No Filler Music Podcast - Ep 31: Radiohead - In Rainbows (w/ special guest Nathan Forster)

Episode Date: March 10, 2019

On this week's episode we welcome our first guest to No Filler - musician and Radiohead superfan Nathan Forster​. To finish up our coverage of Radiohead (for now), we take our first true deep dive, and go track by track through their 2007 release "​In Rainbows​". Join us as we geek out over not just "​In Rainbows"​, but all things Radiohead - everything from Yorke's infamous lazy eye to Godrich's awe-inspiring recordings From The Basement. For more info, check out the show notes: https://www.nofillerpodcast.com/episode/ep-31-radiohead-in-rainbows Learn more about your ad choices. Visit megaphone.fm/adchoices

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flowers fresh for longer. It'll even work for that ink sink on your shirt. Ah, not again. Clean anything with the versatile Chlorox disinfecting bleach. Discover more hacks at chlorox.com slash learn. 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. with me is my bro-brough Quentin. Oh, you said bro-brough, that's what I say. You know, I thought I'd mix it up a little bit here. So today on the podcast, we are talking about in rainbows by Radiohead, their 2007 release.

This is the last stop on our trip through the Radiohead records. Last stop on the Radiohead Choo Train. Yes, for us at least. We started with OK computer And we're stopping at In Rainbows For now, at least We might circle back and talk about Maybe moon-shaped pool at some point

But for now we thought in Rainbows Would be the perfect place to stop And we have a special treat In store for you guys today You're probably tired of hearing Just myself and Quentin Talk to each other about records Dude, that's probably the main reason why we don't have more listeners because they're like, dude, I can't listen to these twin bros, geek out and be all weird together another fucking week.

Well, we're giving them a break at least one week of a break because we have a special guest on the episode today. His name is Nathan Forster. He is a musician. He was in a band called Grass Fight for a number of years. I was their guitar player for like two months. Anyway, we're just introing the episode here. We've already had our conversation with Nathan. We taped it a few days ago.

He was actually in town, which was sweet because I haven't seen him in years. So it was fantastic being able to look him in his eyes and chat with him about Radiohead. Yeah, man, it was a blast. We had a good time. We covered every song on the album, which you're about to fucking hear. I haven't pieced it together all the way through, dude, but it's probably going to be a solid close to two hours long. Yeah.

So anyway, let's just get right into it. Like you said, this is going to be a long episode, so let's stop yapping and get to the convo. Yeah. All right. So here's our conversation with Nathan and we're covering radio. It's 2007 release in rainbows. Travis, you've got Nathan in the flesh.

That's right. Sitting in your room. I wasn't expecting to have him right in front of me like this, but here we are. Here I am. That is amazing. So let's talk about who Nathan Forrester is. Oh boy. Here we go.

Here we go. How long is your podcast? That'll be the extended episode. Okay. So where were you born and raised? What are your hopes and dreams? We don't know. We don't got to get into that, dude. So I, so Nathan made my rock and roll dreams come true by letting me play guitar and Grass Fight. And we, I guess if we were to, like,

we always said, oh, Grass Fight is like Interpol and Radiohead, right? That's the sound that we were going for. So Radiohead being one of those two sounds that we were going for means that you're a giant radiohead fan, is I correct? I am a giant radio head fan. I think I know most everything except for their birthdays. You don't know their birthdays? No. Oh, I got Wikipedia right here, dude.

I mean, you can find out right the fucking. Wouldn't it be something else? I'm going to do it right now. I'm going to see if today is Tom York's birthday. So are there any left-handed members in the group, Nathan? There are not. Okay. Yeah, all right-handed.

Yeah. Okay. Even though, you know, I could picture Johnny just swinging the guitar around the other side and play it the same way. He could probably do it. Yeah. He's talented enough. But, so I feel like this is a full circle moment for me. Yeah.

Because I feel like Radiohead wasn't really on my radar until I joined Grass Fight and saw how obsessed you guys were, or at least you were. I don't know about the other guys. So here we are. Travis, when were you in Grass Fight? Trying to remember. 2008? Yeah. So it's been like a decade.

Yeah. And Nathan, when did you first get into Radiohead? Like, what album was it? Well, I remember when I was a kid and Creep came on the like the Buzzbin, MTF Buzzbin. And I was like, that's a cool, like, guitar sound with the chug chug joke. Yeah. And, but I didn't get the album then. And then in seventh grade, a friend let me borrow the bins.

And I listened to it while I had a broken wrist from jumping out of the swing. And then OK Computer came out. And that's when I hit. Yeah, that was when the obsession started. Yeah, I missed out on all of it, man. I just, yeah, it just wasn't on my radar, unfortunately. I kind of wish it was, but... Yeah, well, you needed better friends.

Yeah, seriously. We were into the strokes. I feel like the strokes was our big band back in high school. That was who we were obsessed with. Yeah. Which, you know, it's the strokes. They're pretty... Yeah, they're decent.

Nothing to front out. Right. There are no radio head. All right, so is in Rainbow's your favorite radio head album? I think it's... I was actually thinking about this on my way over here. I think it's my second favorite behind OK Computer because, okay, computer just has to be number one. But I do think like moon-shaped pool is probably like number three.

Really? I need to give that one another good listen. It's, it's been a while. And I only ever listened to it all the way through once. I love in rainbows, man. But like for me, it's always been a tie between Kidae and Amnesiac for like my favorites. What's funny is like I, I like wasn't, I kind of like was rebelling a little bit against Kidae when I. came out, like everybody's going crazy about it, but I wanted that, like, guitar, rock. Oh, yeah. And, you know, they didn't give it to me, but then, like, years later, I realized how much of an idiot I was.

Well, that's what's... Okay, so we talked about Hale to the Thief on our last Radiohead episode. And I feel like Hale was, like, when they kind of mixed the electronic stuff that they were doing with the music with the guitar, melodic rock stuff that they were doing in the past. Yeah, like, Hillel the thief is like, I feel like the collective, like radiohead, like, up to that point, it's like they threw in like everything they'd been doing. Right. And then put it into like a 14 track album or 13 track album. Yeah.

I always say that Hale the Thief is my favorite radio head album. And I think in Rambos is probably number two. Well, and we learned at that point, too, that Tom Yorker's finally starting to let other band members have a say and like creative, like writing. but before that it was like his way or the highway kind of so it was we were finally starting to hear the entire band I think that was actually that was around like the kid a amnesiac time but you know but then from that point on you know it was more of a collective effort for each album well I'll be actually I'm going to be honest I heard differently but uh yeah this is why you know this is I'm your guest here I don't I don't you know no lay it on me I mean I have read in radioid books and that kind of

thing, but, uh... Yeah, so please. Tell us where we were wrong. Like, King of Limbs, I think, was just basically like Tom York 2.0. Like, I don't think they did much of anything on that. Really? But, uh, but yeah, I mean, I think the, how it, like, worked before, basically, it was, like, um, Tom York would kind of, like, do, like, the song writing, uh, like, you know, solo stuff and then bring it to everybody else. and then they would kind of like scramble to like find things to like add on top of it.

You know what? That reminds me of a quote that we had from on the Hale episode. We talked about. Sail to the moon. Sail to the moon. Yeah. So they were talking about how like Tom came into the table with that song. He had written everything.

And they didn't like they were nervous to like it. Like it was one of those things where they felt like they had to handle it with like with care and stuff because it was so perfect. they didn't want to it's like there were several there's like a tom york song where it's like perfect we don't have to do anything to it and then there's the ones where they've like they feel like they have to you know they they contribute to it with a guitar rip or something like that was one of those instances where it's like don't touch it it's perfect so i wonder if that's the case with a lot of them it's like tom york probably writes or has the main idea probably almost all the time like i think with that one uh seal a moon uh what i what i heard was that uh like

Phil Selway took like the like you they like worked on like the the um whatever like the measures like they started to like F up the measures like I think it was like kind of normal at first and then he was he was like let's try this out and I think it's like some crazy like if you listen to it and you listen to it like on a four four kind of like scale like it's totally jacked up like it's kind of hard to follow that's what I love about ready hit stuff all the quirky things they challenge you Yeah, exactly. Exactly. So, all right, let's talk about what we're here to talk about in rainbows. So compared to Hale to the Thieve, I feel like in rainbows, or I guess compared to everything else that they've done, I feel like in rainbows was more, it's more like traditional rock song structures. as far as like

it's the album with the least amount of like electronic stuff. Yeah. Yeah. I think... I feel like they almost... Because with Hale, they said, we brought the laptops and whatnot into the studio and try to treat him as other instruments along with everything else.

But with this one, I feel like there's less of that... There's some of it, but there's not as much of it. It's more straightforward melodic stuff. Would you agree with that? Yeah. I think like, I forget who said it, but there was some, uh, some reviewer of the album said it was a, it was radiohead coming back down to earth. Okay. Yeah. So it's kind of like, it's kind of like,

like, stripped away like a lot of the effects and, uh, yeah, and just like the drums are like super dry. Right. And so it was like, in that way, it was like totally different from the stuff they had done the past. But it was also kind of like a, like coming back to like the bins a little bit. Yeah. Which I think a lot of people were happy about. Yeah, exactly. But what's funny is, like, I think track one, 15 steps has that electronic drumbeat. But, I mean, I feel like the rest of the album, it's really light on the electronic stuff. Yeah, for sure.

Well, hey, let's just jump in, man. Let's do clip one. Speaking of 15 steps, let's jump right into it here. Let's do it. We're going to go track by track on this album, which is something we've never done. So this is going to be a lengthy episode. but we just couldn't we couldn't worth it yeah it's going to be worth it for sure we couldn't not talk about every single track so yeah so it's going to be a song heavy episode so here's

track one 15 step tracks for an album yeah i love the i love the drums man yeah and yeah how it all it's it's like you know they got the collapse in the background and it's really just really percussive at the beginning you know and then it all comes in with that that baseline yeah I think when they, like, debuted it live. It was before the album came out. I remember I've seen his video where, like, Ed was, like, telling the crowd to, like, follow his clap. So it was like, so he did that, you know, the pop-pop. So it wasn't like the standard, like, okay, put your hands together.

Let's do this. Yeah. Just the regular, you know, thing. So it kind of like what I was saying is like that it's like a perfect example of, you know, radio head, like, challenging the fans being like, you can do this. get with us on the same page. You can stick with us. But yeah, I love the guitar that comes in. Like, it's just, it's, what I like about,

I feel like the drums are always off during their own thing a lot of times with the radio event song. And then like the guitar might be like much more like soft and like light or like, you know, light on the distortion or something like that. But then the drums are over here doing this crazy thing. So one thing I've always said about Phillips drumming, and it's why he's one of my favorite drummers. So I like drummers that you almost don't realize that you're not listening to just a loop,

like a drum loop. A lot of his drumming is extremely repetitive and simple, but that's what I love about it. Yeah. I love so many of his drum beats, man. I just love him, especially on this album. Yeah, there are a lot of tracks on here that are like that, where it really does sound like just a loop, you know.

Yeah. But then I'll do something different to it. You know, I'll change it up a little bit. And let's not forget that this was the song that played in the credits of the first Twilight. Really? Yes. Dude, I had no idea. Yeah.

Probably because I've never seen it. Yeah, I mean, I just heard somebody tell me. All right, I have another clip for 15 steps. All right, let's hear it. Yay. Let's give it a go. Of that bass line? number one. That's like one of my fucking. I fucking love the bass, dude. I feel like Colin is

becoming my favorite bass player. Yeah. You know what I mean? Like the more I, the more I listen to Radiohead, the more I realize how like crucial his bass is, you know? Yeah, he's like a bass, like, nerd. Like he like, he like, will only do like what, like he doesn't like show off unless it's like that where it's like, this like little, little bit and like a, yeah, almost like a drum fill or something like that. But yeah. He's not a flea. Yeah. He's not a flea. he's not a flea or a Carlos D and that's what I'm talking about with like my favorite drummers

are the ones that keep it simple but like you know they're doing all the right things man like I've always felt that way about Ringo Star and Jim Eno who I talk about all the time Spoon

also in that clip like one of the most memorable moments of that song is that little clip of the children Yeah. Playing and yelling. Yeah, that's just like a, it's like one of the clips. It's like in the sound bank on,

in Logic or Garage Man too. Really? Yeah, like, that's funny. Nice. I can have it on your computer. Oh, shit. Yeah. So like, I always wonder, like, why did they,

why did they throw that in there just for fun? Or like, is it, does it have some sort of like connection to the lyrics or something like that? Like kids? Or was it literally just, let's just throw this in here real quick. Yeah. I mean, there's a lot going on towards.

towards the end of that song, you know, it seems to kind of build up, like, the intensity of it all the way to the very end. I mean, that's one way to build intensity is to have a random clip of kids yelling, you know? I wouldn't think kids yelling. Also makes it, like, it has like a cheeky vibe to it. Yeah. It makes it kind of funny a little bit. But, yeah, I always just wonder. And Radiohead does stuff like that all the time, you know.

Yeah. Stuff in that, that just, like, comes out of nowhere, it seems like, you know. All right, so we're going to jump into track two, spoiler alert, friends. Body Snatchers, one of my favorites, man. Absolutely. It's like impossible not to make the duck face when it starts. Like the rock out duck face. And do like air guitar and just make the duck face.

Dude, what's funny is I made that face and you probably saw it. I did do. Yeah. Involuntary. I didn't get to see anything, guys. Well, you probably made the same face over there. dude. Something like that.

By the way, pitchfork says it in rainbows is the best new music, I guess, whenever they wrote it 9.3 on the pitchfork scale. Yeah,

and that's like the, the collective, like thing, because they originally did it where it was like, because it's just like the, because you remember when the album came out,

it was like the pay what you want. Yeah. And then, so pitchfork initially did like, they did a great review, which I find a little, a little rare sometimes with pitchfork. Hey, you're on the same.

We're on the same. Yeah. But we agree on radiohead for sure. Yeah. But yeah, the review is like, basically review what you want. So I think that they took that number from like another like average of like reviewers. Yeah.

That's clever actually that they did that. Yeah. I guess we'll need to talk about that at some point on this episode. Like the whole what you want thing. And like how they were really the first the first major act to do something. Yeah, I think like nine inch nail. did shortly after.

Yeah. And 9-inch nails, like, they're known for, like, their source files, audio files are, like,

available for people to download and stuff, which is kind of the next step, I feel like with, like, as far as, like, putting it out there for your fans, you know,

like you can download, like, you know, the instruments or whatever from a certain 9-inch nails track and remix it. Oh, yeah,

he wants his fans. Like the stem. Yeah, to remix his music and stuff like that. But, But anyway, so, Q, you said this is one of your favorite radio hit songs. What do you like about as much? Tell us what you like about it.

Well, for one, like I said, that's one of my favorite drum beats of his. I mean, it's, like, if you're listening to the, like, the bass drum is just constantly going. Like, you know, it's all just the same, very repetitive. It's fucking hard to do, man, because, like, I've tried to play along with a song. Like, dude, my right, my right limbs are just. dead by the time yeah like it's you know by the time it changes up like the beat so you would say that

you're not the king of limbs you know what I'm saying that's exactly what that's exactly what I would say that's that's where the boi-oing sound good yeah yeah we need to have a sound board for those moments a little high head hat but my so this is one of my favorite

Tom York moments in a radio head song too my favorite line of his dude when he's like I have no idea what I am talking about I had to finish I was wondering if you were going to do the whole thing I had to go through it I fucking love that dude

I love how he's mean just listen to him he's just fucking screaming Nathan you probably know the answer to this question but like I remember I've seen him live performances we actually went to a show together remember that that was the in Rainbow's tour Yes it was

Um, so he uses his, the microphone, like, like, you know, he's doing, he's probably doing that with the, the, that line that Quinn just said that I'm not going to sing. Um, it sounds like he's, he's, he's got some tremolo or something, or like, like, he's probably, like, kind of moving his mouth around around the microphone to, to make that effect, right? Yeah. Am I just like, am I, am I? Yeah, something like that. Exactly.

Q, you missed it. I just saw it. I don't know if he does it on purpose or what, but yeah, definitely. He has this, like, almost like, purposeful, like, lazy way of, like, singing sometimes. Like, yeah, like, you know, like, I think he started, like, on OK computer, you know, if you think of, like, airbag, I'm back to say the year. Yeah, yeah, yeah, yeah. And he definitely, like, does a lot in this album, too. He's all over the, obviously, his vocals are, like, all over the map.

and that's why he's amazing because, you know, he's got such a huge range with his vocals. But I feel like, especially on stage, like that guy's, like, he's moving all over the place and really, you know, his head's moving all the time. And I feel like that does stuff to your voice,

obviously, when you're going into a microphone, you know. Maybe he's just trying to find the mic because he has a lazy eye, so. I don't think you've ever talked about the lazy eye on this. I know, I was going to say, like, I was thinking about it. But I never had it. He would have some serious issues if he couldn't find the microphone right in front of his face.

But anyway. So I feel like I'd done goofed myself, my friends. I know, Travis, you made a second clip for this one, but, dude. You better fucking play it, dude. I don't know where your second clip starts. But, like, I cut it off like 20 seconds too soon because one of my other favorite things. Yeah, don't worry. I got your cover.

The second half to me is like, it's like one of the. best parts of like any song and that's why i made a second clip because you did not have it in there so don't worry i got you covered yeah so i feel like there was a change like that on 15 step where like it shifts gears and goes into a different place and then the same thing happens here like that change that happens like you said it's like yeah fucking yeah they do that on uh weird fishes too it's like yeah there's like the piano i think it's the piano part there's something we'll get we're gonna get But yeah, I love it when they do shit like that, man.

And like you said, it just, you know, takes it to a whole different place. It's amazing. And that drum fill. Yeah. The fill drum fill. Yeah. Yeah. Yeah.

The drum fill. Yeah, dude, it's so simple, but so effective. Yeah. All right. Well, Trabbe, you didn't have my favorite part, man. Really? I thought that was the whole song. I don't, I don't.

I don't. I don't know the very last few lines. No, no, no. No. No. No. I like the second verse, dude. I don't know if I'm going to play it, man.

Because it's like, I'm not going to sing it for you guys. Come on. Come on. Q, you're among friends. No, no. All right, well, just play it then. All right, hang on. Yeah, dude, I fucking love that line and the way he sings it.

Okay, yeah, I see what you're saying. So good. Yeah, and that's what I'm talking about. Like, I feel like with Tom's range, you know what I mean? Like, it's such a, that's almost like a punk rock sound almost. Yeah. And he just throws it in there. And like it's, you know, the lyrics with, or, uh, with the edges sawn off or whatever, that's

very, you know, he comes at it very aggressively with the vocal thing. And it's, he's talking about sawing off the edges of something. So like it fits with the lyric too being a little bit more aggressive. And he cuts that, it's like he cuts that verse in half, you know, he goes right back into, but then, but then he doesn't have any idea what you're talking about. The second one, the second time around. It's like, he's resolved. He's like, no, it's not.

me, it's you. Yeah, yeah, yeah, yeah. Interesting. All right. Moving on. Yeah, we're only two tracks. There's not, you know, this is kind of a short album. All right.

Let's keep, let's keep it on. So I feel like, obviously, the next three songs kind of go, like, have a whole different feeling, you know what I mean? And that's what I love about this album is, you know, there's so many different, like, moods, you know, and I feel like the next three are very, like, soft radio head songs, you now. So let's hear it. How many clips do we have for this one, Q? So for for nude, I've got two clips. But really what I did. Okay. No, I'll I'll get to it on the second clip. All right. So here's clip one from track three. It's called nude. Just going to say something first. This is like a, I think there was

like the first time that they, because they had like all these songs in the 90s that they would play live. And then they wouldn't they wouldn't record them. So like for the. the hardcore radio fans like radio had fans it would be like uh like we'd be expecting these songs on like every next album and then they would never use them uh like there was like lift true love weights was one of those man-of-war and this is one of them and so this is like the first time they actually brought one back and uh so it was like this like sweet relief for for all of us so when did they write this one um i think it was i think it was around the okay computer It might have been like the Ben's time.

Yeah, that seemed to be the case with a lot of the tracks on Hale to the Thief. Like the songs were written years prior, you know, and they kind of recycle him, brought him back. Yeah, he seems, they seem to do that quite a bit. Like, he just sits on songs, you know, and then. Yeah, his vocals, too, like, you know, it's, like different from what we're just talking about, where he, like, he sings it lazy on purpose. this was like he actually like bonoed it up yeah it's like pretty it's the more like you know i just feel like tom has like all these different you know flavors of his voice you know and this is one

particular flavor which i've heard before uh so you get a variety pack with each of yeah exactly but that's the thing he mixes it up like on the next verse when he says you'll go to hell for what your dirty mind is thinking like the the voice like switches to another to another flavor of Tom York that I've heard before. Yeah, they're almost like characters. Yeah, exactly. Do we have another clip? We do, but here's what I did.

So I like to hear transitions, like from song to song sometimes, and we miss out on that playing clips. So the second clip of nude is really just the outro of it. I don't think I have any more of his lyrics, but then it goes straight into weird fishes. So guys don't get too excited about it. I think that's a great idea. Pumped, yeah, pumped.

Thanks, Nathan. Nice. There's so much going on in that song. I think this is my favorite song on the album. Yeah. I always used to go to Jigsaw. Jigsaw was my favorite for the longest time. Jigsaw's fun.

I think this is my favorite song, dude. I love how like it seems like there's like this, it's like you're going up, you know what I mean? Like it's just building and building and building and building. And like the drum changes. Like he hits that high hat. Like it's that repetitive drum beat like we talked about. And then like he hits the high hat or something like that and then does something a little bit different on the drum beat.

But it's the same. You know what I mean? But then the guitar is getting like there's a lot. Like you said, there's a lot of stuff going on in the background. I feel like everything's building up, you know? Yeah. I think it like it debuted like I think like Johnny Greenwood was doing something with an orchestra and Tom York sang a little bit at this performance

and they brought this song in. So before the album was released, there was this thing. So the song was kind of like hovering for a couple of years like that. But you can kind of hear like the orchestral thing that kind of comes in. Yeah, yeah.

A little bit of like, yeah, yeah. That's what I'm saying. Like, yeah. And that's the kind of weird, like the, like it just, there's a lot of stuff going on as it builds up and up and up

to this like, pay off, you know, and then it switches to that, I get eaten by the worms, weird fishes, you know, that part of the song. Or it's like you get this sort of like break from it a little bit from this buildup. Yeah. And I don't know if anyone else cares about this, but I just love how Philip counts them in on this one. Yeah. At the beginning, you hear this drumsticks.

I love that kind of stuff. Yeah, it sticks with that like raw feel. Mm-hmm. Yeah, so that's the only clip I have for word fishes. Only because we still have so many songs. I want to talk about one more thing with this one. Go for it. So, like, I know we're going to talk about the basement tapes at some point.

Oh, yeah. The performance for this one, and like you hear it in the background, it's, or at least on live performances, it's Ed, the second guitar player. Like, you hear this voice in the background of the song, like, oh, yeah. I can't, I don't know what he said. I think he's just, yeah, doing that. But I've always loved that because, like, I'm always waiting for it to happen because I know, coming. Yeah.

And I just, I love that, not just a subtle sort of extra texture in the background or whatever. Yeah. You're gonna know your way around a microphone to pull that off live. Yeah, I think he was,

he's kind of, cupping his hands for that one. Yeah, something like that, yeah. But anyway. All right, should we move on to track five?

Let's do her. All right. This one's called All I Need. That almost sounds like a, someone's, I guess beat boxing is the right word. But someone's mouthing along to the drums.

Yeah, that sounds like it might be Tommy Ork. Yeah, I think it is. Okay. Yeah, he's mimicking the same drumbeat with his mouth. Yeah, it's like a, it's cool because like it's like this, obviously the feeling's like very, you know, serious. It's very, very lovely and nice, but it has this like groove to it. Yeah.

Yeah, that's what I, yeah, it seems like, I was kind of going back to what I was saying earlier about the drums always seem like they might be doing something like different than like the feeling of the song. Yeah. Because like you say like a beatbox and stuff like that. It doesn't really match the tone of the song. But like the lyrics are great too because it like it, like for most of it you're thinking, oh, it's like a love song. And it is. But like that this lyric, I only stick with you because there are no others. kind of like turns it a little bit right yeah almost like there's nothing else here yeah it's like

i'm in love with you but but this is this like he's kind of like stuck in the relationship yeah sure because there's nothing else yeah available but yeah we talked about johnny greenwood you were talking about like the last song the like the orchestra kind of or like he obviously does that like he does soundtrack and stuff like that like he's i guess he's always sort of had that side to him, right? Yeah, especially around this time. Classically trained. Yeah, because when did when did rainbows come out? Seven. Seven. So yeah, this is when he was doing, there will be blood. Came out the same year. So, yeah, so like, you know, I wonder how much of that type, son of a bitch. Hold on. Sorry. My phone's ringing and then it rings on my computer.

so it's like Apple's trying to smart me yeah like I wonder how much of that that like if he's in that mindset of like I'm making a soundtrack for for you know

there will be blood or whatever like I wonder how much of that spilled into the in rainbow sessions you know or if there was any sort of because if you're in that mindset you know yeah because maybe that's why you know some of that orchestral stuff

kind of spills into this yeah I think he kind of like dove into it and then then I think there was like some interview where he said that Before this came out, he said he was playing more guitar than he has, like, ever. So I think he was, like, doing the orchestra. Then he picked the guitar back up and kind of like, you know, almost made a guitar, like, with arts, like kind of like how you would create, like, an orchestral piece.

Yeah, exactly. Yeah, that's what I wonder about. But anyway. So, I know you have a second clip, right, Q. I do. So I was going to say, there's a, there's something. thing that happens in this next part that's like one of my favorite moments on the album there's like this piano that comes in and i i fucking love it i fucking love it so i think we all know what you're

talking about oh yeah oh yeah it's about to get we're picking up what you're putting down yeah yeah here we go i just love that man it's just so gorgeous you know what more do you want in a song there's nothing else that you need that's all you need all i mean yeah yeah it's fucking perfect. Am I crazy or did it sound like there was an accordion at the end there? Oh, like that. Yeah, it does sound like a great. Yeah, it has like that, uh, yeah, something, something orchestra or something.

Yeah. I don't know what that was. Wikipedia does not list the instruments used in this album so I can tell you. Step it up, Wikipedia. media. What the fuck. Anyway. Yeah, I think that's one of my favorite parts on the album.

Yeah, it's, it gets you. That pay off, you know, and the drums and everything that's happening in that moment, you know. Yeah, this is one of those albums. I mean, I feel like with all radio head albums for sure, like it's worth listening to with a good set of headphones at least once. You know, it kind of envelopes you the way that they record it. So is it Godrich or Godric, Nigel? I would say it Godrich, but it's kind of like that Cigarose, Cigaross, you know. Right. It's however you want to say it.

Yeah, I just love the way he produces these albums. Now, he's done every single one of their albums, right? Yeah. Okay. Cool. Except for Pablo Honey. He was the engineer on the bend. And that's how they met.

All right, so track six, I don't know how to say this. Foss, Farrp. Yeah, we're moving along, Prince. We've got a good clip. I think we're at like at the hour mark. Not even an hour, so we're doing good. Yeah, we're doing good.

So this is just a little over two minutes long, so I'm going to play the whole song. Wakey, wakey, rise and shine at sun. on again, off again, on again. I watch me fall like dominoes in pretty patterns, fingers in the blackboard pie. I'm tingling, tingling, tingling, tingling. It's what you feel, no, what you are to, what you are to.

Reasonable is sensible, death from the nickel. But guess I'm stuck, stop, stop, stop. Without your head, even, no, no. The reason squeeze the tubes and empty bottles I take about, take about, take about, take about It's what you feel now, what you are to, what you are to Little for dancing and the wound is tumourine, tumour and tumourine and duplicate and plastic bags and duplicate and duplicate

there from the neck up, I guess I'm stuck, stop, stop, stop. It's almost like a acoustic rap, like when it gets out, is enough, is enough. I love you, but a love is enough. You know, and I start. There's no real. It's almost like a acoustic rap, like when it starts. Yeah, wiki, weekie, wiki, right?

Or like a, or like a, or like a, how do I, like, or like a song that you're, like, singing in the shower. You just like come up with a shower. She's just fucking around in the shower. scrub scrubbed up yeah baby winkie yeah I've always felt like this song

kind of it's like a I don't know sore thumb on the album maybe I don't know I don't want to be harsh on it but like it you know yeah they they do that

I mean it's like the you know it's like the middle of okay computer you know they like it's kind of like the transition of like

the first part of the album to the next part album And the middle song is kind of like the, kind of like, you could do without it. Yeah. But, you know. But they're trying to. But you can go to the bathroom like I did just now. Nathan used this song as a bathroom break, which is perfect for this song.

But yeah, I guess, so it's like a intermission or something like that, I guess. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.

But the one thing that stands out is like there's a whole. string section on this like an obvious like strings in the background. So I thought that was interesting. When we were deciding whether or not we want to do track by track, I mean like this is a song that you know we could have left out. But but listening

to it again and hearing the string arrangements, you know, it's worth listening to. Yeah. Yeah. Right. But it does stand out obviously from the rest of the album to me at least. It's just different. Yeah. And obviously it's a good transition to the next one because like it makes the next track like that much stronger.

That's true because kind of like we're talking about like nude and weird fishes and all I need all have this very, to me they feel like a softer kind of song and then Reckoner is like starts right off with those drums. Yeah, and Reckoner is another one of my favorites. Before we play this clip though, let's, so what I'm going to do, clip two is going to be from the basement. Let's talk about from the basement for a second. So, dude, I didn't know this.

Show us how little I know. I didn't know this was Nigel's baby. Do you know that? Actually, I didn't know that either. Yeah. That's all. That's, this is his thing. Oh.

Yep. He started it in 2006. He conceived from the basement to capture, quote, the true representation of the artist's work without the pressure of television promotion or interference from presenters and audiences. So, and I mean, no wonder it sounds so fucking good. It's Nigel, you know? Yeah. Yeah, it sounds like exactly like the album almost.

It sounds amazing. Yeah, man, some of my favorite performances of my favorite artists are basement tapes. Like Fleet Foxes did a basement tapes and it was fucking amazing. Yeah, now you know it's all thanks to Nigel, man. It's all Nigel. But, uh, yeah. So here is the first clip as you hear. on the album.

This is track seven. It's called Reckoner. That's the angelic Tom York side, that voice. Yeah, that's the angelic flavor. Did you guys hear the Seelow Green version of this? No. Fuck that guy. Well, I mean, yeah, I don't know much about him.

But, but yeah, like, I think it was like the same year. He's got the voice for it. Yeah, they did a, yeah, with Norwell's Barclay, right? That's like what the group was. Yeah, that's right. It's him in Danger Mouse, right? Yeah, yeah. Yeah, they did like a live version of this, and it was really, really good.

I bet it was. I bet it was. Man, so let's talk about the drums because it's fucking killing it. Yeah, and actually, like, I was really paying attention to the way he's got it, like, in each ear. Like, the actual drum kit is mostly on my right side, but there's, like, something going on. I mean, it's, it's like a snare hit. I don't know if it's a snare drum, but it's something. like there's something going on almost in like a different room with like a lot of echo

and stuff. Yeah, there's definitely a lot of echo or reverb and stuff. You got shakers, you got tambourine. What I like about the drum beat is it almost sounds like a, like it's like a down tempo or breakbeat drum beat, you know what I mean? Yeah, and like I was saying, that snare hit. Actually, you know what? Let's just play it again, dude.

Just the beginning. Like, notice how it's almost like there's two different. beats going on at the same time. It's almost like, I don't know, like one's trying to catch up to the other. I mean, it's all on the same tempo or whatever, but it's kind of hard to describe it. Let's see if we can hear it again. But yeah, like that three hits in a row right before he sings. It's like it's catching up, like I forgot to hit to hit once and then it caught up.

I don't know if that makes sense. Yeah, it sounds like almost like there's a beat going with just the, symbols like they're using like a one of the symbols for like a snare hit yeah yeah and that's mostly on like the right side and like yeah his actual snare drum that you're hearing on the on your right ear is very subtle but he's doing one of those things that um you know where it's it's almost like nothing but it's not it's not a drum fill but you know it's just um there's lots of really delicate hits on the snare drum. Yeah, anyways, I love that.

And it's really fun to watch them pull this one off, you know, from the basement because, you know, Johnny and Colin, everyone's shaking tambourines. And Johnny's like shaking a, he's got like a lemon shaker. Yeah, those lemon shakers probably started flying out the shelves. Oh, yeah. that performance. Every gentleman. So one of the top comments, one of the top comments on YouTube for the Reckoner recording, some guys like, you know, I got tabs on Johnny's Limit? What?

Get it like guitar tabs. Oh, I get it. You get it, Josh? Yeah. Oh, I get it. All right. Now I got it. Okay, so here is clip two from Reckoner.

This is recorded live from the basement. Are you not Are you not entertained Why can I just be in a band like that Like they don't have to be radio head, you know I just want to be Yeah, I'll take the Ed roll Yeah

You know what I'll take the role of the guy that's just shaking the tambourine in that one It's kind of weird Travis and I have this the lyrics up and it's not a it's not a miss like a misspelling or anything

because it's like repeated down here but it says the lyrics are you can't take it with your he's saying your what instead of and it repeats it down the next time it's almost like he's doing like a Tyler Perry or something like that thank you oh my god

that's probably what it was yeah thank you So I don't know why he's Maybe because it rhymes with Reckoner Maybe that's maybe that's why he's doing it Reckoner you can't take it with here He just wanted the two words to rhyme Yeah but yeah it's You know that just shows the

The genius of radio head Is that yeah I mean you think that they're going to say You can't take it with you But no no They're gonna keep you on your toes It's your It's like you You think you know something

It's your My you Yeah I don't know if the I don't think the lyrics were in the album. Yeah. So I don't know. I actually never noticed that the lyric in rainbows

is in this. Yeah. Yeah. That's like that, you know, like in the scene in a movie where a character says the name of the movie. Like, oh, that's the name of it. Yeah. Yeah, I thought of the getting the name from the lyric and videotape in red, blue, green. Oh, yeah.

But no, it's flat out. It's straight out right there. So what is this song about? These lyrics are kind of weird. I like the, I like the line you were not to blame for bitter, sweet distractors. Yeah, dare not speak his name makes me think of Oldemort from Harry Potter. That was very popular around that time. Yes, it was.

But yeah, dedicated to all human beings is a weird line. Like, I don't know what, I mean, you know how it is with his lyrics. Maybe I should go to that fan website that we were talking about the other day. citizen something Citizen insane. EU This guy breaks it down Let's go to it

Let's try it out here Wrecking error I'm getting to the bottom of it It was written in 2006, 2007 Hmm Wait, when did And revokes came out?

It was two Yeah, 2008 or? Oh yeah 2007. I think I said 2007 before But well Dead wrong Get the hell out of here

Hold on a minute, let me see. I thought it was 2006. What are we talking about, guys? The release of this album? Yeah. 2007. Okay. But he wrote it in 2006.

This song was written in 2006. I was just trying to get to the bottom of the lyrics here, and I can't quickly find it. So we can move right along here. All right, let's do it. What are we at now? Okay, track eight. This is called House of Cards. It's like a Tom York's pattern again of like starting a song off super sweet and then

you know being like yeah no this is too sweet uh we're a dark man we're gonna we're gonna change the lyrics uh because it's it like the lyrics to me are like uh you know talking about like a relationship that's like uh i don't know i just picture like a married couple has been together for like a long time and it's kind of like dead uh and then they're like trying uh swingers, like try to be swingers or throw your keys in the bowl. Yeah. Yeah, your ears should be burning denial.

Denial. Good God. Yeah, you're right. And yeah, that definitely, you know, is a contrast to the song. The song sounds like a sweet love song. It does. Yeah.

So I've got citizen insane. that EU up right now, which is like, I was always joking that like, that you're behind this website, but I don't think so. Because it's like this giant, this guy's obsessive to the point of like,

we need to check in on every once in a while or something. Because like he posted, he'll post pictures like, House of Cards was from the titles that appeared on this picture of a blackboard that the band used during two weeks of rehearsals from September 19th to the 30th, 2005. So like he just,

he's good. Oh, he's good. He collects it all, man. He'll take screenshots from the website the radio head website, like the word denial showed up on the website on 2006 or whatever, this exact day, which may be a nod to the song. But like, anyway, he posts snippets from interviews and stuff. And here's Tom talking about this song.

He says, it's his personal favorite. It reminds me a lot of that tune by Fleetwood Mac Albatross, which I absolutely love. Now, I know you're a huge Fleetwood Mac fan, right? If we ever do a Flewwood Mac episode Oh yeah Absolutely We're coming to you dude Yeah

Thank you I thank you in advance for that Yeah We haven't really talked about doing a Flewitwood Mac album But obviously we have to What would you want to do? What would you want to do? Nathan if you were to pick an album to do Man that's tough

Which one should we do? Yeah I mean rumors would be the Most Collective one Can we do the greatest hits? That would be a first I mean Well the funny thing is like On the Black Sabbath out

that we blacked episode that we did I picked songs from like four other albums so like we could do something like too we could just do a flea-upac episode because it was like during the time where they like they made sure they had like the hits and then they like kind of filled in the rest

like the albums are great I don't want to like discount that but but yeah like they definitely like their hits are definitely like spread over like decades right exactly but anyway I'm not familiar with Albatross I got to admit.

But is it similar to the song? I thought Albatross was a instrumental. Cue? Let's cue it up, Prince. Because Tom himself says that House of Cards reminds him of Albatross. So I want to hear it. Can you handle the pressure here of playing something on the fly here? I'm sorry, what was that?

I can see the similarities. He has the same mood. Yeah, same exact vibe. But I guess that's before Nick's joined because that was came out in 69. So there you go. This is from, that was a compilation of, called The Pious Bird of Good Omen. Came on in 1969.

And it looks like that, I think that's where this song shows up, but doesn't show up on an actual album. Isn't that what they, like, what an albatross is supposed to like represent or something? Really? I think, yeah. In Omen. A good omen. Yeah.

You know stuff that I don't. I don't know. About birds. And I'm a trust as a bird, right? Oh, yeah. If you guys do an episode about birds, please send the invite my way. Bird guy. It would just be sound bites of bird calls.

Bird calls. And then we react. Yeah. It's us reviewing. Oh, I love that one. Yeah. That's my favorite bird call. All right.

Do you guys want to play Jigsaw? This is my favorite, one of my favorite songs of Radiohead, period. period it's the perfect song dude his voice is all over the map in that one man yeah

and I had one of those like Tommy York moments where he says you know the beat the beat goes round and around and then he kind of switches his voice

again and kind of screams it you know yeah I don't know man to me for the longest time this was my favorite radio head song

and I think it might still be my favorite radio head song but yeah it just it's fucking perfect man he does that

lazy kind of style of singing like At the beginning, especially when he says that line before you're comatose. Like he just barely drags that word out of his mouth. The word is comatose too. Yeah. It kind of makes sense that he would sing it like that. But I always remember the music video for this where, like, the cameras attached to their bicomots or whatever.

It looked kind of like goofy. Yeah. But like Tom's face, because you have a straight shot of Tom's face the whole time. Perfect shot of the lazy guy. Yeah, that's what I said. If you didn't know before, you definitely know in that video. No denying it. But yeah.

I remember he was always, he always looked like a goofball when he's singing that song. He's having so much fun with the song, too. Like, the guy is such a interesting performer. But anyway. This is my favorite picture of Tom York. Are you going to show it to? I got to pull up a Skype. Hold on, Q.

Hold on. I got to put this up here. he's just a he's a goofy looking guy happy as all get out I mean he definitely has aged okay like he looks a lot better now but when he was young man that guy was just a goofy looking dude

yeah is there a screenshot of the the no surprises video no surprises try to find no surprises I don't even know if I've seen that that's uh oh my oh yeah that's what I'm saying yeah like the water yeah yeah

I remember this video yeah so uncomfortable because he actually did that because they should like behind the scenes and the meeting people is easy documentary yeah

and he had to do it like over and over and over he must have I love that this is an audio format and we're talking about pictures no one knows what the hell is we'll post all these photos on the liner notes

on the website it's just it's just www. Google.com slash search question mark B.

Yeah. Well, I'll post the the Google search URL parameters on there. All right. Hey,

we've reached the final song. Yeah. It's like we blinked and we did it at the end of the episode. It's almost a little sad. Yeah.

What the fuck? Well, the song is sad. So it's a video tape. Gives me chills too. Well, did you guys have any any, Did you guys have anything to say about Jigsaw?

Because I just kind of, you know. I mean, I'm right there with you. It's just one of those awesome radio hit songs. Nothing to much else to say about it. Yeah, it's kind of in the same style as weird fish is what the plucking, the guitar plucking. Yeah, yeah. But yeah, I think this is one of those songs. It's like it's just them and their instruments.

I feel like there was no programming, computer programming. Yeah. Like it's just pure them and their instruments, you know? Yeah, this is one of those that they played live before. And I was like super excited about it because, but it was like, it was like done like the guitars were electric. And like Johnny had this like other part of like the end that they didn't include. But the way they did it, it's like perfect. You know, like that's the album.

So you heard this song before you heard it on the album? Yeah. Yeah. It was like, it was one of those like, holy shit moments. Yeah, like you're like like that, yeah, because you're going to sneak peek of the next album, right? Yeah. Yeah, yeah, you know, the drumming and the bass, I love the bass and that too, you know, the way he kind of, that, that slide down that he does on that bass line, you know? Yeah.

I fucking love it. All right, videotape. Let's hear it. Memphis. Let's look it up right now because there's a word in this song. If you don't worry, I got you covered. Something is already trapped in his...

Wait, hold on. It's a character. Demon featured in German folklore. Originally appeared in literature as a demon in the Faust legend. Fossed art. Whoa. You're getting to the bottom of it.

And he was, yeah, since appeared in other works as a stock character. So there you go. So apparently Faust is something else here. Some sort of

a German legend. But yeah, the lyrics the lyrics are Memphisophilus is just beneath and he's reaching up to grab me. Sounds like sort of your standard boogeyman type thing. Yeah, it makes sense because

I think a song, you know, it's like he's saying as like life real. but he's like trying to take in the moment, I think. Yeah, yeah. When I'm at the pearly gates. This will be on my videotape. Like when you're when God's like, hey, here's all the shit you did. Yeah.

You think you're getting in here? Yeah, but Methastopheles is trying to. Not on my watch. He's trying to grab him and take him back down the hell. I get it. So apparently, and unfortunately I have not actually watched this video, but Vox did a earworm Earworm is this series of videos

where they kind of dig into like songs and stuff and they did an episode on this song and the secret rhythm apparently the piano in the song is syncopated but there's this guy that who had been obsessing over the song for a decade

and was kind of like digging into it a decade, which is crazy. Because he was trying to figure out the complex and challenging hidden rhythm. Yeah, it is like the part that's about to come up, that that beat, how it syncopated, but like you can't wrap your head around it because it's, how does it like still fall in line with a beat? Yeah. Like it makes no sense. Well, like, that reminds me of a, yeah, yeah, go ahead.

It's kind of crazy. So what does this guy say? Do you figure it out? Let's just play it. Oh, it's 38 minutes long. I mean, we don't want to do that. Like I said, he really digs into it. Let me find it.

Let me try to find it quick. You guys can talk amongst yourself. Oh, wait a minute. Wow. I'll figure this out here. Sorry. The song's great. Yeah, I mean, it definitely sounds like,

there's like three or four it seems like there's three or four different like yeah yeah because there's a the piano's doing the rhythm part and then you have the drum going yeah it almost sounds like it's

yeah it's crazy man it almost sounds like just a standard drum track thing uh god damn that I can't when I was uh I was in Alabama my grandmother's uh this past fall and I was in the hammock

and like it had this like squeaky sound on it and I noticed like while I was laying there it had this like rhythm that kind of reminded me of this a little bit because it had because it like as the hammock like slowed down a little bit it like you know the it got faster so just like the song so I felt like at that moment that I was like

I kind of understand what they did here He was on a hammock. That's when he figured it out. Yeah, apparently you have to watch a 38-minute video to wrap your head around it. We can post it in the show notes. Yeah, we'll post it in the show notes if you want to dig into it yourself. But either way, it's just one of those songs that this guy, he said that he played it on the piano, played it on guitar. I sing, I hummed.

I sequenced its 808 drum samples, recreated its synth-based recipe. I superimposed a metronome over it so I could learn how to count it, and I still have some difficulty counting it. There you go, difficult to count. That's the takeaway from this. So he spent 10 years on this,

and that's his result. Yeah, I spent five years with the metronome. Yeah, this 10 years. I mean, I don't know. Yeah. We're going to have to, you know, he's probably the guy that does that website, Citizen-EU or whatever, Citizen Insane, the obsessive guy. He probably could have found a cure for cancer in that time.

Seriously. Just listen to the song and enjoy it. Yeah, let's put our efforts to better news. But anyway, that reminds you of the, we did a sidetrack on Johnny Greenwood's soundtrack for, shit what was it called it's a movie with uh it's got watching phoenix in it wasn't that one it was a different one it was uh you were never really here oh yeah but anyway one of the songs that we played had one of those weird drum beats where like it purposely goes off beat but then it sinks back up to

it stuff and it's going off and on so i don't know if that's johnny that's doing all that stuff or if that's phil selway that did all the drumming drum tracks on this episode or on the song radio tape but obviously like if it's a complex like counting rhythm like they probably used a computer to do quite a bit of that right

that might all be you know drum tracks and stuff because it doesn't sound like a traditional drum kit right yeah they probably had a big like whiteboard in the studio figuring it out they were like you know

Russell Crow and beautiful mind you know Yeah. Or Matt Damon in Goodroll Hunting. Either one. Any other ones we can think about here? Whiteboards and stuff? No, that's it. That's the only two.

That's the only two in the history of movies. So are we done here? Yeah, we did it. Holy moly. We did it. The funny thing is, you know how cute? We usually say at the end of an episode, I feel like we barely scratch the surface.

It's because we only do like three or four songs, you know? Yeah. I still feel like we barely scratch the surface. And we did track by track. on this. But that's the thing with radiohead. It's like, as this guy has proved, he spent 10 years dissecting videotape. Yeah. It's like, I feel like you're in every song. With every song, yeah, it's like, you know, these aren't, there's always something, like you listen to in rainbows especially. You're always going to hear something different, I feel like every time you hear a song or something

because there's so many different things that, that go into a radiohead song. Yeah, in the basement, it's like a good, like, uh, things. to have like on psych is you can hear like other guitars that uh you don't really pay attention to like on the recording and stuff like you can actually watch them do it yeah did they do every track on oven rainbows no i don't think they did every drink um they did mix them a toces which was fucking awesome and they did um bangers and mash which is on disc two yeah and then they did uh whatever that bluebird song on com lag EP no idea what you're talking about I don't even know what that is

but you're saying oh yeah I know what that is that you just said I just I feel like on com lag maybe I don't know what com lag is it's like a a hill with thief EPI oh well that's why you're sitting here so yeah they did pretty much all the songs on in revis yeah they they uh working going to do Foss Tart, but then they had to go to bathroom. Yeah. They're like, can we take a bathroom break in place of this song? We'll throw a video of the basement tapes up on our show notes as well for sure.

Well, thank you, Nathan. Guys, thank you. For being our first legitimate guest. Yeah, you have given me the honor and pleasure and enjoyment of geeking out on radio head this morning. And that's the best gift. Anyone can get me. How else, what a better way to spend the morning.

Yeah. And it's fucking lunchtime. Yeah. Other people are church. Yeah, exactly. This is our church right here. This is our church, right? I would worship Tom York any day.

Cut that out, cute. I was good. I'm keeping that in, brother. But yeah, so, you know, like I said, I feel like we barely scratch the service. But this is our, I guess we need to say, this is our, last Radiohead episode for a while. I mean, I'm sure we'll circle back and do moon-shaped bowl at some point. Yeah.

Well, we'll take a break from Radiohead for a little bit. Nathan, I don't know if you know this, but we've done every album from OK computer to in rainbows. We sort of staggered them with other episodes in between, but like it was a purposeful, like, we're going to do a radiohead album every other episode. We did the same thing for Spoon. We covered a ton of their stuff. Oh, nice. I feel like Spoon is like the

Radiohead for like fun music. Yeah, right? You know, because they have a bunch of intricate like things. They put a lot of work into it. Dude. Yeah. You might be right about that.

Yeah. And they're just as, I'm always just as impressed with. Like, there's never an album from Spoon that I won't. Like fall in love with immediately. Right. Same with Radiohead.

Uh, all right. That's, that's a wrap. Thanks again, guys. Yeah. All right. So that is our. episode with Nathan Forrester on Radiohead's 2007 release in Rainbows.

I hope you enjoyed it. We had a blast recording it. And yeah, that's going to do it for us today. Hey, man, let's put it this way, dude. If you're still listening, God bless you. You know, you're stuck in there for. Yeah, seriously. We don't know how long it's going to be, but you stuck in there for close to two hours.

Yeah. Track by, you stuck with us, track by track. Hopefully you had as much fun as we did listening to it. Yeah, that was a blast. Cool. So we figured we would outro this episode with a song from Disc 2. That's what we're going to cover next week on our sidetrack. So as always, thank you so much for listening.

Check out our website, no-filler podcast.com. You can find our show notes. You can find us on any podcast app we should be on there. Yeah. And again, that's going to do it for us this week. Thank you so much for listening. My name is Quentin. My name is Travis.

Take care.