played but i just you know i i i want our listeners to fucking dive in and listen to this album all the way through so i left out the goods you know yeah well yeah This song just as a reminder of like the main reason aside from how amazing the actual music is separate from his vocals. But Tom York's vocals is why Radiohead is such an incredible memorable. Like when I think of and why I love Radiohead is because of his voice, you know. Yeah.

And then nobody else is like him, dude. Nobody else does, sings like he does and, like, changes his, he has such a wide range, you know. He's able to do things with his voice. Like you said, it's almost like a whisper. Yeah. Almost in this song. It's like, he has such a- We talked about that on our OK computer episode.

I don't remember what song, but, you know, we were talking about how they were recording in that, that old, you know, mansion. What song was that, dude? Which one were we talking about? That was, uh, exit music for a film. Yeah. Same thing where it just like it especially, you have to listen to Radiohead with a good pair of headphones at least once, all their albums,

because you pick up on things that you won't necessarily notice if you're just listening through speakers, you know, in like a large room or whatever. And that's one of those things, like the way his vocals shine through in the mix. Dude, and I mean, that's the other thing with Radiohead. You've got Tom York and then you've got Phillips. Sull wave behind the drum kit.

You got Johnny and Colin Greenwood. And then you got Ed. What does Ed do? He's another guitar player. He's the bass player, right? No, no, no, he's the other guitar player. Colin plays bass. Yeah, yeah.

Yeah, I mean, it's just, it's a fucking... It's a powerhouse, man. I hate the word powerhouse, but that's, dude, that's what radio hit is, man. They're just... It's just what... Dude, it's on par with the Beatles. It's like, man, fuck did these dudes get together how you know why are we so lucky yeah yeah exactly but um but yeah he he just

has such control over his his voice and he's able to finesse it you know and and really just get any sort of like like you know feeling out of his voice you know yeah he's just such a master at it yep and he always has been yeah so um I guess that's it, dude. That's my picks for amnesiac. And I don't know what it is about Kid A and Amnesiac. I feel like it's like I didn't know this about Radiohead until I researched all this for this podcast. But like I think it's cool that Kid A and Amnesiac, for one, it's song ideas and, and, you know,

recordings that all happened within like a couple years not even a couple years like a year and a half and it was a 180 degree turned for not only the band as a whole but for tom york as a musician i feel like that's why these two albums have such as uh like long-lasting impact on me as far as like when i think of radio head albums that are significant it's these two albums for me Yeah. And when did, so Hail to the Thief, when did that come out? 2003, it was a couple of years later.

I'm really excited to listen to Hell to the Thief because, again, I'm purposely not listening to it until we dive into it. Now, you said the dollars and cents is an example of where Tom's voice gives you chills, right? Oh, yeah. Well, there's plenty of songs on this album that do that,

to have that, that impact and that like, that sort of, chills down the spine kind of hair standing up kind of kind of vibe, you know. Yeah, Radiohead is just one of those bands, man. It's going to be hard to narrow it down, but there's only three singles on here.

Two plus two is five is one of those singles. They're there and go to sleep. I will say there there is a, kick-ass song. But that's okay. There's plenty of great songs in here. And there are plenty of great songs that aren't singles. So it's going to be hard for me to narrow it down.

But we will have a sidetrack episode in between that. So I've got some time here. Yeah. But yeah, I will be. Not only are we're going to have a sidetrack. We're going to have another full-length episode in between, dude. Oh, you're right. And here's what I was thinking, man.

So for one, I want to thank you again for your Christmas gift, brother. Oh, yeah. You gifted me the Mercury Program's debut album, A Data Learned the Language on 180 gram vinyl. And dude, I've been listened to that. I've been listened to it nonstop, pretty much. Well, the funny thing is I gifted myself that same album when I bought that for you. Oh, of course you did, man. And like, it's one of those things.

And that's why I love vinyl, like that format, because it, almost forces you to fall in love with an album all over again. Yeah, that's right. I mean, really. So I think we should do a data learn the language as our next full-length episode. Dude, I love that idea. Because, yes. I mean, really, we haven't really, really done an album like that yet.

No. It's instrumental. Like, it's not really jazzy, but it's, it's almost got a math. It's got some math rock. It does have math rock, but it's instrumental. Yeah, dude. Yeah. Let's fucking do it, man.

That's a great idea. And that's what a great album too. Fuck yeah, man. And a real change of pace from what we've been doing lately. So yeah, let's do that. Cool. All right. So let's finish this up.

So as we've fucking driven to the ground at this point, Tom York got into, electronic music heavily and out came kid A and music because of that. So he mentioned Apex Twin as being one of those artists that he got into. He pretty much just got into the entire Warp catalog, which is a, you know, really famous electronic music record label. one of the other artists that he mentions is a guy that goes by autakure i think that's how you say it that's my best guess um so i listened to a few of his songs from around that era you know

98 through 2000 and if you remember on our sidetrack for aphax twin i had mentioned that there's a lot of aphx twin music that i just could couldn't get into because it's too like glitchy i don't know you know like right which is exactly what tom york was you know he was just dying for the rhythm that's all he cared about and he got into that shit and it makes sense when he listened to this music because there is no melody in a lot of this it's just you know glitchy bleeps and bloops but uh there's a really cool song um that i came across on an album of his called, actually I'm sorry, it's a duo. There's a couple of people involved here.

It's an album called LP5, which came out in July of 1998. This song's really cool because it, like the entire purpose of the song is to bounce back and forth between tempos and almost do it in like a fluid way to where, you know, it'll pick up and speed and then slow down. It's really cool. And, you know, I like to imagine that this is one of the songs that Tom York fell in love with. So, let's, we'll play out this episode with that song. Real quick here, as always, hop onto our website, no-filler podcast.com.

We've got our show notes on there for each episode. There you can find links to all of our sources, you know, videos from, concerts and interviews and whatnot from things that we've pulled for each episode. We've got our track list. We almost never post videos for interviews and concerts.

I'm just going to say that. I'm going to call us out here. Well, I just did that last week. Okay. I threw in the interview with Eklow. Because I promised that I will go. So, yeah, I mean, I go back in that shit. So, yeah.

All right. We've got clips from interviews and concerts. it's on there as well as the as well as the track list for all the songs that we covered you know from the intro through the what you heards and all the all the songs from the album and uh yeah I don't know what we're going to do for our sidetrack next week but we'll figure it out and we will shout at you again next week until then um here again we're going to play out this episode with a song from Atecure This song is called Fold 4, Rap 5.

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