No Filler Music Podcast - No Filler Rewind: Amon Tobin - Bricolage

Episode Date: January 4, 2021

On this week's episode, we dig deep into the No Filler archives and revisit our episode on Brazilian electronic musician Amon Tobin's debut record Bricolage. Unlike most trip hop albums from the nineties, Tobin perfectly blends old jazz samples with a drum and bass backbone, and an IDM sensibility. Dark, moody, and effortlessly cool, this record stands out as a true gem in the field of trip hop. Tracklist Amon Tobin - "Bitter & Twistd" Quantic - "Time Is The Enemy" DJ Cam - "No Competition" Amon Tobin - "Easy Muffin" Amon Tobin - "Yasawas" Amon Tobin - "Defocus" Bebel Gilberto - "Samba da Benção" This show is part of the Pantheon Podcast network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Shop before they're gone. In store online at Sephora. Oh, hey, listeners out there. Happy New Year. 2021. It's finally here. 2020 was like, you know. 2020 was 10 years long.

Yeah, it was like 96 months long or whatever. Sure felt like it. We've arrived at 2021. And, well, we're digging into the archives here for this week's episode. Just, you know, we got our reasons. We don't have to explain it to you. just know that you're about to be treated to episode 20 of no filler. We're going way back.

And yeah, we're talking about a... How do you describe this man? Drum and bass is kind of the term that gets thrown around. But we throw the word down tempo out quite a bit throughout this episode to describe him. We're talking about a Brazilian electronic musician Eamon Toul. So we're talking about the album Brieco Lage, which came out in 1997. This was his debut record on Ninja Tune Records. And yeah, that's going to be it, man.

Let me say real quick, too. I think it might be cool for us to start doing this a little bit more often because I feel like a lot of people who maybe didn't know about us before we joins the Pantheon podcast network may never have gone this far back in the archive and we have over 150 episodes now. And chances are there's a lot of episodes that you've never heard before. So these no feel of rewinds is a good way to kind of share some more music from the artists that we've covered, you know, a couple years ago.

Because shit, man, we're going strong. And it's been, when did we start this in like 2018? Something like that, yeah. Yeah. Yeah. So we got a lot of content on this podcast. and this is a good way for not only for us to take a break, but for us to share some oldies with you.

So yeah, this is Aymn Tobin. You may be familiar with them if you've ever played the video game. Actually, we talked about all this, so I'm just going to let, I'm just going to let myself do the talk on. There we go. And yeah, so this is a great episode, man. I went back and re-listen to it because, you know, I don't want to just put something out there if it was a crap episode.

This was actually a pretty good one. And, dude, let's just be real. We got some crap episodes. Sure. If you do some dig and you can find some crap episodes. Dude, it's going to happen. You know, 150 plus episodes. They can't all be gems.

But I think this one, this one's got some good tunes on it. So, yeah, this is one of those albums that, you know, jump in your car, drive around at night, push play. Yeah. And listen to the sounds of Q and I, our voice as we. talk about this great record. So here we go, without further ado, also I guess we should also mention, since I don't think we, we don't talk about this stuff on this episode because this was a long time ago, but you can find us on Twitter, add no filler podcast.

You can find us on the Pantheon Podcast Network, as Quentin mentioned earlier. That's Pantheonpodcast.com. And yeah, that's that. So here we go. This is our episode on Amon Tobin's 1997 Trip Hop, record bricolage. And you're listening 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, as always, is my brother Quentin. Q? What's going on, brother? Oh, just fighting this cold.

Just came out of nowhere yesterday and I'm a little hopped up on the NyQuil, my friend. So apologies, if I'm a little loopie or if my voice sounds like yes hey man loopie equals entertaining i guess so i'm the opposite of loopie dude because as you know we have a very sick cat on our hands over here yeah and you know what some of our listeners might know who you're talking about because she's popped up in a few of our episodes that's right she actually jumped right into my lap and meowed right into the microphone

phone on like episode one yeah dude so there you go i'm sorry man yeah you know she's like 14 15 so it's about that time yeah but you can if you hear if you listen closely you might be able to hear my other cat meowing right now so there you go we have a backup dude don't let car i hear you say that oh she's fine don't worry about it so last week we covered I guess our last main episode, we talked about animal collective, right? Indeed. Which is kind of experimental. They just kind of, you know, they experiment with sounds mostly, right?

The way that they mix and sample in sounds. So it's kind of a good transition, I would say, to someone like Eamon Tobin, who we are talking about today. who is a Brazilian drum and bass down tempo. I guess I wouldn't really call him down tempo though. Drum and bass, trip hop, electronic artist. I'd say emphasis on the drum, dude. It's one of my favorite things about Aben Tovin is his drum beats are just fucking sick, man.

Yeah, and as you heard from our intro song there, which is called Bitter and Twisted, very heavy on the drum and bass stuff. So the album we're talking about came out in 1997. It's called Brick Olaj. And it is his first album under the name, Eamon Tobin, which is his birth name, a shortened version of his birth name. But before that, he was known as Kujo, and he came out with an EP under Kujo called Adventures in Foam. And that came out. Also a really, really kick-ass record. Yeah, yeah, exactly.

And that came out in 1996. But I'm going to stop right there before we go too far into him. And let's do our what you heards for the week. So Q, what you heard lately? I thought this would be a good what you heard for Amin Tobin. It's a guy, his name is Will Holland. He goes by Quantic. and I feel like

this so this artist and this song in particular might be truly the first quote down tempo song

that I first fell in love with that kind of got me interested in the genre did you listen to this guy before you had discovered Tosca I was going to say probably around the same time

but I remember listening to this song, it must have been through Pandora, and it was back when I lived in your apartment, brother, and when I was crashing on your floor. Yeah, we listened to a lot of down-to-bo together. Yes. And we even tried making a couple of down-tipo tracks,

if you remember. Very true. I wish we still had that, but we don't. Yeah. Yeah, so this is a DJ and producer. Again, he goes by Quantic. and his very first full-length album is called The Fifth Exotic. It came out in 2001.

And the song I'm going to share with y'all is called Time is the Enemy. To me, it's a classic just because, like, I don't know, I probably heard that for the first time, like, I don't know, a decade ago. Is that, is that accurate, dude? Was it a decade ago? It had to have been. Yeah, yeah, dude. So, true story. I put this album on, in the car on, like, the second date with my wife.

She was so impressed with it. You know, she was like, wow, this guy really listens to cool music. Yeah, we actually connected on bonobo, because I listed Bonobo in my dating profile. And she had had that on her dating profile. So there you go, Q. You guys met through online dating. I'm so, yeah. So, well, you and your wife, you guys were, what, drawing blood together or something like that from a dog?

We need more context than that, dude. We weren't just drawing blood on a dog randomly in the streets. We're not vampires, okay? That was the joke I was trying to make. Yeah, I know, dude. Yes, we met in vet tech school. There you go. But hey, dude, I would have resorted to the online.

dating. Resorted. I like how you say resorted. I would have stooped to that level if I waited long. No, everyone meets online now. I get it. Yeah, yeah, right. I was just, you know, ahead of the curb, you know? Sure. So anyway, my, what you heard for the week is along the same vein. And man, this one's a doozy, dude. So get ready. This guy...

What's a doozy dude? What's that? What's a doozy dude? dude. Man, dude. You are hopped up on goofballs. So something that I usually do before we record a podcast is listen to, I mean, you do the same thing. We listen to the same, whatever genre the artist is, I try to like dig into that genre and kind of listen to it, you know, and just kind of immerse myself in it for a week, you know. And I stumbled upon a article. that was talking about the 50, this was a, by Fact Magazine,

they were talking about the 50 best trip hop albums of all time. And they put, they put bricolage as number 23, which is the album we're talking about today. But they also had, so accompanying this article, they had a Spotify playlist that had a song from each of these artists. So, you know, perfect. I just hit shuffle. I worked the other day and it was just kind of listening to some trip hop stuff.

And this song came up on it. So DJ Cam, he is a French DJ, rooted in hip hop, which is kind of where trip hop obviously stems from hip hop, right? And he kind of combines very much like Tobin. He combines a lot of jazz and dub and ambient samples into his music. So anyway, fact magazine lists this album. It's called Abstract Manifesto as number nine, so pretty high on their list. And as they say, he's capable of weaving together abstract blunted beats with finesse. And no competition remains one of his best competitions to date and a staple of sets from the air.

Dude. You just said no competition is his best competition to date. That's what you said, bro. Well, I meant to say composition. Okay. I know. So we're going to listen to that track right now. Again, this is called No Competition by a DJ Cam. One of his best compositions.

Yeah, that's right. If he was in a competition, he would win for best composition with this track, no competition. Okay. Came out in 1996 on an album called Abstract Manifesto. Here we go. This is going to be a lengthy clip, but it's worth it. Here we go. Yeah, so.

96? 96. So that's like, that's got trip hop just all over it, right? Yeah. So I think a lot of trip hop would sort of sample in hip hop records, right? So you heard a little bit of that in the beginning of that clip. But I think the thing. And Q, I know you'll agree with me.

What draws me to down tempo, we probably talk about this on the Tosca episode, is, and the same with Trip Hop, is the jazz samples. Yeah. That's what does it for me. It just, it takes, you know, it takes the stuff from jazz that I like and puts a killer beat behind it. Yeah. And it rearranges it in a really, unique way. But yeah, like you said, all the things that we love about jazz is what these artists pull from it. Yes. Because there's, dude, I mean, there's some jazz out there that I can't

even listen to, man. Oh, yeah. Sure. Yeah. So, you know, a lot of times they sample in, you know, older jazz records. Yeah. And that's what I appreciate about it. That's what I love about it. And I think that's a perfect segue. That song, that song itself is a, is a great segue into Aventobin. Hell yeah. Very,

very similar sounds. So, let's go back a little bit here because I was talking about adventures and phone. Was that legitimately one, LP? Because that,

it's a long-ass record, man. Well, yeah, okay. So basically, he had a, he had a, series of compositions that he released on 12-inch final. And then he took a bunch of those tracks and put him into Adventures in Foam. So it's kind of a compilation album.

Gotcha. But anyway, so that was a limited release. It came out in 96th, the same year that that DJ Cam record came out. And he only had, it only had 5,000 copies. So around that time, Ninja Tune, which was, you know, the screen. growing label in the UK. Yeah. Some of the early artists that they had on that record were those like DJ Food, Funky Porcini,

the herbalizer, cold cut. Do any of those names sound familiar to you Q? Funky Porcini, yeah. So, yeah, Funky Porcini is another great one, and he's on this list. DJ, I'm pretty sure all of those guys are on this list from, yeah, DJ Foods on here, Funky Porcini herbalizer. Yes, all these guys, even Cold Cut. These are all, you know, the heavy hitters in Tripop.

So anyway, DJ Food and Funky Porcini noticed, stumbled upon Adventures in Foam, and basically prompted Ninja Tune to reach out to Tobin. Nice. So these guys, these heavy hitters were super impressed by Tobin's music. They were like, hey, we got to get the sky on the label. in late 96, they signed him to Ninja Tune under the name Amin Tobin. So basically, he comes out with Adventures in Phyllis. Heavy Hitters, listened to him, and then he gets signed on a Ninja Tune.

And the next year he comes out with Brieco Lodge, which is what we're talking about today. So Bricolage, I think, was the first album of his that I listened to. and unlike maybe some of the other stuff in that genre of trip hop there's something different about aiman tobin's uh the way he approaches mixing these these songs together i don't know what it is about him but i feel like every song that he has put out has such a mood and like atmosphere to it you know one thing i noticed dude he only ever samples upright bases. His baselines are always upright bass. Really? Yeah. And that, that, you know,

lends to a certain mood just in itself with, with that sound. I guess that's probably for his first three records. That's probably true. Yeah. Okay. Yeah. I don't know about his later stuff. Yeah. By the time you get to Foley Room, which is in 2007, literally every sound on that record is a manipulated field recording. Okay. Including the bass, right? Okay.

But yeah, I think he kind of, like his classic albums, the albums that put him on the map are precollege, permutation, and super modified. I love permutation, too. That was when I was leaning towards covering on this podcast. Dude, what I like about permutation, the first song you hear on that record, like regular chickens. has a sample from Eraserhead. Oh, man. Yeah. And he actually is a big fan of... David Lynch.

Yeah. So anyway, some of you, if you've ever played a game called Splinter Cell, and you played Chaos Theory, which was the third Splinter Cell game, came out in 2005, then you have heard Eamon Tobin's music. You may not have realized it, but Eam and Tobin, he came up with the music for that video game.

And it was kind of a groundbreaking thing at the time for a, you know, nowadays, you know, video game scores are just as good, if not better, than movie scores a lot of times. But prior to that time, you know, yeah, you had stuff like, you know, a lot of people always talk about the Final Fantasy scores as being really, you know, amazing and incredible. And then, you know, there's like the Halo 2 soundtrack that came out earlier than that. But it's all very cinematic and like orchestrated and stuff, right?

You know, like more what you think of when you think of like a thematic movie score. But with Tobin's work on Splinter Cell, it's just, it's Tobin doing Tobin, but it's like a score, you know, it's more, it's down tempo in a video game. Like, how cool is that, you know? Yeah. And what's interesting about the way he approached. you know, when you're playing a video game and you're, you know, there are certain, like, things that happen

in each level during the span of a level, right? Like, you might be, especially with Sponercall, there's moments where you're sneaking around, right? And then there's moments where, you know, like one of the enemies has been alerted, and you're kind of running and trying to find cover, right? So for each song,

Tobin breaks it into four distinct but similar parts based on the level of intensity. So how cool is that, right? That's the record that I found at that record store in Houston, dude. You dropped it. I dropped a lot. I dropped a lot of money for that one.

I dropped a few bucks for that. But it's something I've been looking for for a long time. So anyway, all of that aside, let's get back to bricolage, because that is what we're talking about today. So let's just go right into the first track. Bricelage, again, this came out in 1997. And the first song I'm going to play for you,

Interestingly enough, you can't find it on iTunes. It's not on Spotify. It's been taken off of all of the streaming networks. My hunch is because it was recently used in a Lincoln car commercial. So if you remember those commercials that featured Matthew McConaughey in it, and he's driving at Lincoln, well, you might recognize this song. Anyway, this is one of my favorite tracks of Toe. Tobin's. It's called Easy Muffin.

So Q, what is the imagery that comes up in your head when you hear this song? So for most Amin Tobin songs, it just puts me in, like, the city at night. Yep. And this is, like, maybe after some rainfall, so the street's all wet, so, you know, the street lights are reflecting off the ground. You know, maybe some smoke coming up from the sewer. Dude. Just a classic cityscape. Yep.

At night. That's Amen Tovin's music for me. This might be the one time where I've 100% agreed with you on the imagery that comes up. But yeah, I just, you know, that's just what, that's the feeling and, like, the mood and the atmosphere that this music makes you think of it. Like that film noir? Yes, right, exactly. And we've talked about that. I think we talked about that on the Tosca episode.

I think for some reason, down tempo just pulls up imagery like that. So, Q, what do you think Pitchfork rated this album? I'm going to say, um, seven or higher? 10 out of 10. Wow. No, the only reason I bring it up is because the guy who reviewed it, when he listened to it while he was driving at night in Chicago. Wow.

Okay. So basically, he's talking about the first track and how I kind of threw him off guard. And he goes, that's when the unmistak. Unaskably, jazz rhythm set came in with a knife to our throats. The string bass pounded at the volume of tin, the saxophone, smoothly, keeping the cool and the beat of Chicago dead ahead. So there you go. Nice. So something about cityscapes and driving around at night, that's what this music is all about.

And that's true for a lot of these songs, I think. But yeah, there's something about that song in particular. It's just so smooth, man. And, you know, the subtle saxophone sample that kind of gets thrown in there. It's just great, man. I love it. Yeah. Let's move along to trek.

I think it's the very next track on the album. So that would be track number three. Now, that depends on if you are playing this. That's a good point, Q. On CD or streaming it or if you've got the actual LP, because the order is completely different on the LP. That's true. Either way, this track is called Yassauas.

Or Yassahas? I have no idea, dude. Hey, were you playing, were you at the arcade yesterday? Yes, I was. There you go. So this is yes, I was. There's just something about this music, man. It just exudes.

I'm like, it's just, it's dark, it's moody. Yeah, it's dark, dude. But it's got, it's got almost this, especially with this track, that kind of like almost like kind of like this off kilter kind of like yeah it's almost like you're you know kind of like this uneven like kind of your balance you're losing your balance a little bit almost like you know if you were to try to think of like a scene in a movie or something like that this could be like you know somebody just walked out of like a like a you know they're in like a haze or something like that they just walked out of a uh a bar after tossing back a few or something like that. or some sort of drug bin or binge or something like that. Yeah. A drug-fueled night on the town. Exactly. And it has to be at night, obviously.

Yeah. But yeah. It's like a fever dream or something. Yeah. But there's just so many things, so many samples, the drums like you were saying to me while the song was playing. You know, that's not a real drum beat, obviously. It's sampled and manipulated, but it works perfectly.

And what's interesting about it is like it'll go in these really fast like sped up moments and then it kind of circles back to this kind of more slow standard drumbeat. And that's kind of, you know, contributes to that vibe of the song where it's just kind of like you're kind of, it's kind of flowing, you know, in and out from these different tempos. Dude, what's that? You know what I just read? It's pretty fucking cool. Didn't know this. album art for Brie Collage I was about to tell you that dude

I was saving that for later yeah so it's part of Alexander Lieberman's sculpture that's called Olympic Iliad and it's located at the base of the space needle

in Seattle I have seen this sculpture dude there you go man you should next time you're there you should try to like find the exact angle yeah that's fucking cool dude

Yeah. So. Neat. Neat. So yeah, here's another interesting thing about Aymant Tobin. We've mentioned this before when we talked about Kings of Convenience, and I want to say when we talked about another group as well. But he does not have any formal training in music theory. Oh.

He does not come from a music family. Basically, I mean, and that's impressive to me because any time you're dealing with, feeling in my, well, not in my opinion, but jazz, right? Jazz is a very complicated thing to master. Yeah. So it's not like he is composing jazz music, but you have to know when you're listening to jazz records what to pull in and if it'll work together

with bass lines and the drumbeat and the saxophone and this and that. And what's interesting is his first three albums all of the sound sources that he pulled together to produce this music came from his personal collection of vinyl records. Oh, that's cool. Yeah. So that is cool. So anyway, yeah, so as you can hear, most of his music focuses on break beats from jazz and blues

and kind of taking those and putting them into more complex patterns and stuff. And that's kind of what he was kind of known for is like what he would do. do with his with his samples more so than most tripop artists from that time um like i said i've always kind of put him in his own he's kind of over here on his own you know yeah he is very unique so we're just breezing around along here cam i got one more track for you this one is called D-Focus. And let's see if this kind of follows the same pattern as far as

the vibes that it's putting out. I have a feeling it will. Let's find out. It doesn't get any... Yeah. And I feel like that's kind of underselling it a little bit.

But yeah, you know, I feel like there's just something about the 90s, sort of this underground trip hop and like down tempo scene like I feel like it goes right along the same line of as like movies like fight club or like

oh yeah you know seven remember that movie seven oh yeah they all had these sort of dark this sort of noir vibe to them and I feel like music like this was like the perfect companion to it

And I know that a lot of those types of artists were featured on those movies, you know. On those movies with Brad Pitt. What's that? Yeah, basically, right? That's funny. Yeah, right. What's that other one? Oceans 11?

Well, yeah. Yeah, you know, you got your, all your, your, your highest movies. Yeah. Ocean's 11 definitely had a lot of down tempo in it. So, yeah, I just feel like there was something about the, 90s that this kind of music was especially like if you go through that

that top top 50 tripop I mean it's all from the 90s that's just that was when the stuff was being made you know yeah it seems kind of like it was an underground thing you know and a lot of people credit massive attack and Portishead as kind of oh yeah kind of where that

originated from so yeah if you like jazz and you like hip hop this is the perfect marriage of that stuff man dig deep into into this genre it's just it's got so many great gyms in it you know and this is just one of those albums you could put on and just push play

you know get in your car and drive around at night go go drive around the city and just have this stuff playing out in the background man it's perfect yeah it's perfect for that all right so that's it man that was a quick look I feel like this is going to be a short episode I feel like that's okay Yeah, you know, I did, I mean, you know, you get a good idea of each track with one clip.

You know, most of our episodes, we have a couple clips at least. Yeah, and, you know, there's no lyrics here, so there's really no diving into lyrics like we did with the Fleet Fox's episode. It's just a lot, it's just basically this killer trip hop record, man. I think a lot of it, and this just happens whenever, whenever you listen to, whenever I'm listening to something instrumental, like, there's no imagery being offered. it up to you through lyrics or anything. So, you just sort of figure out the movie that you, at least I always, I figure out the, the scene in the movie that this is going to be a soundtrack to, you know. Yeah.

And for Eam and Tobin, it's, you know, those movies that we talked about, those types of scenes. And it just, it just has that really kind of dark, moody, but still kind of like a really cool kind of vibe to it, you know. Yeah. Like the Heist movie. Yeah, heist movies. Yeah. Or movies like, you know, the noir stuff.

So anyway, that's that, man. So for the outro. But before we wrap up, I think we need to give a proper shout out to the Animal Collective community on Reddit. So we like to post our links to our episodes on the subreddits of the artists that we cover. Just to, you know, hopefully. to get some fans of the artists to check out our episodes. And what we really hope to get out of it is maybe some dialogue, you know,

with some, some Redditors, some music fans. And shit, dude, the Animal Collective subreddit delivered, man. Did you get a chance to read some of the comments? Yeah, man. I mean, they really, you know, they gave the kind of, like, back and forth and like feedback that we kind of were hoping for when we launched this podcast, really. Yes.

Well, of course. Call us out on our, you know, call us out on our mistakes. Yep. And, yeah, and start a discussion on,

on the music that we love, dude, that's what this is all about. Yeah, exactly. Continue, basically continue where we leave off on the episode. Yes. Tell us what you like about the record.

Yeah. Or the artists that we talked about. Tell us where you think we were wrong, you know? Yep. So I don't know if I'm going to actually call out this person by name. But one of the Redditors on here kind of called me out on something that I had wrong about. Well, for one, I kind of just, you know, I talked about what Noah Linux and Aviterre.

bring to Animal Collective. And then I kind of just threw Deakin and geologists. I just kind of lumped them in as like, oh, they do this and that. They, you know, they make the other sounds for the band. I didn't really go to detail. Well, this guy on Reddit kind of went into a little bit more detail for me. He goes, so Deakin does mainly guitar work for Animal Collective.

Geologist mainly deals with the samples. And Panda Bear actually. actually does do rhythm sometimes as well. He does play the drum kit at shows sometimes. And then he goes on to say that Deakin wasn't around for Maryweather post pavilion, and it's claimed that his absence is a reason as to why the album sounded so different. Now, that's interesting to me, dude. You wouldn't think that some...

I don't know, like just listening to Meriwether, it is so different and some people are thinking that it might be because Deakin wasn't around for it I don't know why I just never thought of him as a big part of their sound I don't know why that

I always just think of just Panda Bear and Aveyterre as the two main musicians of the band you know like Right right yeah He says last thing was that the name of the band Animal Collective was used for the

Sung Tong's album more because of their idea of allowing certain members to drop off albums here and there and allowing them to come back for others and still keeping the animal collective name. So I had thought that, or well, rather I had read somewhere that it was more label like a record label kind of pressure. That kind of pressured them into keeping it under the animal collective name. But he points out that they weren't even really signed to a major record label at that time anyways. So. You know what's funny, dude?

Why now? You know what's funny, man? What if that guy's wrong? No, I know. I know, dude. But no. You know, I have no reason neither believe him. Yeah. That's what, you know, the internet. It's all about, dude.

Somebody says something that sounds right and, you know, he's kind of believing. And keep on moving with your life. Yeah. people were kind of, uh, there's some conversations starting about, about whether or not college is, is legitimately a song or if it's just filler, which is great. Well, that's what I was asking. Yeah. Yeah. So, but I think we played it because, you know, we played it for that reason, right? Because it's so, um, not a song, right? I mean, it's like. So one, just sounds like it's

just them messing around. One person here says, um, if you see them perform live, College is arguably the centerpiece of the whole set. Now, you saw them play that. Well, I saw them play sung tongs in its entirety. Right, so you saw college. Of course, because they played the entire album. This guy saying, even in their regular live shows where they're just playing songs from this album or that, they will always play college.

Because it's a song that so many of their fans love, which is so interesting to me because, like, you know, it's a 53 second. It's not a song. It's not. Right. Exactly. But, yeah, it's something. And someone else says, I concur with this statement.

Absolutely. It was definitely a focal point of their show in Denver, truly a magical experience. Interesting. So there you go, man. So, yeah. You know, like you said, shout out to them. Yes. they gave us the feedback that we were hoping for,

the community that we were hoping for. Yes, they helped us set their record straight. So thank you. Yeah, that's right. So anyway, we're going to do the same, obviously, for this episode. So we're going to post this on the A. And A.M.

Tbilbin Reddit, maybe even the Trip Hop Reddit. And, you know, we encourage you to go on there and start a conversation with us, you know? Or if you don't like Reddit, give us a comment on SoundCloud. give us a rating on iTunes. Yes. We want to hear from you.

So there you go. So anyway, the artists that we're closing out with today is, her name is Jow Gilberto. Actually, I'm sorry. It's his daughter, Bebel, Gilberto. Of Getson Gilberto fame, right? Yeah, exactly, of Getson Gilberto fame. Oh, yeah. Girl for Mimpanina.

That's right. So her dad was Jiao Gilberto. oddly enough, she is not the daughter of Astrid Gilberto, who sing on that record. But anyway, so she actually pretty much just uses the Amon Tobin song Nova as the sort of backing track for this song that was on a 2000 record called Tanto-Ten. Impo, which is an electronic Basanova record. So Tobin collaborated with her on this one track, and

as far as I can tell it, it's literally just Nova as the backing track, like I said. Yeah. Cool. But anyway, Nova came out on the 1998 release permutation, which was Aymann Tobin's second album. But other way, I think it's kind of cool to hear that song

have some vocals on top of it. So anyway, that'll do it. Like we said, you can find us on SoundCloud or iTunes. We're also on Stitcher. Or you can just go to our website, no fillerpodcast.com. And that's it. Next week we'll talk about, well, our next, I guess our next full-length album,

full-length episode in a couple weeks will be on the album. What are they called? Can. Can. Yeah. German experimental rock band. Yeah, dude. Yeah, I'm excited.

Yeah, I'm pumped in. Yeah. And until then, we'll have a sidetrack episode out for you next week, likely with another trip hopper down-tempo artist. So anyway, that's it. My name is Travis. And I'm Quentin. Bye-bye.

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