Introducing "Diallo & LUXXURY Talk About Music" on Patreon

Hey guys, welcome to one song. And this is actually a very special episode because Luxury and I talked and we thought, hey, why don't we take an episode from our Patreon and bring it out from behind the paywall and drop it into the feed here so you can get a sense of what kind of things we're talking about over at the Patreon. I'm talking about music discovery. You know, Earl Sweatshirt just came out with a new song. We talk about it. We talk about Coachella, give our thoughts on that. We even have my man talking about the interpolation that goes on on the song Apathe by Bruno Mars and Rosé. So there's a lot going on. That's right. So check it out because we are finally doing live hangouts. We're doing a discord. We're turning this podcast into a community. We've been wanting to do it forever and we've finally done it. So please go over and join now. It's patreon.com slash D'Alo Luxury. That's right, patreon.com slash D'Alo Luxury. And we'll be back next week with a brand new episode. But for now, enjoy this, one of our first episodes over at the Patreon. Hey y'all, welcome back for another bonus. Patreon episode with D'Alo and Luxury. Bonus, Booyah. More of us. We're saying Booyah now. Oh, sorry. We did say Booyah then too. Booyah, when is Booyah? Booyah is definitely, there's a framing of in time when that began and ended and it's been a while. In the 90s, man. That was good times. Boom, boom, pow. Listen, I'm 2000 and late and you know it and I'm all right with that. Let's keep going. This is the Patreon with D'Alo and Luxury. This week we're talking about Coachella, Weekend One. We're gonna have reactions to a divisive or perhaps a divisive new band. I actually don't know how to pronounce that word. Is it divisive or divisive? You're so mature. You're so mature. And we'll be listening to some new music. That's what we do on this thing, D'Alo. That's right. It's an extra hour of us. That's right. We'd be lucky we were doing here. Please share with your friends. Every subscriber helps us produce more episodes, more interviews and more content for you guys. And for just $10 a month subscribers, we will be having the first of our monthly meetups at the end of April. Date coming soon, we promise you. So subscribe to that $10 tier before then and you can join us live and hang out with us. And we think that's gonna be such a core part of this community building. And you're on the ground floor. So thank you guys, you early subscribers for joining us. I really appreciate it. That's right. That's right. All right, first up, we have to talk about Coachella Week in One luxury. You'll be there next week. I'm so jealous because I don't think I'm gonna bake it out to the desert this year. Did you watch any of the performances this weekend? Are you going in blind? Like, hey, come on, surprise me. Well, it's impossible to go in blind. It's across my feet, a little bits and pieces, little clips and chunks. But for the most part, when I see something, I swipe away. I swipe right away. But I have heard, so I'm gonna, I'm definitely going Saturday. I won't be able to go Friday. And then if Saturday just is too much, too was too much fun, I'll go Sunday. But Saturday, I'm definitely excited for the strokes. Like that is a reason to go, period. Interpol, boys' noise, and frankly. I love that Interpol is back. I love that. I saw Interpol when they did it like in 2004, somewhere like a long, 2003 maybe, a long time ago, back when it was still like, I think $50 a day. I've never seen them, so I can't wait to finally see them. It'll be amazing. Wait, I think that back. I think I might have seen them at an earlier Coachella. Now, I'm at the age where the brain fog is like, did I watch a video of that, or was I there to see it live? I'm not only sure anymore. You know, that makes sense. Back when it was just a one-week-in affair. Right, right. I saw them perform on a Sunday, and you know, to hear like, you know, turn on the bright lights on a Sunday as the sun was going down. And the desert was like really, really beautiful. But you know, that kind of reminds me how much Coachella has changed. I've said many times, I was there from 99, the very first year, all the way through 2005. And 2005 left me a little disenchanted, so I felt no pressure to go 2006. We know that's the year Dat Punk came out. And I was there, and you would have met me. It might have changed forever. I know, we would have somehow found each other in the crowd. But that's the difference between then and now. I also noticed that, you know, like when Billy Corgan came out as a surprise guest during Sommers. And I really liked Sommers. From The Smashing Pumpkins, yes. Yeah, Billy Corgan from Smashing Pumpkins. I really liked Sommers' music. I think 12 to 12, great song. Saw it for the first time on SNL this year. And I was like, wow, this is a good song. And he was really excited to see Billy. The crowd a little less so. You know, maybe we can play a little clip of it. I just, the same thing happened to Blur last year. Like, you know, you know, people weren't feeling it. Yeah, they only need TikToks if it's the younger crowd. It's a generational thing. Like the people who would get excited about Blur aren't at Coachella anymore. They're at home, you know, smoking their ankles, you know, trying to get their joints to hurt less. I'll be honest with you, I might not go. We're not for the fact that I'm not, you know, not gonna, not to brag too much, but I do as a KCRW DJ get the free tickets and the free parking hookup. So I was like, okay, it's making it easy. And I can take my sign. Wow, that's like the entire compensation package. Basically it's what I'm earning from KCRW. No shade, but basically. No, I mean, listen, that's like a $5,000 free parking at Coachella. Honestly, that is what is pushing me to go. Plus being able to share it with my son that Nikki and I are gonna go. That's awesome. And we're gonna go see Pink Pantherous together because we're both fans of that. The concern that I have. Yeah, you're focused, let's go. Oh my God, I can't wait. The concern that I have is if I drag him successfully to something like the Strokes, that he's like, eh, whatever, and they don't deliver, which the rumor has it they semi-delivered, then he's gonna be like, dad, thumbs down, you lose points. Like, you know what I mean? Like it could backfire in terms of his, look, not his taste, his taste is inoculate, but they're great bands that don't always deliver, right? That's just the way it works. And I don't want him to be unsold for a great band like the Strokes, one of my all-time favorites. I can't wait, I've never seen them. This will be the first time I get to see the Strokes. I'm very excited. Are there any other people that you haven't ever seen that you think, oh, I'm gonna prime pop my head in? Well, there's two artists that are up and coming, kind of lower in the bill, and then there's one that's high up on the bill. I'm stoked, so Lambrini Girls, that's a band that I've played. Yes, you've mentioned them on the show. I've done a one more song with them. They're great, they're kind of like, yeah, yeah, yeah, needs, oh my God. I like them a lot. What do they call it? Oh my God, I'm spacing on the Australian punk rock girl's name. Ammo, Ammo and the Snippers. They're kind of like a cross between those two. It's like that edge where punk starts to get into stoner rock, a little bit of metal, a little bit of extra crunch. But the delivery is very shouty, shouty. I fucking love Lambrini Girls. And Echo Vandal, who is also a recent discovery. So I'm gonna check both of those artists out with my son, hopefully. And then I gotta say, I'm kind of pumped for Bieber. I'm kind of pumped for headliner Justin Bieber. Like that's kind of dope. I didn't answer that one coming. That's kind of dope to me. Well, do you know what he's been doing? Have you seen what he's doing? Yes, he's been on stage with his laptop and pulling up the early videos. I bet you he does something different week too. This is one of those things that's actually kind of crazy about, because all the press, a lot of the taste makers and influencers, they go the first weekend, but increasingly people are changing it up that second week and they're doing something different. I wonder if you'll still do the YouTube thing on the second. For those who didn't watch it, he pulled out his laptop and he sat up there. I love Katy Perry's comments. They're like, oh gosh, he doesn't have ads. Great, we don't have to sit here and watch the ads. He just looks through the video. It's like YouTube premium or Twitch. Yeah, yeah. And in a world where- He's basically like Twitch streamer. He's like, you know, W and chat. Like it's all kinds of chat streamers. He's kites and at on stage. And you just feel like you're in a basement hanging out with Justin Bieber while he's just like- That's not the whole show though. That's not the whole show to be fair. But I think it's just a chunk of it. It sounds kind of fun. That was the part that got people talking. I guess some people didn't love it, but to a person that people said that they thought that they had never seen that many people gathered at the main stage for anybody. They think that it literally had reached, you know, this breaking point of, not breaking point. That sounds bad, but like- They've just never seen that many people try to get to the main stage. And I think that's part of what happened with the stroke set is that they're sharing the stage. There's what five, six, eight is, I forget, but like there were people camped out for Bieber and like in advance and they were not interested in the strokes and Julian Casablanca felt that energy or the lack thereof. And I think that led to what I've been hearing is like a lackluster performance, but it's a give and take things like you were saying. If the energy isn't coming from the audience because they're all believers who are uninterested in the strokes, that sucks. It sucks to be the stroke. So I'll be the stroke span in the front row going, yeah. Just like that, just one. I think like it's the same thing that happened. I think there was somebody who went on right before Cat's Eye in one of the tents and the Cat's Eye fans they all crammed into the tent before then. Can I just say, let people see the artists who they came to see. I mean, I know that, you know, again, it's generational. I would be one of those strokes fans like, ah, that's too busy over there. I can't see the stroke. I don't know how much I want to push through because there's going to be, well, the thing is I was going to say there's, it's not, Bieber is like 30 something now. So his fan base isn't exactly like Gen Z. They're not liver snappers, but they're still young enough to be there. They're the youngest millennials. Are they technically millennials? Yeah, they're millennials. I think that it's like technically the youngest of young, young millennials in Gen Z. But at least they're not the TikTok generation for whom they only know 10 seconds of every song. Like it's not that bad. Like there might be some actual strokes fans. But anyway, we'll find out when we get there. I'm stoked for that. I'm kind of stoked for, I mean, I'm very stoked for David Byrne, big talking. I hear that's a great show. I hear that he has some amazing, some amazing visuals. One group that I think we share that if I was going, I'd definitely check out is Nine Inch Noise, which is Boys Noise and Nine Inch Nails. What night is that on? Cause I can't remember, I remember wanting to see it, but I don't know. Thought that was Saturday. Is it Saturday? I'm the wrong person to ask. I'm looking at the bill right now. It's Boys Noise is on the bill for Saturday. Oh, Nine Inch Noise is Friday. I don't think I'm going to make it. I don't think I'm going to make it Friday. That's Sabrina Carpenter, the XX, Nine Inch Noise. I mean, look, it's turnstile and disclosure. It's a great lineup. Like I should go. Turnstile and disclosure, what a freaking cool. I still have dreams that one day we will, you and I will end up somehow together in a tent on stage at Coachella or maybe one of the offshoots. I still fundamentally believe that. It's not over. It's not over. Not over until it's over. Maybe we'll be doing Bob Baker's Marionettes next year. We'll have the puppet rave go. Yeah, yeah. I'll say the most embarrassing thing I felt for Billy Corgan was when he came out and someone was like, it's Billy Corgan of the Smashing Pumpkins. And Billy did the Jesus hands out like here I am. Yeah. And like the response is muted. That's just like. Oh. Poor Billy. And he said they're like, you know, like Jack. Like he was expecting a big Jesus moment. Yes. Like he's Jack standing at the bow of the Titanic. Yeah. It didn't really. I was picturing giant Jesus at the top in Rio de Janeiro like that statue. He did that pose. And you know, it's classic Billy. If you follow this show, have a lot of empathy for the Corgan segment every single time. I think there's so much to break down with Billy. He's really, what he embodies is really important for people to understand and maybe to eternally never fully understand. But his need for attention is understandable and normal. But like it doesn't match the success that we see him having. It's like, well, you would think that with the amount of success and kudos and record sales. And the amount of talent and great songs. Great songs, primarily from the 90s, but great songs. But there's still a neediness that we pick up on. Yes. I know. You get the sense that he still wants to be that guy. And it was very funny. Go back and watch it. It was pretty hilarious. But Billy, we love you. There's enough love for you. Billy, come on the show. We will give you the attention. Not only is there, oh my God, not only did we... We might give you a hard time though. You said some stuff. We might give you a hard time too. Not only did we do a loving tribute on the episode we did. Go back and check the one song archives. We did, what do we do? Cherubrock. But that was the origin of us, our dispute, which between the two of us, a loving dispute, what song we should do, led to like, okay, let's start doing two parters, or let's start doing the same band twice. So we will do a 1979, one, nine, seven, nine episode one of these days. Because that is the yellow's favorite song. We will get to it, we promise. Oh, my favorite smashing is still tonight tonight. Okay, maybe we'll do three. I will do that. Maybe it'll be that one. Maybe it'll be the big hit. Maybe it'll be 1979. We will see. But Billy, James, any of the other members of the group, we'd love to, we'd love to. By the way, do you think that Billy Corgan is actually the long-lost brother of Bill Burr? Bill Burr, I mean, they don't seem to dispute it as much as you would think. Yeah, I can't tell if it's a put on or not, but when they're in the same room doing what was, it does seem like it was set up as a joke when they're reacting negatively to the situation. But them together, like, oh wait, that makes a lot of sense. Visually, the abrasiveness, right? The dates kind of line up. The caustic abrasive rage for no real reason. With all this exception. My dad was of empire. Yeah, I know. All right, next up we're gonna talk about interpolation. How have I not done that yet? How have I not done that yet on the Patreon? Well, here it is, the debut of the Patreon interpolation conversation. We've been wanting to talk about this for some time, and that's part of the fun of this Patreon. All the things that didn't fit on the other show we do, we can finally have a home farm. One of them is to go deeper on some of the silly rules about the Grammys and some inconsistencies. And one of those is, well, let me just start with this. The past year, Rosé and Bruno Mars were nominated for a Grammy for their song, Apita, not Apartment, not APT, but Apita. Which is a great tune, by the way. It's so catchy, so hooky. The world loves it to the tune of I don't know how many billions it's up to now, but it interpolates very clearly. Mickey, and for those of you who don't know, oh Mickey, you're so fine, you're so fine, you blow my mind, was originally, was recorded by Tony Basel in 1981, but it is itself an interpolation of a song called Kitty by a band called Racy. Which doesn't sound right, but that is the name, Racy. R-A-C-E-Y. And- So Racy did Kitty, but Tony did Mickey. Right. What is this gonna say? It's so funny. I mean, and it's virtually a cover to the tune of Mickey being 100% credited to Chapman and Chin, the 70s songwriting and production duo, who did a lot of hits for a lot of the Glamrock bands. Yeah. I think they also worked with people on the- You can hear the Glamrock in Mickey. It's a lot of Glamrock. Boom, yeah, boom, boom. That's a very 1974 kind of groove. Yeah. But the point of bringing all of these artists and writers up, and in this case, it's just the two writers, is that when the song, Apatow, was nominated for a Grammy, Mickey co-writer Mike Chapman wasn't included in the nomination because of these convoluted rules about the Grammys, which arbitrarily limit the writers, those who are considered writers, to those who are part of the new song, the newest iteration, in this case, of a song that's had three lives. So it's crazy that they cut out the songwriter who's in the publishing credits. It's not like there's no secret that Mike Chapman, that Chapman and Chin in this case were participants in these three hit songs, but by the time it gets to these most recent Grammys, they're dropped kind of from history. They're sort of erased from the story, which I have a problem with. Well, I think it's also like, this gets a little bit into inside baseball, but that's one of the things that two music nerds like us like to do is get inside the machine and see how it works. I feel like this is one of those Grammy rules that needs to be updated, but the Grammys is not known to move fast nor... You know, like, it's basically like, for a long time, interpolation was more seen as like, sampling and more thing that hip hop did. Over time, pop started doing it more. And you see it in so many pop songs. We've talked about this in relation to how Beyonce and other artists will sort of go out of their way, even if they're riding sideways from somewhere else, they'll go out of their way to reach out to the songwriters. Exactly, and almost over-credit them just to make sure. If you think for even a second that that person might think that we were thinking about their song, we're gonna reach out in advance and just go on and... Hedge you off at the past there, yeah, for sure. And because the song of the year category is, for songwriting, it just seems really weird to us that for some reason you would leave the people who came up with the original idea out of the equation. Right, it doesn't make any sense at all. It doesn't make any sense at all, yeah. I don't think it makes a lot of sense. What is the logic behind it? Is it to conserve statuettes? Like they only have so many to give out. So they have to be... There's only so much gold. Right, there's only so much. You know, we can't wait for this gold standard during those Nixon years. No, but somebody says something really interesting about this, his name is Justin Choucott. I think I'm pronouncing his last name right, but he's president of a music publishing company called Primary Wave, and he said that the reason why this needs to be changed and why you have so much interpolation going on. Now, not just in hip-hop, but in pop music and sort of all across the musical spectrum is that the way that we are consuming content is changing. Like so now, you know, it used to all be radio and hard copies of, you know, vinyl and CDs, but like now it just might be a 30 second snippet that you hear on TikTok, and you wanna have something familiar pop up at the, you know, listener right away. So I think that all songwriters and all composers and all artists are a lot more prone to using an interpolation just to hook the listener so that it really makes an impression in a short amount of time. Yeah, that's been the trend for the past, at least 10 years now. It's now a new thing that they have these things that publishers often set up called flip camps, where you get some of the top songwriters and some up and coming ones, and they'll literally go off for a week or a weekend or whatever the duration is, and they are given free reign to kind of access that publisher's catalog to come up with something to flip it, to flip an old hit. Let's find a new version of something familiar to radio listener ears for many years, and write a new composition from it, and the advantage to the new producers and songwriters who are doing this is that they know in advance that it's pre-cleared. They know in advance that they're gonna have permission, they're gonna give up a percentage to the publisher, to the original writers of course, but it reduces some of the friction involved in the uncertainty of like, well, I don't know if we're gonna have to clear this, how much we're gonna give up, if they're even gonna do it. This has become very common, and so this is an example, I think, I'm actually not sure if this particular song was done that way, and in fact, I think it was after the fact that they sought permission to their credit. I think Bruno Mars and his camp did the flip on their own, and then they're like, well, we better clear this. And primary ways, and the writers gave them the thumbs up, so credit to them for doing that. The credit to them, I always say that we're sort of, fans of the way that I think Bruno and Anderson Paak and other people do business, and I actually wanna give props to the publishing companies, like Primary Way for sort of making sure that the artists, you know, these, because think about it, sometimes you're interpolating an artist who never saw big money, might be like some old, you know, black blues guy or some, you know, guy in a funk band who didn't get a lot of love, this is a way to show them love, like, get them into the credits, they might have given up on the Grammys 40 years ago, but this is an opportunity for their genius to win less recognized back then, to get some recognition now. Yeah, and Chapman and Chin, like we said, go back and check out their cow log, they're on a whole bunch of hits from the 70s and 80s, they're on a bunch of Blondie songs. So like these guys, they're still alive, so, you know, they could be writing more hits potentially, so there's a lot of reasons that credit matters, it's not just the money, because they're getting the money, this is just about the name and the recognition, and the trophy. There's a massive recognition, man. Yeah, exactly. And the statuette, which apparently they only have so many of to give out. So unsung heroes, I guess you could say, unsung heroes, the not always recognized songwriters who had the original thought. Absolutely. Ooh. Kitty. A great story, like Monsters Inc, stays with you forever, and Disney Plus is where you'll find your next great story, from the return of the award-winning hit series, Rivals. Welcome to the naughtiest show on television. To the unmissable crime drama, High Potential. Gotta dead body, gotta go. A lifetime of great stories awaits. This spring on Disney Plus, 18 Plus, subscription required, T's and C's apply. All right, so we've been getting a lot of requests to talk about this next band, the French-Canadian math rock duo, Angine de Poitrine. Or, I mean, that's the French pronunciation. I don't know how do Americans say it, Angine de Poitrine, de Poitrine, Angine. I think it means chest pain, or chest, it's kind of an ailment, which is funny. I'm scared, I'll be honest. I've seen this band, it's a little frightening. I thought it was AI generated, I thought it was AI slop, but then I found out that no, they actually have those costumes on in their, can we show the people a little bit? Yeah, let's watch a little bit of their viral KEXP performance. Let's see a little bit of that, and then we'll break it down. It's so rad. So, for those of you who aren't watching, there are two performers, drummer, and a bass and guitar contraption. It's both. So he is using loop pedals to lift the bass and guitar, and he's using a lot of the bass and guitar to lift the bass and guitar, so he is using loop pedals to lay down a bass line and then play guitar on top of that, and soon he will be reversing the formula so that you'll just hear the looping guitar as he changes the bass line. Oh, now he's adding another layer of guitar, I should say. So all three musical lines are coming from the one guy as loops that come and go. And it's crazy. I mean, it's basically Prague funk, progressive funk with some jazz chords and scales. So now he's playing the bass line live with one of the guitar loops still in the mix. And they just look insane because of their costumes. There's so much to unpack there. I hope some of my explaining the video as it was going was useful, but even that, I don't feel it does remotely justice with what there is on display here. The first time I saw Reggie Watts perform, he was using the pedals and doing the loops and stuff. So the technical part of it is amazing and really, really cool. And I love it for being openly, and you could say aggressively artistic. It's aggressively artistic. It's aggressively artistic, right. I gotta say, it's still a nightmare for me. The appearances and the noses, like it's all, it's gonna haunt my dreams. There's no way that I can watch too much of this because maybe I'll get used to it. It still frightens me. I think the game that they're playing, which as a musician and maybe dormant, but I guess I had a single that I put out a week ago. So as long as I keep putting, dropping singles for the rest of my life, one or two a year, I can still arguably call myself an artist and musician. But my point is their backstory is that they were doing it for years and not breaking through. And as soon as they thought, listen, we need to not just be great musicians, we need to figure out how to get attention. And we're many years into this dilemma, but it's still important to remind people that it used to be, if you were a musician, there was some percentage of your time you could spend being a great musician and writing great songs and being a great performer. And in theory, you come up with a great promoter or manager or maybe you get lucky or maybe you're just young and cute. But the getting attention part. That's what I got by with. But the getting attention part had something to do with the music more directly. And you didn't have to spend as much time as much time. It's never been zero, but you didn't used to have to spend as much time marketing yourself, getting yourself seen. And now the thing has flipped. Most artists I know, look at me. Like I'm spending 90% of my time, maybe 99, not being a musician, right? I'm in extreme case because I maybe have pivoted careers you could say at this point. But I think most musicians are divided in a way they never have in terms of how much is about songwriting and craft and performance and how much is just getting people to notice. I think that that is not even just music. I think that is definitely art worldwide in the sense that I've had two different TV shows that I created get 100% rotten tomatoes. That's how much effort and energy we put into them. And we still had to struggle with the marketing department to try and get people to actually watch them. To break through, to get seen. With the explosion of everything on streaming. And you still have cable and traditional broadcasts. And you still have people's phones. And just like the fact that they don't always have to turn to a TV show to laugh, they can pull up, you know, TikTok and follow Druski who's amazing. I can't stop watching Druski clips. That's their 30 minutes commitment. They'll just watch Druski clips for 30 minutes. We're all trying to break through the clutter. And I don't think it's ever been harder. So yes, I think I see two men in this video. We don't even know if it's a man or a woman or anything. They're anonymous musicians. Where are they from? We know that they're Canadian. Oh, they're Canadian. For some reason, what? I was going to say, for some reason, I thought they were French. And I was like, oh, right, because they are. They are Quebecois. Quebecois. That would explain everything. That explains a lot, actually. Yeah. Listen, I love the absurdist look. After DaPunk, there are always going to be musicians who wonder, hey, should we just be anonymous and let the music speak for itself? I think there's another example of that without so clearly aping DaPunk. As some other people have, I feel, sort of, they've been aped. Things very similar to the robot helmets. But listen, I think the other thing is that, like, do you like Prague Rock? I think you love Prague, wouldn't you say? Here's the tricky part, part two of the tricky part, is you do break through. And then there's the sort of then what? Because I enjoyed watching this video. And then I don't need that much more of this. And because there's only two individuals, and they look the way they do, so you're not seeing their human faces emoting, there's a limit for me to how interesting this can be over time. And it's not to say that they won't have a second act and figure out how to build on their breaking through. But just personally, I enjoyed this. It kind of goes back to what we were saying about the Bieber, the Gen Z generation. I enjoyed this as a 15-second clip, maybe as a one-minute clip. And I'm not sure how much more of it I need, even though I enjoy the music, that might be good enough. I kind of think of bands like Wolfpac, who have a wide audience. And it's just kind of, I'm so impressed by their musicianship. And I'm so impressed by their building an audience by cutting through the clutter. They were early to understand short-form video and the YouTube. And I respect them immensely, but it's just not interesting enough for me to go back to and listen to frequently. But again, top of the game with their chops. And it's kind of like this Berkeley School of Musicianship where it's very technically impressive, but I'm good with the clip, and then I'm going to find a song. Or then I'm going to find a groove or something else. So that's just me. I think it's interesting. I mean, I don't know what necessarily defines Prague Rock. This might be math rock, but the idea that I hear a lot of changing time signatures. Like this is not four-on-the-floor neo-disco. Like this is very interesting. It's almost like Rush, which I guess is classic Prague Rock, in the sense that the time signature is a little intentionally wonky. Yeah. I haven't listened to enough of this band to know if they. And that's a great question. When does it become Prague? I think you're right. I've seen that this is math rock, and I think math rock sort of speaks to that. The line between math rock and Prague is very fuzzy. I think math rock is intended to update Prague and be more modern, to not be the 70s Rush or yes or Genesis or whatever. I think it's to intentionally draw a line and say, well, we're not like your dad's version of this similar music. And it's also post-punk. If Rush had started in 1978 instead of 1970. But I would say that these guys are doing kind of a math rock thing. It's maybe less of a time signature shift than it is that there's a lot of coordinated. Well, it's coordinated because only one individual needs to decide musically what to do, because he's playing all the parts. So that's an interesting kind of phenomenon. But anyway, I think they're super interesting. Yeah, I think we support this. Yeah, yeah. And the concern that I would have for them is how do you follow it and build a larger audience by having the songs start to become more important than the visuals? Purple polka dots. No, don't listen to me. You guys are doing something right, because like I said, you've cut through the clutter. And that in some ways is job number one for all artists these days. All right, and last up, we've got a couple of new songs we want to share with each other. You know what? I'm loving this segment, because I'm genuinely learning new stuff. I recently have had much less time to dig into the new Music Friday. So this segment is literally me learning about Slater. And then like a week later, it's like they're at Coachella. Like I should have known about them. And then you get to impress your friends by being like, hey, guess what? I'm going to be checking out Slater right now if you want to come with you. Did you ever have that phenomenon maybe when you were younger and didn't understand how the industry worked, where you'd hear something? And then it would be on the radio, like maybe the next day or TV. And then you'd be like, hey, I discovered that. It's on the radio because I know about it. I used to think I remember there was a record, a men at work record. And there was a song on it. They had a hit with Land Down Under. This is how long ago that was. And there was a song on that record called Be Good Johnny. And I bought the record and I love that song. And that was their third single. And I was convinced that they released that as a single because I was telling all my friends in like third grade how great a song it was. I influenced the marketing strategy of an Australian band. Yeah. They're like, all right, who's our in in San Francisco? Is this kid? This eight-year-old. All right, this first song is Runway by Lady Gaga and Dochi. Runway to San Francisco. I can turn a dance floor into a runway. Turn it up, jump out of me. Runway to San Francisco. It's all about that half step. Let me tell you. All about that half step. That's really sexy whenever we go. That's a hit. That is a hit. First off. Little Friggin-esque. Friggin-esque. It's making it sexy. Yes, I would agree with that. But just taking a step back, that is a hit to my ears. If you're like, Dochi's going to be on the song and she's going to be with Lady Gaga, you know sometimes your two favorite artists get together, they come up with something, you're like, ah. I don't know what that was. That's not what I wanted to hear from them. This is exactly what I want to hear from. You were born for the runway. What a great, everything works for me. The fact that it sounds like an early disclosure track, but it's got Dochi doing her thing, rapping, and then Lady Gaga coming in sound like Gaga. I've got no nose for this. This sounds like a potential song of the spring, if not maybe the song of the summer. I just looked it up. It's in the Devil Wears Prada sequel. This feels positioned to be a big, big song that we will hear. That is so interesting. I love it. I love it too. And it's funny you mentioned disclosure because we are at a point now where, I mean, genre has been meaningless for some time, but genre is so meaningless because we are the layers of origins of where the music comes from. Yes, it definitely is important to point out that it is house music. It is from the ballroom scene in New York in the early 80s. And it comes out of Chicago. That lineage is really important, and I don't want it to get lost. So let's remember that. And let's also add to it that by the early 90s, this was the sound of besides it still being underground house that becomes more mainstream as we've talked about on Madonna with Vogue in around 1990, and that goes into 1992 with Show Me Love. All of that is in this song, the history of house music, the history of dance culture is there, but it's also a little bit RuPaul, right? I'm also like hearing a little bit of RuPaul live. Oh, absolutely. That's my first thought was this is drag. It's very drag. Yeah, I think that's why I'm thinking of the ballroom stuff where it has its origins. But then you mentioned disclosure, because that was an earlier revival, and it wasn't that long ago, but it was... It was only about 12 or 14 years ago. But it was also 14 years ago. So now we're getting these recurrences of sound that come even more frequently. I've lost track of how many time periods I just mentioned, maybe four or five, but... Because I think it's continuous. I think it is never completely broken off. Like when I was first starting to DJ outside of the world of hip hop, everybody would call this some form of deep house, you know what I mean? And then around 2007, 2008, because of the chorus. The chords are so sexy, and they're dripping in this. Oh, I love it. I love this track so much. I happen to look it up. Andrew Watt is the guilty party here. He co-produced this track alongside Bruno Mars, Circuit, and Dernst de Mille in Mille II. So shout out to that A-plus team. That's a hip-making crew, yeah. That is a hip-making crew. This is a great song, and I think we're gonna hear a lot of this in the spring and summer. Andrew Watt is one of the hottest producers of the past decade, for those who don't know. He was producer of the year in 2021, and he was nominated in 2025 for Best Original Song for Phil and John Song, it looks like. But he's worked with Bieber, he's worked with Post Malone, Miley Cyrus, let's see the Stones, Paul McCartney. He worked with Ozzy, I remember seeing footage of him working with Ozzy and feeling like, oh man, this guy has the greatest life. He's got a great career. That he's working with Ozzy and Iggy Pop, two of my heroes, and two episodes that we did last year, go and check those out. But hats off to Andrew Watt. Are you gonna check out Iggy Pop and are you gonna check out Iggy at Coachella? He's there. Is he on Sunday? I can't remember, I of course want to. I think he's on Saturday, actually. Are you sure? Let's see, I think he's Sunday, no, he's on Sunday. Oh, is he Sunday? Okay, I hear it's a great show. Literally, he is why, if I'm not too burned out from having gone all day, because we're gonna drive there and drive back, if I have the energy to drive back, I might have to even do it by myself, but I might have to do it just for Iggy Pop on Sunday. He's like 78, right? He's like up there. He's 78, and he's still doing it. And he still puts on a hell of a show. He's moving, he's on stage moving. We did that episode this year, and Iggy Pop has been my kind of hero in the background for a while. Like I've always been like, well, Bowie's my guy and Prince is my guy. I've kind of had these prominent figures that to me are like the be all end all. But after we did that episode, I realized, man, Iggy, he's kind of my guy. He's up there. Maybe Iggy's my guy even more than the others, because he is 78 and still going. That's really incredible. It's in his blood, being a musician, being a performer. And I just hope that we all have the capacity to keep emoting and creating into our late 70s and early 80s the way he is. Crazy, yeah. Him and Cher, can you imagine? They have more energy than most 20 year olds. Didn't you see, you saw Cher perform right at SNL? Yeah, I saw Cher at SNL 50, and you would not think that was a 70 year old lady. We didn't think so watching it at home on TV, but did you feel the aura and the charisma in the way? 100%, it wasn't in the front row or anything. I was like halfway back in the theater, and everybody was just like, that's a star. That's a star, a star is a star. She shines bright. How old is Cher now? I think she's 78, that's what made me think about it. Oh, wow. She's about to age. All right, they're in good company, and isn't Chuck Schumer almost also 78? Where are we talking about 78 year olds the other day? Chuck Schumer, keep your shirt on. Chuck, keep your shirt on. All right, and let's do one more. This is The Earth by Earl Sweatshirt. This is a little more than I want and I leave it. We all tell the time and I'm gonna leave it. I'm gonna fold them, I throw them on the crease. Wake up, it's more than 40, see me? But roll the crumb with the pieces. Here's the thing, I always feel a little bit like the old guy in the room when it comes to Earl because I think that, on the one hand, if I'm driving down the street, why is driving, I think it goes back to the fact that I got my driver's license early on. Really, my car was my music box, like no matter whether it was my old beat up Honda, as a teenager or whatever I drive now, it's always my area, you can zone out. I feel like driving in traffic and in the shower, the two places you can zone out and really just focus on music in a weird way. Just vibe, just embody the emotional content of what music is. 100%. It's a friend of mine once said that it's where the conversation's complete. The car? Yeah, because the windows are rolled up or maybe they're rolled down, but there's nothing going on except for the music and you and the road ahead. In that sense, I love this song. I can't wait to get out and play it when I'm in my car, when I'm driving. That said, I always feel like a little bit of an older guy because I'll put it to you basically like this. When I saw the movie Spring Breakers, it was the first time that I saw people party on a beach. If you remember that movie, it starts with a drum and bass song, I think it's a Skrillex song. That's Harmony Curran movie? Yeah, yeah, I remember that. That was great. It starts with the Skrillex song and the kids are on the beach and it's in super slow mo and they're all freaking each other and dancing. I remember that was the first time. It's a vibe, right? It's a vibe. It was the first time I ever saw something like that and didn't think, oh, I want to go there, but instead thought, man, where are their parents? That was the first time. That was when I crossed the Rubicon of age in terms of stuff. You went somewhere different with that, yeah. Yeah, when I hear this music, on the one hand, I'm like, this is cool, but then I'm also thinking, you know what, I'm too old for this because I, you know, like I would be, if I was living in the environment and in the vibes that he's creating, I'd be like, dude, where are your children and why are you not at work? It's just a certain level of like, I'm just a little too old to participate. It's a matter of participation. I can do it in my car when I'm driving and I'm viving out, but I can't do it if I was at a party and this song was on. Like I'd be like, it's time to go home. I totally get what you're saying. To build on what you're saying, I hear two things also. Where I thought you were about to go is, first of all, the song is more of a vibe and I think vibeiness has been around for a long time, like mood, music, or, you know, maybe it would have been the Brian Eno in the 70s kind of ambient, like the idea of sound being more prominent than direct lyrical storytelling or even rockin' out or even dancing. Like this is more, there's a story being told, but you're talking about driving with your car and I totally get it, because you're kind of awash in what this, you're being bathed in the sound. I feel like we had an episode where you described, we had a guest and you were describing like a warm sound bath, right? Do you remember that? It's probably Lil John or one of the episodes with an Atlanta producer because- I think that's what it was. It could have been Brian, Alexander Morgan, and one of those producers. But there's something about like, R&B and- It's just a sonic experience. And 808, it's almost like, I joke that it was the black man's massage. Because like, you can literally turn up that bass enough where you just feel like, oh. And how is that feeling? You're, it's hard to find language, but that's fun. It's fun that it's hard to put your finger on it. Maybe we don't need to. Because I think the musical experience, as you're describing it, and as I'm hearing this, it is more about a vibe than it is, and that's enough. Like it's giving you an emotional umami a little bit. You know what I mean? It's good, it's bad, it's happy, it's sad, but it's feelings. So, and that's coming from the wash of sound. It's obviously got a very minimal beat. It's got progression, there's no progression. It's just a one bar loop of sound that's hypnotic, as a result of its repetition. So it's really putting you in kind of a trance. And then the second part of what you were saying about maybe feeling like a generational divide, right? Or feeling like, and I totally get, that's a great example. Spring Breakers, I remember watching and seeing, if I had seen that five years earlier, I would have been like, this looks fun, let's go fuck shit up. And then I was watching it and I was going, I'm afraid of the future. I'm afraid of the young people, where things are going, does not look good. It's like watching Euphoria, right? Like you show like that, you're like, oh man, things are not looking good for the future. So I totally get what you mean there too. The kids are not all right. And also we've lived in different times because, I came up during the era of the chronic, which probably drove my brother, who's more of a grass era pot enthusiast. You know, the idea of smoking strains of marijuana that could be labeled the chronic was probably insane to him. Similarly, these kids are growing up at a time of essentially legal marijuana. And so I feel like they're just in a different place than I typically am when I come for music, which is why I gravitate towards sort of more, I guess you'd have to call it mainstream hip hop, to a certain extent, more mainstream pop sounds, experimental dance sounds, but still within sort of a pop framing. I'm not looking for necessarily the same kind of thrills that Earl is looking for, because he's probably 20 years younger than me. You know what I mean? So like it's just- That's a really interesting point about the marijuana factor. Right, the legality of weed factor. Legal marijuana, I think, has totally changed the way people consume hip hop. We were talking a little bit earlier on this Patreon about how people consume music. Let's talk about how they consume just the genre of hip hop. It's so different, just the idea of sitting at home and completely maxing out in an ethnically diverse setting. Like that wasn't really what, I mean like hip hop was in my era more about going to the club, there was still tons of weed smoke, but like building in the basement was more for the artist. I'm getting a little bit into sort of like the south versus the north and the east versus the west, but yeah, I think hip hop as a genre has been greatly affected by the proliferation of states that have legal marijuana. And it's led hip hop creatively in a direction that I don't necessarily follow, because I don't smoke that much. And there's obviously, there was the chronic, there's the dreight, there was the be real, there's the cypress, there wasn't an absence of marijuana, but it was a different energy maybe and a different equity and a different legality. Different strains of the drug, yeah. Absolutely. That's so interesting, wow. I like that. Where's my Lipitor Rap? That's what I wanna know. Well look, that's all for this week. Again, thank you for subscribing to our Patreon and please share with all your friends and your fellow music nerds. Every subscriber helps us bring more stuff to y'all. That's right, and keep your eyes peeled for an announcement very soon for our first ever Hangout with Patreon subscribers. And if you wanna join the hang, subscribe to our $10 tier, $10 tier. Difficult to say even once to get the invite. We'll be back next week with more news, more music, and more breakdowns, and feel free to drop in to the comments if there's anything you want us to cover, or if you just wanna weigh in on how we did. All right guys, thanks for joining. We will see you next week.