No Filler Music Podcast - Shoegaze Rewired: The Music of Bowery Electric

Episode Date: October 3, 2022

Bowery Electric became one of the first rock groups to incorporate samplers and laptops into their setup with their 1996 record Beat. The result took the somber, ambient shoegaze sound from their self-titled record and blended it with downtempo and trip-hop beats. Tracklist: Soul City Next To Nothing Beat Fear Of Flying Shook Ones Galat​é​e - Ayez Peur Des Ex-petites Amies This show is part of the Pantheon Podcast network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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It's hockey season, and you can get anything you need delivered with Uber Eats. Well, almost, almost anything. So no, you can't get a nice rank on Uber Eats. But iced tea, ice cream, or just plain old ice? Yes, we deliver those. Goaltenders, no, but chicken tenders, yes. because those are groceries, and we deliver those too, along with your favorite restaurant food, alcohol, and other everyday essentials. Order Uber Eats now. For alcohol, you must be legal drinking age. Please enjoy responsibly. Product availability varies by region. See app for details. And 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. more reliable cue appearances here now that fatherhood he's just you know he's a pro at it now you can pod well you can you can you can you know you can father i can pod i can dad bod i can do it all yeah there you go that's a better much better one-liner cue yeah i mean that might all change you because as some of you might know i'm starting a new job a whole new career in like two and a half weeks. So we'll see how my schedule is, you know, wants to get that going. But yeah, it's a little bit easier now, dude, because we just started sleep training with Ronan. So part of that process is getting him on like, you know, a daily schedule for feeding and playtime and naps and all that

stuff. So, you know, I kind of have like an idea of when I'll be free. So yeah, man, fatherhood. You know, I've spent, I've spent decades perfecting my sleep and play schedule. Dude, you have to learn how to sleep. It's not something you think about, but like you have to let's something you have to teach kids how to do. I mean, of course they know how to sleep, but like they don't know how to put themselves to sleep. You know what I mean? That's weird to think about it because like you would, you would have, I mean, a baby just would fall asleep on its own. Yeah, but if you want to get them on a schedule, you know,

you know, sometimes you're going to be putting them down in that crib. They're going to be awake. Yeah. They're going to learn how to just hang out in the crib and just fall asleep and not get to the point where he's just, you know, freaking out and upset that like he's all alone in the crib. He's still awake. He's like, you know, what the heck? Yeah. So you're trying to like train him that like, hey, when you're in this enclosed area.

Yeah. When you're in the nursery and, you know, it's all quiet and dark. and we've got, you know, the white noise machine going. It's sleepy time. It might be time to go to sleep, pal. But, yeah, it's going pretty good, dude. All right, Q, well, as you heard from that intro song, you may have thought, oh, that sounds like a cool, you know,

kind of like down tempo, maybe like trip hop artist, right? Some drum and bass. I was getting like some Aymn Tobin vibes. Yeah, yeah, right. Which I did not think we would be covering anything like that anytime soon. So I'm pretty excited about this, dude. Well, that's what's interesting about this group that we're talking about. talking about you. It's a band called Bowery Electric, and they are a shoegaze band. But what makes

them different, as you heard, was that they essentially took elements of trip hop and sampling and synthesizers and stuff like that and infused it with shoegaze to make sort of their own, you know, spin on the genre, which is, yeah, like you said, we did spend like a month on this type of music, I don't know, maybe two years ago. Remember we did a month of like downtown stuff, right? So we talked about- That was fun. It was fun. We talked about Tosca.

We talked about Thevery Corporation. Yeah, underworld. But yeah, this year has been all about 90s, shoegays, 90s, like, alt rock. And this band still fits under that umbrella. but they've got this added piece to them that makes them really unique. And are they strictly instrumental? No, no, no. Okay.

Nope. There's a singer who, you know, you'll see from her voice, it's very monotone and kind of along the same vein as like, you know, well, she's got a very traditional shoegade vocals, but it's a little bit more monotone. But you'll see. You'll see what we're talking about here, Q. but what is even more interesting is how they got to the trip hop sound like how they evolved they only put out three records and so we're going to play some tracks from all three of them and uh you'll be able to basically witness the transformation you know what i mean because their very first record is more of a traditional shoegaze record and it was it's a great

record no doubt about it but then they decided hey let's see what all this uh sampling is about and like this electronic stuff is all about which is cool yeah that's awesome because that's what that's what makes shoegays great i think we've talked about that before like shoe gaze can be applied to just about any genre like the elements of shoe gaze like the hallmarks of shoe gaze we talked about this on our our doom gaze episode right yeah kind of the you know washed out and reverb and distortion and kind of droney and it's yeah you know and the melodies and and all that just kind of makes you want to gaze at your shoes, you know. Exactly.

Well, those elements can work with just about any genre. And, you know, this group kind of proved that. All right. So we're going to try to make this short sweet cue. I appreciate that, brother. Yeah, you know, dad bought over there. So, yeah, man, we're just going to let the tunes speak for themselves. Here's a little background.

So Bowery Electric is mainly. two members, Lawrence Chandler and Martha Schindner. And interestingly enough, this tells you all, yeah, I know about these two individuals, they met while working together at the interview magazine, which was Andy Warholz magazine. Oh. Wait, so when did they mean? 93. Okay.

Well, that's when they formed the band. So they had met prior to that. But, yeah, they had worked together at Andy Warholz magazine. So, you know, these guys are very, you know, creative and artistic types, right? I mean, I don't think you work at Andy Warhol's magazine and not be, you know, you know, you got to be in the right kind of circles, I would think, to get that, to land that job, right? Right, very like pop culture avant-garde. Exactly. I'm going to be quoting from this one particular article here, Q, from A.V. Club. Everybody's heard of A.V. Club, right?

The name of this article came out in 2014, Bowery Electric rewired shoegays to trip hop to create a huge 90s sound. That's the name of this article. And I like that phrasing rewired shoegays, right? Yeah, that's cool. But yeah, what they say here, the duo of Lawrence Chandler and Martha Schwindner could not be easily categorized, kind of like the music. Having met while working at Andy Warhol's interview magazine, they trafficked in a similarly of the moment collogist approach to music, dabbling in several trendy musical styles across three markedly different albums.

Collogist, that's interesting. Exactly. So like, you know, maybe they, you know, you hear elements of shoegades and stuff in that first record for sure. But the collogist aspect of it is why you end up with like, hey, let's see what happens if we throw like a cool beat behind this track, you know what I mean? Yeah, yeah. Let's start playing around with the samplers and shit, right? So anyway, let's start with our first track.

So, as I said, very first record was kind of your more traditional shoegays stuff. And it borrows from Loveless, you know what I mean? All the Shugay albums that were out at that time, like, you can hear elements of that in this record. It's a self-titled album. It came out in 1995. and I was pretty impressed with this track when I first heard at Q and I think you're going to love it as well. Very hazy, very like lush sounding. Nice.

Reverb-drenched as, you know, as it were. So here you go. This is off their self-titled debut record. The song is called Next to Nothing. Well, this is one of those moments, man. I know about this greatness earlier. It's been sitting here since 95. Waiting.

Yeah, that's just been waiting. I did bring a track of theirs to a What You Heard years ago at this point. Now, that was from Beat, right? Yes, and we're going to play, I think we're going to play the same track that I actually brought to What You Heard. But this was back when we were still doing, and, you know, What You Heard was just a segment at the end of each episode. Yeah. Yeah, so, I mean, this album is up there as far as, like, you know, it's mentioned. in the shoe gaze circles of like people's favorite shoe gaze records.

A lot of times it's this next record that they put out called Beat. Pitchfork put it as I think number 33 on their best shoe gaze records of all time. Actually, I take that back. That's for the self-titled. So this one that we're listening to now, the track we just heard, was listed on Pitchfork's best shoe gaze records of all time. Now, is that the vibe that is set? Throughout the whole album?

Yes. Yeah, it's similar. Man, I got to give that a spin. It's similar, yeah. Now, that song was six minutes and 30 seconds long. And, you know, as we like to talk about here, I love a song with a good runway. And that was a good runway, right? Took a long time.

And it's just, you know, you could sit in that groove forever, man. Oh, yeah, dude. I love that drumbeat. The drums are great. Great drum beat. And, like, you can hear, you know, it's not a surprise that, like, trip hop and more electronic beats for like around the corner for this duo, right? Because I mean, that beat was

a little bit more groovy maybe than your typical shoegaze drum. It also might as well have been a looped track, you know, like a looped drumbeat. True, true. And that's part of like the repetition of shoeges too, right? Shoe gaze can sometimes get into that

like sort of like hypnotic like type of rhythm, right? Like that type of like repetition and stuff. Did they have a drummer for this? record? I want to say that, well, one of the two provides the drums. Let me see here.

So I was looking at beat on Wikipedia, and they have a drummer named Wayne Magruder, who contributed to four of the 10 tracks. So they did bring in a drummer for beat. So yeah, I'm just curious if that was, in fact, a drum machine or if that was, you know, recorded in the studio, just because of how much it sounded like a sampled,

kind of looped beat. Well, yeah, that's actually interesting because I actually made a note to like talk about the credits. You can kind of watch their instrument list grow from record to record as far as like what Lawrence and Martha contributed to each track, or each record. But for this debut record, they did bring in another drummer. His name was Michael John Grin. So different drummer than who showed up on the next record.

But Lawrence, you know, obviously. obviously they both provide vocals. You actually heard them harmonizing there. But Lawrence provides guitar. Martha provides bass, Michael, John Grin on drums. So it was just your, your typical band as far as like typical rock band, right? Bass guitar drums, vocals, right? So that's what's interesting is that like they started just like most other shoegays bands out there back in the day, post-rock bands, whatever you want to call it. And this article that I read, like, like I mentioned earlier from AV Club, made a point to talk about how, like, so many bands were just categorized as post-rock. Even Shugay's bands would also get the post-rock genre put on them.

Let me read this little snippet here because it's kind of funny. Between the eras of college rock and indie rock, post-rock was the genre junk drawer, where bands that didn't fit easy definition were dumped to be sorted out later. First of all, I'm a big fan of this writer already, dude. That rings true for... But we talk about that a lot. For alt rock as well, for the term alt rock or post rock, yeah. Even indie rock. Yeah.

Oh, yeah. But yeah, it goes on to say, so when British critic Simon Reynolds celebrated Bowery Electric in 1995 as the vanguard of distinctively American post-rock, he may as well have crowned the New York band the progenitor of marshmallow wave. Marshmallow wave? He's trying to say it's a meaningless title. It's calling him post-rock. It doesn't actually tell you anything about it.

Really, post-rock? I guess it's... Who knows, dude? Who knows why? Tell me more about this marshmallow wave, dude. I want to hear more of that. I guarantee you there's a band out there that calls themselves marshmallow wave.

Like last week, I talked about that band that calls himself Frog Rock, remember? Oh, yeah, right. Anyway, yeah, so he goes on his day. After all, it's hard to stand out in a genre so vaguely defined. they could encompass everything from orchestral drones of stars of the lid to the Prague jazz of tortoise to the space age lounge of stereo lab. So those are three bands that also have the post-rock label on them. So again, it's meaningless, right?

It really is. But anyway, Shugays, I think, is a better fit for this record, at least. And then this will lead us nice to cue into this next record. So the next record that came out is called Beat. and I think it's a fitting name because they started incorporating beats, Key, electronic beats. Well, yeah, dude, let me just read right off of Wikipedia here. It says, Lawrence Chandler of Bowery Electric told alternative press, Beat is the beginning of us learning our way around a proper sampler and software,

which allows us to work with samples on the computer. We can sample ourselves, manipulate sounds, create our own beats, and basically work with fewer restrictions. It's almost like you and I are Twaints Q. Were you going to read that? I was literally about to read that same sentence next. So that was a perfect little seg way, as they say. So this Wayne McGruder guy was on four out of the 10 tracks providing drums.

The rest of them, I'm going to have to just assume that they sampled and recorded, you know, manipulated and sampled to beats themselves. So it's pretty cool. Which is a bet. All right. Well, let's go to the next track here then. And we'll talk about in gas queue, whether or not this is a sampled beat or an actual drumbeat. Well, I'm looking at the personnel section on Wikipedia, and it says exactly what tracks he's playing on. Oh, well, all right, then.

Yeah. Well, we're playing the very first track. This is a self-titled track off this record. All right, so this one is going to be sampled from the duo. So these are samples. It's actually Lawrence does the programming queue, so. Nice. All right. So here we go. This is the self-title track of their next record beat, which came out in 1996.

Here we go. Getting some massive attack vibes. Yeah. Or like a portis head, right? Yeah, yeah, a portis head. Yeah, and they've been compared to those two groups. Well, portis head at least. They've been compared to porters head.

And that's that, like, loungy, like atmospheric kind of, almost jazzy kind of quality to it. So here's the question, though, here, at least for this track. Maybe her voice is the only thing you can point to that makes this a shoegaze track. And even that's a stretch. But aside from that, yeah, it's not shoe gaze, right? Yeah. Trip Hop is a fitting genre for that. So, like, with this record, like, you know, from the last track that we played,

the first record, that was more traditional shoe gaze, right? But they leaned very, very heavily into, like, embracing the electronic aspect of it so much so that some of the record is just straight trip hop, you know what I mean, which is really interesting. Yeah. And you know what, dude, they're having a blast learning how to create loops and sample drum beats, you know? Yeah.

I mean, that's the kind of beats you make, dude. Now, here's the thing that I, that's really interesting, cute. You know, I'm going to quote this article again, and they're going to have an interesting discussion here. So again, from AV Club, they say, in the production of beat, Bowery Electric, Beatt. Bowery Electric became one of the first rock quote-unquote bands to incorporate samplers and laptops into its setup, using them to loop, redouble, and warp its various tones into rolling swells, then layer it all over crisp, trip hop beats, and deep space dub bass. So I wanted to look it up because I was curious about this. okay computer came out the following year.

Dude, I just typed in Radiohead into Spotify because I was going to look at the same thing. That's the first thing I was about to call BS on if Radiohead came out first. But that is interesting. But they did say one of the first. True. But I'm just saying Radiohead right around the corner. Yeah. That's exactly what OK computer was about.

And it sounds like Tom York was going through the same types of things where, you know, you listened to this quote from Lawrence Chandler where he's like, Like, you know, this allowed us to work with fewer restrictions. Right. That's what Tom York was feeling more, like, you know, constrained and, like, bored with the traditional, like, rock limits or whatever. It was destroying his life, man. Like, he hated it. He hated it.

Yeah, because he, in his mind, it's like, okay, I'm on this path, you know, that I'm supposed to be on for being a rock star, rock band. Right. And they were following, you know, they were getting all that pressure from record labels and stuff. And it's absolutely bogus. Yeah. So anyway, I think it's really interesting that this just seemed to be happening in general with rock music, all the different styles of rock. And Bari Electric was one of those groups that was sort of like pioneering that or whatever. And what's interesting about this record, the very next year, they put out a remixed album of the record called Vertigo. Oh, cool. Becoming one of the first bands to submit to the now commonplace practice of letting electronic producers tinker with their songs. So it's true. A lot of bands do that nowadays, right? There's a remix version of the record, right?

They were one of the first to do it, or at least as A.B. Club, who I have, I have no reason to doubt this person at this point, Q. This author, let me give a shout out to Sean O'Neill of A.V. Club, who wrote this article. Anyway, so let's move on to the next track here. I think that one, like, you know, very slow, very, very repetitive. I thought the lyrics were really interesting. considering kind of what this band does and how how sort of like monotonous their songs are that sounds like a critique but it's not but the lyrics are just this over and over again words are just noise

words are only noise over and over again which is interesting that's yeah that's interesting the choice of words and sentiment for a song especially when you're doing like sort of like this electronic type stuff, you know, in her and their mind, like, these words that I'm singing are just, it's just more noise to add to this, to layer onto this, you know. Yeah, interesting.

And then there is one change of lyrics toward the very end. The outro, she just says over and over again, repeat after me over and over again. Really interesting. I like that. I like it. Let's move on in the next track. Same record. Here is another track that I think maybe shows a little bit.

better sort of the mix of Shoegays and Tripop. This song is called Fear of Flying. Good stuff, man. I'm still going to put it way more in the side of Trip Hop than ShoeGays. But you can totally hear like the, like take away the drumbeat, like the reverb, like the kind of shimmery kind of texture of that reverb guitar sounds shoegazey. The baseline was a little more rock than Trimby. pop as well. Yeah, but it was a, you know, it was a very repetitive baseline too.

Yeah. Almost like it was looped, right? But you can see how that's like sort of a good marriage of the two, right? Yeah. Well, I mean, the bottom line is like, who cares what to call it, right? It's just good. Yeah. Yeah. And I think the point of it is, is that like, this is what makes them unique, you know what I mean? This is how they put their own stamp on it or how they rewired two days as safety club guys. talked about. Yeah, I like that. So, like I was saying earlier, what's interesting about the evolution of the group,

but they only put out three records. So the last song we're going to play is from their last record. But it continues to evolve toward just straight trip up. I mean, it still has their, you know, the things that make them Bari Electric, like the really slow atmospheric kind of just sense of like, I don't know, their music has kind of a dark quality to it, was I always like. loungy kind of quality smoke-filled rooms and stuff. And it makes sense, too, that it's going to naturally gravitate more towards Tripop

because, like they said, they were looking for ways to have less limitations and what they could do with just the two of them. Yeah. And once you start tinkering around with, you know, sample drumbeats, like, there's no going back, man. You know, like, it just opens up so many possibilities. Yeah. Right.

Yeah. So here's the credit notes, the liner notes, I guess, for this record. So Lawrence, still playing guitar, keyboards, programming vocals, Martha, bass, keyboards, vocals. So they added some keys, they added some sampling. Aside from that, they're still playing the bass and guitar. And then, like you mentioned, there's a drummer that showed up. We have yet to play one of his appearances. There you go.

Yeah, I wanted to highlight, I wanted to highlight the trip-hop nature of, of, kind of the direction they were going in. So, all right, let's move to our next track here, Keir. And this record came out in 2000. So we're out of the 90s for the first time in a while here on No Filler, aside from our watcher hers, obviously. So here we go. Next record, like I said, came out in 2000. It's called Lush Life.

And this song is going to sound very trip hobby. Name of this track is Shook Ones. That reminded me of. Didn't pick up on it until this track, but. Cock and Swan, remember that group? Ooh, yes, dude. They must have been influenced by these guys. Very similar vibes.

Yes, you're right, man. So we actually covered them. We did an episode. Yeah, yeah, I looked back in September of 2019. I think it was around the time we first kind of dipped our toes and actually covering legitimate shoegis bands on the podcast. Well, that is interesting. Is Cock and Swan considered a shoe gaze band?

I mean, why wouldn't they be? I mean, they definitely borrow from this band. Tripop, certainly one of them. Dream pop. Yeah, so they took the Dream Pop label. But yeah. Yeah, yeah, totally. 100% did.

That's spot on. That's exactly what it sounds like. Yeah, yeah. If you like the Spire Electric stuff, definitely check them out. They've released some fantastic records. Yeah, it's a similar duo, right? Yeah, it's just a duo, yeah. Yeah. So this is kind of like their final form because this is the last record they put out. And like I said, they only got more and more. They only embraced the trip hop like more and more, right, as each record came out. And at this point, you know, as you heard toward the end, they're even throwing in like the classic like scratch, right? The record scratching type sound and shit like that. That's actually, Lawrence made sure to get credit for that. And the liner notes, he is now credited. You're

I was telling you how the list grows. Programming, sampling, scratching. Bass guitar, guitar, keyboards, drums, string arrangement. So that's interesting. They started adding strings to this. I mean, I think it's important to get recognized for your scratching skills, you know. I agree with that. And Martha, the only thing she added to her repertoire here is string arrangement. And bass guitar. So it's interesting. They, or guitar. So they kind of traded their typical instrument of choice a couple times on this record. They just sort of layered on to their sound with each record. And as you heard there, I think her vocals were a lot more like up front, you know, and like prominent, or at least in the mix you could hear it a lot, there's a lot more straightforward.

Or I should say, in the front of the mix. And Andy Kelman of all music called this their most song-based and most accessible work. Interesting. Which is interesting. I guess that just means more of a. traditional song structure, more palatable maybe. That you might hear on the radio someday, I guess. But yeah, I mean, you know, we just scratch the surface there.

But as you can see, it's pretty like consistent as far as like all four of these songs sound like they're from the same group, right? But that evolution, you can definitely hear it. And you kind of have, there's something for everyone. You know what I mean? If you like more traditional shoegaze, but like shoegaze, that's a little bit more kind of like drawn out and more maybe like atmospheric and something like that, their first record's great.

And then if you want some cool beats thrown in there, check out their next record. And if you want to get crazy with the trip hop and stuff, check out their last record. As Mark Savlov of the Austin Chronicle said, this record is a morphine drip of an album so clear and precise in its smoky, sexy grooves that it seems. almost too easy to compare them to fellow late-night knotters poured his head. So there you go. Nice. That's a good summary there.

Morphine drip. I like that. Smoky, sexy grooves. Yeah. It does make you think of like a lounge, right? Totally. Lounge music. All right, there you go.

Something to go check out if you're a fan of that kind of music. A little bit different than what we've been doing mostly this year. So a nice break, I thought. And, yeah. That's that. Bowery Electric. Awesome, dude. You heard it here first, perhaps.

Good stuff. I'm definitely going to queue up their first album. Yeah. For sure, man. Yep. And that's the one that I see mostly, I think, actually, on the old shoegaze subreddit. And that makes sense. Yeah, I see that album art pop up.

And again, you know, Pitchfork put it on their top 50 shoegays records of all time. They put it as number 36. So it's up there with the heavy hitters, right? Yeah. Nice. All right. Well, you can find us on Instagram. Also, we got to give a shout out.

We talked about doing this. Oh, yeah, man. A big old shout out. So we're a couple of shitheads, dude. You know what I mean? That's what it comes out to. Here's the deal, dude. We don't get, for some reason, I don't get notifications.

And I'm jumping the gun here. We got an email. We're making excuses. Well, we got an email on our no-filler podcast at gmail.com that, Dude, I did not get a notification for that. First of all. So I was unaware that it was sitting in our inbox. Yes, yes.

And that's what I'm saying. I don't know why, dude. Log story short, we don't really check our email account very often. Because, you know, for the most part, people interact with us on Instagram, right? Yeah. Most of the time, all the stuff we get in that inbox is some BS, like web designer trying to, quote, save our website. No, yeah. It's mostly people trying to tell me about SEO problems and stuff like that on the website,

which, first of all, I don't even think the website's not even up anymore. I don't think I'm pretty sure I'm just redirecting. Yeah, it's not really high up there on our list of importance for this podcast, really. Either way, yeah, we missed an email from a listener who sent us this long, awesome email talking about how he's been listening for a while. And actually, he's been listening since April. He stumbled upon our what you heard for April. And yeah, I think he must have came into us from, who knows how he got to it.

But he was. Yeah, I'm curious to know, Colin, how you found us, man. I'm always curious about that. Yeah, stumbled upon. That always leaves, you know, begs the question. But he just talked about how, you know, I don't want to necessarily read verbatim what he said. But, you know, he just said he appreciates kind of what we do. And that's always great to hear that from a listener.

It's, yeah, it's very much appreciated. And, you know, we feel the love. And we're sending it right back to you, Colin. Thank you so much for the email, dude. It really made my day. Yeah. Hopefully you're still listening. You know, hopefully you weren't like these MFers don't even respond to my email.

Like, why am I going to even listen anymore? I did respond. So if you haven't, you know, check your junk mail drawer. there might be something sitting in there for you. But speaking of returning the favor, he actually has some recommendations for us. And I'm going to play one of his tracks as our outro song here. So, yeah, thanks for reaching out to us, Colin.

As I said in the email, if you're on Instagram, it might be better to reach out to us on there, Colin, if you want to keep chatting with us. If not, I will be better about checking our email account. Yeah, I'll find a way to make sure I get notified with any and all emails. Yeah, I might even forward this to my personal Gmail account, forward this email account. Anyway, so, you know, chances are if you listen to this podcast, you are also a fan of the type of music that we listen to, right?

So chances are what you recommend to us, we're probably going to dig. And that's certainly the case with this record that he turned us on to here. but before we close out, again, find us on Instagram. Just search for No Fuehler Podcasts. We'll pop right up. Chat with us on there. Give us your music recommendations like what have you been listening to lately. You know, we might use one of your songs as an outro for what you heard.

Or we might do a whole episode on it. You never know. That's what happened with Swerve Driver. That has happened before. Yep. Find us on Instagram. You can also subscribe to the Pantheon podcast network. feed on any podcast device, podcast device, podcast app where you find, wherever you get your podcast,

basically is what I'm trying to say. That's the music network that we are a part of, the podcast network I should say. And it is home to many great music-related podcasts, including our own. You can find them on pantheonpodcast.com. And yeah, that's that. Next week, who knows? Maybe I'll try to get, actually, you know what? It's probably going to be a rewind next.

week here because I'm out of town. So we'll see what. Hey, you know what? I'm going to put the cock and swan side crack. Perfect. Cool. Yeah. So next week we'll do a little rewind.

So you don't have to search for it yourself. And we'll bring back cock and swan. That was a great episode. Lots of good tunes on that one. All right. So as we said earlier, here is a track that was recommended to us from our good friend Colin, who was kind enough to reach out and give us some words of appreciation and encouragement. Thanks again, Colin.

Sorry that it took us, you know, three months to respond to your email. Please forgive us. Hope you're still listening. So this band is called Gallatee or Gallatee. Galate something. It's French. Yeah, French. It's definitely French.

And this is what got me interested. I'm going to quote you here, Colin. He says, it has moody, nostalgic synth sounds, guitars that could have been gently lifted from a cure track without waking anyone, and some spoken word that makes me think, what if drop 19s were French? Damn, dude. Well put. First of all, Colin, if you're not writing for the AV club, what are you doing? Yeah. We need to get you on the show sometime, my friend.

All right, so I'm not going to pronounce this correctly, but here we go. Now, don't even try, dude. Let's just say it's correct one on. But, okay, we can't even say the name of the single without sounding like fools. So this is from a 2018 single called De Ravei Estrange. Atrange. There's no Estreng. Yeah, it's pretty bad.

That's terrible. Well, we're fed now with track one. We're not even going to tint. Correct. But track one on this single from Galatier. From 2018. Yeah. Apologies all around for the terrible pronunciation, but...

If you're French, tell us how we're supposed to pronounce this. Yes, please. We'll make a correction next week. All right. So, again, this track won off this record, Gallate. They've got a ton of singles, so there's lots of music to listen to you like this stuff. But that's that. So we're going to close out with this song.

Thanks again, Colin for the recommendation. And we will talk to you guys later. My name is Travis. And I'm Gwen. Bye-bye. It was the night before the gathering and all through the house. The host rapid cozy cashmere throw from Home Sense for their spouse. Kids toys for $6.99 under the tree.

And crystal glasses for just $14.99 for their brother Lee. A baking dish made in Portugal for Tom and Sue. And a nice $5.99 candle perfectly priced just for you. Happy holidays to all. And to all a good price. Home Sense. Endless presents perfectly priced.