transcript

Speaker 1:
[00:00] Hey, guys, welcome to One Song. And this is actually a very special episode because Luxxury 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 Apotec by Bruno Mars and Rosé. So there's a lot going on.

Speaker 2:
[00:32] 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 wanted to do it forever, and we finally done it. So please go over and join now. It's patreon.com/dialloluxury. That's right. patreon.com/dialloluxury.

Speaker 1:
[00:48] 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.

Speaker 3:
[01:05] The 2026 Chevy Equinox is more than an SUV. It's your Sunday tailgate and your parking lot snack bar. Your lucky jersey, your chairs, and your big cooler fit perfectly in your even bigger cargo space. And when it's go time, your 11.3-inch diagonal touch screens got the playbook, the playlist, and the tech to stay a step ahead. It's more than an SUV. It's your Equinox. Chevrolet, together let's drive.

Speaker 4:
[01:33] K-Pop Demon Hunters, Saja Boys Breakfast Meal and Huntrix Meal have just dropped at McDonald's. They're calling this a battle for the fans. What do you say to that, Rumi? It's not a battle.

Speaker 5:
[01:43] So glad the Saja Boys could take breakfast and give our meal the rest of the day.

Speaker 6:
[01:47] It is an honor to share.

Speaker 4:
[01:49] No, it's our honor.

Speaker 7:
[01:50] It is our larger honor.

Speaker 8:
[01:52] No, really. Stop.

Speaker 4:
[01:54] You can really feel the respect in this battle. Pick a meal to pick a side.

Speaker 6:
[02:01] And participate in McDonald's While Supplies Last.

Speaker 1:
[02:04] Hey, y'all. Welcome back for another bonus Patreon episode with Diallo and Luxxury.

Speaker 2:
[02:11] More of us.

Speaker 1:
[02:11] We're saying boo-yah now?

Speaker 2:
[02:13] Oh, sorry.

Speaker 1:
[02:15] We did say boo-yah then, too.

Speaker 2:
[02:16] Boo-yah. When is boo-yah? Boo-yah is definitely, there's a framing of in time when that began and ended, and it's been a while.

Speaker 1:
[02:22] In the 90s, man. That was good times.

Speaker 2:
[02:25] 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 Diallo & Luxury. This week, we're talking about Coachella. Weekend one, we're going to have reactions to a divisive or perhaps a divisive new band. I actually don't know how to pronounce that word.

Speaker 1:
[02:44] You're so mature.

Speaker 8:
[02:45] You're so mature.

Speaker 2:
[02:47] We'll be listening to some new music. That's what we do on this thing, Diallo & Luxury.

Speaker 1:
[02:50] That's right.

Speaker 2:
[02:50] It's an extra hour of us.

Speaker 1:
[02:52] That's right. If you like what we're doing here, please share with your friends, and every subscriber helps us produce more episodes, more interviews, and more content for you guys.

Speaker 2:
[03:01] 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 going to 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. We really appreciate it.

Speaker 1:
[03:23] That's right. That's right. All right, first up, we have to talk about Coachella Weekend One Luxury. You'll be there next week. I'm so jealous because I don't think I'm going to make it out to the desert this year. Did you watch any of the performance this weekend? Are you going in blind like, hey, come on, surprise me?

Speaker 2:
[03:39] 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 definitely going Saturday. I won't be able to go Friday. And then if Saturday was too much fun, I'll go Sunday. But Saturday, I'm definitely excited for the strokes. That is a reason to go, period. Interpol, Boys Noize, and frankly-

Speaker 1:
[04:07] I love that Interpol is back. I saw Interpol when they did it in 2004, somewhere like a long, 2003 maybe, a long time ago, back when it was still like, I think, $50 a ticket.

Speaker 2:
[04:17] I've never seen them, so I can't wait to finally see them. It'll be amazing.

Speaker 6:
[04:21] Wait, I take that back.

Speaker 2:
[04:22] 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 on the shore anymore.

Speaker 1:
[04:32] That makes sense. Back when it was just a one-weekend affair, I saw them perform on a Sunday. And to hear, turn on the bright lights on a Sunday as the sun was going down in the desert was really, really beautiful. That kind of reminds me of how much Coachella has changed. I've said many times, I was there from 1999, 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 Daft Punk came out.

Speaker 2:
[05:05] And I was there, and you would have met me, and life would have changed forever.

Speaker 1:
[05:08] 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 Sombra's Music...

Speaker 2:
[05:21] For younger listeners, that's from Smashing Pumpkins, yes.

Speaker 1:
[05:24] Yeah, Billy Corgan from Smashing Pumpkins. I really like Sombra's 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. The same thing happened to Blurr last year.

Speaker 2:
[05:44] Oh yeah, people weren't feeling it. Yeah, they only knew TikTok snippets, the younger crowd.

Speaker 1:
[05:48] It's a generational thing. The people who would get excited about Blurr aren't at Coachella anymore. They're at home, you know, smoking their ankles, trying to get their joints to hurt less.

Speaker 2:
[05:58] I'll be honest with you, I might not go, were it not for the fact that, I'm 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 son, and for him-

Speaker 1:
[06:13] That's like the entire compensation package at this point.

Speaker 2:
[06:16] Basically, it's what I'm earning from KCRW, no shade. But basically-

Speaker 1:
[06:21] No, I mean, listen, that's like a $5,000 free parking at Coachella.

Speaker 2:
[06:24] 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.

Speaker 1:
[06:30] That's awesome.

Speaker 2:
[06:30] And we're gonna go see Pink Pantherous together, because we're both fans of that. The concern that I have-

Speaker 1:
[06:35] Pink Pantherous, let's go.

Speaker 2:
[06:36] Oh my god, I cannot 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, it could backfire in terms of his- look, not his taste, his taste is inoculate. But there are 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.

Speaker 1:
[07:08] Are there any other people that you haven't ever seen that you think, oh, I'm going to try and pop my head in?

Speaker 2:
[07:13] 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.

Speaker 1:
[07:23] Yes, you've mentioned them on the show.

Speaker 2:
[07:24] I've done a One More Song with them. They're great. They're kind of like, yeah, yeah, yeah's needs.

Speaker 1:
[07:31] I like them a lot.

Speaker 2:
[07:32] What do they call it? Oh my God. I'm spacing on the Australian punk rock girl's name. Ammo, Ammo and the Sniffers. They're kind of like a cross between those two. Super, 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. I'm going to check both of those artists out with my son, hopefully. Then I got to say, I'm kind of pumped for Bieber. I'm kind of pumped for headliner Justin Bieber. Like, that's kind of dope.

Speaker 1:
[08:06] I did not see that one coming.

Speaker 2:
[08:07] That's kind of dope to me. Well, do you know what he's been doing? Have you seen what he's been doing?

Speaker 1:
[08:10] 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 and a lot of the tastemakers and influencers, they go the first week in, 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 week. 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.

Speaker 2:
[08:45] It's like YouTube Premium or Twitch. Yeah, he's basically like Twitch streamer. He's like W in chat, it's all kinds of chat streaming.

Speaker 1:
[08:54] He's Kaizen Att on stage and you just feel like you're in a basement hanging out with Justin Bieber while he's just like surfing through some of his videos.

Speaker 2:
[09:01] 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.

Speaker 1:
[09:06] That was the part that got people talking. I guess some people didn't love it, but to a person, 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 this breaking point, not breaking point, that sounds bad, but they've just never seen that many people try to get to the main stage.

Speaker 2:
[09:27] And I think that's part of what happened with the Strokes on the set, is that they're sharing the stage. There's what five, six stages, I forget, but there were people camped out for Bieber 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 a lackluster performance, but it's a give and take. It's 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 Strokes. So I'll be the Strokes fan in the front row going, yeah, just like that, just one.

Speaker 1:
[10:04] 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 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, oh, that's too busy over there, I can't see.

Speaker 2:
[10:26] 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, it's not ex, Bieber is like 30 something now. So his fan base isn't exactly like Gen Z.

Speaker 1:
[10:36] They're not whippersnappers, but they're still young enough to be there.

Speaker 7:
[10:38] They're the youngest millennials.

Speaker 2:
[10:40] Yeah, they're millennials.

Speaker 1:
[10:41] I think they're technically the youngest of young, young millennials in Gen Z.

Speaker 2:
[10:45] 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 head.

Speaker 1:
[11:02] I hear that's a great show. I hear that he has some amazing visuals. One group that I think we share that if I was going, I'd definitely check out is Nine Inch Noise.

Speaker 2:
[11:12] Oh, hell yeah. Which is Boys Noise and Nine Inch Nails. Wait, what night is that on? Because I can't remember. I remember wanting to see it, but I don't know if they're-

Speaker 1:
[11:18] I thought that was Saturday.

Speaker 2:
[11:19] Is it Saturday?

Speaker 1:
[11:20] I'm the wrong person to ask.

Speaker 2:
[11:21] 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.

Speaker 1:
[11:39] 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.

Speaker 2:
[11:54] It's not over. It's not over. It's not over until it's over. Maybe we'll be doing Bob Baker's Marionettes next year.

Speaker 1:
[12:03] We'll have the puppet rave going.

Speaker 2:
[12:04] Yeah.

Speaker 1:
[12:06] I'll say the most embarrassing thing I felt for Billy Corgan was when he came out. Some people were like, it's Billy Corgan and the Smashing Pumpkins. Billy did the Jesus hands out like, here I am.

Speaker 2:
[12:19] Yeah.

Speaker 1:
[12:19] Nobody cared. The response was muted. The response was like, hey.

Speaker 2:
[12:24] Poor Billy.

Speaker 1:
[12:25] He's sitting there like Jack.

Speaker 2:
[12:27] He was expecting a big Jesus moment.

Speaker 1:
[12:31] Yes. He's Jack standing at the bow of the Titanic. It didn't really.

Speaker 2:
[12:36] I was picturing a giant Jesus at the top in Rio de Janeiro, like that giant statue.

Speaker 1:
[12:41] He did that pose and it's classic Billy.

Speaker 2:
[12:47] Listen.

Speaker 1:
[12:47] If you're following this show, have a lot of empathy. You can't just do a Billy Corgan segment every single time.

Speaker 2:
[12:52] 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 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.

Speaker 1:
[13:13] And the amount of talent and great songs, great songs primarily from the 90s, but great songs.

Speaker 2:
[13:18] But there's still a neediness that we pick up on.

Speaker 1:
[13:22] Yes.

Speaker 2:
[13:22] Yes.

Speaker 1:
[13:24] 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.

Speaker 2:
[13:32] But Billy, we love you. There's enough love for you.

Speaker 1:
[13:34] Billy, come on the show. We will give you the attention.

Speaker 2:
[13:38] Not only is there, oh my God, not only did we-

Speaker 1:
[13:40] We might give you a hard time though. You said some stuff. We might give you a hard time too.

Speaker 2:
[13:43] 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? Cherub Rock. 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, 1979 episode, one of these days. Cause that is Diallo's favorite song. We will get to it, we promise.

Speaker 1:
[14:12] Oh, my favorite smashing is still Tonight Tonight.

Speaker 2:
[14:15] Okay, maybe we'll do three. I would do that.

Speaker 1:
[14:18] 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-

Speaker 2:
[14:27] By the way, do you think that Billy Corrigan is actually the long-lost brother of Bill Burr?

Speaker 1:
[14:33] Bill Burr? I mean, they don't seem to dispute it as much as you would think, so who knows?

Speaker 2:
[14:38] 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?

Speaker 1:
[14:55] The dates kind of line up is pretty crazy.

Speaker 2:
[14:57] The caustic, abrasive rage for no real reason.

Speaker 8:
[15:01] With all the success.

Speaker 1:
[15:02] My dad was a vampire.

Speaker 8:
[15:04] Yeah, my dad.

Speaker 2:
[15:06] All right, next up, we're going to talk about interpolation. How have I not done that yet? How have I not done that yet on the Patreon? 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 for. 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, Apata, not Apartment, not APT, but Apata, 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 Basil 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.

Speaker 1:
[16:15] So Racy did Kitty, but Tony did Mickey. Right.

Speaker 2:
[16:19] It's so funny. I mean, and it's virtually a cover to the tune of Mickey being 100 percent credited to Chapman and Chin, the 70s songwriting and production do, who did a lot of hits for a lot of the glam rock bands.

Speaker 1:
[16:34] Yeah.

Speaker 2:
[16:34] I think they also work with-

Speaker 1:
[16:35] You can hear the glam rock in Mickey.

Speaker 2:
[16:37] It's a lot of glam rock. 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 Appata 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. 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 from history. They're erased from the story, which I have a problem with.

Speaker 1:
[17:38] Well, I think it's also like this, 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 a thing that hip-hop did over time, pop started doing it more.

Speaker 2:
[18:08] Right.

Speaker 1:
[18:09] And you see it in so many pop songs. We've talked about this, you know, in relation to how Beyonce and other artists will sort of go out of their way, even if they're writing sideways from somewhere else, they'll go out of their way to reach out to the songwriters.

Speaker 2:
[18:22] Exactly. And almost over credit them just to make sure, yeah.

Speaker 1:
[18:26] If you think for even a second that that person might think that we were thinking about their song, we're going to reach out in advance and just go out and...

Speaker 2:
[18:33] Head you off at the past there, yeah, for sure.

Speaker 1:
[18:35] Yeah. 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.

Speaker 2:
[18:50] It doesn't make any sense at all. It doesn't make any sense at all.

Speaker 1:
[18:55] We don't think it makes a lot of sense.

Speaker 2:
[18:58] What is the logic behind it? Is it to conserve statuettes? They only have so many to give out?

Speaker 1:
[19:04] There's only so much gold.

Speaker 2:
[19:06] Right, there's only so much.

Speaker 1:
[19:06] We move away from the gold standard during the Nixon years. No, but somebody says something really interesting about this. His name is Justin Schuchat. 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, it used to all be radio and hard copies of vinyl and CDs, but now it just might be a 30 second snippet that you hear on TikTok, and you want to have something familiar pop up at the 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.

Speaker 2:
[20:09] 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 will 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 rein 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 going to have permission. They're going to 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 going to have to clear this, how much we're going to give up, if they're even going to do it. So 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 they're like, well, we better clear this. And Primary Wave fans, the writers, gave them the thumbs up. So credit to them for doing that.

Speaker 1:
[21:22] The credit to them. I always say that we're fans of the way that I think Bruno and Anderson Paak and other people do business. And I actually want to give props to the publishing companies, like Primary Wave, for making sure that the artists, because think about it. Sometimes you're interpolating an artist who never saw big money. It might be like some old black blues guy or some 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 that went less recognized back then to get some recognition now.

Speaker 2:
[22:01] Yeah. And Chapman and Chin, like we said, go back and check out their Cadillac. 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 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.

Speaker 1:
[22:20] And this is about the recognition, man.

Speaker 2:
[22:22] Yeah. And the statuette, which apparently they only have so many of to give out.

Speaker 1:
[22:26] So Unsung Heroes, I guess you could say, Unsung Heroes, the not always recognized songwriters who had the original thought.

Speaker 2:
[22:34] Absolutely.

Speaker 8:
[22:38] Kayak gets my flight, hotel and rental car right. So I can tune out travel advice that's just plain wrong.

Speaker 7:
[22:44] Bro, Skycoin, way better than points.

Speaker 4:
[22:48] Never fly during a Scorpio full moon. Just tell the manager you'll sue.

Speaker 9:
[22:53] Instant room upgrade.

Speaker 8:
[22:55] Stop taking bad travel advice. Start comparing hundreds of sites with Kayak and get your trip right. Kayak, got that right.

Speaker 9:
[23:05] So you're saying with Hilton Honors, I can use points for a free night stay anywhere?

Speaker 8:
[23:10] Anywhere.

Speaker 9:
[23:11] What about fancy places like the Canopy in Paris?

Speaker 8:
[23:13] Yeah, Hilton Honors, baby.

Speaker 9:
[23:15] Or relaxing sanctuaries like the Conrad and Touloume?

Speaker 8:
[23:18] Hilton Honors, baby.

Speaker 9:
[23:21] What about the five-star Waldorf Astoria in the Maldives? Are you gonna do this for all 9,000 properties?

Speaker 5:
[23:27] When you want points that can take you anywhere, anytime, it matters where you stay. Hilton, for the stay. Book your spring break now.

Speaker 8:
[23:35] Flowing ad budget on metrics that look great till the CFO sees them? That's bull spend. And marketers are calling it out. In. Dashboard.

Speaker 7:
[23:44] Confessions. I remember telling my boss, it'll be good for the brand when leads were slow. Yeah, it wasn't.

Speaker 8:
[23:52] Cut the bull spend.

Speaker 4:
[23:53] LinkedIn lets you target by company, job title and more. Advertise on LinkedIn.

Speaker 8:
[23:59] Spend $250 on your first campaign and get a $250 credit. Go to linkedin.com/campaignterms and conditions apply.

Speaker 6:
[24:06] Go further with the American Express Business Gold Card. Earn three times membership rewards points on flights and prepaid hotels when you book through mxtravel.com. Whether your destination is a business conference or a client meeting, your purchases will help you earn more points for future trips. Experience more on your travels with MX Business Gold. Terms apply. Learn more at americanexpress.com/businessdashgold. MX Business Gold Card. Built for business by American Express.

Speaker 2:
[24:37] 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, how do Americans say it? Angine De Poitrine, De Poitrine, Angine. I think it means chest pain or chest, it's like, it's kind of an ailment, which is funny.

Speaker 1:
[24:58] 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?

Speaker 2:
[25:12] 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 lay down a bass line and then play guitar on top of that. And soon he will be reversing the formula so that you will just hear the looping guitar as he changes the bass line. Oh, now he is 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 prog 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 does remotely justice what there is on display here.

Speaker 1:
[27:10] Well, you know, the first time I saw Reggie Watts perform, you know, he was using the pedals and doing the loops and stuff. So, you know, the technical part of it is amazing. And, you know, really, really cool. And I love it for being openly and you could say aggressively artistic. It's aggressively artistic.

Speaker 2:
[27:34] It's aggressively artistic, right.

Speaker 1:
[27:36] I got to say, it's still a nightmare for me. Like, yeah, the appearances and the noses, like it's all, it's going to 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.

Speaker 2:
[27:53] 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 dropping singles for the rest of my life, one or two a year, I can still arguably call myself an artist, a musician. But my point is, their backstory is that they were doing it for years and not breaking through. 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-

Speaker 1:
[28:44] That's what I got by with.

Speaker 2:
[28:45] 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 percent of my time, maybe 99, not being a musician, right? I mean, I'm an extreme case because maybe I've 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.

Speaker 1:
[29:25] 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 percent 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.

Speaker 2:
[29:45] To break through, to get seen.

Speaker 1:
[29:47] With the explosion of everything on streaming, and you still have cable and traditional broadcasts, and you still have people's phones, and just the fact that they don't always have to turn to a TV show to laugh. They can pull up TikTok and follow Drusky, who's amazing.

Speaker 2:
[30:03] I can't stop watching Drusky clips.

Speaker 1:
[30:06] That's their 30-minute commitment. They'll just watch Drusky 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, you know, I think I see two men in this video. We don't even know if it's a man or a woman or anything. We just, they're anonymous musicians. And we know that they're Canadian.

Speaker 2:
[30:30] Oh, they're Canadian. For some reason, what? I was going to say, for some reason, I thought they were French. And then I was like, oh, right.

Speaker 1:
[30:35] Because they are Quebecois.

Speaker 2:
[30:37] Quebecois. That would explain everything. That explains a lot, actually.

Speaker 1:
[30:42] Listen, I love the absurdist look. After Daft Punk, 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 Daft Punk as some other people have, I feel, sort of, aped things very similar to the robot helmets. But listen, I think the other thing is that like, do you like prog rock? I think you love prog rock, wouldn't you say?

Speaker 2:
[31:14] 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, you know, 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. It's not to say that they won't have a second act and figure out how to build on their breaking through, right? But just personally, I enjoyed this. It kind of like goes back to what we were saying about the Bieber, the Gen Z generation. Like, 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. You know, I kind of think of bands like Vulfpeck, who have a wide audience, and like, 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 like very technically impressive, but like, I'm good with the clip and then I'm gonna find a song, or then I'm gonna find a groove or something else. So, that's it.

Speaker 1:
[32:37] I think it's interesting. I mean, like, I don't know what necessarily defines prog rock. This might be math rock, but the idea that like, I hear like a lot of changing time signatures, like this is not four on the floor, you know, Neo Disco. Like this is very like sort of, you know, interesting. It's almost like Rush, which I guess is classic prog rock. You know, in the sense of like the time signature is a little intentionally wonky.

Speaker 2:
[33:04] Yeah. I haven't listened to enough of this band to know if they, and it's a great question. When does it become prog?

Speaker 1:
[33:09] I think you're right. I think it's math rock, and I think math rock sort of speaks to that.

Speaker 2:
[33:14] The line between math rock and prog is very fuzzy. I think math rock is intended to update prog and be more modern, you know, 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. It came after, it's what 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.

Speaker 1:
[34:00] Yeah, I think we support this.

Speaker 2:
[34:02] 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?

Speaker 1:
[34:14] 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.

Speaker 2:
[34:25] 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.

Speaker 1:
[34:46] You can 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.

Speaker 2:
[34:52] 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, like 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 loved that song. And that was their third single, and I was convinced that they released it 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.

Speaker 1:
[35:35] Yeah. They're like, all right, who's our in in San Francisco? It's this one.

Speaker 2:
[35:41] This eight-year-old.

Speaker 1:
[35:42] All right. This first song is Runway by Lady Gaga and Dochi.

Speaker 2:
[35:56] It's all about that half step.

Speaker 1:
[35:58] Let me tell you.

Speaker 2:
[35:59] That half step. That's really sexy whenever we go.

Speaker 1:
[36:01] That's a hit. That is a hit. First off, that title.

Speaker 2:
[36:06] Frigian-esque. It's making it sexy.

Speaker 1:
[36:10] Yes, I would agree with that. But just taking a step back, that is a hit to my ears. That is, if you're like, Dochi is 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, 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 and sounding 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 would hear.

Speaker 2:
[37:02] It's 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 vibe.

Speaker 1:
[38:01] Oh, absolutely. Actually, my first thought was this is drag.

Speaker 2:
[38:05] 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-

Speaker 1:
[38:17] It's only about 12 or 14 years ago.

Speaker 2:
[38:18] 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.

Speaker 1:
[38:29] Because I think it's continuous. I think it's never completely broken off. 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? Around 2007, 2008. Because of the chords. The chords are so sexy and they're dripping in this. 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, Emile II. So, shout out to that A plus team. You guys-

Speaker 2:
[39:08] That's a hit making crew, yeah.

Speaker 1:
[39:09] That is a hit making crew. This is a great song and I think we're gonna hear a lot of this in the spring and summer.

Speaker 2:
[39:15] 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. He was nominated in 2025 for best original song for film. 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.

Speaker 1:
[39:43] He's got a great career.

Speaker 2:
[39:43] That he is 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.

Speaker 1:
[39:53] Go check out Iggy Pop and Iggy at Coachella.

Speaker 2:
[39:55] Is he on Sunday? I can't remember. I, of course, want to.

Speaker 1:
[39:57] I think he's on Saturday, actually.

Speaker 2:
[40:00] Are you sure? Let's see. I think he's Sunday. No, he's on Sunday.

Speaker 1:
[40:02] Is he Sunday? Okay. I hear it's a great show.

Speaker 2:
[40:06] Literally, he is why, if I'm not too burned out from having gone all day, because we're going to drive there and drive back. If I have the energy to drive back, I may have to even do it by myself, but I might have to do it just for Iggy Pop on Sunday.

Speaker 1:
[40:19] He's like 78, right?

Speaker 2:
[40:20] He's 78, and he's still doing it.

Speaker 1:
[40:22] And he still puts on a hell of a show. He's moving. He's on stage moving.

Speaker 2:
[40:26] We did that episode this year, and Iggy Pop has been my kind of hero in the background for a while. 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 the be all, end all. But after we did that episode, I realized, man, Iggy's kind of my guy.

Speaker 1:
[40:42] Iggy's up there.

Speaker 2:
[40:43] Maybe Iggy's my guy even more than the others, because he is 78 and still going. Like, that's really incredible. Like, he is so, 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.

Speaker 1:
[41:04] Crazy, yeah. Him and Cher, can you imagine? They have more energy than most 20-year-olds when they get up and perform to this point.

Speaker 2:
[41:10] Didn't you see, you saw Cher perform right at the SNL.

Speaker 1:
[41:12] Yeah, I saw Cher at SNL 50, and you would not think that was a 70-year-old lady at all.

Speaker 2:
[41:16] We didn't think so watching it at home on TV, but did you feel the aura and the charisma in the room?

Speaker 1:
[41:21] 100%. It wasn't in the front row or anything. I was halfway back in the theater, and everybody was just like, that's a star. She shines bright.

Speaker 2:
[41:32] How old is Cher now?

Speaker 1:
[41:33] I think she's 78. That's what made me think about her.

Speaker 2:
[41:35] Oh, wow.

Speaker 1:
[41:36] She's about Iggy's age.

Speaker 2:
[41:37] All right, they're in good company, and isn't Chuck Schumer also 78? Where are we talking about 78-year-olds the other day?

Speaker 1:
[41:42] 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. So 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, I think it goes back to the fact that I got my driver's license early on, and 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. But it's always my area. You can zone out. I feel like driving in traffic and in the shower are the two places you can zone out and really just focus on music in a weird way.

Speaker 2:
[42:41] Just vibe, just like embody the emotional content of what music is.

Speaker 1:
[42:46] A friend of mine once said that it's where the conversation is complete. You know, like it's...

Speaker 2:
[42:51] The car?

Speaker 1:
[42:52] Yeah, because the windows are rolled up or maybe they're rolled down, but like there's nothing going on except for the music and you and the road ahead. And 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, you know, 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 that's a Squirrel X song.

Speaker 2:
[43:28] That's a Harmony Currin movie?

Speaker 1:
[43:29] Yeah.

Speaker 2:
[43:29] Yeah, yeah, I remember that. That was great.

Speaker 1:
[43:31] It starts with the Squirrel X song and the kids are on the beach and it's in super slow-mo and they're all, you know, freaking each other and dancing and I remember that was the first time.

Speaker 2:
[43:41] It's a vibe, right? It's a vibe.

Speaker 1:
[43:42] That 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? Like, that was the first time. That was when I crossed the Rubicon of age in terms of stuff.

Speaker 2:
[43:56] You went somewhere different with that, yeah.

Speaker 1:
[43:58] 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 vibing 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.

Speaker 2:
[44:30] 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 vibiness has been around for a long time, like mood, music, or 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 rocking 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 a wash 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?

Speaker 1:
[45:13] There's probably a Little 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 808, it's almost like, I joked that it was the black man's massage. Because you can literally turn up that bass enough where you just feel like, and that feeling.

Speaker 2:
[45:37] 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. 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. That's coming from the wash of sound. It's obviously got a very minimal beat. 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, like if I had seen that five years earlier, I would have been like, this looks fun. Let's go punch it up. And then I was watching it and I was going like, I'm afraid of the future. Like I'm afraid of the young people where things are going does not look good. It's like watching Euphoria, right? Like it's so like, you're like, oh man, things are not looking good for the future. So I totally get what you mean there too.

Speaker 1:
[46:40] The kids are not all right. The kids are not all right. And also we're living, 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. 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 are, 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...

Speaker 2:
[47:40] That's a really interesting point about the marijuana factor. Right, the legality of weed factor.

Speaker 1:
[47:45] Legal marijuana, I think, has totally changed the way people consume hip hop. We're 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 like sitting at home and completely maxing out in an ethnically diverse setting. That wasn't really what... Hip hop was, in my era, more about going to the club. There's still tons of weed smoke, but building in the basement was more for the artists. I'm getting a little bit into 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. It's led hip hop creatively in a direction that I don't necessarily follow, because I don't smoke that much.

Speaker 2:
[48:35] There's obviously, there was the chronic, there's the drape, 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 liquidity, and a different legality.

Speaker 1:
[48:45] The strains of the drug, yeah. Absolutely.

Speaker 2:
[48:48] That's so interesting, wow. I like that.

Speaker 1:
[48:50] Where's my Lipitor wrap? That's what I want to 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.

Speaker 2:
[49:08] That's right, and keep your eyes peeled for an announcement very soon for our first ever Hangout with Patreon subscribers. And if you want to join the hang, subscribe to our $10 tier, $10 tier, difficult to say even once, to get the invite.

Speaker 1:
[49:24] We'll be back next week with more news, more music, and more breakdowns. And feel free to drop into the comments if there's anything you want us to cover, or if you just want to weigh in on how we did.

Speaker 2:
[49:34] All right, guys, thanks for joining. We will see you next week.

Speaker 10:
[49:37] Putting off replacing your window treatments because you think it's complicated? At blinds.com, we spend 30 years proving it doesn't have to be. And right now, our Spring Black Friday Sale makes it easier than ever. Whether you want to DIY it or have a pro to handle everything from measure to install, we've got you. Free samples, real design experts and zero pressure. Just help when you need it. Shop up to 45% off-site wide. Huge savings on doorbusters. Plus a free professional measure now during the blinds.com Spring Black Friday Sale. Rules and restrictions apply.