No Filler Music Podcast - Folk Pop Without The Pop Structure: Fleet Foxes' 2008 Self-Titled

Episode Date: November 28, 2025

We're rounding out the month of November with a brand new episode digging into Fleet Foxes' self-titled breakout full-length record. We discuss their musical DNA rooted in older folk traditions, hymnals, and lush harmonies, unlike the emerging corporate-hipster, crowd-coded "stomp clap hey" movement the band was often grouped with, which was budding up in the folk pop genre around that same time. Tracklist: Sun It Rises Drops In The River White Winter Hymnal / Ragged Wood Quiet Houses Blue Ridge Mountains This show is part of the Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

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Red squirrel in the morning, I'm coming to take you long. It's hard to describe, you know, it's such a personal thing. If you've been playing music for a long time, to have something that makes music new for you again, the reasons are hard to explain. It's not hard to just keep your eyes open for those sort of, I don't know, life's beautiful moments. In the morning, when I love, hold me, dear, into the night, will rise soon in love. Welcome to No Filler, the music podcast dedicated to sharing the often overlooked hidden gyms to fill the space between the singles,

on our favorite records. My name is Travis. I got my brother Quentin with me, as always. And this is our fall episode, I guess, if you want to call it that cute, because we've been teasing this leading up to this episode. We've been going back into the vault and pulling out some episodes

with music that you could sit out on your porch. All the leaves are falling with a cup of coffee or tea and just put on these tunes and, you know, just breeze away, AQ. Breeze. I don't know. I don't know what happens to fall, but it feels breezy, you know? Like literally. Yeah.

Yeah, dude. I mean, so at the time of us recording this, we've only dropped one rewind. And I picked Ambulance LTD. Yeah. Which, yeah. I mean, there's just some albums that just feel like fall to me. I'm not saying that I don't listen to them, you know, any time throughout the year, but like, I don't know. It just, it feels different when you listen to it in fall.

And yeah, this self-titled Fleet Fox's record to me is just an autumn record through and through. There's just, it's, it, that's what this is to me. Yeah, I mean, I think just in general, like folk music just sounds like fall. Yeah, I agree. It's, I think it's the, it's the acoustic guitars and the harmonies. harmonies, yeah. So maybe before you listen to this episode, if you haven't already, go back and listen to what should be the last episode in your feed, which is the helplessness blues episode that we did, which is the album that came after this record that we're talking about today.

But yeah, Fleet Foxes, I think we've probably said enough about them over the years just about our love for this group. They're in my top three. Yeah, and more specifically our love for Robin Peknold, right? The lead singer. Yeah, yeah. The primary songwriter, just what a gym this guy is, man. Indeed, yeah. So we're talking about their self-titled record, which is considered their first studio album as a group.

Prior to this record, it was just Robin Peknold and Skyler J.L. Set. The guitar player Gell set How do you say this name, dude? Jell set Gell set You want to So the S and the K or silent?

Skelset Yeah, sure, let's go forward Skell set. Gell set just sounds kind of cool Gelset You think it's like You think it's like Scandinavian or something?

It's Norwegian. That's right, I knew it. I knew that. That was what I was going to say next. Him and Peknold Both, they kind of bonded over the music that they love and their similar Norwegian roots.

Yeah, I was listening to an interview, apparently they met when they were 12 and they made music together when they were 12. Well, that's interesting because it says here that they met in high school. Someone has it wrong on this Wikipedia page dude. I mean, it came

out of the dude's mouth on a movie. Okay, LSU is just dead wrong. And then the other two members that have been there since the beginning, Christian Wargo and Casey Westcott joined the group. So to speak on their

style of music. I'm going to quote Robin Pecknold from an old interview from 2008. He says, I'd been playing folk type music for a really long time just by myself. When we decided to do a band, I thought we should do a bandy band with electric guitars and stuff and have it be more of a project. My perspective on that has since changed completely. I love playing with these guys so much that I don't want it to be a project. I want it to be whatever we come up with. The record ended up being more ruminative, not like a rock thing, which is how it started. So, yeah, dude, if you listen to, like, their self-titled, quote-unquote, that came off out before this in 2006, right when they first formed, called the Fleet Foxes, it is more

of a bandy band. It's got, like, it's more indie. Yeah, it's got, they're plugged into amps and stuff, yeah. Yeah. So, yeah, they just, and kind of to go back to that little interview clip that we played at the beginning. Christian is the voice that we heard in that intro interview. He was talking about how you can be inspired, I guess, and how it's kind of difficult

to describe how you can be reinvigorated. I mean, with the sound that you've created as a band. Yeah, and how you can be inspired by something old becomes new again, that kind of thing. Yeah, yeah. And how, like, beautiful moments of life can inspire you, which I think, you know, is. An interesting way to describe, like, that particular sort of the indie folk thing, scene explosion that happened in the 2000s, dude, that you and I were all over. And how that's just kind of came and went, you know, but it's such a sound, like, that indie folk sound,

folk pop, whatever you want to call it, just like captured the attention of music lovers of all stripes, dude, because as we'll talk about briefly, at some point in this episode, you know, with bands like

of Mice and Men and the lumineers and what are the other ones, dude? Mumford and Sons, right? Edward Sharp and the magnetic zeros. Yes, those guys, like that sound of that band, was huge, man.

And then Fleet Foxes, bands like Fleet Foxes, or maybe to a lesser extent, like Keynes of Convenience, and a bunch of other groups like that, dude, like appeal to, you know, the indie heads like us that were maybe, you know, too good for, like we were too pretentious to listen to Mumford & Sons and stuff. Like I used to like, and still do, like, you know, thumb my nose at that stuff.

But like Fleet Foxes isn't really too far off if you really think about it. But we're going to talk about why there's so much better. guests or what made them special. Yeah, do we want to just touch on that now? Yeah, let's do it. Let's do it. Because that is something that's really interesting to me is like right now, like recently,

2025 is the year that we're recording this in case you listen to this in the future. Like there is this new found hate that is circling around the interwebs for this particular era of folk pop music. and there's a term that's been coined that goes by Stomp, Clap, hey, to describe this music, right? And it's funny how spot on it is.

Well, here's, so here's the thing. So, okay, so I'm pulling from this really great article called The Tragedy of Stomp Clap Hey. And this article was written a couple months ago. Yeah, there you go. So Mitch Theroux wrote this. Anyways, I just want to give him a shout to because he did a great job of this this article.

So he's saying the tragedy of it. The tragedy of what became of it? Or like what was his premise here? Because it's kind of locked. It makes sense for the time that it came around because. Yeah, that's the funny thing about it. Okay, so 2008 is when he's saying it exploded. Yeah, 2008, 2009.

is when this record came out. Right, written the FleaFox's self-titled, dropped. But he's saying, like, prior to this explosion of folk pop that came around, it was like, he called it E-D-Mified pop. Black-Ead P's were like number one with Boom, Boom, Poe, Lady Gaga, you know, Kanye West's dropped 808s in Heartbreak in 2008. So he, like, you know, a brand new kind of hip-hop was emerging. we also had this like hopeful feeling with Obama in office and you know people were hopeful of of you know a new path forward in like recovery from the financial crisis winding down all those wars Obama care drops and when you think back to all those bands dude the stomp clap hey I mean it's just it just has this optimistic feel to it and it's like yeah almost like a communal thing

Now, this is how I think Fleet Foxes differs from these groups. Edward Sharp and the Magnetic Zeros are the ones that get the most hate, but they're actually the ones that started it. But it's a, and you hear it in the recordings on the records, it is just anyone in the recording studio can throw out a hay or clap or stomp. Well, it kind of draw, like, I mean, we forgot to mention them, but you can put Midlake under this umbrella too. Yeah, it's around the same time.

like this type of sound sort of yeah it makes you think of like quaint little villages and stuff you know what I mean folk music just kind of for some reason does that but yeah I watched the YouTube video it's probably pretty easy to find by this guy he has a channel called the samurai guitarist but he was talking about the same thing right and sort of came to the same conclusion that like this is how music goes man it's like the cycles right of like yeah that's what he was saying like with the really over digitized music that was happening in pop like this was a really great like counter to that in the same way the grunge was a really good counter to the 80s glam that came right before like yeah you know what I mean like we need like

it's changing and it's like music is always adapting to what's happening in culture right so So this is why it makes sense where we're like, well, there's not much hope right now. So I don't want to listen to these quaint harmonies right now. You know, I'm not in the mood for it. Yeah. So, and according to the writer of this article, the distinguishing feature of Stom Clape is the form's ability to take the fragments of chatter and moments of communal participation that accompany music and absorb them into the music itself.

the shouts and claps functioning as built in crowd noise. Fleefe Fox doesn't do that. They don't, they don't, but it's, it's harmonies, it's, you know, it's, it's beautiful vocal harmonies, it's folk, it's pop, but it's not stomp-clap, hey. No, it's not. But it's kind of to that point, though, of like, audience participation and whatnot, I certainly remember, you know, the two or three times that I've seen Fleet Foxes, I think we all. remember very fondly singing alongside Robin, you know what I mean? Sure. And like, in the rest of the group, you know, it's definitely, and no, that's, most people

sing at, at concerts or if they know the songs, but I'm just saying like, because of the harmonizing, it just lends itself to like, you know, hey man, let's all, you know, belt this out at the top of our lungs. Yeah. And that's, that's kind of the clap, clap, stop clap, you know, whatever, or do you want to put those Yeah, yeah. Clap. Stop.

Hey, whatever. So, yeah. Now, here's the tragedy of it, Traff. All right, let's get to the tragedy. I freaking love this, man. All right, so I'm quoting this article directly. It says, with its relentless positivity and rustic affectations, this music has unsurprisingly become associated in retrospect with cringe millennial consumption culture.

And hipsterism, dude. For sure. It is the music of sanitized late corporate hipster taste. Vests and Trilbies, artisanal pickles, epic sauce burgers you order from a chalkboard, but it soon lost even that bit of residual crunch and just became something even more generic. Pure, distilled, H&M, Black Friday 2012 commercial music. I mean, that's a tragedy, dude. But that, I think that's the Mumford and Sons of it all, dude.

And the Edward Sharp and the Magnetic Zero's, the Luminators. Of course, it's not, it's not talking about the music that I listen to. I mean, right? They're not smart of flea foxes, right? And that's the thing. Now, now let's get back to Fleet Foxes, okay? All right. Now, yeah, let's play some.

Let's listen. Yeah, let's listen to something real quick. Let's try to back up our claims here that Fleet Foxes are different. Now, we were going to play music from both their self-titled and from Sun Giant, which was a little EP that, funny enough, it was released prior to the self-titled. It was released a couple months before. Here's the thing. It was actually released. It was supposed to only be a tour record, like a record that you could only buy on their tour. And they released it to have something to sell on their tour, gearing up to the release

of the self-titled. But demands from fans led to its official release. Well, I remember hearing or watching the mechonos video did and just being blown away mecanose was the first song of theirs that i heard yeah maybe probably me too and i just remember just being blown away by man yeah so it was released prior to their debut album but it was recorded after after they'll be which is cool so um yeah do we want to do do we want to go in order yeah so we'll start with with the track from uh from the sun giant EP so we're going to play track two on the record. This one's called Drops in the River. Downer lanes high in the window on a new morning.

Young today, old is a railroad tomorrow. Days are just drops in the river to be lost away. You know Years the gold Years the gold birds A feather would arrive night nightly gone you know hell to another light could stidey on the shore's feet to the ocean and the sea silence only you know only you only you know

Here as it takes up my memory I'll hold to the first one I wouldn't turn to another say on the wrong night we made Oh Oh Oh, oh, hey you, oh, hey you, you know. I didn't know

He didn't hear a single stop, clap, clap, or hey. Exactly. Point proven. But yeah, man, where do we start? I love Robin's. lyrics they've always been so like dude he was such a young man i know but and they're also like reflective of like yes you know young today old as railroad tomorrow he was older than us when this came out you know what i mean but like now reflecting back on the lyrics as uh you know somebody

approaching my 40s um it's it's kind of crazy how how much he reflected on life yeah yeah up to that point And him being so young. Because I remember, and we talked about it in our helplessness blues episode, one of my favorite lyrics in any Fleet Fox's song is basically him reflecting on how his parents were the same age that he was at the time that he wrote that when they had his sister. Now I'm older than my mother and father were when they had their daughter. What does that say about me? What does that say about me? Like he's reflecting back on like, what have I done? I mean, he, you know, he had released some pretty damn good music up to that point in his life.

But, like, so reflective on, like, life and, like, the experience of life and, you know, just, yeah, just beautiful, beautiful lyrics and introspective lyrics. And, yeah, I mean, when you look at the lyrics on this track, you know, it's a lot of nature symbolism, right? which is kind of is why we talk about how this music lends itself to fall. But it's talking about... Hey, dude, he's a Pacific Northwest boy. You know, they're a Seattle band. Yeah, he knows all about nature, doesn't he? Yeah.

Yeah, we'll get into the lyrics as we go along. All right, let's get to the meat, Q. So we're going to get to the meat. So I, yeah, so what I like about drops in the river is it is very quiet. It's almost like what Kings of Convenience do so well, you know, like quiet, loud, quiet. You know, like you're really listening closely because of how quiet is. And then it just kind of hits you with, you know, almost like a crescendo of like kind of intensity towards the end there. And that's a great way, cue to tee up what I thought we would do to play the next track.

So we're going to play and focus mainly on. Ragged Wood, that's the name of the song, but to the point you just made and what they do really well is the, you know, quiet, loud, quiet type thing. And the song prior to Ragged Wood on the record is called White Winter Hemnol. And the way that that song ends and Ragged Wood begins, like, is just the perfect way to sort of like hear that, you know, the way that they go from quiet to loud. And obviously, the order of this of white winter hymnal leading into ragged wood was done on purpose, I think, because of that. So let's cue up the end of white winter hymnal and just let it play into ragged wood. One of my all-time favorite fleet pox of songs for sure.

I'm a swallow in the pack of all swallowed in their coats with scarves of red tide round their throats to keep their little heads from falling in the snow and I turn round and there you go And Michael you would fall and turn thee white snow red as strawberries in summertime from the mountain you have been gone too long The spring is upon us follow my only song Settle down with me by the fire of my yearnion You should come back home Behr on your own now. The world is alive now, in an outside of soul, you run through the phone,

a set of people a soul darling I can barely remember you'd be inside me you should come back home back on your own now back home

back on your own now to give an evening life when the women of the woods came by to give to you the word of the old man As Monion Ty, in the Sparrow and the Sea go fly. Jonathan and Evelian guitar. As much as I love this song,

And yeah, it might be one of my favorite Flewflex songs. I think this is the closest you're going to get to stomp clap hollard, dude. Actually, you know what's funny? Here's why I said that. And I didn't mean to. No, no, I was going to say the same thing, dude. Yeah, because of the woes. I was going to say hollered.

Because of the woes. Yeah, yeah. Now, here's the thing. Here's the funny thing about the stom clap hay thing. So apparently, Spotify, it was Spotify that first gave the post sharp, sharp as in magnetic sharp. Yeah, the post-sharp genre, the first name that really stuck, which was Stomp and Holler. The term started circulating around 2017 when users were confused to find it in their year-end wrapped reports that Spotify does.

Apparently, the Stomp and Holler tag originated from the streaming platform's machine listening program, or machine learning program, which uses algorithms to analyze and sort music. That's funny, dude. that's that is funny which means that an AI came up with the term well that's really analyzing and sorting music when you look at so yeah the the genres are really funny that spotify comes up with because they do they just describe music yeah really bizarre ways like that and that's that's really funny yeah um so it makes perfect sense and with ragged wood dude those woes that's a holler if i've ever heard one man that's got yeah that's a holler that's a that's hollering That's hollering.

But, yeah, no, there's no defending it. I mean, like, I don't know why I feel the need to, like, protect flea foxes from that label because it's become, but here's the thing, dude. I think one of the reasons now, almost 20 years later, that the hate is here and we're tired of it because, and this goes back to the H&M Black Friday sale or whatever, like, you cannot watch an ad on YouTube or cable television or whatever. without hearing a stomp, clap, hey type of song in the background of like a fucking hobby lobby or something or, you know, whatever. I mean, it's, it has become so generic and like, so like, you know, safe and plain or whatever that companies use it to try to sell you shit. You know what I mean?

And that's, that's when you know that it's gone full blown in the direction of like mainstream, you know what I mean? Yeah. For sure. And it's become like a parody of itself. So that's the problem. And that's probably why we all hate it so much is because you can't, it's just so closely associated with corporatism in my mind now, which is a shame.

Yeah. But yeah, dude, I was going to say the same thing. That like this is why perhaps flea boxes might get tossed under that umbrella, you know. So one thing I wanted to bring up because this was such a shocker to me when I read about it and interviews with Robin for the Helplessness Blues episode that we did. From how it read, how it came across, it sounded like he really did not like the songs on this record, like when he looked back at it. Yeah, and we talk about it in the episode track. Oh, do we? Okay. Yeah. And he mentioned it because of how much of it was just pop music in his mind. Like,

but here's an interesting thing. Here's what he says in this interview from 2008. He says, what was important to me with this record was that it would be pop music without pop structure. Okay. Now that's spot on. There are a couple of choruses on the record, but that's really it. I wanted it to be pop instrumentation,

but with very few choruses and very few traditional structures, and except for the solo songs, hardly any lead vocals on the record. A lot of it is just harmonies. And yeah, that's Fleet Foxes. But here's the thing. There is a great quote from,

so I know people are thinking, when the heck does Father John Misty getting thrown into the mix? Well, if you even, if you even knew about that. Yeah. So apparently, Father John Misty is not, his name is Josh Tillman. He is not the drummer on either of these records. Really? Someone named Nicholas Peterson was on drums.

Interesting. Josh, he's in some of the interviews from that era. Well, he joins the group during the Tours of that year. Okay. And he stuck around. So he's a fucking John, John, fucking Johnny Cum lately, dude. Well, but here's the thing. Now, I'm going to quote him from this other interview that I read from the same time, 2008, I think.

Let me just make sure. This is actually a pitchfork interview from November of 2008. So this is well in. What? Pitchfork. What did I say? No, no, no. I was just joking.

Oh. So this is, this was released at least. I don't know when the interview was, but November of 2008, which is, you know, so they're well into their tour from this point, you know. Um, and Josh Tillman said, oh, you know what? What a team man say. My bad. It wasn't Tillman who I quoted, I pulled two quotes from this interview, okay? One from Robin and one from John, from Josh.

And I thought this was from Josh. I was wrong. But I'm going to leave that in because, you know, I had to at least bring up Josh at least once. I don't even think I'm going to quote him, dude. But Robin says, and this, this makes more sense to me that him, What I had read when we were doing the, when I was researching for the helplessness blues, I was so taken aback by him saying that because how much, how great this record is, that he, that he would have, like, disdain, I guess, for these songs.

This makes more sense after hearing this. So he says, I feel good about what the five of us can do together live. And to me, that has replaced the recording in my mind. Okay. We finished the album in November, so he's saying, 07. and we finished the EP in January, so Sunshine, looking back on them now, those are failures. I can hear every little thing that I would change. The recording process was pretty piecemeal.

Record that guitar part here, record that thing over there. And that's the first time you've ever played that thing, but the final take is on the album. It was a lot of writing parts straight to tape, so I think if the recordings were all we had to go on, I would want to start the next record tomorrow and have something we could feel good about right now. To me, the songs have evolved with each show, or at least they've solidified themselves into what they were meant to be. Now, that was just back in November of that year. He was thinking this way. Probably a lot of artists feel that way, though.

Yeah, I mean. So with the interviews that I was reading up on for the Helplessis Blues episode, that was even three years later. You know what I'm saying? So with even longer passages of time going through, you know, going by and. With the songs, probably even evolving even more with their life performances, I could see how he could look back at the record as failure. And with the recording process being the way it was, I mean, dude, nothing to me sounds more like depressing than sitting in an isolated booth recording just your guitar track. That takes all the joy out of what you do live. Yeah.

It all makes sense. This is, to me, this is, this is a band that excels live. Absolutely, dude. Oh my gosh, man. But yeah, that makes sense, man. That makes total sense. Do we want to play the end of Raggedwood? Yeah, because I think there's a really cool change that happens here in a second.

Yeah. All right, here we go. Let's fade back in. Light of me, if you will. At the top of Beringer journey on Tell me anything you want, any old I will do. Call me back to Back to you

At me if you will Yeah, I just like that. And that's something that happens a lot with Fleet Fox's tracks, they will, you know, take it in a different place. It's like two parts. Yeah, yeah.

Yeah, lots of good stuff on helplessness blues that does that. Yes, yeah. Yeah, and crack up. It's all about those harmonies. And that's what he said that was like really important to him to have this be a pop music record without the pop structure. I like that's a perfect way to describe it, man. You think of pop music?

You think of elite vocalists or mainly just a lead singer. Nope, it's mostly just harmonies And here's the thing, dude I think that is maybe in my mind What distinguishes Fleet Foxes From the Mumford and Sons of the world and the Lumnors of the world Those were folk pop

bands You know, doing songs with pop structures You know what I mean? For sure That's why they You know, potentially You know, filled to larger venues I don't know if Mumford and Sons

There were to arenas I mean maybe they did probably not They probably did And they were freaking every. Here's the thing, man. I worked in restaurants. I worked at Cafe Brazil during this time, dude. How you're making that sound like Cafe Brazil is like a major chain?

No, no, no. I know. But what, I know. I'm saying it's a cafe and we played this stuff. Ad nauseum, dude. But you didn't play Fleet Foxes, did you? Well, when I became floor manager, I got to play what I fucking wanted, dude. And I played the shit out of Fleet Foxes.

There you go, man. Did you get more tips when you played pleapoxes? Well, I was the floor manager those days. I didn't, I wasn't serving tables. I was managing the floor. Did your waiters get more tips? I didn't ask him, dude. I bet you they did.

Dude, I used to play the no filler, I mean the Nudus mixtapes. I bet you did. And I would like look it around like, what do you guys think of this? What do you guys think about this? I could tell that that lady over there really enjoyed this part. Do you think she liked the transition there? Yeah, I blended that. That old clip from a science documentary?

I don't think I played any of those. All right, dude, anyway. Let's jump to quiet houses. Let's jump to Quine Houses, dude. Now, this is your favorite? It's a very simple song. That's what I wanted to say. Yeah.

The lyrics don't get any more straightforward than this. So, yeah, this is a good, I think, a little softer kind of pivot from ragged wood. For sure, yeah. All right, here we go. Lay me down, lay me down, lay me down. Lay me down, lay me down. Dockyne, darkyne, docky-ne, talking-ne, docking-ne, docking-ne, docking-ne.

Darkingale Darkingale Darkine Come to me Come to me, come to me, come to me, lay me down, lay me down, lay me down, lay me down, lay me down, lay me down, down, laying me down, lay me down. Lay me down. Lay me down.

Lay me down. Well, that's a perfect example of pop music without pop structure. you know what i'm saying no chorus right just verses and and that's pretty straightforward lyrics well if you didn't want to call it a verse i feel like it's a nice album filler you know what i mean in terms of like now there's no there's no filler on this record but i'm just saying like it's a great song to transition you from one idea to the next and i feel like there's a few tracks on here that kind of do that pretty well but uh i've always loved the guitar man it's so pretty yeah and And, like, I could listen to just strip away the lyrics and the singing.

Like, this, what a great, like, instrumental track. This would have been. I love the bass. Yeah, the bass is great. Yeah, man. I wish that we had the actual lyrics here because Spotify, I don't think the Spotify lyrics are accurate. There's no way. The Genius.com, which I think seems to be pretty reliable, has it a little bit differently

than what Spotify says, but I think it's a song about just getting down to business. It sure seems like it. It's talking about quiet houses lit up by candlelight. Lay me down, dude. Come to me. Lay me down. Come to me. Yeah, I mean, let's just cut to the chase here.

They arc, they did. They cut straight to it. Yeah, they did. So what do you have to say about that? Mumford and Sons, huh? Do they have songs about? Who knows, man? I couldn't tell you.

I can't even, here's the funny thing. For how many, like, for how often I heard Mumford and Sons during that time, I can't remember how they sound. I don't even think,

I can't remember the last time I sound like you. Dude, I can't remember the last time I've heard a Mumford and Sons song because I'm sure if I heard it, I'd be like, hey, I remember that. That's Mumford and Sons. I feel like,

I feel like they're gone. entirely erased from... Let me tell you the last time you heard a Mumfordon song cue. Okay. Probably within the last week, just existing in America, walking around in the shopping centers and grocery stores. You've heard a Mumford and Sun song probably this year. I feel like I would remember it if I heard it.

I still hear Edward Sharp and the Magnetic Zero's. Because we all know that song, man. But... But... But you could pick out a Lumineer's song from Mumfordons? Because I couldn't. I think so. Between the two.

For their, yeah, I think so. Edward Sharp has the one song that has been played to death. Who's the one that did the Alabama, Arkansas? That's Edward Sharpe. That's the Luminaires, dude. Oh, is you really? Here's the funny day. I don't even know, dude.

Let's find out. No, I think that's Edward. You might be right, dude, but that's, I guess we're going to go over here. That is Edward Sharp. Okay, and that song is what, it's almost, yeah, home is what's called home. Yeah, yeah. And that song has almost become synonymous with the stompanyming. That's funny, dude.

That's the, that is a theme song. Yeah, yeah, yeah, that's the one. That's the one, dude. Yeah. But anyway. Dude, here's this hilarious, dude. I just typed in the Lumineers into Google. And it says the Lumineers, Home is one of the searches because people swore up and down that the Lumineers wrote that song.

There you go, dude. Unless they have another song called Home. Nope, they sure don't. What if they cover that? Oh, they could do it easily. Mm-hmm. Anyways, let's round it out with an incredible live performance by our boys here. And one of the best poopbox's songs, I think, to date.

All right, so we're playing a live version of Blue Ridge Mountains, live on Boston Harbor, which is, it was filmed at Leaderbank Pavilion in August of 2022. They actually released this as an album. And this, dude, what a performance, man. I know, man. two-hour performance. It's great, man. That must have been something to see that line.

Yeah, dude. And look at this freaking pause, man. Look at how happy he is. Dude, I love how Robin Pecknell traded in the beard. I agree. For a tiny, just a small unopposing beanie, you know? Yeah, he's always, I know, he's rock. I mean, I can't find a beanie that fits like that.

I've been looking, dude. You kind of kid? The beanie's that sit above the ear. Dude, he probably handed it himself on his rocking chair. Probably. Like the sleepy time tea guy, you know? Yeah, yeah. All right, here we go.

One, two, one, two, one, two, one, two, three. My brother, where do you intend to go tonight? I heard that you missed your connecting flight. To the Blue Ridge Mountains over near Tennessee You're ever welcome with me anytime you like Let's drive to the countryside Leave behind some green-eyed look alive So no one gets worried no

So no one gets worried, no. But Sean don't get killers, I'm sure it'll be fine. I love you, I love you, oh, the brother of mine. In the quivering forest, where the shivering door is, our breath, our good friend, our good friend father, built a wooden nest And the river got frozen And the home got snowy In the other room

Gloride Till the morning life Terrible in my child even if you don't mind in the quivering forest with a shivering dawned I would put that song against any other track

by the collective all stop clamp hey bands collectively in that song better than any of those tracks. Amen, brother. Maybe I'm a little biased, but... We're biased for sure.

I think the songwriting and the lyricism from Robert Peknold and the instrumentation of that group, man, I think it's unmatched, man. I really do. I agree. I got receipts, bro. You got receipts? Do you bring some receipts? Yeah, yeah.

I never realized this. But if you scroll down on the Wikipedia page for this record, listen to this, man. This record, number one on the UK publication, The Times, 100 best albums of the year. Number one, pitchfork, 50 best albums of the year. Number one, Billboard.com, 10 best albums of the year, critics' choice. Did you realize that this record had so much accolates, man? I didn't. I didn't.

Best of 2008 under the radar, number one. So, and I know that for that year, pitchfork called it along with Sun Giant, both of them together, the number one album. the year. Yeah, that's wild, man. I didn't realize that it had gotten so much positive attention. Yeah. And it makes sense. It makes sense. So like, you know, Rolling Stone had it as number 11. I guess the point I was trying to make was I, I guess I didn't realize that Philippe Foxes, with this record, uh, sort of broke through beyond just the sort of the indie, uh, darlings that I thought that they were. You know what I I mean. So I'm going to go back to the Josh Tillman quote, dude. I wasn't going to, I didn't know if I was going to, if I was going to quote, I'm going to, let's do it. So because this is, I think this is a good description of the quiet kind of pretty, you know, pretty songs that Flea Foxes produce. He says, I've thought about it. Okay, now this is, this is a quote from 2008, okay. I feel like this music is quiet in the extreme, where it elicits the exact opposite.

of that aggressive response from like, you know, aggressive music, like Metallica. The most aggressively quiet response to that music is total silence. We open with a four-part a cappella thing. They're talking about their tour at the time, which is an extreme move and sets the tone for an extreme response. And then Robin says, right afterwards, it's the beginning for songs that people are pretty quiet for because those songs all bleed into each other. After that, it loosens up and just seems like it becomes more of a normal shift. I wonder what they're opening four tracks were.

Yeah, we could probably easily find that out. But anyways, dude, I think that's a good, it's quiet in the extreme. I mean, this all reminds me of the stuff, the way that Kings of Convenience, what they were, like, consciously trying to do. Quiet is the new loud, right? Quiet is the new loud. Yeah. Like, this is, like he just said, like, it's extreme for the time that it came out that we're going to do Acapella. Yeah.

You know what I mean? And that's not something that maybe you're used to hearing in 2008 when, like you just said, you know, you've got just the loud pop music was just really... It was edymified pop. Yeah, colorful and loud and just like dancey. And you had, you know, TRL, you had all those, the bands we always talk about that you'd find on TRL. It was just loud in a good way, you know, but like, I mean, it doesn't get louder than new metal. You know what I mean?

Oh, God. Or even, or even, you know, boy bands, right? Or Britney Spears and stuff. It was just loud in your face. And that was what pop music was all about back then. They were doing it all for the nooky back then, man. Yeah, I was listening to that song earlier today, funny enough. Because I was actually, it's a great riff.

I know, man. There are some killer, yeah. Yeah. I'm a fan of new metal, dude. Should we do a new metal episode? All day, I'll do it. Let's do that. If we want to do another episode on corn,

Sign me the hell. But let's do like a grab bag, new metal. Okay. All right. That's fine. Stained. Were they new metal? Dude, let me tell you something.

I've been listening to some new metal lately. Okay. Mudvane. I've slept on mud vein. I'll just say that. So I could bring some mud vein. Now, speaking of mud, dude, what about puddle of mud? Just kidding.

They can take a fucking hike, man. That's not the kind of mud I'm into. But yeah, if we did a new metal grab bag, then this could be a way for me to finally play some system of a down. Yeah. And like maybe bands that like maybe don't necessarily need a full episode, although I've been trying to do system of down, a full episode on system of

down forever. But anyway, uh, yeah, dude, I'm here for it. Well, I think that that wraps it up for. Yeah. Now, let me, let me just say this quote, although I don't know when it ends. I'm going to start the sentence.

We'll see how long it is. But this is in the liner notes of this record. You're going to start, I don't know. You start the sentence? Yeah, because I haven't finished it. Yeah, but I like, I like where it's going. Um, I don't know who said this because they don't give. of like a one person.

Oh, wait. What? Hmm? Corey. I was trying to see who to credit this to, and it says Thomas Jefferson January 2008,

New York City, New York. I'm sorry, what? Unless there's another Thomas Jefferson. Oh, I'm sure there's plenty, John. Anyway, I thought that this was Robert and Pagnold saying that, But this is in the lighter notes of the record. It says,

A very smart and gifted friend of mine told me once that music is a kind of replacement for the natural world that before civilization or whatever, see, I don't think Thomas Jefferson would have said, or whatever. The world must have seemed a place of such immense wonder and confusion so terrifying in a way, unthinkably massive and majestic, and that that feeling of mystery and amazement is somehow hardwired into us.

I'll stop there. But I like the they decided to put whoever this quote can be attributed to like in the latter notes for this particular record because I think that's why Acapella is so moving to here, especially in person, because I feel like that kind of shit is like hardwired into us, you know. Music is obviously hardwired into us, you know what I mean? For sure, yeah, absolutely. So I think this music sort of really encapsulates what they're trying to say there.

It's like early civilization, the wonder of the natural world and shit, you know what I mean? It's just, yeah, anyway. So, Fleet Fox's Q, it was bound to happen. Of course, we're going to do another episode of them. I'm glad that we finally did it. It took us a while. Robin Peknell, one of my favorite musicians of all times. Same.

I love it. And I'm so happy, dude, that I have shared a room with that man two or three times in my life and have sung along with him in a room. Yep. Great times. Yeah, dude. I hear you. Yeah.

Guess what's next, Treff? Best of, dude. Hey, let me tell you this. I need to get on it, brother, because I have. There's 111 songs on my best of 25. And are those any, are there any repeats? Not repeats like same artist from the same record and you have to like decide. Yeah.

Yeah. And a lot of it is like, I think I told you my secret. If I read a review for an album that came out and I'm like, that sounds like it might be dope. I will just throw the first track on the record into my best stuff without even listening to it to remind myself that it exists because you can't sort by year in Spotify when you're just looking at your albums or month. So, you know, a lot of this could be absolute garbage. But, you know, the album art looked cool or, like, the genre sounded like something I'd be into. Well, you're, you know, you're ahead of me, dude, because I suck at this. Dude, I give you a heads up every year.

At the beginning of the year, I say, hey, Travis, get started right now. I know. On that best of list, dude. And I do. I've got 43 songs. Okay, well, we don't need that many. But a lot of it. It is just the same artist.

Yeah. So if I really broke it down, it's probably, I got some work today, my friend. Yeah. Anyway, I'll pull it together like I always do. And I think this year we should pull Mitchell in for one of the episodes and let him bring maybe five. So that would bring down how much we need to bring total. Yes, absolutely. Mitchell has been a very important part of no-filler this year.

I mean, he's been an important part of no-filler since the beginning. Let's be real here. I mean, you're right about that. But he is finally on the mic. Yeah. And, yeah, I think he has solidified himself as another co-host. Yes, I would agree with that. I love it, man.

Love it. And he fits right in, dude. Of course he does. He's our oldest friend. Yeah, of course. Dude, formative years listening to music, that man was there. Indeed. That fell out was right there alongside us at the Kings of Leon shows.

At the Spoon shows. The Spoon shows. Yeah, man. I remember that the two of us fell in love with the like bass player together. Oh, no, all three of us did, Treve. Yeah, did you? Did you Q? Oh, yeah.

You're probably too busy thinking about Sam. I guess you're going to hear a kid. It depends on the year. Or Megan. Yeah. Dude, what's funny is I didn't even date those girls for, it was months. I don't even think it was that long of relationships. I probably felt like a light.

Exactly. It was middle school and high school relationships, dude. Mm-hmm. Just a flash in the pan. What is love, Q? I don't know, man. Just don't hurt me. All right.

I'm glad that you, that's exactly what I was trying to think of there. All right. So, yeah. we're going to round out the rest of the year with our best of we're going to bring our favorite tracks of the year so we're going to be dropping one episode a week through the end of the year Travis you're going to help me out with peace in some of these together dude I still can't believe I used to do this every week like that we we would record an episode and release every week dude I guess we were younger for years you know we had the energy to do it

you were childless I mean I'm still childless and really have no excuse but it's weird to think of having that much free time now because of how busy i am all the time not for me yeah cue how many movies did you watch in october can i tell you something Travis if i'm being real here i don't think i can probably count on one hand how many new movies i watched this year if you haven't watched k-pop demon hunters get on that uh we started watching some of it it's great yeah but my point is we don't watch movies at night we watch TV shows. Give me a quick 30-minute show.

I don't have time to get invested in, like, in movies and stuff. Boring. All right, Q. Well, as we always say, you can follow us on Instagram, or, I mean, I should say you should get in touch with us on Instagram, I should say, as I always say. Maybe one day we'll decide to be more active on Instagram again. By that day is not today, Q. That ship has sailed, I think, dude.

That day's not today. But anyway, just look for us on Instagram, and of course, follow us on Pantheon Podcast Network. If you want to subscribe to the main Pantheon podcast feed, anywhere you listen to podcasts, and then you'll get all of our episodes and all the other episodes that fall under that network. Surely there will be another show that falls under the Pantheon network that you would enjoy listening to. Enjoy listening to us because it is a music-only podcast network. And that's it. So, as always, thank you for listening.

My name is Travis. And I'm Quentin. Y'all take care. At Fandall Casino, you get even more ways to play. Dive into new and exciting games and all of your favorite casino classics, like slots, table games, and arcade games. Get more on Fandual Casino. Download the app today.

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