No Filler Music Podcast - No Filler Rewind - Garage Rock Evolved: Phantom Planet's Self-Titled Re-Invention

Episode Date: May 14, 2026

In lieu of our latest episode on Phantom Planet's "The Guest" from 2002, we're dropping a Rewind on an episode that was released way back in July of 2020, where we cover their self-titled album that came just two years later. Phantom Planet was once most notably known as the group that sings that song from The O.C. (you know, the one that goes "California, here we come!"). But on their 2004 self-titled record, they traded in those melodic, poppy song structures for a more frenetic, fuzz-driven garage sound. We argue in this episode that this is perhaps one of the greatest garage rock records to come out of the early 2000s (certainly one of the most overlooked and under-appreciated), with its impassioned vocal performances, pummeling drums and bass, and guitar riffs that could punch through a wall. Tracklist: Big Brat Nobody's Fault Jabberjaw After Hours You're Not Welcome Here The Meantime The Spirit of the Beehive - hypnic jerks Arms of Tripoli - Edwards Edward This show is part of the Pantheon Podcast network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey there, Quentin here with No Failure, bringing you a rewind episode today. Going all the way back to an episode that we dropped back in July of 2020, where we cover Phantom Planet's self-titled from 2004. So we sat down recently with our buddy Mitch to discuss Phantom Planet's 2002 album called The Guest, which everyone and their mother knows, the opening track on that one, California. That was the theme song for the massive TV series hit called The O.C. Still piecing that episode together, so I didn't want to keep you all waiting any longer. So we're going to go ahead and drop this 2020 episode as a rewind.

This is one of my favorite episodes that we've done in the long run of this podcast. It's just such a phenomenal record. And so this was kind of them reimagining themselves after Jason Schwartzman leaves the band. they just went kind of dark, a little bit more garage, rocky. And man, I just, I can't get enough for this album. And you know what? While you're at it, go back and actually listen to, we had a phenomenal run of episodes back in the summer of 2020. Probably some of my favorite episodes that we've done so far.

So just scroll back and listen to, we covered Ethan Dorell. We talk about them all the time on this podcast. We covered their album White Knuckles on Turned Wheels with Joel Fruth, who was the sound guy at the door, which is a music venue in Deep Ellum, Dallas, Texas. Anyways, he brought some great insights to that group. We cover May, we cover Me Without You, we cover Emory, we cover Cave In, all within a two-month time period. But anyways, if you were a music lover in the early 2000s and you were in high school, right out of high school, chances are you were a big fan of some of these acts. We dive into all of them in the summer of 2020. So anyways, while you're waiting for our new episode to drop, check this one out.

This is a rewind episode. And then just go back and revisit some of those episodes. You're listening to them for the first time if you haven't heard them before. lots of great episodes from the summer of 2020. So anyways, enough yapping. So here we go. Here's our episode on Phantom Planet's self-titled. And then keep an eye out on your feed sometime in the next week or so.

I'll drop our latest episode where we cover Phantom Planets, The Guest, from 2002. 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 today. No guest with us, just the two of us back in your earbeds as usual. I want to give another shout out to Joel, man. Yes. That was a blast last week. I'm so glad he was able to hop on and gush over that Ethan Derell record with us. Yeah, that was a lot of fun. So, Joel, thanks again, man. I hope we can get you back on here sometime.

Indeed. And I'm going to borrow some of his lines that he used that I just really liked, especially talking about bands that don't have their weapons fully intact after they join a major record label. I love that. And I'm sure you'll be able to use that line again pretty soon because that happens all the time. Yeah, no doubt. But, hey, I don't think you're going to be able to use that line today, dude.

from what I've read. That's good. So today we're covering Phantom Planet, and we're going to cover their 2004 self-titled record. And if that name sounds familiar to you, you might remember them from a little show called The O.C. They did the theme song to that show, a little song called California. And I think if you were in our age group, at least, during that time, I guess. Everybody remembers that song, man.

Oh, yeah, and so many people watched the O.C. So many people watched that show. Yeah, so this is one of those, a perfect example of a band that's probably more remembered for that song than anything, right? I mean, that happens with a lot of bands, right? They have a song that gets played on a movie or on a TV show, and that's just what they become synonymous with, right? So I feel like that's the case for these guys. Alex Greenwald, he's the lead singer. He actually said that one of the things that they asked for when agreeing to put California on the show is that they did not get credited.

Huh. He says, because I really do feel like we're a different band now than we were then. So this was from an interview back in 2004. So they did not want credit? They didn't, no. So they're interesting. The band name's not credited in the credits. That's pretty fucking smart, actually.

Yeah. Because that's a way of distancing the band name from the song, right? Smart, dude. Yeah, but still, dude, I mean, like you said, when you think Phantom Planet, you think California and you think VOC. He does say, I'm proud of that song. It represents us in a place in time nearly five years ago. Why shouldn't people get a chance to hear it?

Well, speaking of getting a chance to hear it, why don't we play it real quick? I think it'll be a great contrast to the record. that we're showcasing today. So I'm going to play another song from the same record that California shows up on. Okay. Because, you know, everyone knows California, and everyone's probably tired of it. So California is the first track on their album, The Guest, which came out in 2002. This is just, I mean, almost a perfect pop record.

I don't know if you've listened to it all the way through. But the songs are catchy as fuck. The majority of the songs are love songs, you know, really upbeat, happy songs. And I loved that record for a long time. I still do, but the album we're covering today, they kind of almost do a 180 in sound. And we'll get into that in a little bit. I'm going to play one of my favorite songs on The Guest. This one is called Nobody's Fault.

everything is okay everything is fine I give you everything you ask for don't be so unkind I guess it Yeah I mean that does sound like the same Like you can tell that's the same album That California was on you know

Yeah lots of songs like that It's got that same quality to it Yeah I mean that almost I love it man Yeah it's good But but yeah When we play the songs from the album That we're covering today like man

these guys changed quite a bit between that and the self-titled record. I mean, big time. And that's what, I think that's what makes this record. I mean, I don't know, Kear, you're more familiar with them than I am. Would you say that the self-titled is more reflective of the majority of their catalog, or is it more like the latter stuff or the former? So the guests and their self-title are the only two of theirs that I know. I did listen to their very first album, which is called Phantom Planet is Missing, which came out in 1998.

Yeah, and they're recreating the Beatles cover, right? Yeah, yeah. So a few things happened between the guest and Phantom Planet. For one, Jason Schwartzman left the band. Yes, that Jason Schwartzman. I think he was a little too busy making movies. That's exactly what happened, dude. He decided that he wanted to focus on that full time.

Alex Greenwald and Jason Schwartzman started this band when they were 13 years old, dude. Wow. Yeah. And Swartzman? Played their first? Yeah. A man.

Okay. Yeah, they started it when they were kids. He knew him before he was a megastar. Yeah. So it is worth noting Q that we got to see Mr. Swartzman behind the kit when we saw these guys live. We did. Probably around that time, right?

We saw them open for the band that we're going to be covering next week. Flickers. That's right. Hey, spoiler alert. Yeah, we'll spill the beans there. They played their first show back in 94. Most of their friends could not attend because they were still in high school. So, Schwartzman leaves the band. And, you know, so this interview, the guy's asking, like, was his, did his departure have anything to do with the change in sound?

and he said, and this is Greenwald speaking, he says, I don't think it really had much to do with it. Most of the songs were written and arranged while Jason was on the road with us. This new sound, we all achieved together. He left halfway through recording. So Schwartzman actually pops up on a few of the songs. But then they do get a new drummer. So this wasn't a change because of a major record label or anything like that. Greenwald always wanted to just have a continually evolving sound for the band.

He says, I love rock and roll music, like the Beatles that changed with every single record they made. That's been our plan from the get-go. We want our records to be like experiments. Okay. That definitely comes across, man. Yeah. I like what he says here too. He says, we want to have fun with the music.

People can hear when you're not having fun. I mean, dude, I wonder how many bands were that's the case. Like, they're in the band because it's their career. Yeah. But they're just not having fun with it anymore. So Shortsman leaves the band to focus on his acting career. He was actually in, so his first movie was Rushmore, the West Anderson film. That was back in 98.

So he landed Rushmore while in Phantom Planet. So this self-titled record is way heavier and way darker. The lyrics are most of him, I think he, it sounds to me like Greenwald, and I couldn't find for sure if this is what the majority of the songs are about, but it sounds like Greenwald got dumped or something. He's just really upset with someone, and he's kind of just letting it all out with his pin and paper with these lyrics, dude, because yeah, he's, I mean, some of the lyrics are pretty fucking brutal. So it's a lot more garaggy, you know, at times. I think a lot of the songs sound

a little bit strokesy, especially his voice in a lot of these. Yeah. So I latched on to this album, dude, and I was just obsessed with it when it came. Yeah, I remember it was, um, everything about it is just cool. Like the, the album art is really cool, you know, like you said, the, just the experimental quality of it too. Yeah. So I bought the CD. I know for sure I bought it at CD addict. CD addict. Yeah. Man, we just keep. name dropping that store, don't me? I know, dude. Yeah, we sure do. Uh-huh. Don't spill beans, brother. Don't spill beans. Uh, and the CD cover, like, you open it up and there's a little booklet of, of see-through stickers, kind of like window decals. So if you look at the album cover,

it's kind of super chaotic. It looks like it just a bunch of random doodles on it. Uh, so you can basically, you basically create the album art yourself because it's, you know, decal type stickers that you can see through them. So you just kind of build it yourself. I feel like record labels don't do that kind of stuff anymore. You know, with the rise of streaming, record labels probably just don't put that much effort into the physical CD anymore, you know, because why bother? Yeah.

I mean, maybe CDs, but, you know, there's some pretty damn cool record releases, like packaging and stuff with actual records. Oh, yeah, sure. No, you're right. It's kind of shifted. Yeah. You know, I mean, you and I are the same. Like, if I'm going to, if I'm going to buy a physical piece of music,

it's going to be a vinyl record over the CD. Yeah. Nowadays, obviously. All right. So I want to play the last three songs on the record. I think it's a good representation of the sound for one. And I think the flow from one to the next is awesome. I'm not going to do the thing where I play the transition.

but these three are my favorites on the record. So we're going to start with track nine. This song is called Jabberjaw. That's a solid track, man. Fuck. Yeah. I love that song, dude. Yeah, that's fucking great.

So, yeah, man. I love the, uh, I love his aggression, man. Yes. I mean, he's pissed, dude. You can hear it. Exactly. Let's just be happy that all these rock stars get into these relationships to end because then they just write this, this great, great stuff.

And then you feel that anger and emotion come across in the performance. Yeah, dude. So here's the thing about this one, though. It is not about a relationship. Well, what's it about then? And Jabberjaw says, there are references to this one girl, and that's what this song is about. She wouldn't stop complaining about how a guest spot on a TV show was going to ruin her career and how she didn't want to turn out like me.

Credibility ruined by being in a Gap commercial. It infuriated me, and I drove home livid and wrote an angry song about it. What a weird fucking subject for a song. Well, I know. And that's like, dude, get over it, man. Sometimes it's better not to know what a song is about. You know what I mean? Yeah.

Well, I just thought that was funny, dude, because- It is funny. Yeah. So Greenwald actually was also an aspiring actor. And he makes his way onto a gap commercial. And so some girl was complaining, you know, worried about being on a TV show, ruining her career or something. and she like references him and she's talking about it.

So he's on a Gap commercial and his former drummer is on Wes Anderson films. Yeah, right. That's fine. Yeah, I kind of wish, I kind of wish that we saw this tour. You know what I mean? Oh, yeah, me too. Not that, not that the stuff they were doing on the previous record was bad. It was just so different.

It was a whole different sound. and I much prefer this sound over their former sound. There's some pretty great heavy moments in the guest, too. It's not all just happy love songs. That's true. That's true. One of my favorite songs of theirs is turn, smile, shift, repeat. Remember that one, dude?

Yeah, and that had some experimental quality to it as well. I had kind of a radio head quality to it. Yeah, yeah. But yeah, the aggression in that last song that we just played is what makes it enjoyable. the impassioned, you know, what's the word of my, punctuations cue. Oh, I like that. You know, like that. Yeah.

It's kind of reminded me of how we talked about, I don't remember his name, but the lead singer for me without you, right? How he would just end a verse in sort of this quickened, like, you could feel the anxiety and like the aggression building toward the end of the verse, right? Aaron Weiss, if I remember correctly. Aaron Weiss, yeah, I always appreciate that in a vocal performance. Same.

Because, you know, you're accentuating the lyrics, the vibe, you know, the whatever feeling you're trying to get across, you know. I appreciate that. Totally. All right, let's jump to the next track. So this one might be the tamest song on the record. I mean, it kind of sounds a little bit more like stuff from the guest. I fucking love this song so much, dude. All right, so this one is called After Hours.

The great track. That guy can write a song. And very, very different than the one that we just played. Right. I think this is kind of what you're talking about with the strokes a little bit. Yep. Just that garage rock sound. It's that kind of lazy.

Yeah. It's the lazy vocal delivery. But that was the, and it's really, I think it's the vocals more so than anything else. Because I don't think, I don't think the rest of the music really has a strokes vibe to it. but I think his vocals just have that sound from that time, man. All those garage rock bands, the post-punk bands from that era that you and I were obsessed with. It definitely feels like he's coming to his voice once this album. Oh, yeah, dude.

You know, he uses it so effectively between each song in different ways between each song, you know. Yeah. And I love the harmonizing in this track. Oh, me too, dude. the way that it crescendos a little bit, if that's even the right word. But you know what I'm talking about. And toward the end, dude, you started to fade it out, but that almost had like a talking heads kind of nod to it.

At least that's what I heard, the way that they were kind of... Oh, at the very end there? The hot, hot nights, can I can turn everything sour? Just as you were feeling the track out, that, the way that was coming across, sounded like talking heads to me. So, yeah, these guys are awesome, man. Yeah. What a killer record, dude.

Yeah, I remember when we agreed to cover this, I guess what, a couple months back, whatever, when we laid out our roadmap for no filler goes back to school. I played the record from start to finish for the first time in years. And my God, dude. And we're only playing three tracks. Like, it is such a killer record. Yeah. And we got one track left, right you?

One more track. This might be my favorite one, dude. But I want to mention something here. If you, now, I don't know about other streaming services, but if you play this on Spotify, you're going to miss out on a super. intense, really awesome track. For some reason, you can't play it. You can find it on YouTube. It's called You're Not Welcome Here. Let's just play some of it, man. I wonder if it, because I remember for the longest time you could not find, I think it was

Kid Charlemagne on Steely Dan, Kid Charlemagne was not available on Spotify. So I think it's one of those weird licensing thing or something like that. So I wonder, we're about to get a knock on the door queue from the FBI or something like that. Oh, you think it's finally going to happen, huh? Maybe. If we play this track right here, you never know what's going to happen. Well, I'm doing it, man. Okay.

There we go. So again, this song is called, You're Not Welcome Here. And get ready, man. You're about to get your face melted. I'm ready. It's so fucking awesome, man. Yeah, man. Oh.

Yeah. I mean, imagine seeing that live did. Right? Just imagine it for a second. He's fucking, he's really pissed off, man. Yeah, really pissed. Right, and it's like the instruments are the outburst, I guess. Yeah.

The anger or whatever, because like it's just... With the... With the super quiet to just chaos. Yeah, it's great. I like that, yeah, I like the, you know, during the really, the quiet, if you want to call it, that part throughout those verses, when it's literally just a bass drum and one piano key, you know, or maybe it's a chord, but, you know, really simple. I just want to read the lyrics here. Upon the hour of your arrival, I will draw the line. You take your side of the city.

Don't step foot on mine. Yeah. He's like, you don't even fucking show your face around here, dude. Like, you stay on that side. Don't you dare come over here. That's awesome. You told me when we met, I told you when we left that we're through. We're through.

So I thought you knew. You disappeared. Now you're not welcome here. My favorite line, right, as I was fading it out, the second verse when he says, across the park we used to walk through, keep that for yourself. Like, you can keep that memory. You can keep that park. I'm never going back there again.

Yeah, that's awesome. Just another classic breakup track. But you know what, dude? Hey, maybe he was also an asshole, you know? Very likely. Maybe it was just a shitty relationship on both sides. Yeah, that's right, man. We always hear one side, don't we?

When we analyze lyrics. Yeah. Unless it's an emo song and then they are blaming themselves for it, right? Because that's... Oh, yeah. Go back and listen to our Emory episode. Yeah. Yeah.

If you're an emo songwriter, you're the failure, right? If you're not, well, then obviously it's the other person's fault, you know? Yeah. All right. We got two clips for the last song we're going to play. This might be my favorite on the record. It is the closing track. this song is called The Meantime.

This could be one of the best records from that decade. In this genre, at least, in this genre. Because it is so, it is so, it surprises you every time, man, like how good this record is. I wish we could play the whole album, dude. Man. But yeah, like when you think about if you were to put this type of music into garage rock, whatever, post-punk from that era. Yeah.

You know, we talked about obviously strokes, Interpol. You've got bands like the hives. The hives, yeah. Totally different kind of energy. The Walkman. Yeah. The, you know, fill in the blank, the name or whatever. Right.

This, the music that we play today, to me, is in its own, like, it stands out compared to the rest of that stuff. Like, these guys did a really good job, like, blending a lot of different, like, barring from a lot of different sounds, but still framing it in the garage, like through the garage rock post-punk lens, you know what I mean? Well, and I think a lot of this has to do with the recording. The recording is awesome. I wish we had Joel on here so you could school us a little bit more on, you know,

because like they really capture that energy. And the dude, I want to mention it before I forget, but the bass line in this track is killer, dude. I love that bass. Oh, yeah. Also, I want to ask you, if Keersons, you're a drum. is the drummer on this record better than sportsman? I think so.

Different styles, though. I mean, totally different styles. I guess he, you know, he found his other true calling, you know. Yeah. Totally. All right. So let's play the last clip, dude. This is going to finish up the song.

Again, this is the meantime. That's how you finish the record, did. We just said the same sentence. We sure did. With a slight change in one of the words. Twins, potting together. But yeah, that's, that is, that is how you finish our record, man. Yeah, dude.

I like how, uh, the very end, they're going like, oh, oh, you can hear him in the background doing that. Yeah. It's fucking cool. So yeah, that's Phantom Planet's self-titled from 2004. You know what, dude, I think whenever, I feel like when a band releases a self-titled debut record, that's them being like, here we are, world. Like, this is us, you know what I mean?

Yeah. It seems like when a band puts out a self-titled record as their second or third, it's almost, yeah, it's like a reinvention, you know what I mean? Or like a, this is what we, this is who we actually are. You know what I mean? Like we've, we've reached the sound or whatever, the fully realized version of ourselves, you know what I mean? That happened with Mr. Twin's sister.

Of course, they changed their name. So they slightly changed their name, right? They went from twin sister to Mr. twin sister. And Blink 122's self-titled. That was their third record. Yeah, exactly, dude. Blink 122's self-titled record as well.

Yeah. So, yeah, I think that's obviously the case here. I mean, like this record is so good, you know. Yeah. So yeah, go back and listen to it. If we haven't convinced you already, this is a must to listen through from start to finish. So I want to read one more thing here. Greenwald knows what he's doing, dude, as a leader of a band.

So another question's asked, you know, kind of about the change and sound and everything. He says, didn't you worry that you'd alienate your old fans? And he says, we keep a very close relationship with the people who listen to our music. I hate using the words fans because that's short for fanatic and that makes me sick. Being in a band and having an audience is like a relationship. and if you have a bad relationship, you're not going to last. There's got to be communication and there's got to be growth or else people get bored of one another in a relationship.

And he says, I'm just hoping that people who like the old stuff will like the new stuff because they've grown up too as much as we have. We're big radio head fans and they've changed constantly through their career. Yeah. He's totally right. That's right. Yeah. Yeah.

I mean, that is interesting because we've had conversations about bands that we've loved and then very quickly stopped loving kings of leon is the big one that we always talk about and yeah you have to you have to grow with the band just like what he's referencing like you with friends and like if you're in relationship and stuff like you have to grow with the person otherwise you're going to drift apart yeah and that only works with communication right so i guess he's mean you know i I guess he means that with whatever fan base, you know, message boards or whatever, I'm sure they kept him in the loop, you know, the whole time. Like, hey, we're working on a new album.

It's going to be a little bit different. You know, like, you know, like it wasn't a surprise to anyone is what it sounds like he's saying. I mean, I bet you there are a lot of people that they were all, all about the California sound that they had and just probably weren't feeling this one very much, you know. But, you know, it happens. To each his own. Yeah.

It happens. Well, all right, dude. Want to jump into our Watcher Hertz? Yes, let's do it. But yeah, Q, like you said, let's just tee up next week. We saw these guys open for a band called Flickerstick, which, if you're familiar with the VH1 show, bands on the run that came out,

I don't know the date right now, but I will next week. I think it was 2001. 2001, these were the guys that were crowned. the champions of the bands on the run reality show. We were obsessed with that show, dude. It's safe to say that, yeah, this was the first band that we felt any type of, like, ownership of, I feel like, you know, where we were like, this is our band, you know what I mean. Dude, and we were rooting for them to win.

That was the best part about it. And they did win, yeah, and it was great. And they were from, of course, here's the thing, they're from Dallas, right? So we had even more of a connection to them from that. Yeah. We've seen them a handful of times. we saw, we caught their farewell tour. So, yeah, big fans of these guys.

That's going to close our, it's going to close our back-to-school batch of episodes. At least maybe it will, maybe it won't, Q. I'm not going to say anything else. But, yeah, so that's next week. And Fan and Planet opened for Flickr Stick, one of the shows that we caught, and that's how we returned on a Flickrstick. I'm sorry, that's how we returned on a Phantom Planet. But anyway, we saw a little Jason Schwartzman behind the kit. Little Swartzman drumming away, you know, probably saying to himself, I'm not going to have to do this for very much longer.

He's like, man, I wonder if I'll get to be on another West Henderson film. He's like, I'm, I'm, my name is fucking Rushmore. I'm changing my name to Rushmore. All right. So yeah, I'll go first for the what you heard segment here. so if you don't know this is our weekly segment where we both bring

an artist or a song to the table that we listen to since we last potted so it's just another way to bring more music to the table that's what it's all about

so I've got a an artist that I don't know all that much about but they are called the spirit of the beehive. They are kind of along the same vein as quite a bit of artists that I've brought to the table for what you heard over the years. Horse Jumper of Love is one of the bands that I brought.

Dude, I keep going back to that stuff. I really like them. Yeah. And even the artists that a couple weeks back, Gleamer, they're all in the same camp. These guys are way more eccentric than that. but anyway, I'm going to play a song off of their 2018 record called Hipponic Jerks, and this is actually the title track to the record. So here we got, this is Hypnic Jerks.

Hipp. Oh, sorry. This is hypnic jerks. Oh, my God, dude. This is hypnotic jerks by the spirit of the beehive. Damn, dude. It takes a lot of very interesting turns. Yeah, so, Q, did you think of parquet courts a little bit?

Parquet courts? Oh, maybe a little bit in his vocal delivery. In the beginning, yeah. At least, yeah, if we want to just credit, I guess, Andrew Savage, the leesinger of parquet courts. That's what I was reminded. At least in the verse. But yeah, like you said, it has a lot of different changes that happen to it that kind of take it in interesting directions. I really like the drumbeat, too.

Yeah, good stuff. I mean, that's just one of those, like, I would fucking love to see to catch a house show. You know those guys did house shows in college. They probably still do. Yeah. That's one of those shows that you would just stumble into a house somewhere and just see these guys playing. And be like, man, that's fucking great. Yeah.

Anyway, that was called Spirit of the Beehive. Those guys are from Pennsylvania, Philadelphia, or Philadelphia, Pennsylvania, whichever, however you want to say that. I guess usually you say the city before the state, but whatever. here we are. All right, Hugh, what do you got? What do you got for us? All right, man. I'm bringing another band that reached out to us and sent us an email. Oh, man. Yeah, dude. And it's good stuff, man. I like it when the band is actually really good. We would pretend that, like, we never got the email. They were bad. You know what I mean?

These guys are called Arms of Tripoli, and they are from Los Angeles, California. It's a four piece. it is instrumental math rock kind of stuff. I'm all about it. It kind of reminds me of do make say think, but maybe not as ambient. You got me fucking excited right now. Well, so here's the deal about this. You know, as all good instrumental math rock bands, you know, as all good songs in that category should be, they're all pretty long and they, they, you know, take you places. So this, dude, this is a slow bear.

This is an album that if you've got a long-ass stretch of open road, put it on, and hopefully you can drive off into the sunset. It's great. This is an album that's not even out yet. It comes out on July 24th. Dude, so we're going to sneak peeks here. Yeah, we're getting sneaks. Although it looks like you can listen to it on band camp from start to finish. It's just us, dude, it's just for us.

Just for us and our listeners, okay? So again, keep in mind, these songs, kind of. kind of changed throughout the course of the song. Definitely worth listening to you all the way through. I'm just going to play a little bit of the opening track. So again, this band is called Arms of Tripoli. The album is called One Way Plastic. This song is called Edwards Edward. I love it. So yeah, I mean, I wouldn't, I would call them almost a, like that's the intro to a doom metal song right there. Yeah, I thought that too, right when I heard it for the first time. I have a more like psychedelic doom, doom rock band or something like that, Doom Metal. Every song's a little bit different, man.

And you actually, this was when the mics were off of you, but you played me a little bit of nude Hawaii, which is track four on the record. It had a totally different vibe to it. Yeah. So, yeah, you could tell this is one of those records that it's going to take you places, you know. Yes, and that's why I recommend a long stretch of highway. And, you know, at dusk. Yes.

It's a perfect record for that. Well, that's what I like to call, you know, when I sit down to start coding something to you. I like to call it a long stretch of highway. So I'm going to push play on this tomorrow. Hell yeah. I really like track two as well. They're all really good. The last track, Lander, is over 11 minutes long.

So journey. Anyways. Yeah. So again, that's a band called Arms of Tripoli. This album is going to be coming out July 24. So we have a What You Heard Spotify playlist. We haven't mentioned that in a few weeks. I can't even add this song on there yet because it's not even going to be on Spotify until its release date.

So again, that album is called One Way Plastic. It will be out next week, I think. Week 1⁄2nd a half, July 24th. Nice. Wait, when does this air? It airs on the 20th, four days later. So yeah, dude, that's it. Let's wrap this puppy up.

So yeah, like I said earlier, next week, we were talking about Flickerstick, the band that was supposed to skyrocket into popularity and stardom after winning VH1's reality show, bands on the run. but you know just never worked out for these guys and we'll talk about that we'll get into it next week but these guys were a band that could not capture their live performance on a record they were great live great band live yes

they were amazing live and you just couldn't get that off the record and I love the record the album is called welcoming home the astronauts we're going to talk about that next week but until then you can check us out on our website no filler podcast.com where you can find all of our show notes for every episode in our catalog that includes a track list where we list off every song that was played on the episode including the

what you heard's intros outros and you can find us on the pantheon podcast network as well it's pantheon pods.com head over there to find a lot of other great music podcasts. We have a lot of shows on that network, man, and we keep growing. So there's something for everybody. There was a punk rock podcast that was just added.

What were they called? Man, I just, I sent you the cover art queue a couple days ago. Let me see. Let me see. Let me see. The punk tree. That's what they're called. The punk tree. brand new to the Pantheon podcast network. It's a podcast queue that's devoted

to what we've been talking about the last few weeks, which is, as they put it, they follow the branches of punk rock from hardcore to emo and screamo to indie rock. That sounds like our wheelhouse right there, dude. Yeah, dude. If we ever circle back to these kinds of records, you should try and get them on. That's right. There you go. There's a, there's a shout out to the punk tree podcast. Welcome to the Pantheon. Podcast network. All right, Q, that's it. That's us. That's you and me. This is our show. show no filler and uh we'll see you guys next week stay safe where i mask but before hey dude you know what before we go i i i i we can't do a phantom planet show without playing

california you know all right all right fine so so so we're going to outro us out with phantom planet's beloved song uh popularized by the tv show the o c i guess we just we had to do it there was no we have to do it we have to dude It's been in my damn head since we started. Yeah. Not really. Not really. All right.

So that's going to do it for us today. Thank you, as always, for listening. My name is Quentin. My name is Travis. Y'all take care. Driving in the sun. Looking out for number one. California, here we come.

Right back where we started from. Well, hustlers, grab your guns. Your shadow weighs a ton. the 101 where we started