WEBVTT 1 00:00:00.240 --> 00:00:25.760 Saphology. 2 00:00:27.440 --> 00:00:29.880 Hua. Back. 3 00:00:29.960 --> 00:00:30.480 We're back. 4 00:00:30.480 --> 00:00:31.360 It's been two weeks. 5 00:00:31.360 --> 00:00:33.400 It's been. I was very poorly. 6 00:00:33.720 --> 00:00:35.480 You want to tell everybody what was wrong with you? 7 00:00:36.440 --> 00:00:37.800 I still not right. Actually. 8 00:00:38.040 --> 00:00:40.240 Was it like full on man flu or was it. 9 00:00:40.240 --> 00:00:42.920 No, it was, it was everywhere. Everything achy. 10 00:00:42.920 --> 00:00:44.080 I don't like it when that happens. 11 00:00:44.080 --> 00:00:49.200 Yeah. All tired and then. And then chesty. Chesty cough, like. And the chesty cough is still here. 12 00:00:49.200 --> 00:00:54.760 Do you know what I don't like about that? Right. If you. I've had some really serious medical conditions. 13 00:00:54.760 --> 00:00:55.240 Yeah. 14 00:00:55.600 --> 00:00:56.640 That didn't hurt very much. 15 00:00:56.640 --> 00:00:57.560 Yeah. Yeah. 16 00:00:57.560 --> 00:01:02.200 And everybody like runs around after you and they're like, oh, you know, are you all right? 17 00:01:02.200 --> 00:01:03.280 You know. Yeah. 18 00:01:03.600 --> 00:01:07.560 But like sometimes I've had the flu and colds. 19 00:01:07.560 --> 00:01:08.000 Yeah. 20 00:01:08.320 --> 00:01:14.960 That like put me on my back. No one cares. No, they're just like, oh, just. Just go over it. Just don't. 21 00:01:14.960 --> 00:01:15.520 Yeah, yeah. 22 00:01:15.520 --> 00:01:16.120 Stop feeling. 23 00:01:16.120 --> 00:01:17.760 This was worse than that near death thing. 24 00:01:17.760 --> 00:01:32.980 It's nuts, isn't it? Yeah, it's crazy. It's like, you know, I've done. I mean, I've broken my ankle. I've broken a lot of things over the years. I knocked myself out in a race and. No, no, when you do that, everyone's like, oh, God. You know, and you. Honestly, I think I'm. I'm all right. 25 00:01:32.980 --> 00:01:33.700 I'm all right. Yeah. 26 00:01:33.700 --> 00:01:35.420 I had to hop a little bit when I broke my ankle. 27 00:01:35.420 --> 00:01:35.700 Yeah. 28 00:01:35.700 --> 00:01:38.820 That was very painful for like 10 minutes. 29 00:01:38.820 --> 00:01:39.260 Yeah. 30 00:01:39.260 --> 00:01:47.020 It swelled up and went black. And I was too. I was too manly. Read that as immature to go to the doctor. 31 00:01:47.020 --> 00:01:47.900 It's all it was. 32 00:01:47.900 --> 00:02:01.120 So I didn't go to the doctor. I just literally hopped on it for about a week and a half and it was broke and then got to a point where I was just like, actually think I might need some help to then turn up. You know when you get the nurse eye roll. 33 00:02:01.120 --> 00:02:01.400 Yeah. 34 00:02:01.400 --> 00:02:02.160 You know, you get the. 35 00:02:02.320 --> 00:02:02.720 Yeah. 36 00:02:02.720 --> 00:02:11.840 The is wrong with you? Why did you like, what. What have you been doing? And I was like, oh, hopping. Yeah, mostly. 37 00:02:11.920 --> 00:02:12.320 Yeah. 38 00:02:12.320 --> 00:02:23.860 And then she was like. She's like. And then they bring the X ray things out and they're like, you're just an absolute dickhead. She said, how did you get here? And I'm like, I drove. You're not driving home. I like that. 39 00:02:23.940 --> 00:02:24.340 Yeah. 40 00:02:24.340 --> 00:02:30.620 Anyway, that's very. That's a very manly, immature, but I don't think my generation's ever going to grow up. 41 00:02:30.620 --> 00:02:36.260 No. No. But I've, I've, I've been I don't know. Are we the same generation? 42 00:02:36.660 --> 00:02:38.820 We're just on the. You're millennial. Millennial. 43 00:02:38.820 --> 00:02:39.219 Right. 44 00:02:39.219 --> 00:02:45.780 We. And I remember I was saying this to a friend at work ages ago, that we used to take the piss out millennials. Yeah. Because, like, they were, like, young. 45 00:02:45.940 --> 00:02:46.620 Yeah. Yeah. 46 00:02:46.620 --> 00:02:54.260 And now we're like. We're taking the. You know what I mean? It's like we're all growing old and got backached together. So it's kind of like we're all together now. 47 00:02:54.260 --> 00:02:54.660 Yeah. 48 00:02:54.660 --> 00:02:57.120 Like millen. Millennials. I'm. I'm Zed. 49 00:02:57.280 --> 00:02:57.720 Yeah. 50 00:02:57.720 --> 00:03:04.800 And you're millennials, is what it is. Yeah. But only just. I think we're kind of. Yeah, because. Yeah, but we're about 10 years apart. I think we just span over the. 51 00:03:04.800 --> 00:03:07.600 I. I definitely don't do as I'm told when it comes to medical things. 52 00:03:07.760 --> 00:03:09.200 No, that's like. 53 00:03:09.200 --> 00:03:17.680 That's definitely. How did today where it's like, why don't you cancel, like, what you're doing today and then go to the walking center? I'm like, no, no, I shall. 54 00:03:17.680 --> 00:03:20.080 I'll have a. I'll have Diet Coke and I'll be fine. 55 00:03:21.360 --> 00:03:23.400 We've got our red fruit pastels and black fruit pastels. 56 00:03:23.400 --> 00:03:25.840 We have the correct fruit pastels. We have the correct diker. 57 00:03:25.840 --> 00:03:25.960 You. 58 00:03:25.960 --> 00:03:29.340 You've absolutely Bongo Cokes as well. Hidden. 59 00:03:29.340 --> 00:03:30.220 Ready for next time. 60 00:03:30.220 --> 00:03:40.540 Hidden. So for those that are new to this episode, we do this in a studio where there are musical instruments and no one ever plays the bongos in here. So we hide our tins of Coca Cola under the bongos. 61 00:03:40.620 --> 00:03:41.140 Yeah. 62 00:03:41.140 --> 00:03:48.940 And it's so cold in here. It's like they've been in a fridge, isn't it? So it's really nice, which is unusual for a studio. Normally. Studios smell of boys and sweat. 63 00:03:48.940 --> 00:03:49.620 Yes. Yeah. 64 00:03:49.620 --> 00:03:51.740 And this one is just like a. I don't know. 65 00:03:51.740 --> 00:03:53.020 It's a fridge. This is a fridge. 66 00:03:53.020 --> 00:03:56.920 It is. It's so cold in here. Yeah. So how was Christmas for you? It's after Christmas. 67 00:03:57.000 --> 00:04:02.240 Yeah. We just had Christmas, didn't we? So we are. What are we now? Boxing Day. Boxing Day. We're like, the day after Boxing. Are we now? 68 00:04:02.240 --> 00:04:04.280 I'm looking at my pads. 27th of December. 69 00:04:04.280 --> 00:04:06.040 Yeah. So that's the day after. That's like. 70 00:04:06.040 --> 00:04:11.960 Yeah. Boxing Day's 26th. So this is the day after everyone. This is kind of where reality comes back a little bit. You're still a little bit in the. 71 00:04:12.440 --> 00:04:13.480 But no one knows what day it is. 72 00:04:13.480 --> 00:04:21.830 Yeah. Don't know what day it is. Don't know what to do. But you're starting to kind of think, oh yeah. Do you know what I mean? It's creeping back in a little bit that you. Christmas is over. 73 00:04:21.910 --> 00:04:26.310 Yeah, yeah, yeah, it was good. I wasn't very well, so. 74 00:04:26.310 --> 00:04:28.390 No. Did you get any nice presents? 75 00:04:29.270 --> 00:04:31.750 I don't really get any presents. Really. Not so much. 76 00:04:31.750 --> 00:04:32.790 You don't buy yourself press. 77 00:04:32.870 --> 00:04:35.350 Yes, I do. Yeah. Yeah, yeah, that's on its way. 78 00:04:35.430 --> 00:04:36.470 Oh, you bought a watch, didn't you? 79 00:04:36.470 --> 00:04:36.790 Yeah. 80 00:04:38.230 --> 00:04:41.190 After we faffed around online last time. That's quite good. 81 00:04:41.430 --> 00:04:42.790 Yeah. Sorry to hear that then. 82 00:04:42.790 --> 00:04:47.150 Yeah. You're proper cough. A proper smoker's cough. My neighbor's got one of those. 83 00:04:47.150 --> 00:04:47.470 Yeah. 84 00:04:47.470 --> 00:04:56.910 You know, in. In the morning in the spring, like I'll get up early, the kids or will go kick them out to school and that and then I'll often. If it's sunny, like in May. 85 00:04:56.990 --> 00:04:57.470 Yeah. 86 00:04:57.550 --> 00:05:04.030 I'll sit in the garden and I'll do my emails, like my kind of just going. Answering the overnight emails and stuff. I often do that with a cup of tea in the garden. 87 00:05:04.030 --> 00:05:04.430 Yeah. 88 00:05:04.430 --> 00:05:09.350 My neighbor who lives out the back, she's got a proper dot cotton smokers coffee. 89 00:05:09.350 --> 00:05:09.510 Yeah. 90 00:05:09.510 --> 00:05:19.180 And she's like properly, like just. I don't know, just kind of. I think one of these days she's just going to do that and then I'm going to have to call an ambulance. 91 00:05:19.180 --> 00:05:22.260 Yeah, yeah, yeah. I've been singing today twice. 92 00:05:22.340 --> 00:05:28.980 I can't believe you can do that. I like when I'm sick, I'm. I like. I can't. I mean I still go and do stuff but I don't think I could sing. 93 00:05:28.980 --> 00:05:30.780 Yeah. I'm after a day off though. 94 00:05:30.780 --> 00:05:31.940 Do you sing sad songs? 95 00:05:31.940 --> 00:05:35.460 Yes, I do. I do when I'm poorly. Yeah, I do. I go for the sad ones. 96 00:05:35.460 --> 00:05:35.940 Yeah. 97 00:05:35.940 --> 00:05:36.940 Yeah, that's very true. 98 00:05:36.940 --> 00:05:39.260 Can't sing happy songs when you're feeling very well. 99 00:05:39.260 --> 00:05:44.780 No. And the other thing is, is the range as well. I can't go very high. It's not like a normal. So I have to do like lower songs. 100 00:05:44.780 --> 00:05:45.860 Can't do the Darkness. 101 00:05:46.100 --> 00:05:51.740 No, can't do the Darkness. They're quite high songs anyway. You to hear Matt Peach do the Darkness. He's very good at that. 102 00:05:51.740 --> 00:05:52.220 Is he? 103 00:05:52.220 --> 00:05:53.860 Yeah, yeah, he does that very well. 104 00:05:53.860 --> 00:05:59.900 Who's just. Justin Hawkins is having a fight with somebody. Who's he? He's. Oh, young blood. Yeah. Just grow up. 105 00:05:59.900 --> 00:06:00.300 Yeah. 106 00:06:00.300 --> 00:06:00.900 Both of you. 107 00:06:00.900 --> 00:06:01.300 Yeah. 108 00:06:01.540 --> 00:06:02.820 Just stop being. 109 00:06:03.060 --> 00:06:03.340 Yeah. 110 00:06:03.340 --> 00:06:09.100 I don't get it? I like your blood cuddle. I like Young Blood and I like Justin and I just think you're both good. 111 00:06:09.100 --> 00:06:13.460 Just have a cuddle. Just think they should do a song together. Do a song together and then it'll be fine. 112 00:06:13.460 --> 00:06:20.020 Stop. Yeah. Stop with it. Stop picking. I. I get that that Young Blood's easy to pick on. 113 00:06:20.020 --> 00:06:20.420 Yeah. 114 00:06:20.420 --> 00:06:22.340 Right. He's like a puppy dog. 115 00:06:22.340 --> 00:06:22.860 Yeah. 116 00:06:22.940 --> 00:06:47.380 But like genuinely, this, this current generation that are growing up now, that are teenagers now, they will be losing their shit to Youngblood songs all the way over Christmas this year. This will be like big. If you, if you've got kids that are like 14, 13, 14, 15 and they're into rock, the Youngblood will be part of what they're listening to. Yeah. And honestly, that will be stuff in 25 years time when they've got a podcast. 117 00:06:47.380 --> 00:06:47.820 Yeah. 118 00:06:48.120 --> 00:06:50.520 Delby, coming back to that Idols record. 119 00:06:50.600 --> 00:06:51.000 Yeah. 120 00:06:51.000 --> 00:07:10.760 You know, with like we whinge about. I whinge about compressors and loudness and click tracks and all of that stuff because I don't like it. Nearly all my favorite records were recorded with it. But. But I think this, this whole obsession with Auto Tune on his show. 121 00:07:10.840 --> 00:07:11.360 Yeah. 122 00:07:11.360 --> 00:07:18.560 And on his albums. I just have this feeling that in like 20 years time it's just going to be like so prevalent. 123 00:07:18.560 --> 00:07:19.000 Yeah. 124 00:07:19.210 --> 00:07:24.610 You know, I think. Because AI is going to be everywhere, isn't it? So the fact that somebody actually turned up in the studio and did it. 125 00:07:24.610 --> 00:07:25.730 Yeah, yeah, yeah, yeah. 126 00:07:25.730 --> 00:07:31.850 You know. Anyway, stop fighting stupid this week. Oh, we're Riffology. 127 00:07:32.010 --> 00:07:33.690 Riffology. Eight minute. Eight minutes. 128 00:07:34.330 --> 00:07:37.610 I forgot quite often I forget that we're recording. So we're apology. 129 00:07:37.770 --> 00:07:38.170 Yeah. 130 00:07:38.170 --> 00:07:38.810 I'm Neil. 131 00:07:38.890 --> 00:07:39.530 I'm Chris. 132 00:07:39.530 --> 00:07:42.890 And we are doing Wisconsin Death Trip. 133 00:07:42.890 --> 00:07:45.850 Which is one of the best album titles ever, I think. 134 00:07:45.850 --> 00:07:51.350 Really cool. It's a great album from a movie, isn't it? B. Yeah, it's from a movie. Movie. 135 00:07:51.350 --> 00:07:51.750 Right. 136 00:07:52.470 --> 00:07:59.590 I should have known this more. But it's. Yeah, I think it's from a. Like a B movie. B movie in the 50s. 137 00:07:59.670 --> 00:08:00.230 Yeah. 138 00:08:01.030 --> 00:08:03.030 And that's where it came from. 139 00:08:04.550 --> 00:08:04.950 I. 140 00:08:05.990 --> 00:08:50.470 There's something about this record. I remember first hearing this record. I remember being at work. We'd gone in to do some weekend work. In fact. There's a funny. I don't know whether I've ever shared this story before, but there's a. There's a funny story that goes along with this. So we'd gone in to do this work at the weekend and this you have to bear in mind this was kind of. This was 1999. Yeah. Yeah. So, like, I started in it in the early 90s. It was getting a bit grown up by this point. So when I started, it was chaos. It was like the wild west. We did what we wanted. We all thought we ruled the world and. And, you know, but then by the time you got here, I was working for a bank and there was this realization that these like, IT kids could. Could. They've got so much control over how everything works. 141 00:08:50.470 --> 00:08:51.110 Yeah, yeah. 142 00:08:51.110 --> 00:09:01.030 Do you know, I mean, there's too much power in their hand. So they were bringing in like, change management, product managers and program managers and project. And we had all of these managers around us that. 143 00:09:01.030 --> 00:09:01.510 Forms. 144 00:09:01.510 --> 00:09:11.270 They brought in all forms and everything. Needed something. But anyway, we got to go in and essentially clean up some of the stupid stuff we'd done. 145 00:09:11.270 --> 00:09:11.790 Yeah. 146 00:09:11.790 --> 00:09:38.340 Years before. So we'd built. I'd built the mail platform and all of the servers were in these big data centers, massive data centers. And it was the size of a football field. And it had like, you know, thousand or thirty odd, one thousand people. And when we would. When we were setting it up, initially, I built one of the servers in our closet. So we had a rack of servers in our closet. And because it was near to me, that's where I did the testing. 147 00:09:38.340 --> 00:09:38.780 Yeah. 148 00:09:38.860 --> 00:09:58.280 And I forgot to take it out of the cycle. So when people were joining, like 1 in 10 mailboxes got added to this mail server that was literally running in a closet. There was like cleaning stuff in there. It was like a rack in a closet. So anyway, we'd gone in there to move all this stuff, and my friend took this record in and I'd taken Paradise Lost. 149 00:09:58.360 --> 00:09:59.000 Okay. 150 00:09:59.560 --> 00:10:03.920 And we had. Essentially, we had like a. What would be a ghetto blaster. 151 00:10:03.920 --> 00:10:04.320 Yeah. 152 00:10:04.320 --> 00:11:31.710 And we. Because there was a lot of faffing about. So we went in there, put that on, and we just had these things on repeat. So we had this record and we had Paradise Lost on repeat for. For the day while we were. We were working there. We were all really hungover because we'd been out the before. And I had this really great idea while we'd got. So you have to bear in mind this is a bank. Shiny marble floors, all of the, you know, shiny lifts, everything. It was really, you know, big glass and steel, you know. And we were on the third floor and we got to get this server, which would have been quite heavy. This would have been like 40kg. They were quite heavy. They're not so heavy these days. But Back then it was big, heavy thing and we were like, oh, there's a lot of cables to like undo and just feels a lot of hard work. So we decided it would be much easier if we just took the entire rack because we shouldn't have had the rack there. So we thought what we'll do is we'll like unhook the umbilical from the back wheel the rack across the car park to the next building and then we'll just take it in the data center and it'll be fine. No one'll mind. That's what we'll do. So we did all that. We unhooked. We got our ghetto blaster raging in the background. Our push, it's running and you know, it's all great. We're all really pleased with it ourselves. We, we this rack back and it's quite a heavy bit of kit. So there's three of us and we, we wheel it across into the, into the, the lift. And as we go in, obviously I'm. It's at an angle and, and I stand it up. 153 00:11:31.869 --> 00:11:32.230 Yeah. 154 00:11:32.230 --> 00:11:35.070 And as I try and stand it up, it wedges. 155 00:11:35.230 --> 00:11:36.310 Oh. Oh no. 156 00:11:36.310 --> 00:11:42.230 So it's not. The, the lift wasn't tall enough. So it literally got wedged between the floor and the, the roof of the lift. 157 00:11:42.230 --> 00:11:42.750 Yeah. 158 00:11:43.390 --> 00:12:16.130 And then we've got security, we've got our ghetto blaster, static X in the background. We've got, we're all hungover. We've got this rack which is now stuck in the lift and the glass lift is going up and down and we can't stop it. And it was just, you know, honestly, it was horrific. It was absolutely awful. We had to go and get like a special man to come and unscrew the lift and send it down to the bottom. And then our boss turned up and it was just like, what are you doing? It was brilliant. Absolutely brilliant. And it went, it went downhill after that, I think. 159 00:12:16.130 --> 00:12:16.530 Yeah. 160 00:12:16.530 --> 00:12:24.140 That was like the, the peak, the pinnacle, the, the pinnacle of it before we had like. It was before the grown ups got involved. Yeah, yeah, yeah. It was a good laugh. 161 00:12:24.140 --> 00:12:26.540 But then did, did it resolve itself, the situation? 162 00:12:26.780 --> 00:12:33.980 Well, eventually it took a lot of, a lot of happening. A man with many spanners arrived and he unbolted the lift. 163 00:12:34.140 --> 00:12:34.620 Yeah. 164 00:12:35.420 --> 00:12:41.260 And then, and then we, we removed our rack from it. It had marble tiles on the floor of the lift. 165 00:12:41.260 --> 00:12:41.660 Yeah. 166 00:12:41.660 --> 00:12:43.900 And there was like. I mean I was there for seven years. 167 00:12:43.980 --> 00:12:44.460 Yeah. 168 00:12:44.700 --> 00:12:46.940 And for at least five years afterwards. 169 00:12:46.940 --> 00:12:47.340 Yeah. 170 00:12:47.340 --> 00:12:55.480 There were these two scrape lift. The ceiling Was all right. That was all right. These tiles that lifted up, we just wedged against the frame. 171 00:12:55.480 --> 00:12:55.960 Yeah. 172 00:12:56.440 --> 00:12:59.120 And then the. The lift man was very unhappy. 173 00:12:59.120 --> 00:12:59.640 Yeah. 174 00:12:59.640 --> 00:13:05.080 He was just. He just kept talking about weight and overloading and. 175 00:13:05.080 --> 00:13:05.560 Yeah. 176 00:13:06.040 --> 00:13:08.320 Someone could have died and all of these things. 177 00:13:08.320 --> 00:13:08.640 Yeah. 178 00:13:08.640 --> 00:13:17.600 You know, we were just. Would you just. You know, we didn't know anything about that. And he's like, well, look, there's a limit to how. How much weight you can put in a lift. 179 00:13:17.600 --> 00:13:18.040 Yeah. 180 00:13:18.590 --> 00:13:20.430 I. And we'd. Apparently we've gone along. 181 00:13:20.510 --> 00:13:20.830 Yeah. 182 00:13:20.830 --> 00:13:22.510 Exceeded that way a long way over that. 183 00:13:22.510 --> 00:13:22.950 Yeah. 184 00:13:22.950 --> 00:13:24.430 So he was very unhappy. 185 00:13:24.430 --> 00:13:25.310 Yeah, about that. 186 00:13:25.310 --> 00:13:38.470 Yeah. But then we had. After that, it was great because we had change managers. Yeah. He would ask questions like what? You know they have a clipboard. Yeah. A lot of that, a lot of forms. A lot of what. What are you going to do if it goes wrong? 187 00:13:38.470 --> 00:13:38.990 Yeah. 188 00:13:38.990 --> 00:13:40.670 And have you done a risk assessment? 189 00:13:40.750 --> 00:13:41.710 Yeah, yeah. 190 00:13:42.910 --> 00:13:50.810 And a lot of that. Which. Which fixed everything because we just stopped doing everything. You would just be like, oh, that feel really hard. Yeah. 191 00:13:50.810 --> 00:13:51.690 Let's just not bother. 192 00:13:51.690 --> 00:13:52.570 Let's just wait. 193 00:13:52.730 --> 00:13:53.170 Yeah. 194 00:13:53.170 --> 00:14:01.210 Because we. This was being proactive, like getting the. Getting the computers wedged in the lift. Yeah, we were being proactive just in case something happened. 195 00:14:01.210 --> 00:14:01.770 Yeah, yeah. 196 00:14:01.770 --> 00:14:03.290 In that closet where it was. 197 00:14:03.290 --> 00:14:03.730 Yeah. 198 00:14:03.730 --> 00:14:08.410 So what happened to it after that was we all just went, well, let's just wait until it does go wrong. 199 00:14:08.410 --> 00:14:08.890 Yeah. 200 00:14:09.210 --> 00:14:14.410 And then we don't need change management anymore. We can do something called retroactive. 201 00:14:14.490 --> 00:14:14.970 Yeah. 202 00:14:14.970 --> 00:14:15.610 Change management. 203 00:14:15.770 --> 00:14:16.890 What should you have done? 204 00:14:16.890 --> 00:14:34.710 Yeah, yeah. You just kind of go, well, it broke, so we moved it and now it's all right. So it's a lot of that, but lovely, really good times, you know, I mean, brilliant times. There was. There was like. It's like a handful of like three or four of us that really, really loved, like, metal. And we're really into this scene and kind of the Ministry and Static X. 205 00:14:35.990 --> 00:14:44.150 But it was that. It was that time of change, wasn't it? Like that 1999 thing was, you know, you said you had a ghetto blaster. 206 00:14:44.150 --> 00:14:44.510 Yeah. 207 00:14:44.510 --> 00:14:48.390 You wouldn't have go blasters long after that, you know, Wouldn't have been a thing. 208 00:14:48.550 --> 00:14:50.340 No, no, no, you wouldn't. 209 00:14:50.340 --> 00:14:52.980 I remember when I started teaching in sort of 2008. 210 00:14:52.980 --> 00:14:53.460 Yeah. 211 00:14:53.620 --> 00:14:56.500 And ghetto blasters were well on their way out by then. 212 00:14:56.660 --> 00:14:59.900 Yeah. Yeah. Well, this was a proper full on black Panasonic. 213 00:14:59.900 --> 00:15:00.500 Yeah. Yeah. 214 00:15:00.500 --> 00:15:03.700 You know, I mean, it was. It was good. Yeah, it was a really good bit of kit. 215 00:15:03.700 --> 00:15:04.020 Yeah. 216 00:15:04.020 --> 00:15:05.020 Played MP3s. 217 00:15:05.020 --> 00:15:05.460 Yeah. 218 00:15:05.460 --> 00:15:15.260 So we. We'd got us. We. We'd spent the first hour ripping the CD. Ripping the CDs that we'd got out of our cars to MP3. 219 00:15:15.260 --> 00:15:15.580 Yeah. 220 00:15:15.580 --> 00:15:19.620 And then writing them back to the CD. Yeah. That we could plug into Adam's ghetto blaster. 221 00:15:19.620 --> 00:15:26.320 Yeah, yeah. So. So you could play both. You could play both albums back to back without needing to. 222 00:15:27.280 --> 00:15:33.480 Yeah, yeah, yeah, yeah. Exactly. Exactly. Exactly. You could do all of that stuff. We did prong cleansing last week. 223 00:15:33.480 --> 00:15:34.320 Yeah, yeah. 224 00:15:34.320 --> 00:15:43.120 And I think there is a real lineage here between that and this. 225 00:15:43.360 --> 00:15:43.920 Okay. 226 00:15:44.160 --> 00:16:01.130 There are various bits in here where I think that could be a prong riff. You could. Yes. You could take that. And that could be a problem. They do it. The production is different. I think it's less. I think it's not as. It's cleaner here. I think the drum sound is particularly. 227 00:16:01.210 --> 00:16:02.210 Great sound. Yeah. 228 00:16:02.210 --> 00:16:03.090 Particularly cool. 229 00:16:03.090 --> 00:16:08.730 I think so. Because I can hear the lineage between things like Fear Factory in this. 230 00:16:08.730 --> 00:16:09.610 Yes. Yeah. 231 00:16:09.930 --> 00:16:11.890 Because they were. They were a bit earlier, weren't they? 232 00:16:11.890 --> 00:16:17.530 Yeah, they were bigger, weren't they? They fractured, were massive. And then you had all these bands that kind of followed on. 233 00:16:17.530 --> 00:16:22.330 Yeah. And this was because a load of them went down this sort of hip, hoppy kind of. 234 00:16:22.570 --> 00:16:23.050 Yeah. 235 00:16:23.050 --> 00:16:30.010 New metal, kind of rappy kind of route. But then there was this. This sort of gang that went off more in the sort of techno and be route. 236 00:16:30.010 --> 00:16:32.690 Because Static X went out on tour with Fear Factory. 237 00:16:32.690 --> 00:16:33.010 Yeah. 238 00:16:33.010 --> 00:16:46.780 And that was like a renowned tour. That was a big old beast. Because you had the same, you know, the. The fans of Fear Factory and fans of Static X were really. You know, there's a massive overlap. So. 239 00:16:46.780 --> 00:16:47.020 Yeah. 240 00:16:47.020 --> 00:16:53.460 Yeah. You had kids that were just like, it's the best gig ever. You know. But, I mean, they toured with everybody. They. They went out and toured with Slayer. They went. 241 00:16:53.939 --> 00:16:57.220 Yeah. Reading on our blog, it talks about the old. The old festive. 242 00:16:57.220 --> 00:17:05.380 Yeah, they were. They. They did. They worked really hard, famously. Wayne. Wayne. Static didn't have a house. 243 00:17:06.020 --> 00:17:06.260 Yeah. 244 00:17:06.260 --> 00:17:07.620 So he kind of sold up. 245 00:17:07.700 --> 00:17:08.060 Yeah. 246 00:17:08.060 --> 00:17:28.020 They recorded the record. He'd gone out on tour and didn't have anywhere to live. So he's literally on tour for the. For the year. And then they would just finish that tour and then. And then he would live. They were living in a rehearsal, or he was living in a rehearsal space, essentially, but was never, you know, never there. They would finish a tour, come back for three days. 247 00:17:28.100 --> 00:17:28.500 Yeah. 248 00:17:28.500 --> 00:17:49.210 And then off the go. And then. Yeah. The management would be like, oh, A Slayer touring or. Yes. Oring do you want to go? And they would just shoot off and, and, and dive on the back of that. So. Yeah, yeah, yeah. Really hard working band, I think. Yeah. You know, and, and did you do. The other fun thing about this record, I think is like how quick it happened. 249 00:17:49.370 --> 00:17:50.170 Yeah, yeah. 250 00:17:50.330 --> 00:18:00.530 From nowhere, you know, living out the back of a truck almost. And then within like 18 months they went. They kind of got signed. They were on. Warner Brothers got signed to a big label. 251 00:18:00.530 --> 00:18:00.850 Yeah. 252 00:18:00.850 --> 00:18:07.520 When the big labels weren't signing metal bands. No, it was kind of a little bit gone, you know what I mean? You had kind of the. 253 00:18:07.520 --> 00:18:09.280 The subsidiaries were doing it, weren't they? 254 00:18:09.440 --> 00:18:19.480 Yeah, but you'd had. You like. If you follow the 90s through, you'd had that early part of the 90s where kind of the hair metal thing was just, just, Just kind of dying out. 255 00:18:19.480 --> 00:18:20.040 Yeah, yeah. 256 00:18:20.040 --> 00:18:24.120 Then you had kind of grunge, then you had the kind of alt rock. 257 00:18:24.120 --> 00:18:24.600 Yeah. 258 00:18:24.600 --> 00:18:58.540 Stuff. The kind of the Pearl Jams and all of that stuff. And then you kind of had what would be new metal. But metal started to change. But it was, if you think about that, a bit in the. In the beginning and middle part of the 90s, it wasn't metal. It was. It was heavy rock. It was heavy radio rock, really. And then this stuff came through, the new metal stuff came through and corn and all of that stuff came through and it was much heavier. It was, you know, and so to have like a major label sign, something with big, thick, heavy riffs. Yeah. 259 00:18:58.540 --> 00:19:00.980 Basically on the techno end and not that hip hop y end. 260 00:19:00.980 --> 00:19:12.740 Yeah, yeah, yeah, yeah, yeah. It was, it was, it was. I think it was interesting. It's an interesting gambler. I think Static X were. They were the first one that Warner Brothers had signed back again. So. Yeah, it was a little bit. 261 00:19:13.460 --> 00:19:38.680 You see, I was. I was well out of this loop at this point because I was. I was just in Pumpkin Land about this time. I was. Honestly, it was about this time where I just went. I went. I'd gone through like a. A big kind of British indie rock thing and then hit kind of the Counting Crows stuff and then just discovered the Pumpkins and didn't listen to anything else, I don't think. 262 00:19:39.000 --> 00:19:41.760 Well, yeah, so. 263 00:19:41.760 --> 00:19:53.080 And post rock and Cigar Ross and all those sort of things were starting to come through I think at that point as well. So this kind of industrial stuff that was going on, it really wasn't my palace at all. 264 00:19:53.080 --> 00:19:56.680 The bit that is interesting though is Billy Corgan off of the Pumpkin. 265 00:19:56.760 --> 00:19:59.420 Yeah. Was responsible for this band pretty much, kind of. 266 00:19:59.420 --> 00:20:10.780 Yeah. But did you know he played with Wayne Static and they had a. A band called Deep Blue Dream in the late 80s and Billy played in that band. 267 00:20:10.780 --> 00:20:11.140 Right. 268 00:20:11.220 --> 00:20:23.500 And then eventually Billy introduced the drummer, Ken J and Wayne the record store where Ken worked. So Billy knew Ken and introduced them all together. So. 269 00:20:23.500 --> 00:20:23.820 Yeah. 270 00:20:23.820 --> 00:20:26.900 Yeah, Billy was kind of quite instrumental in the form. Yeah. 271 00:20:26.900 --> 00:20:27.460 Formation. 272 00:20:27.460 --> 00:20:31.440 Involved. Yeah, yeah, involved in it. I mean it'. It's. Yeah, it's cool. 273 00:20:31.440 --> 00:20:32.480 The matchmaker. 274 00:20:33.040 --> 00:20:40.320 It's interesting though, isn't it, how, you know the. I mean, you've said this before, but it's just mates making music. 275 00:20:40.480 --> 00:20:40.920 Yeah. 276 00:20:40.920 --> 00:21:05.290 And there's a. There's a lovely bit that I read about the making of this record and a bit about the history and it was like the band kind of formed and they all got on with each other, but they didn't have a sound which is like you imagine when these bands get together. That's. You know what I mean? It's like, you know, Metallica get together and it's just. It's just Metallica. 277 00:21:05.290 --> 00:21:06.010 Yeah. Yeah. 278 00:21:06.570 --> 00:21:23.930 You know, and. And like, I don't know, like the Pumpkins or the Pumpkins get together and just the Pumpkins appears. Pumpkins comes out of the. Out of the speakers. Right. It's interesting for me, this one because they all got together and they were like. They were playing thrash, they were playing really heavy music. They were playing, you know, kind of more. 279 00:21:24.160 --> 00:21:24.400 More. 280 00:21:24.400 --> 00:21:30.160 More rhythm based stuff and then not really finding their feet. 281 00:21:30.160 --> 00:21:30.520 Yeah. 282 00:21:30.520 --> 00:21:41.840 You know, and then. And then as they were practicing more and playing more covers and doing some more stuff, they started to lean towards this industrial techno kind of sound. 283 00:21:41.840 --> 00:21:42.640 Yeah, yeah. 284 00:21:42.960 --> 00:22:13.650 And it was like, it started to make sense for them that they were like. Actually this is, you know, this is where. And it took, I think it took a few records for them to get there. But by the time we got Wisconsin Death Trip, because they did some stuff before it. But by the time this album was recorded, it. It feels like fully formed. Yeah, but it misses the fact that there was a bunch of stuff happening before that. Literature, live shows, a bunch of things that they were doing just to find themselves. But it's rare you. It's rare you find bands that are so transparent about that journey. 285 00:22:13.650 --> 00:22:14.090 Yeah. 286 00:22:14.090 --> 00:22:15.250 When they're just like, we sort of. 287 00:22:15.250 --> 00:22:16.210 Didn'T know who we were for a bit. 288 00:22:16.530 --> 00:22:28.590 It didn't start like this. This is not where it began. And we weren't copying somebody and we weren't you know, it was. Was trying to figure out what kind of band made sense, what kind of music made sense for us. 289 00:22:29.150 --> 00:22:35.310 Which is interesting because I. When. Because I've been listening to this record this week. 290 00:22:37.150 --> 00:22:38.790 And in between Dying. 291 00:22:38.790 --> 00:22:44.150 In between Dying. Yeah. And then looked on the blog and it said debut. And I was like, it doesn't sound like a debut. 292 00:22:44.150 --> 00:22:44.830 It doesn't, does it? 293 00:22:44.830 --> 00:22:50.510 It does. It sounds like a pretty well honed, well produced third album job. This feels like a third album. 294 00:22:50.510 --> 00:22:59.410 It's well produced. Produced. It's. I've been. I've been doing some decorating over the past couple of weeks. 295 00:22:59.410 --> 00:23:00.770 You always. That's all you do. 296 00:23:00.770 --> 00:23:55.480 Oh, honestly, I'm trying to do. I'm trying to do upstairs. The kids have made. You don't have children. If you. If you want like anything to last. Don't have children. They destroy everything. Yeah. I'm trying to just go to repair loads of, like, just mess, really. Upstairs. Anyway, I really like decorating because it's quite. I find it quite mindful. I kind of. I don't like the term mindfulness, but I find it quite like. I don't have to. I don't have to analyze what I'm doing. I can just be in the moment and focus on the painting or the sanding or the. Whatever I'm doing. I can focus on that one thing. And I really enjoy that. And I like music that is like. I like Pink Floyd, I like suicidal. I like kind of music like this. Normally. It's kind of quite. Don't know how to describe it, really. Like doing some bits of decorating. Like, if I'm glossing, I like Pink Floyd. Yeah. 297 00:23:55.480 --> 00:23:55.960 Yeah. 298 00:23:56.280 --> 00:24:18.830 If I'm like sanding or roller in, like a little bit of suicidal tendencies. But one of the things that's hit me with this, I was listening to this album the same as you this week. This is quite hypnotic and I loved it. It's got this kind of thing where you, like, before you know it, you're. You're just engaged. Yeah. In the album. And it's just. It's almost like being like a conveyor belt. 299 00:24:18.830 --> 00:24:19.070 Yeah. 300 00:24:19.070 --> 00:24:24.070 Kind of flow. There's a lot of hooked into it and then you're being taken through. And it's such a cool record for that. 301 00:24:24.070 --> 00:24:28.230 That's a really good way of putting it, actually. The bit where I got to. That was love Dump. 302 00:24:28.390 --> 00:24:50.730 Yeah. I love the bit in Loved One where it kind of starts off. It's got this kind of. It's riffy, it's Prong riffy. Right. It's just. Just full on, like staccato riffy. You know, it could be straight up a prong record. And then you're like a third of the way in, and then it just changes like the. And it's like you're suddenly in this, like, rhythmic melody and it's. I think static X do that so well. 303 00:24:50.730 --> 00:24:51.050 Yeah. 304 00:24:51.050 --> 00:25:10.690 Where it's just. It gets into this, like, this groove and it's kind of, you know, it's like this proper kind of groove where it's. It's just repetitious, like techno music, like dance music, kind of in this proper groove and then it will just like burst out of it. And I just. Yeah, I think they're so. All the way through their catalog, they do that. 305 00:25:11.170 --> 00:25:21.250 So there's a thing about the. The east coast, isn't it, where there was a few. Like, they were really exploring this stuff at this time, weren't they? So these were all Chicago. 306 00:25:21.250 --> 00:25:21.810 Yeah, I think. 307 00:25:21.810 --> 00:25:23.130 And then there's the New York thing. 308 00:25:23.130 --> 00:25:23.490 Yeah. 309 00:25:23.490 --> 00:25:26.970 So prong were New York, New York. And so Rob was. Rob Zombie. 310 00:25:26.970 --> 00:25:34.130 And prong was earlier, though. Prong was kind of earlier in the. In the. In the time zone, really. I think prong did influence this massively. 311 00:25:34.130 --> 00:25:34.930 Yeah. I think. Yeah. 312 00:25:34.930 --> 00:25:36.810 You know, but the. 313 00:25:36.810 --> 00:25:41.700 The point I'm trying to get at is like, Seattle had a sound. 314 00:25:41.780 --> 00:25:42.140 Yeah. 315 00:25:42.140 --> 00:25:43.380 The west coast had a sound. 316 00:25:43.380 --> 00:25:43.660 Yeah. 317 00:25:43.660 --> 00:25:49.340 And it feels like this might be this kind of more industrial style sound. 318 00:25:49.340 --> 00:25:57.140 Might be a little bit more of the kind of East Coast. Yeah. Yeah. I'm with you. Yeah. I mean, this is kind of mid. Mid America. Was it like where these guys were? But, yeah, it was definitely that side. 319 00:25:57.220 --> 00:25:57.580 Yeah. 320 00:25:57.580 --> 00:26:04.900 East coast side. It was, but harder. And. And, yeah, maybe that's where the producers were as well. 321 00:26:05.060 --> 00:26:08.300 Yeah. Yeah. There's a lot of that, isn't there? Because it was Grandmaster Studios. 322 00:26:08.850 --> 00:26:10.530 Yeah. Because this is done in Hollywood, wasn't it? 323 00:26:10.530 --> 00:26:10.850 Yeah. 324 00:26:12.130 --> 00:26:13.490 Recorded in 98. 325 00:26:13.810 --> 00:26:21.330 Yeah. But the interesting one, there's a doc. An interview that we put on because they were after Terry Day, because they wanted the prong sound. 326 00:26:21.330 --> 00:26:21.690 Yeah. 327 00:26:21.690 --> 00:26:24.170 So that. So you're right, they were after the prong thing. 328 00:26:24.170 --> 00:26:24.570 Yeah. 329 00:26:24.570 --> 00:26:27.970 But instead they. They landed on somebody else who was actually the engineer. 330 00:26:28.050 --> 00:26:48.860 Actually, about a month after, after we put our names to paper that we were in the studio, we kind of. We made this wish list, this producer wish list, and decided that we wanted Terry Date because he had done all the Pantera stuff and prong, and we really like what he did. And then we found out that he's not available. 331 00:26:49.180 --> 00:26:50.660 So we went with Ulrich, who was. 332 00:26:50.660 --> 00:30:09.090 His assistant and all that stuff. When I first heard their demo, I got the first chorus and I was ready to do the right. You know, surprisingly, the whole thing all the way through was actually almost so good that I was a little worried that I wasn't able to improve on it. But I did. Ken really, really great drummer. We did live overdubs of cymbals. So Ken was lucky enough to play the record twice. Koichi, he's a crazy man, really. His brain, I think operates differently from the rest of us. I hear something like this in there. A day later or an hour later he'll come back with something that's totally amazing. Wayne really great because, you know, he plays it twice and it's pretty much doubled a couple of little punch ins here and there and you know, he's ready to go. Same thing with vocals, very proficient. He just nailed Tony. A lot of groove in that, man. He actually does a lot for the band. He really holds things together down in the low end, you know, just glue. He's definitely the glue. We went out and just cut the record in four weeks. Just knocked the whole thing out. Go in, nail it, leave. Because there's not much second guessing going on and there are imperfections of it. It sounds like a real record as opposed to something that could have been picked to death, but happens too often nowadays. Best two month vacation I ever had. And then when we got done, I went back to work. Ulrich Wilde Yeah, I, I, there's a lot of clever things here. Like they use drum triggers. So I was reading an article about how they did the drums and they wanted like a, a, like a perfect drum sound. They wanted this like really powerful drum sound. But they didn't want to program it. They didn't want to use like a program which prong, prong had always done a mixture that there's bits of real drums and bits of programming in, in prong and, and they didn't want that for this album. So they built together as like a band. They built this wooden drum rig with microphones set up. So, and then, and then Ken J, who was a drummer would play the drum parts on this like wooden rig. So not a drum kit, this kind of like weird wooden rig. And then they used those as triggers to play back these kind of samples, recorded samples that they'd taken elsewhere. So you ended up with this like uber clean, you know, massive drum sound. Like really like a digital drum sound almost. But without it being programmed. So it was kind of. So it was this like played drum sound. Yeah, yeah. So it was played from a timing perspective and feel perspective and not programmed. But you ended up with the sound of like a program, I was gonna. 333 00:30:09.090 --> 00:30:12.690 Say, which is probably where this more techno Y kind of industrial. 334 00:30:12.850 --> 00:30:13.330 Yeah. 335 00:30:13.570 --> 00:30:14.170 Comes from. 336 00:30:14.170 --> 00:30:14.730 Yeah. I think. 337 00:30:14.730 --> 00:30:30.100 Because obviously they're all going to be. If I'm getting the idea right, that they're sampling single hits, they're probably not. They're probably not going to go for like MIDI and velocity, you know. So. Yeah, the way MIDI works is you've got a velocity value of up to 127. 338 00:30:30.100 --> 00:30:30.380 Yeah. 339 00:30:30.380 --> 00:30:32.500 So it's 128 values effectively 0 of. 340 00:30:32.500 --> 00:30:33.540 How hard you hit it. 341 00:30:33.540 --> 00:30:35.340 Yeah. So the higher the number. 342 00:30:35.500 --> 00:30:35.860 Yeah. 343 00:30:35.860 --> 00:30:36.540 The harder. 344 00:30:36.860 --> 00:31:17.980 I don't think that was done or. I think this was all just like. Yeah, I think that's all it was based on, but like really rudimentary. And then fed into the software that it wasn't Pro Tools. I forget what it was. It's in the blog somewhere. There's no chance of me being able to find. I've forgotten my glasses. Yeah, but, yeah, they used. It was some. I've forgotten the name of the. I'm looking to see if I can see it quickly, but I can't. Yeah, they use it like. I'd not heard of it before, the software they used. Yeah, but, yeah, and then. But essentially they were like, hang on a minute. We could look at what we can do. We can. We can take that microphone, feed the spike. 345 00:31:18.220 --> 00:31:18.700 Yeah. 346 00:31:18.940 --> 00:31:34.860 Into our, you know, our workstation and then use that to trigger this, you know, this. The drum sound that we want and then we can change it. And I like. It's 99, I think. I don't know whether that was like a common thing. 347 00:31:34.940 --> 00:31:56.549 It wouldn't have been. I mean, I mean now it's quite common because you put their, you know, their velocity as well. So you'd have a, A trigger kit and you use your slate triggers or your whatever easy drummer or whatever it. Whatever it is you use. And. And yeah, that. That's quite, quite normal now. But the main reason for that and the main reason that I would assume they'd have done that is so they could get the separation between the drums and the cymbals. 348 00:31:57.270 --> 00:31:58.070 Oh, yeah. 349 00:31:58.070 --> 00:32:11.050 So they can mix it and they can get, you know, a really nice tight drum sound that isn't saturated by bleed with other things because you. You'll have no bleed on that. So you can, you can Mix the tom. Like it's a tom. You can mix it. 350 00:32:11.050 --> 00:32:20.210 Yeah. So there's no. There's no bleed through at all, is there? No, I quite. You know, there's a few albums that have got. Especially for the snare. 351 00:32:20.290 --> 00:32:21.210 Yes. Yeah. 352 00:32:21.210 --> 00:32:35.770 You know, when you can hear, you can like in. In the. In the bleed. If you've got headphones on, you can hear the bleeder of the snare, you know, the chain rattling underneath the drums and. And like modern. Modern recording engineers would whip that out in a heartbeat. 353 00:32:36.650 --> 00:32:38.170 I really like the humanity. 354 00:32:38.410 --> 00:33:15.420 Something lovely this. Like it is in. So we talked about Rolling Stones records in some of the early mono recordings. You can hear people walking around the studio. Like if you put headphones on and turn them up pretty loud. Yeah, you can hear people. Well, you know, they're just like. They'll be sitting down and, you know, and to play. And it's not done live. It's done. It's done tracked still. But in between, as the song's playing the quiet parts, like you. There are people moving you, people doing stuff in the studio and it's. I don't know, something. I think there's something really nice about that. 355 00:33:15.420 --> 00:33:32.340 Yeah, I do something quite. And I think as we. I mean, you've alluded to this already, but as we get more into the realms of AI creating music and technology, you know, auto tune and everything and all that, I think there's going to be a resurgence of really raw records that are just put a mic in a room and capture something. 356 00:33:32.340 --> 00:34:27.039 You know, I had an online debate with somebody this week and I have to say I didn't start off by taking the position that I took, but I just. I kind of created the position as I was reading it. Right. But somebody was. And it was because I saw. I read two things really not far apart. So the first thing that I read was somebody whinging about AI slop and just about the. The general like downgrade of humanity. Right. Humans can't think properly anymore. We're all stupid. We believe everything it tells us and we forget how to write and it's just this like. Like the amount of words generated is higher and they're all crap. Right. That was kind of the. The thing from it it. And I kind of thought. Yeah, I kind of. I think. I kind of agree with that. I think that's what. That's certainly what I'm seeing in the real world. 357 00:34:27.039 --> 00:34:27.719 Yeah. Yeah. 358 00:34:27.719 --> 00:34:48.560 You're not everybody. And some people, you are using it to change the world. Right. But you Know, for the vast majority, it's. It's not making things any better. And then I read this other article, so. So in that case, like if somebody said, for example, I've just written a. No, I've just used AI to write a novel, you'd think that was crap. 359 00:34:48.560 --> 00:34:48.960 Yeah. 360 00:34:48.960 --> 00:34:52.400 I've just used AI to write an album. It's crap. 361 00:34:52.400 --> 00:34:52.800 Yeah. 362 00:34:52.800 --> 00:34:55.840 I've just used AI to create some album art. It's crap. 363 00:34:55.840 --> 00:34:56.160 Yeah. 364 00:34:56.160 --> 00:35:24.360 I've, you know, insert anything here. Right. I've just used AI to create, you know, a piece of artwork. It's crap. Right. And once you put AI involved in it, it's rubbish. And then the next thing that I read was about this company making rocket engines. 3D printed rocket engines. They have used AI to create organic designed rocket engines. And they look organic. So they don't look like, you know, like we would design things with geometric shapes. 365 00:35:24.360 --> 00:35:24.720 Yeah. 366 00:35:24.720 --> 00:35:47.270 This thing isn't. This thing's kind of very flowy and it's got kind of like webs in there and it doesn't look like. Looks a bit alien esque. But on that article, the best thing ever, like, AI designed rocket engines. Brilliant. They're the best thing ever. So, like, you know, AI involved novel. Terrible. 367 00:35:47.270 --> 00:35:47.630 Yeah. 368 00:35:47.630 --> 00:35:51.550 Awful. AI involved music. Terrible. 369 00:35:51.550 --> 00:35:51.910 Yeah. 370 00:35:51.910 --> 00:35:54.150 AI involved rocket engines. The best thing ever. 371 00:35:54.150 --> 00:35:54.590 Yeah. 372 00:35:54.590 --> 00:36:00.430 And I was just like, where, where's the line? Yeah. Why is it good at doing rocket engines and not good at doing. 373 00:36:00.430 --> 00:36:00.870 Yeah. 374 00:36:00.950 --> 00:36:02.710 Like, why can it not write a ballad? 375 00:36:02.710 --> 00:36:03.270 Yeah. 376 00:36:03.510 --> 00:36:11.530 Do you know what I mean? Like, because in the real, I'm like, in the real world, like, like, like designing a rocket engine from scratch. That's quite complicated. 377 00:36:11.530 --> 00:36:11.970 Yeah. 378 00:36:12.130 --> 00:36:23.330 Do you know what I mean? Writing four chords in a ballad, that's not, it's not that. I mean, you know, there's variations to it. Right. But you'd assume a thing that could go into a rocket engine could plug four chords together. 379 00:36:23.330 --> 00:36:23.810 Yeah. 380 00:36:23.970 --> 00:36:33.890 And it just, it kind of blew my mind a little bit. I was just like. I got to the stance where I was like. I'm not sure that we're, you know, judging this. Well, do you know what I mean? 381 00:36:33.890 --> 00:36:34.530 Yeah, yeah. 382 00:36:34.530 --> 00:36:39.350 Like what? Like if it's so bad, all these other things, surely the rocket engines. 383 00:36:39.510 --> 00:36:39.990 Yeah. 384 00:36:40.230 --> 00:36:40.670 I don't. 385 00:36:40.670 --> 00:36:46.070 But it's about function, isn't it? It's been used there for a function, a magic. Yeah. 386 00:36:46.070 --> 00:36:55.430 It looks, it looks it. I tell you what, it does look magic. It's like. Yeah. This thing, it's like, it does. It looks like if someone, if Someone showed at you and said, this has fallen off an alien ship. 387 00:36:55.670 --> 00:36:56.150 Yeah. 388 00:36:56.230 --> 00:36:59.990 Like, you know, half of the Internet would go, oh, yeah, totally. Yeah. 389 00:36:59.990 --> 00:37:00.230 Yeah. 390 00:37:00.230 --> 00:37:13.140 I mean, there wouldn't be a lot of pushback. It looks apparent. Bit weird, but I, I don't know, I don't think we're in a good position. I don't think we, I, I, it doesn't feel to me like we are adapting all that well. 391 00:37:13.220 --> 00:37:13.620 No. 392 00:37:13.620 --> 00:37:29.360 As a civilization to AI yet. You know, which is, I mean, it's like an industrial revolution, isn't it? It takes time. But it did, it did hit me. I did, I did hit me that there is, like, there are some things where it is like, so cool if you said, I did AI. 393 00:37:29.750 --> 00:37:30.070 Yeah. 394 00:37:30.470 --> 00:37:31.910 I used AI with this and it's. 395 00:37:31.910 --> 00:37:32.790 Like, oh, that's mega. 396 00:37:32.790 --> 00:37:36.150 Yeah, yeah, yeah. And there are other things where if you say if you used AI, it's the worst thing ever. 397 00:37:36.150 --> 00:37:40.350 Like, so, like, doing an app, that's quite cool still, isn't it? I don't know if you use it. 398 00:37:40.350 --> 00:37:43.390 But not in, not in software, in software engineering circles. That's not cool, is it? 399 00:37:43.390 --> 00:37:43.910 Not cool. 400 00:37:44.150 --> 00:37:55.730 Not cool. No. We don't like that. And also, if you genuinely. The models in the last month or so write better code than I can. 401 00:37:55.800 --> 00:37:56.320 Can. Right. 402 00:37:56.320 --> 00:38:04.720 A lot. I mean, I've been doing it for 30 years and it genuinely will write better code. It will write much worse code. 403 00:38:04.720 --> 00:38:05.160 Yes. 404 00:38:05.160 --> 00:38:06.800 And it will write the wrong code. 405 00:38:06.800 --> 00:38:07.160 Yeah. 406 00:38:07.160 --> 00:38:09.200 Yeah. But if you ask it to write. 407 00:38:09.200 --> 00:38:10.360 If you do ask it the right thing. 408 00:38:10.360 --> 00:38:14.840 Yeah. If you ask the right questions, it will do it better. And I think that's where the wheels come off a little bit. 409 00:38:14.840 --> 00:38:15.320 Yeah. 410 00:38:15.400 --> 00:38:18.360 You know, you can't just say, go and make me an app. 411 00:38:18.360 --> 00:38:18.760 Yeah. 412 00:38:18.760 --> 00:38:35.540 Do you know what I mean? You've got to, you've got to go and define the framework first and then you've got to go and do all of the thinking about data structures and how it's going to connect in the back end and the architecture and all of this stuff and you've got to design all of that and then, and then give all of that to the model and then say, write me this little bit. 413 00:38:35.620 --> 00:38:36.100 Yeah. 414 00:38:36.340 --> 00:38:44.620 Then write me this little bit then. And then. And you're checking it's done exactly as you wanted as you go through the different steps and then you end up with a thing that, that works. 415 00:38:44.620 --> 00:38:47.220 Yeah. Maybe that's how they did the rockets. 416 00:38:49.220 --> 00:38:51.460 Maybe they 3D print them as well. 417 00:38:51.460 --> 00:38:51.860 Yeah. 418 00:38:51.860 --> 00:38:52.660 Out of copper. 419 00:38:52.660 --> 00:38:53.060 Yeah. 420 00:38:53.060 --> 00:38:54.100 It just looks well cool. 421 00:38:54.100 --> 00:38:54.500 Yeah. 422 00:38:54.740 --> 00:39:00.880 Maybe I thought that was dead cool. Really, really cool. And you know, I did after that. So I did that and then I was feeling a little bit sad. 423 00:39:00.880 --> 00:39:01.320 Yeah. 424 00:39:01.320 --> 00:39:10.800 And then Geezer Butler is signing a bunch of Black Sabbath records. I bought one of them and then I ate some sweets. 425 00:39:10.800 --> 00:39:11.080 Yeah. 426 00:39:11.080 --> 00:39:12.360 And then I went and watched telly. 427 00:39:12.360 --> 00:39:12.760 Yeah. 428 00:39:13.000 --> 00:39:16.040 So that's the way it is. Yeah. But, yeah, AI is complicated. 429 00:39:16.040 --> 00:39:16.520 Yeah. 430 00:39:18.040 --> 00:39:18.560 Do you know what? 431 00:39:18.560 --> 00:39:18.840 We'll. 432 00:39:18.840 --> 00:39:34.890 I'm going to tie it back a little bit to. To this time because this was 99 Wisconsin death trip. So you're just about in peak Napster season. Well, this was peak CD download. This was like. CDs was. People bought CDs. 433 00:39:34.890 --> 00:39:35.290 Yes. 434 00:39:35.690 --> 00:40:52.500 And the Internet was getting big and people were mp3ing. And so you had this, this storm of like you say Napster and Limewire and all of these other tools that were just set up for sharing music and pirating music. And it didn't like, the music industry didn't like, like, we don't really know how to deal with AI today. Yeah, I don't. The music industry didn't know how to make sense of the Internet and how it was going to do all this stuff. So you had like Lars Orich, you know, threatening to sue every single person on the planet. But basically. And you know, and, but it was. I remember this, this, this period of time and I remember listening to Lars speaking saying, that's my music. You've stolen it. And I was thinking, I. I taped like Master of Puppets and Kill Them all and Ride the Lightning off my mate's record player when, you know, when I was in my teens. Is this any different? I'm not. I mean, the scale is probably different, you know, and I'm sure that the number of records got impacted massively. People, you know, people that are buying CDs because you could. Everyone was just downloading them and playing them in their cars. 435 00:40:52.500 --> 00:40:52.820 Yeah. 436 00:40:52.820 --> 00:40:57.580 Whereas back then we had to buy tapes. One of your mates would have to go and buy the, the thing. 437 00:40:57.580 --> 00:40:58.140 Yeah. 438 00:40:58.220 --> 00:41:05.740 And then you could take, you know, you'd like tape a copy of it. And there was definitely like a, you know, oh, he bought the last one. I better buy it. 439 00:41:05.740 --> 00:41:06.140 Yeah. 440 00:41:06.140 --> 00:41:27.790 You know what I mean? Like with, with our mates, it was like, well, Tony bought like, you know, Ride the Lightning. I better go and buy Master Puppets. And it was. You very much knew. It was kind of like a round that you were, you were in. In. But I kind of. Is it any different at the time? But the impact was catastrophic. No One just like overnight no one brought. 441 00:41:27.950 --> 00:41:30.390 No. Cuz it was the source, wasn't it? Yeah, yeah. 442 00:41:30.390 --> 00:44:31.670 And the, and the quality was so good. Go. Go. God, Go. Go. 443 00:44:44.470 --> 00:44:47.430 I decided I was going to move to California because I was tired of. 444 00:44:47.430 --> 00:45:05.760 The cold weather in Chicago. Moved there and started looking for people to play with and started this band just to have a good time really. I pretty much gave it up on trying to get signed at the time. Just found some cool dudes to play with and tried experimenting with a bunch of different stuff. 445 00:45:05.760 --> 00:45:08.000 And after about a few years we. 446 00:45:08.000 --> 00:45:34.170 Kind of turned into what we are. I was playing in this thrash metal band in Chicago at the time and we had come out to LA to do a record in, in 93, in November of 93. So we made the record and then we drove back to Chicago in a van and we got back to Chicago and It was like 10 degrees and an ice storm and I was like, you know what? This, I'm, I'm out, I'm done with this. So I noticed that work. 447 00:45:34.570 --> 00:45:36.090 I went with my credit card and. 448 00:45:36.090 --> 00:46:07.060 I bought a pickup truck and I took everything I could pack and then I'd pick up truck with the cats in there and drove across the country. And I knew one person in la, so they let me stay at their house for like, you know, a week or whatever so I could find somewhere else to live. Has all this massive credit card debt. I was broke ass, you know, musician, I didn't have any money so I, I, what it is, I got two credit cards, I bought a truck with one and then I lived on the other one for a while. So we've come back after a little break because you had to go for a wee, didn't you? 449 00:46:07.060 --> 00:46:08.050 Let's go for a wee now. 450 00:46:08.200 --> 00:46:15.800 Now while you were weeing, I did some reading and the software that I couldn't remember that they used was called Opcode Vision software. 451 00:46:15.800 --> 00:46:16.440 Never heard of that. 452 00:46:16.440 --> 00:46:18.600 And it's used, they used piezoelectric. 453 00:46:19.160 --> 00:46:19.960 Oh really? 454 00:46:20.600 --> 00:46:22.160 Which I think is really interesting. 455 00:46:22.160 --> 00:46:26.240 Yeah, because that's what they use on transducers for guitars or pickups. 456 00:46:26.240 --> 00:46:34.600 Oh, I thought that was really interesting. And the other thing is, you know, I said it was named after a 50s B movie. Yes, it was named after a 70s book. 457 00:46:36.920 --> 00:46:39.950 Oh no, poorly. 458 00:46:40.900 --> 00:46:59.860 It comes from a 1973 book by Michael Lessi. Wayne Static found this obscure book which chronicles bizarre deaths and disasters in nine in 1890s rural Wisconsin at a flea market. And he was fascinated by it and initially they were going to use it As a band name really. 459 00:47:00.420 --> 00:47:01.500 It'd be a good bad name as well. 460 00:47:01.500 --> 00:47:06.100 Do you know why they didn't call it that? Because the label Warner said it was too long. 461 00:47:08.660 --> 00:47:11.450 It would, it would be all right now, I bet if they called it now. 462 00:47:11.840 --> 00:47:12.040 Yeah. 463 00:47:12.040 --> 00:47:18.080 It'd be absolutely fine. And it sound like Kubla Khan tx. That's what, that's. That's what that band would sound like. 464 00:47:18.320 --> 00:47:27.080 Yeah, yeah, yeah, yeah. Anyway, they're the two facts that I discovered while you were weighing. And now we're back. 465 00:47:27.080 --> 00:47:27.600 Very good. 466 00:47:28.800 --> 00:47:40.190 So we, we were, we were talking about all kinds of stuff when we were talking about that change in the 90s and record labels dealing with. With manic piracy. 467 00:47:40.350 --> 00:47:40.990 Yeah, yeah. 468 00:47:40.990 --> 00:47:44.310 And not knowing how to deal with that. Where's all the money come from? 469 00:47:44.310 --> 00:47:44.670 Yeah. 470 00:47:44.670 --> 00:47:47.470 When you're dealing with that and turns out it comes from selling T shirts. 471 00:47:47.710 --> 00:47:48.190 Yeah. 472 00:47:48.190 --> 00:47:49.070 And gigs. 473 00:47:49.070 --> 00:47:49.550 Yeah. 474 00:47:49.550 --> 00:47:56.990 So the price of gigs has suddenly gone up like ten crazy fold. Yeah. Because everybody pirates music. 475 00:47:57.150 --> 00:48:02.510 Yeah, yeah. Or gives or no, they pay for music but they don't pay the bands. They pay extra. Streaming service. 476 00:48:02.510 --> 00:48:20.530 Well then. Yeah, yeah. Because then you had that like 10 year weirdness where. Where there was this kind of like all at war with where you got your music from and nobody had visited like in, in that early part of the millennium, like 2000 to 2010. No one had physical. You couldn't. It hard to get physical media. 477 00:48:20.850 --> 00:48:21.410 Yeah. 478 00:48:22.690 --> 00:48:27.730 And so, so like everything was kind of like you had itunes and see. 479 00:48:27.730 --> 00:48:34.260 I remember because I worked in music retail for a little while around that kind of early 2000s point. 480 00:48:34.260 --> 00:48:34.700 Yeah. 481 00:48:37.420 --> 00:48:51.900 And I probably left maybe. I don't know when he would have been. I'm not very good at time. Maybe mid 2000. Mid to, to late sort of early 2000. You know like that sort of 2006, 2007 time probably. 482 00:48:52.060 --> 00:48:52.540 Yeah. 483 00:48:54.940 --> 00:49:01.320 And that was the time where music shop started to deal with other stuff. 484 00:49:01.800 --> 00:49:03.600 Oh yeah, yeah, yeah, yeah. 485 00:49:03.600 --> 00:49:06.920 So. So they started to sell phones or they started to sell books. 486 00:49:06.920 --> 00:49:08.400 Yeah, yeah. 487 00:49:08.400 --> 00:49:08.960 Or merch. 488 00:49:08.960 --> 00:49:09.720 Yeah, exactly. 489 00:49:10.200 --> 00:49:15.800 And that I've never put. Weirdly, I've never put like really bizarre. I've never put those two things. 490 00:49:15.880 --> 00:49:16.760 That's what was going on. 491 00:49:16.760 --> 00:49:25.000 Yeah, yeah. So people weren't buying physical media. But the, but the shop still needed to be there so they needed to sell other stuff. Like if you go into HMV now. 492 00:49:25.000 --> 00:49:26.120 Oh, it sells everything. 493 00:49:26.120 --> 00:49:28.120 Crazy. It's like it's bananas really. 494 00:49:28.120 --> 00:49:33.780 Air fryers. No, you can't. Yeah, you're right. There's tons of stuff in there. 495 00:49:33.780 --> 00:49:34.260 Yeah. 496 00:49:34.980 --> 00:49:50.140 But, yeah, it's in interesting times that for me, that, that decade was really weird. It was this kind of the record labels and the industry trying to figure out how to make money. Yeah, yeah. People are like, well, I. I used to get music for free. Why? I'm not paying for it anymore. 497 00:49:50.140 --> 00:49:50.460 Yeah. 498 00:49:50.460 --> 00:49:55.060 And then Spotify, then you had itunes selling. Selling tracks for 79p. 499 00:49:55.060 --> 00:49:55.460 Yeah. 500 00:49:55.700 --> 00:50:01.890 And then you had. Which was great. I mean, I always thought that itunes model worked really well for me. I kind of had my. I had like a. 501 00:50:02.040 --> 00:50:02.280 A. 502 00:50:02.520 --> 00:50:19.800 A library that I could use anywhere I was going, which I always really liked that. But looking back on it, you know, not having the physical. I really like physical media, but it was like really, that. I thought that was really quite cool at the time. And then you had Spotify. 503 00:50:19.880 --> 00:50:20.400 Yeah. 504 00:50:20.400 --> 00:50:25.160 Like, just give us 10 quid and we'll give you. Yeah. You can have any music you want, whenever you want to. Yeah, yeah, yeah. 505 00:50:25.880 --> 00:50:34.980 I remember the point around that conversation where it was around I was quite quick to dump physical media. 506 00:50:35.460 --> 00:50:35.860 Right. 507 00:50:35.860 --> 00:50:39.340 And. And files on hard drives and just have it streaming. 508 00:50:39.340 --> 00:50:39.980 Yeah, yeah. 509 00:50:39.980 --> 00:50:50.260 And not clog all my stuff up with all that stuff. I was really quick to that. And I remember everyone going, what. What are you doing that for? It's like, well, I'll sell everything. 510 00:50:50.420 --> 00:50:50.780 Yeah. 511 00:50:50.780 --> 00:51:01.230 I don't need it now because that, because that's there. And I remember everyone. Everyone was so, so emotionally connected to their physical stuff. Yeah. Like, even their ipods. 512 00:51:01.230 --> 00:51:01.550 Yeah. 513 00:51:01.550 --> 00:51:08.190 You know, they'd be. They'd built a relationship with their ipod and their playlist and that and that thing that they've taken the time to put. 514 00:51:08.910 --> 00:51:12.990 I don't think I was like that. I think I was a bit like you. I kind of moved. I moved fairly quickly. 515 00:51:12.990 --> 00:51:17.030 Yeah. But then we're both quite shiny thing people, aren't we? 516 00:51:17.030 --> 00:51:21.070 Yeah. But it's interesting. But I've. I've. I've very much gone back. 517 00:51:21.310 --> 00:51:21.950 Yeah, yeah. 518 00:51:21.950 --> 00:51:50.290 To that kind of. Of. And it's the emotional connection that I don't get quite as much from. Like, I bought myself a copy of 15 over because I buy my own Christmas presents because my family are all useless and so. But they did signed copy. I saw some signed copies. They were. They were discount, you know, in the earache do discount stuff. So there was like 18 quid or whatever. I'm having that. So 15, which is like one of my favorite records. We're definitely going to cover 15. 519 00:51:50.370 --> 00:51:50.850 Yeah. 520 00:51:51.090 --> 00:52:01.470 From book Cherry. And I thought, you know, I'm Gonna. I'm gonna get that. There's a radical difference between, like, taking that off the shelf. 521 00:52:01.470 --> 00:52:01.830 Yeah. 522 00:52:01.830 --> 00:52:04.310 Putting it on and smashing it on. On Apple Music. 523 00:52:04.310 --> 00:52:04.630 Yeah. 524 00:52:04.630 --> 00:52:18.150 Yeah. And it does not sound. Yeah, it's not that it sounds. I mean, everyone's gonna be screaming at the thing, but. But it's not about the sound of it. It's the. I don't know. There is a thing. There's like a physical thing making a physical noise. 525 00:52:18.150 --> 00:52:18.590 Yeah. 526 00:52:18.590 --> 00:52:42.860 And I feel like an emotional connection to that. And I get a different experience when I listen to music that way. And CDs too. So I've got, you know, I don't know how many. Not that many. Like 50 CDs or whatever. And again, it's like a different experience. It's really weird for me because when CDs were around at the time, that was just how it was. And it wasn't that. 527 00:52:43.020 --> 00:52:43.380 Yeah. 528 00:52:43.380 --> 00:52:47.020 But I wonder if it is that connection back to those things, which is. 529 00:52:47.020 --> 00:53:02.560 Really interesting because my. My sort of era of really connecting with music and finding my own identity. Music. Not just the stuff that I thought that I needed to like because that was the right fashion and that was the stuff that, you know, I dressed like that. So I needed to listen to that band. Really. 530 00:53:02.560 --> 00:53:02.920 Yeah. 531 00:53:02.920 --> 00:53:12.680 The points where I sort of really stepped away from that and got into all kinds of weird and wonderful things. Yeah. Which. Which culminated in a massive CD case. 532 00:53:12.680 --> 00:53:16.960 Yeah. Yeah. Your crazy CD case. Yeah. World music. It's got loads of stuff in there. 533 00:53:16.960 --> 00:53:27.450 It's quite cool. But that was like downloading a million things from Limewire, smashing it on her or. Or borrowing stuff from the library and burning it or, you know, that sort of thing. 534 00:53:27.450 --> 00:53:28.090 Yeah. Yeah. 535 00:53:28.890 --> 00:53:34.970 And there was a whole point in my life probably of a couple of years where I was just stockpiling music. 536 00:53:35.290 --> 00:53:35.690 Yeah. 537 00:53:35.690 --> 00:53:43.410 And collecting it from different places and almost archiving it in my own little thing, both hard drive wise and physical media wise. 538 00:53:43.410 --> 00:53:43.770 Yeah. 539 00:53:43.770 --> 00:53:50.210 And it's interesting that I remember doing the same sort of thing with Limewire and downloading a load of back catalog logs. Not having the same connection to those. 540 00:53:50.450 --> 00:54:26.030 Yeah. The music I've got connections to is like. I can almost think back to. I had, like, at this point, I'd saved up tons of cash and I'd got like a Nakamichi tape drive and I'd got a Marantz CD player. I got this Denon amp. And I can remember. I can remember the sound that that CD player made. That clunky, clinky sound and the Noise that the tape player made and stuff. Now at the time, obviously, they, they. They were new and shiny and I thought they were the best things ever. And now I don't know when. I'm sure there's something about that, you know, when you go and put a CD on and it kind of connects back to that time. 541 00:54:26.110 --> 00:54:26.990 Yeah, absolutely. 542 00:54:27.390 --> 00:55:31.260 But I do have like. There are albums I absolutely love, like recent new albums that I really, really love. And I don't have like that emotional. I have like a. Oh, that's a great record and I go and listen to it, but I don't have the same emotional connection that I would do to say this record or to Prong's Cleansing or, you know, even the Slayer, Raining Blood and those, you know, the kind of. The Metallica back catalog. The kind of, you know, the. But there's a real like quite cool thing I'll go and take, you know, Ride the Lightning off the shelf and put it on. And it's. I don't know. There is. There is very definitely a different connection. Yeah. To, to that. A lot of the time here for me as well was like we were going out, like, we were being clubs and stuff. We're going to rock clubs and stuff things. And this like Static X would be a big part of that Ministry and Pronghouse. Yeah. There would have been. These would have been played like over and over and again. Those memories come flooded back and car. In listening in the car as well. But that would have been cd. 543 00:55:31.340 --> 00:55:31.819 Yeah. 544 00:55:31.819 --> 00:55:48.120 You know, that would have been at this point in time, cdr. For me, this would have been. I'd have the, like. I remember buying Wisconsin Death Trip on cd, copying that cd and that's the one that I'd put in the car. So I was mature enough by that point to realize that I wasn't. I couldn't be trusted with things in. In the car. 545 00:55:48.120 --> 00:55:48.600 Yeah. 546 00:55:48.680 --> 00:55:54.840 So I knew that it was going to live in like the glove box or the boot. You know what I mean? I had my CD changer in the boot. 547 00:55:54.840 --> 00:55:55.120 Yeah. 548 00:55:55.120 --> 00:56:00.040 Yeah. And I knew that it was probably not going to get treated very well, so I had those gold CDRs. 549 00:56:00.040 --> 00:56:00.920 Yeah, yeah, yeah. 550 00:56:02.440 --> 00:56:07.400 But. But yeah, it would have been like you had to make that choice. You only had six. 551 00:56:07.720 --> 00:56:08.080 Yeah. 552 00:56:08.080 --> 00:56:12.440 In your car. And so, you know, you had to go and make those choices about what you. 553 00:56:12.920 --> 00:56:15.370 I was just thinking then about. About mini discs and. 554 00:56:15.440 --> 00:56:17.280 And you know, I love mini dicks. Yeah. 555 00:56:17.280 --> 00:56:27.600 I used to sit and make minisc and. And get the dial and put all the text in and do all that. And I was thinking about it. I've got a bit of a soft spot for that era of my life when I was doing all this stuff. 556 00:56:27.600 --> 00:56:28.000 Yeah. 557 00:56:28.000 --> 00:56:34.400 And I, I reckon if I set, if I like just for the crack set, set it up now to do again. I reckon I'd last about three minutes. 558 00:56:34.400 --> 00:56:34.760 Yeah. 559 00:56:34.760 --> 00:56:37.760 And go. I've just put, I've just put on Apple Music. 560 00:56:38.000 --> 00:56:50.570 It's so boring. Yeah, yeah, there is. I read not that long ago about mini disc and the only reason it failed was because Sony refused to open the licensing. 561 00:56:50.570 --> 00:56:50.890 Yeah. 562 00:56:50.890 --> 00:57:02.130 Yeah. If they, if they'd, if Sony have just gone. Well, yeah, anyone can have it. You can all just use it or made the licensing like pennies. Yeah. Made it dirt cheap, I reckon. Mini Discord. Yeah. 563 00:57:02.130 --> 00:57:05.810 Because they even had it. It was, it was a former mini disc. It was used on PSP games, wasn't it? 564 00:57:05.810 --> 00:57:06.370 Yeah, yeah. 565 00:57:06.370 --> 00:57:08.980 It was a kind of sort of a form of mini disc that. 566 00:57:09.060 --> 00:57:19.380 Yeah. You know what we're talking about games, this and, and there must be other albums that go. I'm sure Prodigy is probably similar. 567 00:57:19.540 --> 00:57:20.020 Yeah. 568 00:57:20.340 --> 00:57:40.380 But it hit me how broad the use of the tracks on this album on Computer Games were. You know, there's a whole bunch of, you know, this is in Duke, Nukem, Omega Boost, Brutal Legend. Yes. It was in like tons of, of games. 569 00:57:40.540 --> 00:57:41.100 Yeah. 570 00:57:41.180 --> 00:57:44.020 You're in the PlayStation era and I. 571 00:57:44.020 --> 00:57:53.060 Wonder, I'm just again connecting dots a little bit. I wonder if that's where the money was. Oh, so if they weren't selling albums. 572 00:57:53.060 --> 00:57:59.540 Yeah. It was actually sync well because Computer Games had kind of nailed it by this point. When I was young, with computers, you. 573 00:57:59.540 --> 00:58:00.500 Couldn'T really pirate them. 574 00:58:00.500 --> 00:58:05.720 We all had C60s, C90 tape with. And you'd have like 30 games. 575 00:58:05.800 --> 00:58:06.280 Yes. 576 00:58:06.280 --> 00:58:16.680 On that. And it would just be copy, you know, the zx, you'd all have these copies and then you would, it would give you the start and finish, you know, the counter on your tape player. 577 00:58:16.760 --> 00:58:17.320 Yeah. 578 00:58:17.560 --> 00:58:40.830 It will tell you where it start and stopped and then you would fast forward to that point and then you would load the, the game. So we used to copy them like all the time. I, I, you would buy some games but like the vast majority would all be like copied on tape. Whereas by this point, PlayStation and consoles. Yeah, you couldn't do it. It was all, it was pretty locked down. Yeah. 579 00:58:40.830 --> 00:58:42.590 Yeah. So, yeah, you're out of the specific discs. 580 00:58:42.590 --> 00:58:43.710 Yeah. So they were making that. 581 00:58:43.710 --> 00:58:48.910 You could get them chipped. That was the thing Wasn't it getting PlayStation chips? Yeah, yeah, I remember that being a thing. 582 00:58:48.910 --> 00:58:53.270 Yeah, yeah, I remember that. And Xbox as. I remember the first Xboxes coming out. 583 00:58:53.270 --> 00:58:53.710 Yeah. 584 00:58:53.710 --> 00:58:58.110 And we all used to. We used to hack them so we could put XBMC on there and play. 585 00:58:58.430 --> 00:58:58.830 Yeah. 586 00:58:58.830 --> 00:59:01.290 Play like movies and was it so. 587 00:59:01.290 --> 00:59:06.930 You could do DVDs? Is that, is that the. Oh, is that what they were. There were DVDs at the time for PlayStation. 588 00:59:07.010 --> 00:59:09.290 Yeah. Oh yeah, I think PlayStation was, wasn't it? 589 00:59:09.290 --> 00:59:11.890 Yeah. And then PlayStation 2 would have been Blu Ray. 590 00:59:12.850 --> 00:59:22.130 Oh. Bigger games. But I just think that you're probably right because I think the, the money making from the. The games would have been making money. 591 00:59:22.290 --> 00:59:22.770 Yeah. 592 00:59:22.850 --> 00:59:42.030 Whereas you. The music industry is struggling a bit. So those tie ups. Mtv. This reminded me as well when I was researching this, it said the. The vast majority of air time for Wisconsin death trip was MTV2. Really. And I'd completely forgotten that they did multiple yes. Channels. 593 00:59:42.030 --> 00:59:49.390 Well, I think we were somewhere the other night for Christmas. Christmas Eve, I think it was. And because we haven't got Skype. 594 00:59:49.390 --> 00:59:49.830 Yeah. 595 00:59:50.390 --> 00:59:52.750 And the, the place where we were at, they have Sky. 596 00:59:52.750 --> 00:59:53.110 Yeah. 597 00:59:53.110 --> 00:59:57.000 And they were watching mtv and. And Gemma was like. I didn't even know that was. Was a thing anyway. 598 00:59:57.000 --> 00:59:57.520 Still a thing. 599 00:59:57.520 --> 00:59:58.440 Yeah. Yeah. 600 00:59:58.440 --> 01:00:03.840 It's cool though, isn't it? But it hit me that like this, this album got. Got Wicked Airplane. 601 01:00:03.840 --> 01:00:04.440 Yeah, yeah. 602 01:00:04.440 --> 01:00:10.080 On. On MTV too. And you know, there's obviously got to be. There's money to be made. 603 01:00:10.080 --> 01:00:10.400 Yeah. 604 01:00:10.400 --> 01:00:26.760 Right. Because there were ads and other bits and pieces. So there's like money to be, to be made back from that kind of stuff. So. Yeah, I think the whole industry was just. Just scrabbling trying to figure out how to make money when the. When the physical album that you've just recorded, that's not making money anymore. 605 01:00:26.760 --> 01:00:27.440 No. Yeah. 606 01:00:27.600 --> 01:00:30.280 You've got to make money some other way. 607 01:00:30.280 --> 01:00:30.720 Yeah. 608 01:00:31.520 --> 01:00:42.080 I remember going to see Linkin park actually in the early 2000s and we bought the tickets and you could, you could pay extra. Common. How much? It was like an extra tenor or whatever. 609 01:00:42.080 --> 01:00:42.480 Yeah. 610 01:00:42.480 --> 01:00:48.000 To get a digital live, you essentially get the sound desk recording of your gig. 611 01:00:48.000 --> 01:00:48.480 Yeah. 612 01:00:48.480 --> 01:01:01.420 So when you finished like we went to the gig, went to Nottingham arena, know, came back like three or four days later. I got an email through with a link and in there was that gig MP3s. And it was, it was the exact. 613 01:01:01.660 --> 01:01:02.140 Yeah. 614 01:01:02.700 --> 01:01:08.540 Gig that you'd been to. Wow. But you had to pay extra for that kind of thing. So there's a Lot of that kind of stuff where. 615 01:01:08.540 --> 01:01:08.900 Yeah. 616 01:01:08.900 --> 01:01:28.020 You know, and boxes a lot of. I remember lots. Lots of, you know, boxetti type things that were. I don't know. You know what I mean? Where there was more stuff to it than you could copy, if that makes sense. You know, like kind of the. Like postcards and photographs and posters and things like that. 617 01:01:28.020 --> 01:01:28.420 Yeah. 618 01:01:29.060 --> 01:01:56.070 That you. You couldn't. You know, I mean, so you. You couldn't. You couldn't get. Without buying them. Yeah. Industry in turmoil at this point, I think. Yeah. And I think it's kind of quite interesting with this whole genre as well, because they, like. Yeah. So static extent. I don't think they really knew what they were doing. They kind of helped, like, build the section out of. Of kind of techno. 619 01:01:56.150 --> 01:01:56.630 Yeah. 620 01:01:57.030 --> 01:01:58.830 Evil disco. 621 01:01:58.830 --> 01:02:00.470 They call evil disco. Yeah. 622 01:02:14.410 --> 01:04:38.000 It. I can't believe I'm letting you do this to me, Al. Really, Sam. 623 01:04:55.050 --> 01:04:55.290 Really. 624 01:04:55.290 --> 01:04:59.530 I mean. 625 01:05:28.530 --> 01:05:29.650 Keep your disco evil. 626 01:05:29.890 --> 01:05:47.010 That was it. Yeah. But then. But then, like, as. As it kind of develops, because you've got, like, this 99 and then you had, like, new metal and corn and slipknot, and then you've still got, like, Ministry doing. Yeah. They go on a bit of a hiatus for a while, don't they? But do you know what I mean? It's like. 627 01:05:47.010 --> 01:05:47.970 Yeah, you. 628 01:05:47.970 --> 01:05:54.980 It was like this melting pot of, like. If you think about it before, it's all quite clean. It's kind of. Well, this is grunge and this is alt rock. 629 01:05:54.980 --> 01:05:55.500 And this is. 630 01:05:55.500 --> 01:05:56.540 This is hair metal. 631 01:05:56.700 --> 01:05:57.820 Yeah. They're playing on there. 632 01:05:57.820 --> 01:06:04.700 This one. Yeah. We get here and it's like, whoa, do you know what I mean? And we talked about this before, where the genres. 633 01:06:04.780 --> 01:06:05.180 Yeah. 634 01:06:05.180 --> 01:06:13.540 Do you know what I mean? You had, like, thrash metal and death metal, and you had, like, alt rock and you had grunge and you had hair metal and you had, like, classic rock. 635 01:06:13.540 --> 01:06:13.980 Yeah. 636 01:06:13.980 --> 01:06:19.340 And heavy metal. And that was about it. Do you know what I mean? You didn't need, like, all the genres. 637 01:06:19.340 --> 01:06:20.020 Yeah, yeah. 638 01:06:20.020 --> 01:06:27.560 But then you get here and it's like, oh, God, we've got, like, funk, funky metal, and we've got power metal and we've got. You know. 639 01:06:27.560 --> 01:06:35.880 I wonder how many people. Just thinking back to what you said earlier, I wonder how many people went out to do that. Or they just found their thing. They found their sound, I think. 640 01:06:35.880 --> 01:06:36.920 Yeah, yeah, yeah, yeah. 641 01:06:37.240 --> 01:06:39.200 They didn't go, oh, let's do a funky thing. 642 01:06:39.200 --> 01:06:40.840 Yeah. It was just what sells. 643 01:06:40.840 --> 01:06:44.320 I. I listened to that when I was little. So I've got That kind of feel when I play. 644 01:06:44.320 --> 01:06:44.680 Yeah. 645 01:06:44.680 --> 01:06:54.380 And I wonder how much of it is that. That it's just the byproducts of this, of your. Of your diet of listening when you were younger and then how that translates through. Through when you're in a room with other people who also. 646 01:06:54.380 --> 01:06:54.780 Yeah. 647 01:06:54.780 --> 01:06:55.460 Sort of thing. 648 01:06:55.620 --> 01:07:05.900 Could be. It could be. It could be that. That it's always that the genealogy, isn't it, of what you were influenced by. But. Yeah. I don't know. I just think it's a magical time, this. 649 01:07:05.900 --> 01:07:06.900 Yeah. Yeah. 650 01:07:07.060 --> 01:07:20.700 For rock music in general, whether you liked it or not. I think if you were kind. If you were. If you were brought up on like 80s heavy metal, this would have been a horrific time for you. Yeah, yeah. But I think in general, looking back on it, it was incredibly creative. 651 01:07:20.700 --> 01:07:21.140 Yes. 652 01:07:21.140 --> 01:07:41.120 The stuff that was coming out, like, may not have been. I think this is a really great record. This is a really great record. There were some records that came out around this time that were less so. Like Slayer would just. Slayer should have just gone on holiday for 10 years. They did some. They did some horrific things. Yeah. They tried to do like a grunge. 653 01:07:41.200 --> 01:07:41.880 Yeah. Yeah. 654 01:07:41.880 --> 01:07:53.320 That didn't not work well at all for them. And there was a few bands that were just spiraling out of control and just not quite, you know, where they should be. You know, Metallica were just bashing out the sound the same. 655 01:07:53.400 --> 01:07:53.800 Yeah. 656 01:07:53.800 --> 01:07:54.560 Boring crap. 657 01:07:54.560 --> 01:07:55.000 Yeah. 658 01:07:55.640 --> 01:07:57.920 They'd kind of lost their biscuit in. 659 01:07:57.920 --> 01:07:58.760 Snares and all that. 660 01:07:58.760 --> 01:08:04.200 Well, they'd done like. It was like load and reload. So they did the Black Album, then load, then reload. 661 01:08:05.480 --> 01:08:07.400 And it was all biscuits in snares. Were later. 662 01:08:07.400 --> 01:08:11.800 Yeah, we're later. Yeah. This was all just a little bit like, you know what I mean? It was making so much cash. 663 01:08:11.800 --> 01:08:12.160 Yeah. 664 01:08:12.160 --> 01:08:15.720 The record company. Yeah. Just do another. Do. Re. Re. Reload. 665 01:08:16.520 --> 01:08:17.000 Yeah. 666 01:08:17.560 --> 01:08:27.170 So they were under pressure to do that. They were kind of. They were not being particularly creative, I don't think. But when you scratch beneath the surface, there were records like this that were just. 667 01:08:27.490 --> 01:08:28.690 I mean, this is excellent. 668 01:08:28.690 --> 01:08:29.730 It's phenomenal. 669 01:08:29.730 --> 01:08:31.010 This is really excellent. 670 01:08:31.330 --> 01:08:44.730 There were. There were proper genre changing records that came out here. Slipknot were kind of. That was kind of forming and starting to get. Get a. Get a, you know, a groundswell underneath it about this time as well, which was. Which was really, really cool. 671 01:08:44.730 --> 01:08:55.770 But it's interesting the how that their journey, the Slimlock journey is really interesting. Interesting because they went from this kind of like underground garage punk Thing to like megastars. 672 01:08:56.010 --> 01:09:03.610 Yeah, yeah. That was really fast and it was really nasty sounding music as well. I don't think anyone saw that coming. No, you know, I think that was. 673 01:09:03.610 --> 01:09:05.450 Just, that was just like a train, wasn't it? 674 01:09:05.690 --> 01:09:15.290 You know, I, it feels to me like that we're, we're on this, like music to me feels like. It's not like I don't see anything that's super innovative. 675 01:09:15.290 --> 01:09:15.730 Yeah. 676 01:09:15.730 --> 01:09:17.050 Like, you see people like Ghost. 677 01:09:17.130 --> 01:09:17.530 Yeah. 678 01:09:17.530 --> 01:09:22.270 Doing really cool things. Youngblood doing really, really cool, but it's not innovative. I don't know, I don't feel like. 679 01:09:22.270 --> 01:09:23.350 Quite derivative, isn't it? 680 01:09:23.350 --> 01:09:31.630 Yeah, yeah, yeah, exactly. I mean, you've got Young Blood doing stuff with Aerosmith and it sounds great. Yeah, but it sounds like, it sounds like Aerosmith with Youngblood on there. 681 01:09:31.630 --> 01:09:32.070 Yeah. 682 01:09:33.030 --> 01:09:41.910 I mean, I really like Aerosmith, so that's great. Yeah, but it isn't, you know, I mean, it's not like Wisconsin Death Trip came out suddenly. 683 01:09:41.910 --> 01:09:42.270 Yeah. 684 01:09:42.270 --> 01:09:56.010 Like, whoa, that's really, you know, I remember hearing this at the first. I'm thinking that that's cool. Yeah. And I was like, oh, it sounds a bit like Ministry, but not quiet. And it's got, it sounds a bit like Fear Factory, but not quite. And it sounds, Yeah, I mean, I could hear the prong kind of riffs in there, but not quite. 685 01:09:56.010 --> 01:09:57.130 But it's his own beast. 686 01:09:57.130 --> 01:09:59.450 Yeah. And I, they were innovating. 687 01:09:59.450 --> 01:10:04.330 You, you know, you said about it earlier with the drum thing. Yeah, they were innovating, doing things. 688 01:10:04.490 --> 01:10:37.360 Yeah. I, I, I kind of can't help feeling that we're on this verge of some, something, somewhere it's going to go. I'm probably not in rock, if I'm honest. I can't, I can't see that. But, you know, I think this, I think AI has got to be, it's going to be really disruptive. I can imagine this generation of, you know, like what would be pre teens at the minute, you know, by the time they start getting into music, AI Tools are going to be, you know, and you. They're going to be so pervasive and easy to use that you're going to be able to produce whatever you want. 689 01:10:37.440 --> 01:10:37.880 Yeah. 690 01:10:37.880 --> 01:11:03.320 So there's. The barrier to producing music is going to disappear. So I guess I just have, I don't know, I have this funny feeling that they're gonna start. Because you think about it, once you, once you've got that, that barrier, the physical instruments not in between you and producing music, you can do things that you can't do with. You just couldn't possibly do. So I. I think we're on this verge like a punk rock. 691 01:11:03.480 --> 01:11:03.960 Yeah. 692 01:11:04.040 --> 01:11:07.720 Do you know what I mean? That kind of thing where we're all like going, oh my God, what's that? 693 01:11:07.720 --> 01:11:08.320 Yeah, yeah. 694 01:11:08.320 --> 01:11:14.690 You know what I mean? Just make that. Because I quite like the. I quite like, quite like all music. I say I like all. I don't really like country music, but I like most music. 695 01:11:15.810 --> 01:11:17.490 Maybe that's where the innovation's gonna be. 696 01:11:18.610 --> 01:11:22.370 Yeah. Country, country, country, industrial country. 697 01:11:22.450 --> 01:11:24.690 There's a big country thing at the minute, is there? 698 01:11:24.690 --> 01:11:26.769 Yeah, big country thing. 699 01:11:26.769 --> 01:11:31.250 Yeah, yeah, yeah. People love it. There's like. Honestly, the people walk around with like cowboy hats. 700 01:11:31.650 --> 01:11:33.650 I'm not joking. I like cowboy boots. 701 01:11:33.650 --> 01:11:34.330 Yeah, I like. How. 702 01:11:34.330 --> 01:11:35.170 Don't like the hats. 703 01:11:35.250 --> 01:11:36.380 No, I like the hats. 704 01:11:36.450 --> 01:11:42.650 Hats. Do you. I like the jeans. They like jeans. I like the boots and. And that's about it, really. 705 01:11:42.650 --> 01:11:48.770 Yeah, No, I like the hats as well. Yeah. I'll go full cowboy. Yeah, yeah, yeah. 706 01:11:48.770 --> 01:11:57.410 But there is definitely, I think a space where the world is going to. I think something innovative's got to happen. Like Taylor Swift. That can't be peak. 707 01:11:57.570 --> 01:11:58.730 No, no, no. 708 01:11:58.730 --> 01:12:02.210 I think we are over. We're overdue a punk movement. Okay. 709 01:12:02.440 --> 01:12:02.760 Yeah. 710 01:12:03.480 --> 01:12:13.040 And I just can't help thinking that AI is going to be this thing that like it'll get used to copy and paste. Yeah. Stuff. 711 01:12:13.040 --> 01:12:13.400 Right. 712 01:12:15.320 --> 01:12:19.880 But I think it's only a matter of time before some sharp 13 year old in his bedroom. 713 01:12:19.880 --> 01:12:20.320 Yeah. 714 01:12:20.320 --> 01:12:22.840 Or her bedroom just suddenly decides. 715 01:12:22.840 --> 01:12:23.560 Hopefully her. 716 01:12:23.720 --> 01:12:35.090 Yeah, hopefully her bedroom. Kind of want somebody to kind of go, do you know what? I don't. I want to listen to the. This. This is in my head and I can't get it out. And then they find a tool or a way to get that out there. 717 01:12:35.090 --> 01:12:35.410 Yeah. 718 01:12:35.410 --> 01:12:37.170 And that becomes this movement. 719 01:12:37.330 --> 01:12:38.050 Yeah, yeah. 720 01:12:38.130 --> 01:12:43.250 Of kids out there. But. But we're overdue that. I think it's all a bit staid at the minute. I'm sure we'll do some facts. 721 01:12:43.250 --> 01:12:44.610 Let's do some facts. 722 01:12:44.610 --> 01:12:51.730 We've talked about a lot of facts already. So I've got. I've got facts in two places, so I shall go through quickly. Artist name Static X. 723 01:12:52.290 --> 01:12:55.040 You said the name, the name of that. This is for re reason. 724 01:12:55.280 --> 01:13:51.570 Static X. They were called Static. They had a bunch of different brand names. Eventually settled on Static and then had to be changed. The part of the record label said that you have to change the name because you can't like trademark common names. So Static X you can trademark, but Static you can't. So they had to become Static X. They wanted the band to be called Wisconsin Death Trip, but the label said it was too long. So they go. Release date March 23, 1999. Which was obviously good. I spent most of 1999 rolling my eyes at people in suits talking about the end of the world because of the millennium. And they were. They were talking about. They were genuinely in meetings in boardrooms saying, should we. We had like an underground bunker. And they were really concerned that all the planes would crash. 725 01:13:51.650 --> 01:13:52.130 Yeah. 726 01:13:52.130 --> 01:15:19.240 So they were like, should we. Or like, should we take all the executive staff and put them underground in a bun? And then we were, I mean, facetious, like 20 year olds. I was like, if I was you, I'll go to the pub. But there you go. Recorded in 1998 at Grandmaster Studios in Hollywood. Label Warner Brothers. They paid for it all. This is like a proper return to heavy music for Warner Brothers. They didn't have much else on their roster and they were getting back in. Heavy music was starting to make a bit of a comeback. But even though Warner Brothers had taken them back on, they couldn't afford Terry Date as their producer. Didn't have any money, so they wanted Terry Date. Terry Date had done Deftones, prong everybody. Basically. Terry Date was like a mega producer. They couldn't afford him. So they ended up producing with Oric Wild, who was his protege. He was Terry Dates like gopher in the studio. He. He'd studied under Terry and it's interesting, he really embraced the band, I think, and had a. Had a big impact on them, which was really co. Genre. You see all kinds of different genres. For Static X, I think the industry referred to them as industrial metal. I think they got thrown in with new metal, Although Wayne always described them as evil disco. Which I think is excellent length, 43 minutes. So it's the correct length. There are no songs. Well, there are some quite long songs. 727 01:15:19.240 --> 01:15:19.800 Yeah. 728 01:15:20.200 --> 01:15:21.280 But no two long songs. 729 01:15:21.280 --> 01:15:22.920 Well, the one we're going to finish with. Very long, actually. 730 01:15:23.160 --> 01:15:28.390 Eight minutes, isn't it? Interestingly, that was it. 731 01:15:28.390 --> 01:15:30.710 Discovery, the song December. 732 01:15:30.710 --> 01:15:55.120 Yeah. Oh, December. So December that. That track was written before. Before Static X, it was. Previous Band, which I think is again, really interesting album, peaked at 107 on the Billboard 200. So it didn't chart that well, although it did go Platinum in 2001. So that means a million million sales. Which is. Which is quite a lot. 733 01:15:55.120 --> 01:15:55.520 Yeah. 734 01:15:55.520 --> 01:16:09.640 Key singles. It was Push it, which is the one. I remember that being just huge in the clubs. And then I'm with Stupid and Bled for Days. It's. I. I think this album. Some albums have got really notable singles. 735 01:16:09.640 --> 01:16:10.000 Yeah. 736 01:16:10.000 --> 01:16:16.400 On them where the. The melodic impact is immediate. This record, to me, is just full of them. 737 01:16:16.400 --> 01:16:22.230 Yes. I was gonna say if you was. If you were gonna say which songs are gonna release the singles, you wouldn't be those for me. 738 01:16:22.230 --> 01:16:26.110 Yeah. I don't know. I don't know quite how you would push it, maybe. 739 01:16:26.110 --> 01:16:27.030 But the others. Yeah. 740 01:16:27.270 --> 01:17:05.010 Yeah. It's. I think it's already been a difficult one where they, you know, Warner. Warner would have tried to figure out what to, you know, what to do with the singles. I'm not 100 sure that that would have been an easy conversation. The album was named after a creepy 1970s book called Wisconsin Death Trip, which was about nineteen 1890s deaths in rural Wisconsin, which Wayne Static found at a flea market and became fascinated with it. And then you wanted to change the name of it, wanted to call that the name of the band. That's just so good. 741 01:17:05.010 --> 01:17:06.010 I love things like that. 742 01:17:06.010 --> 01:17:07.050 I mean, love that as well. 743 01:17:07.050 --> 01:17:08.130 You just stumbled across it. 744 01:17:08.130 --> 01:17:08.450 Yeah. 745 01:17:08.450 --> 01:17:09.930 And that became. That became the thing. 746 01:17:10.090 --> 01:17:10.970 It is what it is. 747 01:17:11.690 --> 01:17:14.650 I read a graphic novel series called Harrow County. 748 01:17:15.030 --> 01:17:15.350 Yeah. 749 01:17:15.350 --> 01:17:18.310 Which. I don't know. I just get the same vibe from that. 750 01:17:18.310 --> 01:17:18.630 That. 751 01:17:18.790 --> 01:17:21.350 That phrase, Wisconsin death, Death Trip. 752 01:17:21.350 --> 01:17:58.350 Are you gonna. Are you gonna write an album called Harrow County? You should do that. Billy Corgan helped bring the band together. So Smashing Pumpkins frontman Billy Corgan played with Wayne Static in a band called Deep Blue Dream in the late 80s, and he introduced Ken J to Wayne Static. And then that's kind of how that kind of core nucleus of the band got formed, which I think is. Yeah, it's interesting. The Smashing Pumpkins existed then. 753 01:17:58.510 --> 01:17:58.990 Yeah. 754 01:18:00.750 --> 01:18:53.180 But then as Static X was kind of forming Billy Cork, so. So Wayne's trying to recruit Billy into Static X. And Billy's kind of got you. I think I'm going to carry on with this epic, really, really epic backstory. I think talked about this a little bit, but the diy, the drums were recorded on, like, a DIY wooden drum kit thing with. With triggers. Kochi Fukuda built that. Just designed it and built it and then used it into their. Their software. Really innovative. Really quite cool. I think. Um, albums full of hidden samples and movie references. So Sweat of the Bud, for example's got the sample from Planet of the Apes. So where the spaceship crash lands at the beginning, that's Kind of what you can hear there. There's tons of it. 755 01:18:53.260 --> 01:18:54.380 I love stuff like that. 756 01:18:54.460 --> 01:19:13.000 Stem is on there. Stem's got the. From the. The film the Begotten from 1989. This was like a big deal for them that the band really loved these kind of pop culture references, of taking, like, what they felt were, like, cool, cool movies and stuff and then sprinkling bits of that through there. 757 01:19:13.320 --> 01:19:16.680 Yeah, I love stuff like that. Yeah, I love anything like that. 758 01:19:17.000 --> 01:19:17.880 Very, very cool. 759 01:19:17.880 --> 01:19:26.280 And I quite like it when they capture it from other things. I know when we did oh, God, Operation Mine Crime. 760 01:19:26.280 --> 01:19:26.640 Yeah. 761 01:19:26.640 --> 01:19:31.400 And there were almost these things that were generated to be like film things before the album. 762 01:19:31.560 --> 01:19:32.120 Yeah. 763 01:19:32.360 --> 01:19:37.420 Which were really cool. But I actually like the bit where they go. They'll go and find something in reality and then repurpose it. 764 01:19:37.500 --> 01:19:38.140 That'll do. 765 01:19:38.220 --> 01:19:40.860 Yeah. To make it part of the song. I quite like that. 766 01:19:40.940 --> 01:19:41.980 I quite like that, too. 767 01:19:42.300 --> 01:19:47.100 Speaking of pumpkins, Pumpkins did it with the. The Doom Explosion. 768 01:19:47.100 --> 01:19:47.500 Right. 769 01:19:47.500 --> 01:19:48.220 Their records. 770 01:19:48.220 --> 01:19:48.580 Yeah. 771 01:19:48.580 --> 01:19:53.340 Yeah. It's on one of the songs of Melancholy, they used a doom Explosion and sampled it. 772 01:19:53.900 --> 01:19:59.100 I read something on Festival Today that said I am a producer of. Of BBC. 773 01:19:59.100 --> 01:19:59.980 The fart ones. 774 01:19:59.980 --> 01:20:10.200 Yeah. BBC Children's TV. And over the past 10 years, I've been mixing in Farts into the south. And no one's noticed that. 775 01:20:10.200 --> 01:20:11.120 That's the best thing ever. 776 01:20:11.120 --> 01:20:12.800 I just think that it's just epic. 777 01:20:12.800 --> 01:20:13.240 Yeah. 778 01:20:13.320 --> 01:20:15.160 It's very, very cool. 779 01:20:16.120 --> 01:20:22.360 There's also, like, things like in films as Easter eggs, isn't there? Oh, there's like the whole thing. Like, they'll use that. There's a particular sound bite. 780 01:20:22.360 --> 01:20:22.720 Yeah. 781 01:20:22.720 --> 01:20:24.160 That you have to use any film somewhere. 782 01:20:24.160 --> 01:20:24.440 Yeah. 783 01:20:24.440 --> 01:20:25.880 You know, and it's. It's like a thing. 784 01:20:26.040 --> 01:20:37.480 There's the. Oh, and I'm gonna get this wrong now. I think it was Pixar. There's, like numbers that get used all the way through them and a lot of names run all the way. 785 01:20:38.500 --> 01:20:40.940 Yeah. Yeah. I absolutely adore stuff like that. It's wicked. 786 01:20:40.940 --> 01:20:52.260 It is December, we talked about is the last track on the album. It's too long. It's eight minutes long. It came from a previous band they recorded. It feels. 787 01:20:53.380 --> 01:20:55.300 It does feel different. It feels like a different thing. 788 01:20:55.460 --> 01:21:05.860 Yeah. It comes from a band, Deep Blue Dream, that they were in with Billy and. Yeah. I don't know. It's an interesting way. It doesn't fit the record particularly. 789 01:21:06.340 --> 01:21:07.780 It's really obvious now you've said it. 790 01:21:07.780 --> 01:21:09.610 Yeah. But it's quite a cool. It's a cool track back. 791 01:21:09.610 --> 01:21:10.330 Yeah, yeah. 792 01:21:10.570 --> 01:21:58.980 Closes the album quite nicely. We're going to kind of close with it as well. But yeah, it's. Yeah. Interesting I think. Where were some of the other things here? Oh yeah, we talked about most of this. Of this stuff. Right. So yeah, the. The name changes we've already talked about. So yeah, they were called Static. They went to record a Static. They were on the. The roster with. With a record label as Static. And then it was only when they started to put the record out, they had to go and change. It was changed quite late in the day when the album went out. I think that's about it. Oh yeah. Oh and actually they've just done a bunch of like reimagined stuff where they've. 793 01:21:58.980 --> 01:22:00.500 They've taken vocals, haven't they? 794 01:22:00.500 --> 01:22:43.150 They're taking vocals. They've gone and found old Wayne vocals after Wayne died in 2020. It's 2014, I think it was. And so I think about 2020 the band kind of got back together and they've done all kinds of interesting stuff. But one of the cool things they've done. They've only just released it actually over the. The past few weeks is gone back and found a bunch of like pre. Like old studio stuff that was never done. And they redid did Wisconsin Death Trip. So they've kind of gone back and unnecessarily, I will say, like reproduced and re. Messed with it. It sounds perfect as it is. 795 01:22:43.150 --> 01:22:43.510 Yeah. 796 01:22:43.510 --> 01:23:30.340 And now it just sounds slightly louder than it did. But. But then. But what I love about it is they've got all these kind of like just old pictures in the studio of Wayne and the band and like vocal footage from way back in the. In the day as well. And I like that. I think that's really, really good. So. So yeah, they did that too. So if you love this stuff, they did some lovely vinyl actually. Some beautiful vinyl of Wisconsin Death Strip, the Current. Yeah, I think they've redid it. I'm trying to think of when they redid it, but I think they did it in 20. There's been quite a few reissues of it. I'm sure that it. In 2020, but there's a 202025 version which I don't know. I'm not sure. I'm. I'm. I think the older version will probably sound better. 797 01:23:30.340 --> 01:23:30.740 Yeah. 798 01:23:30.740 --> 01:23:32.860 But the 2025 version looks better. 799 01:23:32.860 --> 01:23:33.260 Yeah. 800 01:23:33.260 --> 01:23:56.310 And it's got. And like I say that that like gatefold thing that they did, it just looks phenomenal and like I Said it's got all these like really cool old photographs and things in there, which I love. We all know. Like, I don't like, like mucking about with the sound, but I like to see stuff like that, you know, when you've got like stuff that's kind of in a vault somewhere. 801 01:23:56.310 --> 01:23:56.990 Yeah, yeah, yeah. 802 01:23:56.990 --> 01:24:27.880 I just, I don't know, I like. I'm not such a big fan of like hearing demos and sometimes it's interesting, but I do like seeing like behind the scenes photographs and like stories and interviews that just. Just never made it out. Or, or in this case, like, like recordings, like just, you know, songs and vocal recordings that just never made it. Never made it out. I think that's quite cool. But that's it for the Facts for Wisconsin Death Trip. 803 01:24:27.880 --> 01:24:30.480 Yeah, done good. Doing good. 804 01:24:30.480 --> 01:24:31.640 Are you going to ask what's next? 805 01:24:31.720 --> 01:24:36.760 I am in a minute. But first I'm going to play December and then we'll discuss what's next. 806 01:24:36.760 --> 01:24:38.080 Yeah, go on, let's do that then. 807 01:24:38.080 --> 01:24:50.210 Right, Sam. 808 01:25:13.340 --> 01:26:22.410 Still feel the cold of long past days I knew my worth but in my place it's no surprise I realize Sometime before. December sun shines through RA I put my thoughts toward future days it's no surprise I close my eyes let's close the door it. Day. 809 01:27:56.170 --> 01:27:57.010 Done. Done it. 810 01:27:57.010 --> 01:28:00.490 We've done it now that this, that, that this. 811 01:28:00.810 --> 01:28:01.290 Yeah. 812 01:28:01.370 --> 01:28:06.610 Is the last show of the year. Yeah, We've done loads of cool stuff this year. 813 01:28:06.610 --> 01:28:07.670 We have done loads of cool stuff. 814 01:28:07.820 --> 01:28:08.140 Stuff. 815 01:28:08.540 --> 01:28:09.020 Yeah. 816 01:28:09.180 --> 01:28:10.860 I was going to do like a. 817 01:28:12.940 --> 01:28:14.460 A retrospective. 818 01:28:14.460 --> 01:28:31.220 Yeah. But I can't be bothered. So if you've enjoyed this, then just go back and look at what we've done because we've done some cool stuff. We did a bunch of like, like UK stuff. We did the. A bunch of grunge and, and alt rock stuff. We've done kind of industrial. Yeah, we've done. 819 01:28:31.220 --> 01:28:35.460 And we've done up until the last part of the year. We were. We were weekly as well. 820 01:28:35.540 --> 01:28:46.380 Yeah. I think we go through phases, don't. I think we were a bit sick earlier in the year where we both got sick at the same time and, and skipped a couple of weeks. But we've done all right. I think we've done 40, 44, 45. 821 01:28:46.380 --> 01:28:48.980 And we stuck to the same rules episodes, largely. 822 01:28:48.980 --> 01:28:49.260 Yeah. 823 01:28:49.260 --> 01:28:49.620 Yeah. 824 01:28:50.100 --> 01:28:55.060 We've only got one rule though, to be fair. Well, there are two rules. We need to like the album and it needs to be more than 25 years old. 825 01:28:55.060 --> 01:28:55.540 Yeah. 826 01:28:55.780 --> 01:28:56.260 Yeah. 827 01:28:56.340 --> 01:28:57.740 And I think we've stuck to that. 828 01:28:57.740 --> 01:29:18.770 Yeah. And I think, you know, if. If I'm going to give guidance to anybody, if you want to do a podcast and you're going to do something like that and you're going to have a. Rules. Don't have many, but. But yeah, it's been a really good year for us. I think the show, looking at the stats, the show is twice. We have twice the listeners that we had then. We started in January. 829 01:29:18.850 --> 01:29:19.250 Yeah. 830 01:29:19.250 --> 01:29:23.010 Yeah. Which given that we only flipped to Riffology. 831 01:29:23.330 --> 01:29:24.210 Yeah, that's true. 832 01:29:24.210 --> 01:29:50.280 We were Monster Shop at the beginning of the year. So we've not even been Riffology for that for the whole year. It's been great. So thanks for coming with us. Thanks for watching, for spending time with us. It's cool to. To have you with us. And I, you know, looking at our stats, you know, the vast majority of people that listen to the show, you know, are of a similar age and background to. To us and I don't know, it just feels quite cool. 833 01:29:50.280 --> 01:29:51.080 Yeah, it's nice. 834 01:29:51.080 --> 01:29:57.520 Cool to have a bit of a. Bit of a following and a bunch of people that listen to. That's cool. As for what's next. 835 01:29:57.830 --> 01:29:58.150 Yeah. 836 01:29:58.230 --> 01:30:02.470 I. I want to do Pink Floyd. Wish you were here. 837 01:30:02.470 --> 01:30:02.950 Yeah. 838 01:30:05.990 --> 01:30:28.070 So that's. That's one that I really want to do, but I'm very well. We've not done any Smashing Pumpkins for ages and we've talked about it and there's a very real link from this. I hadn't realized until we did this. There's a really strong link here. So I wonder if you would pick a Smashing Pumpkins out album that we could do next week. 839 01:30:28.070 --> 01:30:28.590 Yeah. 840 01:30:28.590 --> 01:30:30.550 And then we'll do. Wish you were here after that. 841 01:30:30.550 --> 01:30:31.030 Yeah. 842 01:30:31.190 --> 01:30:41.429 So what are you gonna pick? We're gonna pick. You're gonna go. The problem is, like the one you. You love. Melancholy is five years long. It's like 18 albums in one album. 843 01:30:41.430 --> 01:30:41.910 Yeah. 844 01:30:42.150 --> 01:30:46.870 And I was. I really like the. I was listening to that. I was really good. This first. And then. So it goes on. 845 01:30:46.870 --> 01:30:47.430 Yeah. 846 01:30:48.550 --> 01:30:49.950 So what. What are you gonna pick? 847 01:30:49.950 --> 01:30:52.350 I wonder. I wonder if we should do Siamese Dr. Dream then. 848 01:30:52.750 --> 01:30:53.230 Yeah. 849 01:30:53.230 --> 01:31:02.510 Because that's got some big tunes on it. It's Cherub Rock. It's today. It's Disarm and. And it's not too long. It's around this time. 850 01:31:02.510 --> 01:31:02.990 Yeah. 851 01:31:04.270 --> 01:31:15.910 So as this was being developed in the sort of mid-1990s, obviously static X was kind of getting going maybe towards the end of the end of that. So it might be A bit earlier, to be fair. 852 01:31:15.910 --> 01:31:26.690 Yeah. But I think it kind of fits. Right. It kind of fits with where. With where we are and we just haven't done Smashing Pumpkins. We've not really. You've talked about them loads. 853 01:31:26.690 --> 01:31:30.610 Yeah. And Melancholy is a big, really obvious one to do. 854 01:31:30.610 --> 01:31:31.330 Yeah. Yeah. 855 01:31:31.330 --> 01:31:39.490 But actually it'd be nice to dive into because of the Butch Vic thing as well and things like that, you know, It'd be quite nice to dive into Siamese Dream. 856 01:31:39.490 --> 01:31:55.830 Yeah. So Siamese Dreams is one. Is one of my. It's one of my more favorite ones. Do you know the. I can't remember the name of it, but the. The thing that got me into Smashing Pumpkins was Lizzy had this box set. Cd. Physical CD box set. 857 01:31:55.830 --> 01:31:56.150 Yeah. 858 01:31:56.150 --> 01:31:57.550 With like the black and white. 859 01:31:57.550 --> 01:31:58.750 Oh, the airplane flies high. 860 01:31:58.750 --> 01:31:59.670 Airplane flies high. 861 01:31:59.670 --> 01:32:00.390 Yeah. Yeah. 862 01:32:00.390 --> 01:32:04.670 And that's what got me. That was it for me. That was. That was like. Because she loved that. And that was in the car. 863 01:32:04.750 --> 01:32:05.150 Yeah. 864 01:32:05.150 --> 01:32:10.430 So we would. We would have that and that. We would go on road trips or whatever else, and that was always what we would listen to. 865 01:32:11.390 --> 01:32:14.590 I don't know if I'm changing my mind now. Oh. 866 01:32:14.910 --> 01:32:15.630 Oh, dear. 867 01:32:17.150 --> 01:32:18.750 I don't know whether we should do A Door. 868 01:32:20.190 --> 01:32:22.070 Oh, and I'm on Time Stream. 869 01:32:22.070 --> 01:32:22.430 Yeah. 870 01:32:22.430 --> 01:32:24.790 I. I like. There's some bangers on there. 871 01:32:24.790 --> 01:32:29.150 Yeah. Yes. A Door can be Another Day. It's a very different album. It's a very, very different. 872 01:32:29.230 --> 01:32:31.230 What? It's not. When was a door released? 873 01:32:31.710 --> 01:32:32.750 99, I think. 874 01:32:32.750 --> 01:32:33.724 Was it 98? 875 01:32:33.816 --> 01:32:37.830 99, something like that? I don't know. I actually don't know. 876 01:32:37.830 --> 01:32:43.390 Let's do. Let's do Simon Stream. I think that's easy. Let's. Let's do it. That's where you'll first. That's where you're first. 877 01:32:43.390 --> 01:32:44.110 Yeah, let's do it. 878 01:32:44.110 --> 01:32:51.330 Let'. It. Because that's got. What's. That's because I got 1975 on it. No, it's got cherub rock and it's got. Yeah, yeah. 879 01:32:51.330 --> 01:32:54.250 1979 is Melancholy, disc two. 880 01:32:58.250 --> 01:33:04.290 Right, well, let's do it. Well, thanks for coming with us. I hope you had a good Christmas and New Year and all that stuff. Oh, I've added a third rule, by the way. 881 01:33:04.290 --> 01:33:05.370 What's the third rule? 882 01:33:05.370 --> 01:33:06.650 No Christmas songs. 883 01:33:06.650 --> 01:33:07.530 No Christmas songs. 884 01:33:07.530 --> 01:33:15.180 Okay. I don't hate Christmas, but I don't like it. That's the thing, isn't that we don't like that. I don't. I don't. 885 01:33:17.100 --> 01:33:18.140 Just a bit. Meh. 886 01:33:18.140 --> 01:33:19.060 When it's happening. 887 01:33:19.060 --> 01:33:19.340 Yeah. 888 01:33:19.340 --> 01:33:20.220 You know, it's all right. 889 01:33:20.220 --> 01:33:20.580 Yeah. 890 01:33:20.580 --> 01:33:24.860 Do you mean so you get to see people you don't normally see and you get to live off sweets? 891 01:33:24.940 --> 01:33:25.340 Yeah. 892 01:33:25.340 --> 01:33:28.740 And like, I don't know, sausage rolls. 893 01:33:28.740 --> 01:33:29.819 It's a lot of drama, though, is. 894 01:33:29.819 --> 01:33:47.450 It can be, yeah. Yeah. There's a lot of mess. A lot of. And the kids always get over, like. Do you know what I mean? They're, like, overstimulated, so they're trying to dick heads for a week and then I have to go and tidy up all the mess. I don't like that either. So there's bits that are good to it. 895 01:33:47.450 --> 01:33:47.890 Yeah. 896 01:33:48.450 --> 01:33:57.570 Musically. And this is a hill. I'm probably. I'm prepared to die on this hill. I don't think musically has ever given anything to the world. 897 01:33:57.730 --> 01:33:58.130 No. 898 01:33:58.690 --> 01:34:06.450 August Burns Red did a cover of Carol of the Bells, which is like peak Christmas for me. But it's pretty crap, isn't it? 899 01:34:06.450 --> 01:34:07.130 Yeah, yeah, yeah. 900 01:34:07.130 --> 01:34:12.430 It's pretty crappy. Def Leppard last year did a Christmas song that was horrific. Awful. 901 01:34:12.430 --> 01:34:12.830 Yeah. 902 01:34:12.830 --> 01:34:16.030 The Pretty Reckless have a Christmas album that doesn't suck. 903 01:34:16.030 --> 01:34:16.750 Yeah. Yeah. 904 01:34:16.750 --> 01:34:17.550 It's okay. 905 01:34:17.550 --> 01:34:17.950 Yeah. 906 01:34:18.270 --> 01:34:20.670 It's a. It's a solid. It's not as good. 907 01:34:20.670 --> 01:34:21.750 She was in the Grinch, wasn't she? 908 01:34:21.750 --> 01:35:11.000 She was, yeah. That. That album's really good. It starts with the song. Yeah, yeah. Oh, I forgot the name of the stupid. Starts with her singing the song from the Grinch in her, like, actual. Her baby Taylor Momson voice when she was in the film. And then. Then it morphs into the rock version, the COVID that they do. And then. Then the album evolves and they do the album and they did record. She's recorded. She's written like a. Like four or five tracks, and then at the end it kind of rolls back out into the thing. Really well thought out. Really good. She is a great. I think she's a great songwriter. Lovely voice as well. Shame we can't cover any of their stuff. Way too modern. But I love, love. I really do love what. What they're doing. I can't think of another good Christmas record. 909 01:35:11.160 --> 01:35:11.560 No. 910 01:35:12.120 --> 01:35:13.720 So. But that's the third rule. 911 01:35:13.720 --> 01:35:14.200 Yeah. 912 01:35:14.200 --> 01:35:17.440 We've got to like it. It's got to be more than 25 years old. 913 01:35:17.440 --> 01:35:17.960 Yeah. 914 01:35:18.040 --> 01:35:26.760 Which means we can do. I think we can do Buck Cherry and a bunch of others we can do. We. Because we're into 2001. 915 01:35:26.760 --> 01:35:27.240 Yeah. 916 01:35:27.240 --> 01:35:28.360 As of a few days. 917 01:35:28.360 --> 01:35:29.320 Yeah. Yeah, yeah, yeah. 918 01:35:29.400 --> 01:35:30.360 I like that a lot. 919 01:35:30.360 --> 01:35:31.710 Yeah. We can cross the threshold threshold. 920 01:35:34.830 --> 01:35:39.630 And it can't be a Christmas song. Can't be a Christmas album. And that's good. 921 01:35:39.630 --> 01:35:41.150 Yeah. All right. Right. 922 01:35:41.150 --> 01:35:42.710 Rock and roll. Let's do one. See you next year. 923 01:35:42.710 --> 01:35:43.470 See you. Bye. 924 01:35:43.470 --> 01:35:43.950 Bye.