No Filler Music Podcast - Fleet Foxes: Shore

Episode Date: October 19, 2020

One silver lining of the Covid pandemic is the music, art, and films that would not exist had it not been for artists in quarantine. Last month, on the day of the autumnal equinox, fans of indie folk heroes Fleet Foxes were gifted a surprise album that in so many way is the perfect antidote to the year 2020. Listen to our review as we explore some of the lyrical themes and collaboration that went into Fleet Foxes' most joyful, warm, and musically adventurous record to date. Tracklist Fleet Foxes - Can I Believe You Fleet Foxes - Maestranza Fleet Foxes - Quiet Air / Gioia Jesse Kivel - Northside Proswell - Usanpo This show is part of the Pantheon Podcast network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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And welcome back to No Filler, the music podcast dedicated to sharing the often overlooked hidden gyms that fill the space between the singles on our favorite records. My name is Travis. I got my brother Quentin with me, as always. And we are done with our John Hughes Tunes batch of episodes where we went through the 80s with John Hughes, Q. We talked about all the music from his iconic films. And by all I mean four, we picked four. We did 16 candles. We did. What else would do?

Weird science. We did weird science. Like in my mind, I'm like Breakfast Club, but no, we didn't do Breakfast Club. We did 16 candles, weird science. Pretty and pink. I got you, brother. And Ferris, Peasley's Day Off. I've slept since then.

So, yeah, we did those four films. And yeah, it was just a great way to just play a bunch of random 80s, mostly, you know, New Wave and post-punk bands because that seemed to be his jam, you know. Yeah. But yeah, what we learned most about John Hughes was that this guy was obsessed with music, which is why it was such an integral part of the stories that he was telling. And like we said last week, like with 16 candles, like he was like the, backbone of the film, you know, like they went to live shows or by live. I mean, there was a bar

with live music in the background that the characters would be at. She worked at a record store, the scene with Ducky lip syncing to Otis Redding music, you know what I mean? And then he jumped to the next film, Ferris Beardous Day Off, and you got the whole parade scene with Twist and Shout, you know what I mean? So like, it was part of who he was and what made his movie so amazing, right? Yeah, it was a great way to cover a lot of obscure, Mostly new wave, 80 stuff. I mean, we must have played like, I don't know, 24, 25 songs. Yeah.

Total in the last month. Not as many artists because we usually did about two songs per artist. But yeah, definitely. It was fun. But as we as we teased last week, we are back to our normal format. And by normal, I mean, there is no theme for the next, for the foreseeable future. Yeah, so by normal, what you mean is when people listen to our little intro that we say at the beginning of every episode, it's finally going to make sense again. That's true.

Because, well, yeah, I mean, basically we've had a few kind of back-to-back themed batches of pods like we did. Back to School was a batch of episodes we did where we talked about bands that we listened to in like middle school and high school. And then we did Dad Tunes, which was music that we heard. from our dad when we were growing up. And then we did Hughes Tunes, which is what we just talked about. So now we are back to the more normal no-filler formula, which is just pick an album, any album, basically, talk about some non-singles on that record,

and then do a sidetrack episode the following week that is somehow related to the full-length episode that we just did. usually it's a shorter episode you know a lot of times it'll be like a side project of that band or something like that and that's usually a shorter episode that's like one one track you know so anyway we're back I'm excited I'm excited to be back because we can go anywhere and talk about any band and any album which is great the sky is the limit sky is the limit so what we decided to do which is actually a first I think for

no filler is talk about a new record a brand new record, as in came out, what, like not even a month ago, right? Yeah, it came out September 22nd, dude. So on the morning of the autumnal equinox. There you go. So we're talking about one of our favorite bands, Fleet Foxes, and their brand new record, Shore, as Q just said, came out not even a month ago. So, yeah, this is just one of those things that seems.

to have come out of nowhere. And it was such a, like a surprise and like a pick-me-up, you know, for this year. The best way to describe it is just a breath of fresh air, dude. Like, it's just, like, when you listen to it, it envelops you. And, yeah, dude, there is something about Fleet Foxes that, for me, just go hand in hand with fall. Yeah. Yes.

You know, it's the, it's the, it's the folky genre, you know, and. And they definitely took that. I mean, I feel like they were part of the reason why we have Mumford and Sons. I feel like they're partly to blame for that because they were so successful in their early O's. Yes, this was like you kind of hinted at there. There were so many bands like this. There were a dime a dozen back in the early 2000s or maybe it was the late, you know, early 2010s

where this kind of fulky folk pop stuff was everywhere. And Fleet Foxes has always stood out to me. mainly because of Robin Pechnell, the lead singer. Just his songwriting ability, the way that he really bears his soul in these lyrics, you know, and he's a very vulnerable person. And he talks about things that are very relevant to our generation, which is why I've always connected with his lyrics. If you want to go back and listen to after this episode,

you should go back and listen to our episode on Helplessness Blues. man, that was a long time ago. Let me see if I can find the date that that came out. But yeah, you'll have to scroll pretty far back in our feed to find it. But we talked about their second record. And that was a great episode. Yeah, and that was historically my favorite Fleet Fox's album. But Shore is already quickly becoming my favorite of theirs, man.

Yeah, it's good. There's just something different about it. This episode that we did on Helplessness Blues came out in August of 2018. So over two years ago. Q as when we talked about this record. Not this record, sorry. Helplessness Blues. Anyway, yeah, so here's the thing about Flea Foxes, right?

They had sort of a hiatus, right? So they came out with Helplessness Blues in 2011. And then there was this moment, this, this hiatus where Robin kind of seemed like he was going back to school or something like that. He was trying to get his degree. Yep, he went back to college. and then they released Crackup six years later. Well, we should also mention that during that, during that hiatus, the drummer, Tillman,

as in Josh Tillman, he went off and became Father John Misty. That's right. So if you're familiar with Father John Misty, he was the drummer for Fleet Foxes. And yeah, so, and then like you said, Crackup came out in 2017. So I want to talk to you a little bit about crack up, Trev. So that is a really like, I don't know, it's a really complex album. And it's kind of avant-garde and it's really, I mean, almost like pretentious. I don't know.

I feel like a lot of people probably lost it at Crack-Up. And like all the articles around it, like he couldn't escape words like, ooh, Ivy League pedigree. and, oh, you know, Pecknot went off to college, and now he comes out and releases this artsy-fartsy album. Well, I mean, depending on, like, who you are, you probably think that Fleet Foxes have always been artsy-fartsy, you know. Yeah. But, like, there are moments on crack up that are really special, you know. Oh, yeah, definitely. You have to listen to the whole thing to appreciate it.

But they're, I mean, when they came out with the single, the first single, third of May, I love that song, man. Oh, me too. there are things that happen in that song that, you know, the first time you hear it, that it kind of take you by surprise, you know, the way that they come back into the verse and stuff like that. And there's stuff like that throughout the whole record. And there are songs, yeah, I hear what you're saying, but there are, you have to, maybe you have to look a little bit harder to find the greatness in it, you know,

compared to helplessness blues, which is like a masterpiece, right? Oh, yeah. Yeah. And, and, yeah, it seems like, Sue, you know, know, with negative reviews from crackup and with Pecknell being such a perfectionist, you know, it's nice that he came back with Shore and it's just, it just feels like it's more collaborative, you know, it feels like he's evolving that indie folk sound, but it's still very much fleet foxes. But there's like elements of, I mean, there's a female vocal artist that

shows up on here. There's like these quarrel. pieces in a few of the songs. I feel like there's way more... There's a lot of textures in it. Wind instruments. Yeah. Really, really pretty album. When you go back and listen to their EP, their Sun Giant EP, they came out in 2008,

like, I still love a lot of that stuff. But when you listen to stuff on shore, it really is crazy how much they have evolved, you know, it really kind of it's like growing up with pecknold kind of thing where you kind of pecknold's ability his his songwriting his style like it's matured and whatnot it's still the same but like it is evolved to to to such a like you said more like textured and like sophisticated kind of sound you know and another thing i really like noticed about it that I really loved. And we'll stop talking in like a second.

You know, I want to jump right into a song really pretty soon here. Yeah. But I liked that most of the songs were three, four minutes long. They were really short. That's true. Dude, that's a good point. I guess a lot more pop-y in a way. That's a good point.

Pop songs are a little, usually a lot more shorter. Helplessness Blues has an eight-minute track on it. And Crackup has like a 15-track on it. So, yeah. Yeah. It's a good point, Q. it's very digestible but it's still you got like there's 15 songs on here it's a good record a good solid length record length is that a word length it is now dude length uh yeah um so yeah one thing

before we we jump into our first pick i want a couple things that i read that i thought was really really cool so for one you know there was headlines that said like things along the lines of like the surprise album or whatever you know apparently uh pecknell still has a few semesters to go to complete his degree. But Columbia University canceled their in-person classes, but maintained the $30,000 per semester tuition. So basically, Robin was just like, I don't want to pay all this money to go to Zoom college, is what he said. Like, you know, to have college through Zoom, I'm not paying $30,000, $30,000 a semester for that. Sure. So he had all, and then, you know, they weren't touring either.

So he was able to continue on with recording and release this album. Because, yeah, no touring, no school. So he kind of got to decide how he wanted to release it. And, yeah, so he picked just a surprise drop on the autumnal equinox, September 22nd. Yeah, so this is another example of a piece of art that, well, it's not that it wouldn't exist, but we wouldn't have it right now if it wasn't for COVID. Well, his plan was to kind of tease out some singles throughout the summer and then still release it in September,

but it would have been a totally different approach. So we would have heard songs, you know, spaced out. I don't think it would have felt so special if they went that route, you know. It did make it special because, like you said, this record is so such a breath of fresh air that, like, having it this year is what made it even more special, you know. Yeah, and it's an album that needs to be

appreciated. Experienced. As a whole, yeah. So if you think about, if we, if you would have heard a single six months ago, five months ago, you know, it would have been totally different. Yep. I agree with you 100%.

All right, let's jump into some tunes here, Q. So we're only going to play two tracks. Yeah. We don't want to spoil the record too much, you know? We want you to listen to it on your own time. Yeah, so, all right, Q, our first track, if I'm not mistaken. And of course we had to pick one that's hard to pronounce. I don't know.

May Stranda. Let me see if Google can help me here. Is this even a word, dude? It's not even a word. See, him in his Ivy League pedigree, you know? No, this is a word. It's just... Maestranza.

May. It's got to be me. Does he say it in the song? Let's see if we can hear. Let's find out. But yeah, I think it's a say it's not a English word. It is a Spanish word. Let me see if I can get them to...

Let me see if I can get to Forbo.com to spill it off from here. Ooh, nice. That sounds nice. Maestranza. There you go, cute. Ooh. You like that? All right, so this is a maelstraza.

Wow. So there it is, man. His vocals just get me every time, especially the way that he starts this song. It starts with a very strong, like, vocal entrance, right? Which is great. Yeah, and, you know, like, I don't know the lyrics off the top of my head. But the thing that always, like, confuses me is how harsh he is on himself with his lyrics and how critical he is. I mean, it makes sense, you know, it's the stereotype, you know, that all artists are, like, their own worst enemy, you know?

Yeah. But what I read here is that around the end of February, he had the majority of this album conceptualized, and he already had the contributions from other artists that are featured on this album recorded. but he was nowhere near ready. He wasn't happy with the lyrics that he had in mind for these songs. So he would write all these lyrics and just discard him. So then he quarantines in his Greenwich Village apartment. Of course he lives in Greenwich Village, man. Yeah, after the stay-at-home order.

It's where he belongs, man. Yeah. It says here that he participated in the protests that George Floyd. protests in New York City. So he had like all this this just free time that he wouldn't have had if the quarantines didn't happen.

And then he says here in June, he began taking day long drives in his Toyota forerner from his apartment in New York up to Lake Minowaska and the Catskill Mountains.

And he would write lyrics like pin them down on paper while he was driving up to the mountains. That's where the majority of the songs, the 15 songs came from, dude, was these day-long drives up into the mountains. If that, dude, how Fleet Fox is that, man? You know, like, how on-brand is that with Pecknold and, like, you know, just the overall vibes that you get when you listen to a Fleet Fox's album, you know?

I love it. Everything you just said about him is like, of course, that's what, that's how he lives, you know. one of the studios that this is recorded in electric lady studios is in greenwich village so that's cool he's you know in the same village as the studio so i i read here there's some lyric breakdowns from robin that that i found on apple music and he said that um musically i think for a while it had something in it that had a disco or roller skating kind of energy that I was trying to find a way out of. And then we found this other palette of instruments that felt less that way. I was trying to go for a Bill Withersy thing. Nice.

I feel like a lot of the people that get mentioned in Sunblind, their resonance is there influencing throughout the record. Yeah, Sunblind's really cool, dude, because he is naming off all of his musical heroes. Okay. He names mostly by their last name, but he... Does he name Wither's? Yeah, he names Richard Swift, Bill Withers, John Prine, Elliot Smith, Arthur Russell, Judy Sill, David Berman, Nick Drake, Otis Redding, Jeff Buckley, Curtis Mayfield, and Jimmy Hendricks.

Nice. All those names are in the song, dude. I like how Nick Drake makes an appearance. Hell yeah, dude. And Arthur Russell, dude, we covered Arthur Russell. And, like, I think that was one of my watcher hurts. I don't know, the first or second episode. Well, we did an episode on Nick Drake, too.

We had our friend, our friend Larry Lodra joined us. That was a great episode. So you got lots of homework here, people. Go back and listen to all of these great episodes that we've done in the fucking two plus years we've been doing this. Yeah. So anyway. So that's another thing that I love about this album. It is very collaborative as well.

Yeah. The intro song that we picked was the only single so far released. and that is can I believe you? And you know that kind of chorus at the beginning? Yeah. That is actually a composite of roughly four to 500 recordings from Instagram followers. Amazing. So that's a chorus of Fleet Fox's fans.

Oh my God, that's so great. I didn't know that, and that makes me so fucking happy. That is amazing. I know, man. And that's the kind of stuff that sure you can do it without the pandemic happening, but I feel like that makes it even more special. We're all kind of, you know, not fully, you know, barred into our homes. Like, plenty of people are living the best life that they can, leaving and stuff like that.

But being safe, right? Yeah. But for the most part, we are indoors in our homes. And it's how cool is that for those people that got to do that, that they were able to contribute to a Fleetfox's trek from their homes? I mean, that's amazing. You know, that's kind of like the, the, the. collective mindset that we've all had over the last seven months is just finding ways to still be able to connect, you know, and it's just awesome that we're able to do that online.

Well, he talks about that here. Let me just, we'll just wrap, wrap up our, our review of the song here with this. He says here, the third verse, it's about missing your friends, missing your people, but knowing that since we're all going through the same thing, that we're kind of connected through that in a way that's really special and kind of unique to this period. I feel more distant from people, but also closer in terms of my actual daily experience. So there you go. That is kind of one thing that's really interesting about this pandemic is that globally there's an experience that we're all sharing, right?

Right. And I guess that's kind of what he's talking about here. And another thing, too, like, you know, when I was reading, like, oh, wait, he had the majority of the concept of this album done. back in February. I was trying to, you know, figure it out because I'm like, man, these lyrics sounds so like topical. But yeah, so then it makes more sense like, okay, so he actually wrote all of this in the span of three or four weeks in June of, you know, so all this, it was right in the thick

of all this. If it wasn't for COVID-19, we wouldn't have this album the way it is. Yeah, we wouldn't have the lyrics. Yeah, you're right. It wouldn't be the same at all. Interesting. Dude, and he may have trashed it entirely. Yeah.

Think about the entire shift in mindset and like everything that happened, dude. We might not, he may have trashed it completely. Yeah, man. Well, let's do another song here, Q. Yes. But before we do that, let's take a quick break. Now this one, we both agreed. Upon first listen, man.

Upon first listen, as twins often do, we agreed on what our favorite track was. Oh, this is, dude, hands down my favorite on the record. Yeah. And this song, this song is an example of the type of song that only Robin Pecknold and Fleet Foxes can produce, I feel like. This is a quintessential Fleet Fox's sound and like feeling, right, and like goosebumps inducing. Yeah, and the lyrics as well, man. He's always been, you know, emotions down on paper, vulnerable, you know, staring death in the face. kind of poet.

Yeah. You know, he's always, he's always existential about that. And this, this, uh, the lyrics in this song just really get me, dude. Yeah, definitely. And this is two songs in a way. Yeah. And this is something that we, I mean, our favorite, it's probably your favorite too, but my, my favorite song on helplessness blues, we actually played it on that episode is

the shrine slash an argument. Yeah. Which is also, you know, two. They do that all the time. I mean, this is kind of something. Yeah. You know, crack up. Same thing.

There's a couple of tracks to do that. Yeah. He has these movements in his songs, right? So this is an example of that. So this song is called Quiet Air slash Gioia. Am I saying that right? You picked the two? That sounded great, man.

You like it. But yeah, so we're going to split this up into two clips. But here we go. I love the, just the almost like a march. I don't know, it just kind of rumbles ahead. So there's two different drummers. credited on this track, which is interesting. Joshua Yeager and Christopher Bear, both are credited as drum kit and percussion for this track. So lots of drums going on, lots of percussion.

But I'm trying to find the guitar player, because I love that guitar, a little transition between the chorus and the verse. Maybe it's peckmnal. Maybe. But yeah, it's kind of hard to, to me, to get a full personnel list on this record, but there's quite a bit listed out for a lot of different tracks on the Wikipedia page at least. Yeah. But it's possible that Robin did everything that's not explicitly listed. Yeah, that's what I was thinking. Yeah, that's possible.

But yeah, you know what's great about that guitar? It kind of reminded me of their very first EP. Like I'm talking before Sun Giant. You remember some of that stuff? Oh, yeah. Yeah, I forgot. What was the name of that? the Hot Hot Rays.

Remember that song? Yeah, dude. Where it was more, a little bit more of that kind of Brit pop kind of guitar jangly kind of stuff. Yeah. A little bit. I know what you mean. But, yeah, like you were saying earlier, the words, his vocals are so, I'm going to say the word haunting to you because I like using the word haunting to describe a vibe. It's just very reflective.

You know, like he's always just kind of, it seems like he's just soaking in whatever environment that is surrounding him. And he just describes it so beautifully, dude. Well, here's what he has to say about this song. He says, the chords had this kind of expectant feel or something, like an ominous quality. Now, that's a good one. I'm going to steal that. Aminous. Ominus is there again haunting sometimes.

Hunting, totally. Like an ominous quality that's never really resolving. And I think that kind of led me. to want to write about imagining someone, speaking to somebody who is courting danger. Yeah. Some of the lyrics in the song come from talking to a friend of mine who is a climate scientist and just her perspective on how screwed we are or aren't. Oh, man.

Just thinking about that whole issue hinges on particulate matter and air that is invisible. Interesting, quiet air, dude. Quiet air might terrify you. Omminous. Quiet now, though soon enough, louder. Oh, come on. Come on with it, Pac-Mple. Come on with it. It is so ominous. All right, let's play the second half, dude.

Yes. This part gets me, man. I think this is the climax of the record, dude. If you weren't gotten, you're about to get caught. About to get got. All right, so I guess we could say this is Gioia by Fleetpoxes. You got got. You've been pecknold.

Q. So he says here, the ending is this more ecstatic thing. Just imagining some weird pagan dance like right of spring or something where it just kind of builds into this weird kind of joy like dancing while the world burns. There you go. Yeah. And those, dude, I love the back and forth chorus there. You know, the, oh, devil walk by, I never want to die.

Yeah. That is on brand for pecknell men. I feel like you could put devil walk by into any of those poppy folk songs from the 2010s and you've got yourself a hit. I mean you're talking about like of monsters and men or something? Whatever the hell those guys are cold. Which is ironic because I love flea foxes and when he does it, I'm like, who he's such a fucking genius. But anyway.

Yeah, so. But dude, that line, feeling a cold unfolding hand on me. Yeah. So you talking like grim reaper here? So basically what he's saying is like essentially like accepting the fate of the planet in a way and just dancing while the world burns kind of thing. Yeah. And that's that's another thing too about the, you know, the circumstances that we all find ourselves in in 2020.

You know, that was the thing that Pecknold said about wanting to collaborate with as many people that he could because he says here, I didn't know what was going to happen in the future. So I asked everyone that I had always admired because I don't know if I'll get a chance to again. Go all out because who knows what the future holds. Yeah, that's cool.

And we're not going to play this song, but some stuff that I learned about this record that I thought was really cool was like three tracks later, cradling mother, cradling woman. he sort of samples in a count-in from Brian Wilson, aka the Beach Boys, right? And it's in the track. And that, you know, this record has a lot of these umages and hat tips to, to his influences, right? Like you were talking about with the song where he just explicitly deems them out, you know?

With Sunblind, yeah. And also with another song, Young Man's Game is kind of a. a tribute to John Prine. Yeah. Yeah, and as far as like really cool collaborations, he also featured. So, you know, the very first voice that you hear on the record is a woman. Her name is, oh, God. Uwadi Akir.

Fuck, man. She is a fellow Columbia student who caught Pecknold's attention with an Instagram video where she covers Mekanos. Love it. So he just reached out to her. said, hey, you want to sing on my next album? Love it. So this is another thing that I love, man, because I feel like the best days of peck-nalled songs ahead of us, you know, like, I don't know, I kind of felt he was more of a control-freak

kind of like my way or the highway kind of person with Fleet Fox's songs. Just because from what I've read about him, you know, he is a perfectionist and, you know, because he is so harsh on himself, I just kind of assume that. And maybe he was earlier on. But this to me just shows that, that, you know, we're just going to have more and more of these really great collaborations. You know, even if Fleet Foxes dissolves and we just have Robin Pecknelled as a solo musician, you know, later on in life, you know, I feel like he's just going to continue to just pull in people that influence him, even if it's just some random person on Instagram and collaborate with him. I think it's so cool. Yeah.

I think the thing that I've always gotten from pecknold and the music that he makes is like he is just an artist and a musician like to his core you know yeah which is why to your point like I think we're going to have new pecknell tunes to enjoy for a very long time whether or not that's in the form of fleet foxes or just him by himself like this is what he he does you know I've got one more quote here Q this is how we can wrap this up beautifully here He says, I wanted the album to exist in a liminal space outside of time, inhabiting both the future and the past, accessing something spiritual or personal that is untouchable by whatever the state of the world may be at a given moment, whatever our season. Nice. That's great, man. Beautiful. So, yeah, this is, yeah, kind of like we were saying earlier, this is such a, this record just feels like it is a, a gift to humanity, you know. And that could sound ridiculous to people that just don't like this music, you know, and think that, you know, big deal, what's the, what's all the fuss about here?

I mean, dude, we were so, we were giddy like, you know, children on Christmas morning when, when this album hit. Well, we had to wait, you know, six years for the last one. So, yeah. You just don't know when new Fleafox's music is going to drop because of the last gap that we had in between their records. So the fact that we, you know, I think if we were paying attention, we probably would have heard rumors about new material or something like that. But I personally had been just completely disconnected from any updates from them. So I didn't have any clue that new music was written.

It was recorded. So yeah, it really was out of the blue for me. And it was like, wait, this is actually. Because sometimes Spotify will have two different artists if they have the same name will be on there. And I'm like, is this really a Fleet Fox's album? And then you both play on the first track and it's not him singing. And you're like, is this really what? Right.

And then you get to the next one. And there's his unmistakable angelic voice, you know. Oh, yeah. Oh, yeah. So yeah, it was great. But yeah, like we were saying earlier, we highly recommend as we typically do that you spend some time with this record. It's only going to take an hour to listen to the whole thing, but it is a journey that you should take with Pecknold

and all the other musicians that showed up on this record. That's kind of what's great about it. It's super collaborative. There's got to be a more definitive list, or maybe this is the definitive list, but if you look at Wikipedia, I mean, there are 10 plus artists on this record. So he collaborated with a lot of studio musicians,

people from Instagram, apparently, you know, fellow students. Hundreds of people from me. Instagram. Yeah. Amazing. So anyway, yeah, I think that was, I think that was it. That was our look at Fleet Fox's brand new record, Shore, hot off the presses came out, not even a month ago. So go check that out. And yeah, oh, we're going to do, we're going to do a sidetrack. It's probably kind of obscure, But if you're a fan of Fleet Foxes, you may be familiar with a group. I don't think they're around anymore. But they are called Poor Moon.

And it is comprised of a couple of former Fleet Foxes. Like, I don't know if they're still in the group, but it is composed of a couple of guys that used to be in Fleet Foxes. That's kind of a side project of theirs. That'll be our sidetrack next week, group called Poor Moon. But here we got something to do here. Yeah, we do. We got our weekly segment called Whatcha Heard. And I know that you typically have doozies, don't you?

Oh, I got one for you, man. Lined up and ready to go. Why don't you go first? You're always just going on the fly, huh? No, I've got one. I just have to remember what it was. All right, so this guy is named Jesse Cavell, and he's in a few different bands,

but he just started releasing some solo stuff. Have you heard of a band called Kisses? No. Spelled like you think it's spelled, yeah. Yeah, yeah. They're a New Wave pop rock duo from Los Angeles. Q, we've been talking a lot about New Wave with our, our Ferris, I mean, our Hughes tunes.

With our Hughes tunes. So you're saying the New Wave is still happening, Q, is I already saying. I am saying it. But here's the deal. I heard a new single from this guy. I'm going to say it's not really new wave, dude, but it's really great. It's just a happy sounding tune.

You know, it's something that we need right now in these trying times. So this song, he released just a couple weeks back. This song is called Northside. I can't place my finger on who that reminds me of, but it reminds me of a particular song. I just can't. But something about his voice and, like, Like drum beat was really cool. Yeah, drum electronic beat there.

Yeah, good stuff. Yeah. He says here, this song is a love letter to a time when music was brand new and limitless in my mind. So Northside is about this neighborhood that he grew up in. He said as a kid, my brother and I would walk from our high school to Barnes & Noble and spend hours reading QNME Mojo and all the other British music magazines. Our favorite group was Oasis. and we just wanted to be the Gallagher's. This song also nods to the Smashing Pumpkins, primal scream, and Polaris.

Okay, there it is. Who I also deeply connected with at the time. Dude, I love it. So. You must be around our age, man. Yeah, we need to do an episode on Polaris like we've been talking about. Oh, for sure. Awesome.

Yeah, really good tune. So, and you said that's a brand new track, right? Came out a couple weeks ago. Okay. So they will be more coming from from this. guy down the pipes here. Down the pipes. All right, man.

So what's you been heard in lately, brother? This is going to be an episode filled with new music here, or at least music that came out in 2020. Awesome. This isn't as fresh as Shore and the track he just played. But it did come out in January, January 31st. But anyway, this is a guy. I've actually been, I've been listening to him for a long time.

And, you know, I find. I find that it's my duty, Q, to play electronic music as often as I can. Nothing about electronic music for a couple weeks now. It's true. So this guy, his name is Praswell, as in Roswell, but with a P in front. Praswell. And I would describe him as IDM and get ready for it, Q. I'm ready.

Hypnagogic pop. But more hypnagogical. Magic electronic. So, you know, it's not like Comtrus or Tycho. It's more like, I would say, video game inspired, if you will. Okay. But early video games. But anyway, we're just going to listen to it because it's hard to describe the sound without just listening to it.

So we're going to listen to a track off of his latest record called Amaterasu, which is the name of the goddess of the sun and universe. Just if you're curious. This song is called Usanpo. Yeah, man, that's great. Lots of stuff happening in that. Yeah, so that, I mean, he's been very consistent. Like, one of the records that I listen to quite a bit is a record called, or at least

the first time I heard of this guy, this record called Konami, which, you know, if you know what Konami is that's a video game company. It's an arcade game company, right? I think I had some of that last night. You had some Konami last night? Yeah, it was really good. Yeah. So here's what that was for me. It felt like a combination of lossal and kiln. I can definitely see the kiln comparison as far as like all the lush textures. Yeah. Yeah. But it had more of that like industrial kind of more. cold feel that Lassel has, you know? Yeah. Yeah. So here's a little description on the band camp page that I think describes it pretty well. It says here, there's a definite Asian

influence here with throwback sounds to video games aplenty, riffs and melodies that rival some of the best Japanese soundtracks out there. Some of the beats and blips couldn't have been executed better, even if Praswell decided to address the Yamaha YM-26126. sound chip found in the Sega Mega Drive directly himself. Nice. There you go. So that is exactly what hypnagogic music is all about, right? Like using old equipment to make the sounds from, you know, the past, right?

Yeah. Cool. And anyway, so yeah, the entire record is like that. It's just a great record, man. And, uh, oh, Marty and I know. Maybe next week I'll try to bring some rock to the table just to get back. Hey man, it's whatever you've been heard. That's true.

This is what I've been heard. That is accurate. The segment is accurate. All right. So where can you find this, Q? I'll do it because you don't like doing it. I appreciate it. Well, you can find us on our website, Nillifiller Podcast.com, where you can find all of our previous shows.

I don't remember what my usual line is for this. Let me try it again. You can find all of our previous episodes with a show notes page for each episode where we have all of our track lists. So any song that you heard on this episode will show up on that track list. So that's intro songs, outro songs, the two What You Heard songs. but if you want to be even cooler, you can subscribe, and by subscribe, I mean follow, I think it's the term they use. The What You Heard playlist that we have. Good luck spelling it, but you can also just search for no filler podcasts, and I think it should come up in Spotify.

But every week we add the two tracks that we talked about from our What You Heard segment. So yeah, it's a random-ass collection of music, as you can tell, just by the, two tracks that we played today, you know. But if you like one of the songs that we played and you just wanted to kind of remind yourself like, what was I called again? I heard a track on a little or a few weeks back and I forgot what it was. Go to that playlist and you'll find it on there. It's an order from, you know, the newest to the oldest. There's over six hours of music on that playlist. So a lot of good tunes on there. So here's what I just decided I'm going to do because we, you know, shot ourselves in the foot with what you heard and, you know, how do you spell it?

I'm going to link to this playlist on our Twitter and I'll just pin it to the top of the of our homepage. It'll always be up there. Now we're using Twitter. So, yeah, so, hey, if you want to easily access our what you heard playlist, you got to visit us on Twitter because we are lacking in the social needs department. we could use some help from our listeners. So interact with us on Twitter. We're really good about responding. You know, any love that we get on Twitter,

we get super giddy about. No joke. So our Twitter handle is at No Filler Podcast. And yeah, we're trying to be a little more active on there. So yeah, I'll go ahead and pin that to the top of our Twitter account. Yeah. So again, that's at No Filler Podcast. Where else can you find us, Traff?

Well, you can also find us on the Pantheon Podcast Network. That's Pantheon Podcasts.com. That is the home of plenty of great music podcasts, including ours. And yeah, go to that website and just take a look at all the shows that we have under our umbrella. It's pretty cool. There's a podcast for everyone, I think. If you like ours, you're bound to find at least one, maybe even two. possibly three other shows that you might want to subscribe to you and listen to.

So that's Pantheonpodcast.com. And yeah, that's going to do it for us this week. And we will be back at you next week for the first sidetrack in months. So I'm kind of excited about a proper sidetrack episode. Yeah, it'll be fun. And I haven't listened to any of this stuff. So it'll be cool. It'll be fun.

Yeah, it's good. It's good stuff. So we'll see you guys next week. My name is Travis. And my name's Quentin. Later.