No Filler Music Podcast - Sidetrack: Architeq - Gold + Green

Episode Date: February 10, 2020

Before we rolled into the 2010s, Sam Annand (aka Architeq) had a lot of buzz generating online around his 2008 Birds of Prey EP. After months in the studio, his debut album Gold + Green proved the buzz was warranted. On this sidetrack episode, we listen to the dubby "Into the Cosmos" and the downtempo-synthesized "Odyssey". Tracklist Architeq - Twilight Architeq - Into The Cosmos Architeq - Odyssey Holy Fawn - Dark Stone Khruangbin & Leon Bridges - Texas Sun Shinobi III Return of the Ninja Master - He Runs Part of The Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Explore the new Peloton cross-training tread plus at OnePeloton.ca. And welcome back to No Filler. The music podcast dedicated to bringing you... Whoa, dude, I forgot the words, bro. Dude. Don't forget to say jingles. No, I'm not doing that. God damn it.

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. Damn it. What's the deal here, man? I can see, I can recite this in my sleep. 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. Got my brother Quentin here, as always. And this is the second episode in our deep dive into electronic music. So last week, Q, we talked about Synthwave, and we covered Comtrus' debut EP, cyanide sisters. So, yeah, like we said, synthwave borrowed a lot from 80s action films such as The Terminator, some of John Carpenter's stuff like Escape from New York, some stuff from like Harold Faltermeyer. That's sort of like synthesizer, heavy electronic music.

You know, the barred, you know, even some from that video game Outrun, right? So much so that like another name for Synthwave is Outrun, right? Yeah, it's the stock keyboard and, you know, drum kit sounds that you might find on a keyboard from the 80s or early 90s. Right. So like, you know, the key characteristics, kind of like you were saying there, is electronic drums, obviously, gated reverb, and analog synthesizer baselines. Right. So today for the SineTrack episode, we're talking about a guy who records under the name architect spelled with a cue instead of a CT on the end. And really, there's not much to find out about this guy. Basically, he put out some singles and an album back in the late 2000s, like 2008, 2009.

And then he stopped making music, it looks like. Really? Yeah, I mean, really. If you look at his discogs page, and you know, a lot of times if an artist just started, making music under a different name. They'll list it here on Discogs, right? Yeah. But basically, yeah, he came out with, okay, now let me, I stand corrected.

He has apparently released an album just under his own name in May of last year. So I'm not have to listen to that. But that's beside the point. There's really not much to tell about this guy. Other than this album, I think, honestly, Q, I think this was an album that was emailed to us when we had our music blog that we ran. Really? So you're talking about an album called

Gold Plus Green. Gold Plus Green or Golden Green. Came out in 2009. And man, there's just something about this record. It's one of those, I guess you can call it like a long play, I think is the idea, or isn't that the term? Like a slow burner? I like the term slow burner. What does that mean to you? Because maybe... To me, that means

you know, you're going to press play from track one and you need to listen to it all the way through because you're going to miss out on some really great moments if you don't give it a listen. You know, if you don't like dedicate an evening to it. It's a slow burn. Right. Well, and specifically with this song or with this album, song to song and transitions between them, right? Yeah. So yeah, that's the idea.

And I'm not very familiar with this album. I recognize the album art from our nude, our nude us days. Yeah. From the music blog, right? Yeah, from our music blog. But, yeah, dude, I don't know too much about this artist or this album. The reason I thought this would be a good fit for a sidetrack to Comtrus,

it's not synth wave. It's more sort of like down tempo with some IDM. But what's interesting about him, is how he incorporates horn samples, like brass instruments, right? And the drumming. The drumming really stands out. I think it's got to be him on an actual kit, I feel like, or somebody on a kit. He also has some singers that are on some of these tracks.

We're not going to play any of those tracks. But I'm just saying he does some different things. It's not just a straight-up synthesizer, more straightforward kind of electronic music like Com Trues was. But he incorporates some of those sounds, some of those 80s sounds you'll hear in this music. But he does a lot more with it. He adds, like I was saying, he adds horns. He adds drums, whether they're actual drums or horns. I'm not sure.

And I can't, I couldn't tell you anyway, because there's nothing about this guy written up anywhere. I couldn't even tell you the names of the singers that show up on here because they're not listed on the discogs. So anyway, let's just jump right into it here. We're going to start with a song called Into the Cosmos. This guy knows stuff. Yeah, I mean, it's kind of, it's kind of a bummer that he didn't keep making music after this, but there's just so much going on, right? Well, I like how this is almost like the next step up from DeCom Tru's style of electronic music. Yeah, you mean like, well, I mean, think about this. Like we talked about this last week, like there's people that make synth wave music

and they're so blatant with the 80s sound that it becomes, you know, just too on the nose, you know, too much of a nod to the point of being like a gimmick almost. Com Trues doesn't fall in that camp, but this guy, he's not making synth wave, but you are hearing elements of the 80s, you know, the 80s sound incorporated in it. But it by no means is it an 80s electronic sound, you know, it's very unique. Well, what's great about this music, and I feel like, like this is a good progression, you know, with the artists that we've got lined up for the next few weeks, you know, for the electronic month. You know, architect is using sampled drum beats

that are a step above the, you know, the quote-unquote stock, you know, drum kit sounds that you find on a keyboard. You know, the drum kit that you heard in that song sounds very acoustic. You know, It sounds like a drummer behind a kit, you know? And that's like, that's my favorite kind of electronic music is the kind of sampled music that, you know, borrows from actual recordings of an acoustic kit or an acoustic guitar or acoustic. Yeah. Saxophone, you know. Right.

I think a good example is the band Scalpel that we covered way back in the day. You know, the two guys that just sampled exclusively from old. jazz records from Poland, you know, and I said this last week, but I like the idea of breathing new life into old music. Yeah. That's what electronic music can do, because you can take an old song and, you know, with the right software, you can isolate a snare hit. You know, you can take a drumbeat, a recording of a drumbeat and splice it up and create your own beat out of it. I love that kind of stuff. And yeah, we've got a few. artists coming up that we're going to cover that really dive into this style of electronic music.

I'm really excited about. So we talked about this before. I'm trying to remember the artists that we were talking about, but dub music, right? Actually, it might have been around the time that we covered Tribe called Quest. But it was about kind of like the early hip-hop artist would, like you said, sample in old records. and then wrap over them, right? They would take the drumbeat and wrap over it, right?

Yeah, they would scour their parents' old record collection and, you know, find a cool drumbeat or a cool vocal track and loop it in a certain way that they could create a whole other, you know, a whole new song out of it. Right, yeah. So anyway, to the point about bringing in real instruments, that's going to be highlighted for sure in this next track.

And we don't do this often, but I want to sort of tee up what you're going to hear. Like what, you know, a lot of times we just let the song play and then we talk about it. But I want to split this next track into two different clips. But I want to sort of talk about and like what I like about it. And we've talked about how electronic musics or electronic artists, you know, they layer, it's all about layering. We've talked about it a billion times. Yeah. with this track

it centers largely around this really solid sounding bass line that sounds like a legit bass I'm not convinced that he's not that he's sampling this stuff he could actually be

the guy that played the bass in the studio for this stuff or the drums in that matter but anyway we'll play the first clip and then when we stop I want to talk about some other things and then I think it'll make

sense when we play the second clip, what I'm talking about here. Anyway, so this track, and I think you're going to hear some heavy 80s synth wave almost incorporated in this song as well. So here we go. This song is called Odyssey. Pretty dope, right? Like, I love that. That's the kind of shit that I love, man, where it's like, you're not sure. You're not quite sure if what you're hearing is, you know, this guy, architect. I mean, where else would he, what, what is he sampling that from, you know? Who knows? Who knows?

But, but either way, I love that heavy synth, dark kind of a synth sound that he had much like, like an outrun type sound, you know. But anyway, okay, so the next clip, this is what I wanted to, this is why I wanted to do this. So, so, you know, we kind of got to that point where it went to that chorus, if you you know that that main sort of theme you had that baseline you had some sort of a horn to type element sample it sounded like a some sort of a horn right yeah probably not a horn but you know i don't know my brass instruments what do you want for me woodwind i don't i don't know um isn't it funny that we that we have a music a music podcast we've done a music blog and i can't

i couldn't tell you what that was supposed to be a sample of I don't know. All I know is it sounded like some sort of a horned instrument, okay? Sure, yeah. Anyway, you heard it, right? So this next part of the song, it sort of does like a drawdown. And he starts to almost, like, deconstruct that bass. So you're going to hear the bass sound, but you're going to hear it kind of like,

tweaked and, like, garbled almost, like, getting like, almost sounds like, you know, in some of those movies where, like, almost like, Tron or something like that, or like, some movie where somebody's getting uploaded into the grid or something like that. And it sounds like it's being all jarbled and stuff. Anyway, he breaks it down like that and it's kind of this slow kind of build and he builds it back up

and then there's like this payoff at the end. And like what I like about it and listen for the, when he brings that horned instrument back in, it's like it's coming back, it's swinging back the other way and then there's like this really cool payoff at the end. So anyway, this is what I love about electronic music

is the way that the musician is taking you through this journey and adding and bringing back the sounds that you heard earlier in the song and all that kind of stuff. So anyway, let's listen to the next part here. Again, this is Odyssey by an artist called Architect. That was dope, dude. That was really cool. Yeah, man.

But like I said, you could hear what I was saying, right? Yeah. It's the baseline. Yeah, and it's like drawn out to the point that it's just one little, the baseline just yeah just one note yeah one note that's that's a really cool dude and and yeah that's a good way to describe it man that was like you were getting like sucked into the matrix or you know yeah exactly unplugged from the you know from what you thought was reality or whatever right yeah that's cool man that was really cool yeah uh anyway um yeah dude this is one of those records like you said um the you know

There's, there's what, 12, 14 tracks on here? I barely gave you a taste of this. Because like I said, there's a singer that appears on two of the songs and a different singer on a third song. There's a whole range of genres that he brings in, electronic genres at least, sounds that he brings in. It's one of those records that you've got to push play on track one and let it ride. It's a killer record from start to finish.

And yeah, man, it's just been. It's been one of those records that I come back to over and over again ever since, you know, I'm pretty sure that we got a press release email about this record. So I've probably been listening to it since it came out over a decade ago. Yeah. But yeah, man, it's great. It's great stuff. Awesome, dude.

Yeah, I'm definitely going to check this album out. It's killer, dude. Killer. I did. I mean, I'm shocked that I haven't listened to it all the way through, you know, all this time. Being your brother, I'm surprised that you haven't, like, convinced me to give it a listen all the way through. that's why we do this podcast, yeah. Because I can't tell you how many

artists that you brought to the table, I'm like, oh, shit, let me circle back and listen to those guys again. Yeah, dude. And hopefully that's the case for the listeners out there. Hopefully we're introducing you to artists you've never heard before, you know? That's the whole point, man. I'm excited to dive into

some more electronic music over the next few weeks, dude. Yeah, like, I really want to bounce around and try to try to touch as many like subgeners as possible you know yeah and we may need to extend into the month of march dude and that's that's likely gonna happen you can't do you can't do four episodes and then be done with it you know no so anyway yeah got to at least six or eight yeah six or eight maybe maybe 10 dude what if we did a whole year of electronic music then how many listeners would drop off i was going to say it'd be like i don't give it i don't care about right we

Can you talk about Jeff Beck again? Yeah. I want to hear more about Paul McCartney. So yeah, dude, before we wrap up, we've got to dive into our watcher hurts, but before we do that, let's take a quick break. All right, we're back and it's watch your heard time, dude. Let's, I say you start. All right. Now, Q, this is one of those moments where I may have to start going to church on Sundays.

Oh, man, it's one of those. The gods, man. Yeah. You're smiling down on me. So just for grins, I've had this username that I started using. Like I changed my PlayStation account name to this because I thought it was a cool mashup of two genres that I really like. I started going by the name Doom Shoegaser. On what now?

PlayStation. Okay. That's the only really the only place I've used it. Anyway, you can find me on PlayStation Doom Shoegaser. But anyway, I was thinking to myself, man, that would be a really cool band, you know, a band that took the ideas of doom metal and shoegaze and sort of merged him into one. That sounds dope. And then I found that band, dude. Did you find them or did they find you?

That's what I'm talking about. This is what we got to get to the bottom of here. Okay. Yeah, maybe they found me. But this is one of those just bouncing around. on Spotify type moments. I think I was listening to that album that I'm obsessed with

that I talked about last year by the band Narrowhead. And I was on the similar artists to Narrowhead on Spotify. And I found these guys they're called Holy Fawn F-A-W-N.

F-A-W-N. Holy Fawn. And sure enough, here are the labels that are attributed to them attributed to them on discogs, post rock, shoe gaze, do metal, noise, and experimental. Now, noise and shoe gaze are kind of the same thing. But anyway, and that's, dude, and that's the thing.

It's like, I didn't even, you know, go and verify that they had those genres attached to them. You know, when I heard it, that's immediately what I thought. So, yeah, it's exactly what they're going for. and I was just really captivated by the sound on it when I pushed play on this record. They incorporate a lot of really interesting sounds. Even toward the end of the song, we're probably not going to play the whole thing,

but towards the end of the song, they start doing sort of the cliche sort of emo scream. Right? So I think that's why they get the post-rock label on them. Anyway, on their band camp page, these guys refer to themselves as four creatures making loud, heavy, pretty noises. And I think that's a really interesting four or three adjectives they're right. Loud and heavy. That's obviously the doom part,

but pretty. And I think that's really sums it up well. So let's just listen to the song here. And then we'll talk about it. So the record is called death spells. And the track is the very first track on song or on the record. And I will just say that be wary of the volume because some stuff happens at the beginning. You've been warned. So here we go. Yeah, dude, this is just one of those perfect examples of like, you know, our favorite thing about music. These dudes came together and they said, you know what? I love this. I love this style of music. I'm all about this and, you know, I can bring this to the table. And they fucking brought something. totally refreshing and new and different.

Yeah. Really great, man. There's, there's so many different genres that I can hear in, and, in this song. And I like the, I like how they,

they just dropped in all this distortion and brought it back out immediately and like, well, yeah, and like the very start of the song is, is ambient. Yeah. It's ambient music for sure.

Right. There's a lot of that throughout the record. Yeah. And then they put that wall of sound, which is very shoegazy of them, right? Yep. Yeah. But it's just, like you said, it's just on and off. It's like they pressed a button.

Distortion. Right. Wall of sound and then turn it back off real quick. Right. That's really cool. Yeah. But anyway, this is, I mean, it's Doom Shoegaze. That's what it is.

Yeah. And what's fine? I wish I had come up with this just now when we were talking about it. But I just typed in Doom Shoegaze into Google because I'm like, hey, is there more of this kind of stuff out there? And somebody says, is there such a thing as doom gaze? I was like, God, damn, what a fucking great way to fucking say it?

It's doom gaze. You don't need the shoe in there? No. But, you know, the thing is, the thing about Doom Metal, it does share a lot of characteristics with shoe gaze in a lot of ways. So, you know,

it's not a, it's not a stretch to put these two together. You know what I mean? Yeah. But anyway, I found a, a review online here from a website called Ghost Cult Magazine. And they have a really good way of saying it here.

They said, The most striking thing about this release is the ease in which the band moves from pretty to heavy. It feels more like a casual gradient than a stark contrast, which allows the songs to fully breathe sonically. I couldn't agree more. Yeah.

It's so seamless, you know, that you could never say that these two things don't belong together. You know what I mean? Yeah, totally. It's just, it's perfectly done. But anyway, their record's really great. I just listened to it all the way through today.

It's called Death Spells by a band called Holy Fon. All right, Q, what you got for our what you heard here? All right, man. So we're familiar with Cronvin. Yes, you did. Now, you said the same thing in the beginning of your side track last week. What? We're familiar with Kronband.

Oh my God, you're right, dude. Is this the same band? No, no, no. This is actually Kronk band. So I, yeah, it turns out they just released a couple B-sides or singles. Didn't they come out with a record with Leon Bridges? Yes, dude, that's what we're playing today. Oh, really?

I've heard this. Yeah, maybe. There's a few songs that are. No, I heard of it. It's called, what, something about a sunset or Texas Sunrise, Texas Sunnors? Texas son. Yeah, I've heard this. Yeah.

Do you know, are you familiar with Leon Bridges? Yes, I'm very familiar with Leon Bridges. He's from Texas, Q. He's from Fort Worth. Right. Yeah, and this guy is... And Cromben's from Houston. He's around our age, but like he's only really been making music since 2014.

His debut record sounded very like Motown. You know what I mean? That's kind of his thing. Yes, it's very like 50s, 60s, you know, soul music. It reminded me... Really great vocalist. Really good stuff, dude. It reminded me a lot of...

of Smokey Robinson. Remember he covered him and his album A Quiet Storm on our Shotade side track? It's that like Neo-Soul you know, the smooth jazz kind of stuff

that was happening in like their late 60s, early 70s. Right. Yeah, man. He's tapped into that sound and... And just like how,

you know, synth wave artists happened in the 80s. Like... Yeah. Yeah, dude. Some people just straight up make a record

that's like, hey, this could... This is pulled straight out of the 60s or 70s, you know. Yeah. And what was so great about this, you know, hearing this song is, you know, I heard Leon Bridges and his, you know, beautiful voice. And I, and I heard the music and I'm like, this sounds like Cronbin, you know, and it was one of those things where it's just like, man, like Crongben as a backing group is amazing. They're amazing, you know, like I want to hear them

play with more musicians, you know. I, you know, they're just, there's something about Cronova, dude. And when they're paired with Leon Bridges, yeah, it's something special, dude. Well, I mean, it's a perfect marriage because, like we say, they're both from, they're both from Texas. They're both in Texas. It's, it's awesome that they decided to get together and later track down, you know. Yeah, and, um, they released two songs with Leon. One of them's called Seaside. And the one I'm going to play today is called Texas Sun. So here it is. And, man, hearing that on the radio, you know, like this, just made me homesick, dude.

You know, it's like one of those moments. You know, that's obviously what the, what the song is about, you know, it's a love letter to Texas. Totally. You know, these artists have toured the world, and I'm sure they... Exactly. I'm sure they, they miss Texas. They miss that Texas son, dude, yeah.

Right. Yeah, it's great. It's just one of those magical moments, man, you know? Yeah. Well, what's great about it is, like, how they slip in that slide guitar after, you know, during the course, which is, you know, brilliant because it's a it's a song called Texas Sun.

They incorporate sort of a country element into it with the Sly guitar. Yeah. And then, man, I just love the guitar player from Cronbin. He is so good. Dude, he is effort. Like, he just makes it look so easy.

I know. And it's just so smooth, man. Oh, dude. Lots of reverb, obviously. I mean, he's got a very, very distinct guitar sound. They're all three of them in Cronband. Yeah.

They're just phenomenal musicians. Yeah, they're awesome. And here's, here's my favorite part about this whole thing dude so if you if you type in crongbin into spotify look at look at the image dude look at look at the the the crongbin group image leon's in he's part of the group now like is he in crongbin is he in crongbin wouldn't it be great if they put if they put a if they put a whole record out they shouldn't they totally should do why why why is he on this you know why probably because it's the latest like press press press release type

Dude, it's like the latest, the latest image of Cronbin as a group has Leon Bridges in the picture. Hey man, we can hope, right? That's exciting, man. It might, it may, it might happen. Anyway, for, if you live in Texas or you have lived in Texas, like, this is just one of those songs that is pretty much required listening. You know what I mean? Yeah. And if not, it's just a great, a great track all around, you know.

But it's especially meaningful for people from Texas. Anyway, great track. Two great Texas artists right now. Yeah. Leon Bridges has been doing it for a while now, but yeah, Kronband. So is Kronband. They're just, they're all over the place right now. They're great.

Yeah. I love them. All right, Q, we've covered a lot of different sounds on the pod today, which is great. I love it when this happens. That's why we like to do what you heards every week. Because, hey, it's just an excuse to get more music into the episode. and a lot of times it's, you know, who knows what the genre is going to be. So, all right, Q, you can find us on Twitter.

I am active on Twitter now. And by active, I mean, I try to do at least one a week. And that's it. And even that is a struggle, dude. I just, for whatever reason, man, I can't do it. I just can't do it. People who tweet 30 times a day, and I don't even know, I don't know what the average is, 10 times a day. it's like man

I can't even I can barely remember to do one so anyway you can follow us on at no filler podcast sometimes I'll tweet but I think what would be great is if listeners could reach out to us tell us what you like tell us what you don't like

tell us what you want to hear us cover yes that's what we want to we need feedback yeah we would love to for this to be an open conversation that's what it's supposed to be yes tell us what we got wrong you know, I guarantee you we get a lot of stuff wrong on this podcast, that's for sure.

We're not music historians by any means. Yeah. So anyway, check us out on Twitter. You can also find us on the Pantheon Podcast Network at pantheonpodcast.com. Or you can check us out on our own website, no filler podcast.com. Where you can find all of our old episodes, show notes for every episode, which is where we list out articles and other sources that we may have referenced. You can get the full track list from the episode, all the songs we played, including the What You Heard's. And yeah, you can listen to us anywhere

you can find your podcasts. Spotify is my favorite player. So I'm just going to just going to say, listen to us on Spotify. But yeah, you can find us on iTunes and all the other good stuff. So anyway, that's that, man. I've got a doozy for us, Q for the outro song. Sweet. Cool, cool. So we talked about it last week. We even joked about how we should play it. So we're going to listen to the soundtrack, or at least one song from Shinobi 3. All right.

The Sega Genesis game, Shinobi 3, Return of the Ninja Master. Ooh. I sent you to link you to the... I can find that on YouTube. That's the only place you can find it. Okay. And we even talked about this. I like, what's great about...

You know, growing up in the 90s. Yeah. And really, you know, I mean, you can find stuff on YouTube from the 70s, 80s. Sure. I'm just saying like we're able to go and relive this music whenever we want. It's just if I can just type on the keyboard and then you'll, there you go, you've got it. You can relive the joyous hours and hours that I spent playing this game. A little slice of your childhood.

Exactly. Anyway, but the reason that I'm bringing this up and playing this. is because we talked about how a lot of video game soundtracks from the 90s and a little bit earlier too. You know, it's electronic music. It sounds like electronic music. It's not, you know, it's done on a computer, like 32-bit kind of stuff, you know. But it just, it's no wonder that we love electronic music because it's kind of what we heard when we were playing video games, like for hours and hours on end, you know. Yeah.

Those songs that just get stuck in your head. But anyway. So was it 32-bit? I'm always afraid I'm going to get that wrong. It's something bit. That sounds about right. 16-bit. There we go, 16-bit.

There it is. 32, maybe that was... Maybe that was PlayStation. I don't know. I don't fucking know. Obviously, in 64 were 64-bit. They said it in the name. Either way.

Yeah. So anyway, this is the very first song that you hear on Shinobi 3, at least the first level. The name of the track is called He Runs. And it's going to close us out and that'll do it. Next week, we are talking about a group called Kieln. And I would say that they're mostly like an ambient electronic group. It's so hard to describe. But it's a lot of, it's all sampled, sampling themselves, I guess. I don't know. They, they, it's all, if it's a drum you're hearing, it's, it's, it's the drummer

from the band. Yeah. Guitar, lots of guitars, lots of looping, lots of effects that they put on their, on their instruments, but it's all coming from them. This is not stuff that they're sampling from old records. From older, right. So anyway, it's such a unique band, like you said. There's something about kiln that's just, it's just something special, man.

Yeah, and this is, this is kind of like Krong band. This is a trio of. of musicians. Yeah. But they've been making music since 96, Q. So they go way back. Unbelievable. Actually, 94.

Their first record was released in 96, but they're listed as being active from 94 to the current day. They haven't put out a record since 2013. I think we're going to have to play some songs from several different records, dude. Yeah, I think so, dude. That's it. Yeah, it's hard to really cover them with one record. Yeah.

Anyway, so that'll do it for us this week. Like I said, dude, I can't wait to hear this song. play on this podcast. We're going to have a song from Shinobi 3, Return of the Ninja Master. Close us out. And yeah, dude, we'll talk to you guys next week. My name is Travis. And I'm Quentin. All right. Take care.