This Episode · No. 23

RIFF054 - Feeder - Polythene

24 June 2025 ·76 min ·Season 2025

0:00 1:16:15

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Show Notes

When British Guitar Rock Discovered Itself

Hosts: Neil & Chris
Duration: ~76 minutes
Release: 24 June 2025

Episode Description

Neil and Chris take an affectionate dive into Feeder's 1997 debut Polythene, a record that made zero immediate impact but eventually went gold anyway. This is album-as-time-capsule material, the kind of British rock that defined the late 90s for anyone who wasn't fixated on Britpop. Neil admits he never owned it back then despite knowing people who loved it, but listening now, he's completely fallen for its fuzzy guitars, organic flow, and total lack of pretension. Chris shares memories of playing Final Fantasy 7 at his mate Martin's house, listening to this exact record, right before accidentally deleting 72 hours of Martin's saved game. The forgiveness was surprisingly quick, apparently, but resentment may still be brewing decades later.

Recorded for just £50,000 at Great Linford Manor with producer Chris Sheldon, the band had full creative freedom, which shows. This feels like three guys working out who they are in real time, borrowing bits from Smashing Pumpkins and filtering American alternative rock through a distinctly British lens. Grant Nicholas writes most of the material, but the collaborative arrangements give everything a live, unforced energy. The album cover remains a mystery, complete with unexplained numbers no one can decode, not even ChatGPT. It's abstract, very 90s, and possibly depicting someone drowning in polythene, a metaphor for isolation and protection that runs through the whole record. Despite debuting at number 65 on the UK charts and never really charting at all, Polythene eventually sold 300,000 copies once later hits like Buck Rogers brought audiences back to discover where Feeder started.

What You'll Hear:

Why Feeder's Polythene is a time warp for British 90s music, the album Neil fell in love with this week despite never buying it back in 1997, complete with memories of playing video games while this exact record played in the background
Chris confesses to deleting Martin's 72-hour Final Fantasy 7 save game and somehow escaping with minimal consequences, though revenge plots may still be simmering decades later
The album's mysterious cover art designed by Echo's in-house team, featuring unexplained numbers that even ChatGPT can't decode, possibly random or possibly the ultimate 90s mystery waiting to be solved
Recording on an analog budget of less than £50,000 with producer Chris Sheldon at Great Linford Manor, using Big Muff and Boss DS-1 pedals to create that fuzzy, organic guitar sound that defines the whole record
How High became Feeder's first top 30 UK single despite not appearing on the original album release, only added a year later when they re-released Polythene with the track inserted at number four, changing the album's entire flow for the better
Mike Hedges producing Manic Street Preachers' Everything Must Go discussion bleeds into Feeder comparisons, Neil loves albums that flow end-to-end rather than collections of disconnected songs, this one stitches together beautifully unlike many 90s records

Featured Tracks & Analysis:

High dominates the conversation, Neil's go-to acoustic cover song whether audiences like it or not, built on suspended chords and an intro that echoes Wonderwall's second-fret shimmer but with a drum beat closer to the Eels. Tangerine and Cement explore being stuck, paralyzed, overwhelmed, concrete shoes and can't swim imagery running through both tracks. Stereo World is pure escapism, drifting from reality into music, while Crash tackles life's sudden twists. The production is bright, clinical, sparse, minimal compression creating dynamic range rare for mid-90s loudness wars. Chris Sheldon's work here parallels his productions on Therapy's Troublegum and Biffy Clyro's Blackened Sky, giving everything room to breathe rather than crushing it flat.

Neil emphasizes how this album flows, each song's beginning and end designed to complement the next, not like Manic Street Preachers or Iron Maiden records where you could jumble the order without losing anything. This curated sequencing makes Polythene feel like proper album craft, something Neil finds increasingly rare. Tracks like Descend and My Perfect Day showcase Grant Nicholas's melodic sensibility, tasteful guitar work that never shreds, placing lead melodies in unexpected structural positions. The Big Muff fuzz tones remind Neil of Napalm Death's guitar sound, that thick fuzzy distortion cutting through without overwhelming. Influences bleed through, Smashing Pumpkins comparisons abound, echoes of Today, Quiet, Bodies scattered throughout, but Feeder's songs go different places, never copying, just absorbing the gene pool.

Tangential Gold:

Discovering improved podcast stats showing listeners on iHeartRadio and Podcast Addict platforms, people going back to old episodes like Aerosmith Permanent Vacation (271 days ago), Twisted Sister Stay Hungry (250 days), Faith No More Angel Dust
Germany had a big listener surge, thank you Germany for discovering Riffology and diving into the back catalogue, Neil loves numbers and stats and got properly excited seeing this data
Download Festival toilet expertise discussion, Neil wants to interview the festival toilet design expert who appeared in the Sunday Times, mathematical models predicting toilet needs based on weather, lineup, drug vs alcohol consumption patterns, male-female splits
Heavy metal fans hate heavy metal more than anyone, Download Facebook groups full of miserable complaints while everyone at the actual festival has the best time of their lives, phenomenon Neil abandoned by leaving those groups entirely
Leo (Neil's eldest) loves Sleep Token and Architects, listens to full albums while his peers consume singles and playlists, demonstrates generational shift in music consumption patterns, still buys physical records watching Neil's vinyl addiction
The most punk rock thing you can do today is be kind to people, brilliant quote about how rebellion has flipped since the 70s hippies, everything now driven by rage clicks and manufactured anger rather than peace and love

Why This Matters:

Polythene represents British rock's quiet confidence, the album that didn't need immediate commercial success because it had substance audiences would eventually discover. While it peaked at number 65 on UK charts upon release, it went gold anyway, an incredibly rare achievement for a non-charting album. Metal Hammer voted it their number one album of 1997, unusual for a record that leans more alternative rock than metal, but the crossover appeal made sense in that era. Reviews gushed then and continue gushing now on anniversary reissues, critics praising its authentic live feel and organic songwriting. This is the debut that showed where Feeder would go, the fledgling work before they found massive success with Echo Park, Yesterday Went Too Soon, Comfort in Sound, all charting in the top ten as they conquered mainstream radio.

Chris Sheldon's production philosophy shines here, refusing to compress everything into oblivion like American rock records of the era, letting dynamics breathe, creating space rather than filling every gap. The bright, clinical, glary sound contrasts sharply with Oasis's Definitely Maybe or the Morning Glory compression that stripped detail away. Polythene feels recorded five years earlier, retaining that early 90s dynamic edge when quiet bits stayed quiet and loud bits hit hard. This album exists alongside 1997 giants like OK Computer, Urban Hymns, In It for the Money, but carved its own lane, the British Pumpkins finding their voice before becoming the anthem-writing machine of Buck Rogers and Just a Day. Neil's right, this is underappreciated, a diamond from the era when discovering music felt special because you had to seek it out rather than streaming everything instantly.

Perfect for: Anyone who lived through 90s British guitar rock and wants to revisit the records that sold quietly but endured, fans of organic debut albums where bands are still learning who they are, producers studying dynamic range and minimal compression techniques, Chris Sheldon admirers who know his work on Therapy and Biffy Clyro, listeners fascinated by albums that charted poorly but went gold anyway through word-of-mouth discovery, people nostalgic for the era when MTV played videos and touring actually sold records, students of Smashing Pumpkins influences filtered through British sensibilities, anyone who needs convincing that Feeder's story didn't start with Buck Rogers, and festival toilet design enthusiasts waiting for Neil to finally book that Sunday Times expert for a proper deep dive.

Transcript

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Speaker0:00 what did we start i've forgotten what song what song did we start well we started with high and were you singing the high yes no nothing there was nothing like that no no no i do love singing high i do it's one of my favorite songs if i go out with an acoustic guitar and play covers yeah high often features in the set does it whether they like it or not yeah because no one really knows it i suppose i don't because they're like bright side and brown eyed girl i think that is the thing with this album i yeah i knew of this album and lots of people that i knew liked it and i don't think i ever owned it i don't think i ever bought it but listening to it this week or last week because we're like a little bit late um tuesday it's tuesday so so last time yes last week it was monday this week is tuesday it is it was steadily we'll get back to sunday eventually after um but the thing is i've absolutely fallen in love with this record it's so good there's just something about it it's got um i really love this kind of you i mean as we've discovered i love this kind of uk yeah the british rock era that kind of british guitar not not the brit pop stuff but the rocky british stuff right there's just something about it to me it was um it was different it what it yeah it didn't have the same impact on the world as the kind of big thick american rock stuff that was that was coming out and the kind of alternative rock and grunge and all that stuff but i there was just something about it for me just defines the 90s yeah yeah and this album just sounds like the nine it sounds like yeah it sounds like the uk in the in the yeah it's a total time warp for me it's phenomenal it was like you know even just just before we you know press record and flicking through yeah some of the riffs and some of the songs and and i i was back i was back with my mate martin book yeah in his in his bedroom playing final fantasy it's listening to this mad isn't it it's and i think you know we've talked about that before with these albums it's i deleted martin books um saved game 72 hours in oh did he not overwritten it i don't it was it was showing me final fantasy 7 the original yeah on the playstation yeah and um and one of the it's one of the worst feelings i've ever had in my life is it yeah it was was because i played the game and i just started yeah uh and he'd done like 72 hours yeah i over i i know i never written his game did he forgive you for it he surprisingly quickly all right surprisingly quickly i don't think he ever has inside no i think that you know there's still some he's still plotting yeah there's still some resentment probably right now eventually yeah he's gonna come come yeah yeah yeah i was yeah deliver the vengeance i've been i've been an idiot with him a lot of times actually by accident that's quite funny yeah sorry i've totally interrupted what you say but that's how much of a time warp i was in it's it's the these albums are they they put you back into a place in time and i know i was looking at our stats because we all know i'm a bit of a nerd and the uk numbers have grown quite a lot over the past six eight weeks or so and the us numbers are dipping a little bit yeah and it's i just find that's interesting it's fascinating yeah yeah um you know that uh these these albums just didn't break out of the they are like a little bubble yeah that we lived i mean it it wasn't that we didn't get the u i mean we had nirvana and we had you know the but it was interesting because it was like everything's so in reach or or you know it's there now you can just go and get it when you know and you couldn't back there no no no if you wanted the album you you had to go to the shop and you had to do all that and these american bands like america at the time this was kind of like america was the best place in the world and new york was on films and and the whole the whole it was exciting wasn't it yeah you like you yeah i i it was all nasa and you know spaceships and i knew people that had never been out of their village yeah and you're in the 90s yeah yeah yeah on the tv you'd got like these you remember you got like eddie the kid doing his bike stuff where his name is yeah but you know you everything was just exciting yeah you had like star trek yeah with you the kind of the deep space nines and all of that stuff was kind of exciting and you had um i remember like even in computers where i was it was all exciting you had there was always something new like every few months about the internet well it was yeah this was 97 yeah yeah yeah and people forget but it was like the so we we would have had like in academics or in the universities we would have had um janet yeah the janet backbone from about 92 but that was like literally dev and code at a command line you they weren't web pages no no no you were transferring stuff backwards and forward you might finger each other is that a poke yeah yeah you might do you know there was all kinds of of of stuff that you would do but you you were building and writing codes you weren't you know what there weren't websites there it wasn't until like the mid 90s that you know that stuff started to to happen that's fascinating which is another fascinating thing about this album there's no information about it i couldn't find oh i mean i found a little bit i've had a few few bits about how it was made and where it was made and all that kind of stuff mostly from like discogs and stuff from the you know cover cover notes and things um but on the album on the album cover oh here we go the the mystery of the numbers so we've not even said we've not so we've not said who we are we've not said who the podcast is we've not said who the band is and we've not talked about the album what are we seven minutes in six minutes so we are riffology i'm neil i'm chris we're doing feeders polythene thing is right if you i don't know what you'd have turned it off wouldn't you if you were if you what is this what's going on what is going on i think that's why people like us yes i do as well i mean if you want i didn't i mean go and put bbc one on put bbc sounds listen to the rock on tours if you want yeah yeah i mean if you want some production yeah just just you know whatever um but anyway so um the album cover is bizarre yeah very 90s it reminds me a little bit about alonis morissette it does a bit isn't it it's very abstract yeah swimmy yep um it's it's cool it's uh um i asked chat gpt to tell me what was going on and it said somebody was drowning hmm yeah i don't know well apparently it's it's meant to be somebody wrapped in polythene yeah for isolation so it's this concept like the concept of the album polythene is this um like ice isolation so we're i we're all isolated to to some degree um and that's what a lot of the tracks are about and a lot of stuff it's about but on the album uh so there's the big feeder in white and then it says polythene underneath it and it's again very 90s like so so like a little p capital oh yeah yeah a lot of like kind of hacker stuff like that kind of you know um but underneath that are some numbers what are the numbers because i couldn't make them out earlier like 906 984 53 48 3 i think 58 three or nine something like that yeah um and you said that no one knows the answer of what they mean no one knows no i asked chat gpt yeah he knows everything yeah absolutely everything um and even chat gpt said i've no idea mate and then i pushed a little bit to come on you've got there's got to be like a reddit thread somewhere find me a reddit thread where people are talking about it yeah nothing nothing and then and then it it told me that there might have been one back in the day when the album was released what there might have been an answer to the question there might have been a reddit thread so i stopped looking at that point and so if anyone knows what the numbers mean i cannot believe that it looks too it's too calculated isn't it it's too yeah design it may be if i'd spot i only really spotted it this afternoon what if it's a really rubbish thing what if what what if we create this air of mystery like 42 yeah yeah yeah exactly i love the way there's so many themes about what the number 42 means and all of these people talking about it and douglas adams just what i made it up yeah literally i was just sitting in my bedroom i gazed out over my where where i lived yeah and i thought i need a number um it needs to be absolutely not important so he said i i just made sure like it wasn't a prime number i made sure it wasn't any it was a bingo calling a particularly exciting number and and i just picked the first as i counted up that was the first one that i liked the sound of so and i think it's brilliant and i hope it isn't i hope i just think it's got to be something so it's got to mean something it's got to mean something yeah yeah yeah got to mean something yeah anyway i don't know what it means so if you do let us know um i might message somebody from the i bet the band though don't they of course they although the album cover the band didn't do it no it was let me get my notes so um the record labels echo echo bunged them 50 grand to make the record and that's it yes nothing is it i mean for really for those days not really that would have been nothing in london as well well it was done in great linford manor yeah yeah isn't that the one is that the led zeppelin one no oh i don't know skunkinancy did stuff there and it was a very british yeah it was chris chris sheldon's um hangout okay that was his gaff yeah he did all of his things i did loads of his things there um but anyway so so echo did it um and bunged them some cash and they also did the album cover they had an in-house album cover team there we go then and someone did it so it may even be that the band don't know and uh i don't i don't know but it must have signed it off though they must have sort of said oh yeah that was cool what are those numbers about oh well we've talked about this with faith no more yeah it's like whatever whatever just don't care at all they don't care about any of their album covers the record label did them and the band just didn't oh you sit in the shops for the first time that's what they did a bit weird but i think yeah for this for this one like you know i said last week and a couple of weeks ago how the albums were records that i learned the guitar to yeah and sort of played and and did that sort of thing i think by this point i think i was already quite proficient on the guitar so i didn't learn these did you know except high because i really liked it yeah yeah um but i think at this point i was just in i was back to enjoying music again because does that make sense yeah it does you're not learning you're not studying it anymore you're enjoying it um i think this album is the debut and uh it's interesting to listen to the albums that came after this one they sounded uh a lot different this this one's got that um we've talked about this before with that authentic feel to it this feels like a lot it feels like a live it doesn't feel like anybody like like you know sat down and agonized over key progressions or yeah yeah yeah yeah feels like an album that just came out of them it just it flows beautifully it just it feels it feels organic it's got a um just this lovely kind of um it it's just so easy to listen to yes i mean you just put it on there and it sucked you in from you know the first few bars and you're still there there's not a bit of this album that kind of um i i would say it's difficult no i mean it's just yeah yeah it's just a beautiful but also i think this was this was before they found themselves yeah who they were as well this was them i think this was them learning to work together yeah starting to write songs like like oh i like that you know i'm a big fan of the pumpkins i like this sort of riff they're very because there's some there's some where yeah there's some way you listen to them and you go that's really close to that to another riff or another song it is yeah well they were called the british pumpkins aren't they for this album yeah they got that kind of reputation which they didn't have in the albums that came after i don't think i don't think it sounded the same but you can definitely hear like there's there's like little echoes of um today on one of them there's quiet on another one you know from that sort of siamese dream thing and then even there's one on melancholy called um oh what's it called have you forgotten a smashing pumpkin yeah it's on the i think it's on the second track on the second record oh dear like literally i can see the look of concentration because his face right now it's like anyway it's like a man who's lost his keys bodies that's what it's called um and there's a bit like the one that's quite similar to that as well but you can just but but not in a copying sense yeah in a sense where it's like that was definitely influential that was obviously something they really enjoyed yeah i think you nailed it they're influences aren't they it doesn't feel like there's a like malice here trying to copy something no and it's because there are like bits of it in there's bits of pumpkins but the songs don't know do you know what i mean it's the songs go in different places no absolutely but there are patches in there where you like you say you just think oh that sounds yeah yeah that's quite close yeah it's obviously you know from that gene pool or he's taking a you know a a kind of um the other thing with that though is that sometimes things sit in the subconscious yeah you know like and then and they come through through creativity you know because you like it so who was the um he was the ginger guitar player this is gonna this is gonna be quite funny the ginger guitar there's a ginger guitar player plays the guitar yeah it's ginger ed sheeran he went to court didn't he yes he did and said basically like he said like all pop music it's just four chords yeah and you can't you know that there is the the likelihood of you writing like totally unique music that's got no relevance or no uh you know similarity to stuff that somebody's written in the history of music is like unheard of you know and it's not malicious you're not trying to copy that's just you know just what it is you know nobody in today's world i mean i'm sure i think you said this in the court case but did in today's world nobody's going to go out there and and purposely copy your stuff but it happens yeah you know and you that's just the way it is but so i don't think it was that with with this i think like you said it was just them um their influences coming out and just them trying to do what they what they do well we met uh we went where was it just by camden tube station because i was living on camden road and uh tucker put an ad in loot but i remember the loot that was some ads paper base pair available so i called him up i thought it doesn't sound very english i didn't know where he's from uh likes like what was it you said like chili peppers like james addiction i thought it sounds interesting so we met in camden over a cup of tea it doesn't sound very rock and roll i thought that we are going into pub or something yeah let's have a cup of tea and it all went from there he's rehearsing that old in that arch didn't we then he came across but this one's kind of it's easy but because yes three piece you know grant's got all these songs you could play guitar john was a great drummer i just just fitting you know i used to play music when i was in japan and but i didn't really expect uh to play bass guitar again but just i was in port barrel market i met uh these guys one of them and a dj and another guy was a singer and do you play any music because i had long hair and blah blah blah so yeah i used to play bass guitar so we went to second hand shop in nottingham gate and i just was you know such an amazing scene wasn't it you know the splash club and the bar fly and everything you know that's where we started off really i know it's sad life's just a piece of food i know it's sad life's just a piece of food touchdown new ground stop living on the moon i know it's sad life's just a piece of food touchdown new ground stop living on the moon i know it's sad life's just a piece of food touchdown new ground stop living on the moon i know it's sad life's just a piece of food touchdown new ground stop living on the moon i know it's sad life's just a piece of food i know it's sad life's just a piece of food i know it's sad life's just a piece of food life's just a piece of food life's just a piece of food life's just a piece of food life's just a piece of food life's just a piece of food So catch me as I fall away. Tangerine, Tangerine, Tangerine, Tangerine. I know it's sad, life's just a piece of fruit. Touchdown, new ground, stop living on the moon. I know it's sad, life's just a piece of fruit. Touchdown, new ground, stop living on the moon. I know it's sad, life's just a piece of fruit. Touchdown, new ground, stop living on the moon. I know it's sad, life's just a piece of fruit. Touchdown, new ground, stop living on the moon. I know it's sad. So the albums after this one just got bigger and bigger though, I think. Do you know what I mean? And so this one felt like you said, like they were learning how to be a band and they were learning how to work with each other. And it's full of hooks and it's, I don't know, it's like a, although it's kind of quite fuzzy and gritty in places, it's quite pretty and sweet sounding album. And then, then the albums that kind of came after, they just figured out how to write these like, just huge. Like Buck Rogers, weren't it? Yeah, these kind of pop, they're pop hooks, they're rock songs. Yeah. But they're, they've got these, they're like, there are a few, very few bands I think that can do it. Like Green Day do it really well. And, um, the Struts do it really well. There's quite a few bands like that, I think, that have got. Yeah, songs like that, Just The Way I'm Feeling, Buck Rogers. All those sort of, Just The Day, massive, massive songs. Massive, anthemic hits. They take zero seconds to get under your skin. Do you know what I mean? Like within the first bar of that track, you know that's going to be a banger. Yeah. And it's kind of got this energy and upbeat-ness to it that kind of just gets under your skin. I think they're nearly all written by Grant Nicholas, the tracks. And then, I think I was reading that they, although that's where, so he'll do the initial writing and then the arrangement of the track is then done with everybody. So they'll move, move stuff on. Yeah, yeah, yeah. But there's, yeah, there's, you can hear on this record on Polythene, you can hear where they were going to go next. Yeah, totally. There's, there's little snippets of it, isn't there? But even saying that, it was almost like they, they must have gone there very shortly after releasing this album for the first time because High didn't feature on it, did it? No, I didn't. Yeah. So, and again, somebody will tell us, probably Kendall will tell us about this that I've messed up. But the, I think this was released without High on it. And, but High was a single. It was the last single, I think, of this album. And they re-released it a year later with High in it. But it wasn't like tagged on, it's not like Linkin Park, just stick another four tracks at the end of the album and re-release it as a deluxe edition. Yes, yeah, yeah. They, this got dumped in at like, or whatever, track four or five or whatever. I can't, I'm going to have to look on my sheet. Yeah, four, track four. And it's interesting because I think it changes, it really changes the flow of the record in a positive way. And we were talking about this a little bit before we started to record, but it's an album, right? This is, and I know these are all albums, but this feels like a curated, it feels like the beginning and ends of the songs have been designed to like compliment each other. Whereas we did Everything Must Go last week on the Manic Street Preaches, which I really liked, but it doesn't, and it's got like, there's a few like Judas Priest records and Iron Maiden records and things that I love, but they're, they're quite disjointed. I, you know, they're not, they're a collection of songs. You could jumble them up and it wouldn't make any difference to the album's flow. And I thought that Manic Street Preaches record was the same for me. You could, I could jumble that album up and it would, it wouldn't make it any worse or better than, than, than it is, is for me as it is right now. This flows, this has got this, um, like connection. If you, if you started to muck around with the song order, I'm not sure it would have the same impact on me. I tend to listen to this all the way through. I put it on and I've been, I've been listening to it this week while I've been cooking and stuff. So I like, you know, go into the kitchen, I'll ask Alexa to play it and she'll just play end to end and I'll just sit in, you know, while I'm faffing about, I'll just listen to the whole record. And at no point do I think, oh, I don't like this bit or I want to skip this bit. And it all kind of ebbs and flows together, if that makes sense. Um, and I think for me that this is what makes me fall in love with albums. This, this thing where they're, they're, there are different tracks, but the whole thing kind of stitches to get in. And this one, I do, I get the feeling like somebody has produced, I get the feeling somebody sat down and gone, well, this track will go with that track. And this really thought that through. Yeah. And I think you don't seem to get that as much these days. No. And the one for me is about like when we did circularity, you know, the record itself, that was very, very curated. Yeah. The order in which you. That was very like painstakingly, even to the point where, you know, if we ever put the vinyl out. Yeah. That, that, that songs fade into each other. Oh, cause you did do it. Yeah. You did do the whole mastering for that, didn't you? For the vinyl and then never did the vinyl. Yeah. Yeah. I don't, you know, I don't even know where, where that would live anymore. Or the files or anything. I've got them. Have you? Yeah. The audio files. Yeah. Oh, I've got, I've got, you sent me the webs. Yes. You sent me the. Yeah, yeah, yeah. The four sides. Yeah. Because it would have been done with the vinyl. I have to go and double check, but I think you sent me all of them. I think I've probably still got them. Yeah. There we go then. That's that. I'll sell them back to you. But yeah, they were really, that was really like thought through, you know, where things faded out, how they went into each other, all that sort of stuff. And I think it's really important. I think, I think, you know, if you're going to put an album out, it has to be a piece of art. But no one does. No one does. I say no one does. It's really generalizing. But I think this consumption, like Leah, my eldest, he absolutely loves even an Arcadia a new Sleep Token record. And he, like, he will listen to, he's an album person, right? So, I mean, he's like. He'll go through it. Yeah. You know, he loves, he loves, he loves all kind of weird stuff, but kind of, it's really funny listening to him talk to his friends and his friends, like, you know, the pop music, essentially the kind of pop music and Leo's like, I like bring me the horizon and do you know what I mean? And he, he, he likes architects and he likes this kind of, we just, I guess what they think is super weird. Right. And I'm sure a lot of it comes from me that he's heard around the house, but their albums that he's got in, you know, and like, he's got the relationship with the record. Sleep Token is, you know, the, the law around Vessel and the whole thing is kind of, he's really bought into that and he's absolutely, yeah, absolutely loves it. They've done a great job. Yeah, they have. They've done a really good job. But if I compare that to what's happening to like most of his peers, it's singles. Yeah. And they dive into one song. Maybe a playlist, maybe, but, but they're not albums and they're not, you know, they're not, but like Leo sees me buying, like, like sees me buying stuff. I think, I think he thinks I'm an addict, if I'm honest. I don't think that's the question, is it? The Prong, that's how Earache re-released the first four Prong albums and I just bought them on the start. No, sorry. I didn't even look when they were released or anything. I just, just bought them. I did the same with Carcass as well. But when, like when an album comes through the post, whether that's an old one, I re-bought an old Wasp album a few weeks back and it's just, it's, it's a thing and it comes, do you know what I mean? It comes through and I kind of, I put it on my, in my, in my rack with records. And then there'll be a point during the day where, you know, when you just think I can listen to music now. Yeah, yeah, yeah. And that's it. You take it out, take it out of the sleeve and I'll see it even, you know, the last one was the Headless Children from Wasp that I, that I got and just sat reading the, yeah, back cover and you put the album on and, you know, you're not skipping, you're not, you know, bouncing around and it's, you know, for those old albums, it's just taking you back to that point in time. Like for me, it takes me back to that point in time when I first put the album on in 1989. And I don't know, it's, I kind of feel a little bit of that's lost now that, you know, the, so the kids are not going to experience it, but you know, it's, it's not quite the same when you're just listening to singles. No, it almost, it's, it's, it's that attention grabbing, everything's got to be TikTok or, you know, everything's got to be, everything's got to be a hook. Everything's got to be instant. Everything's got to be in your face, you know, that kind of thing. And it does, it takes the bit that I love that I spoke about when we did the Wild Hearts piece, you know, where it's like to do with the song craft and the way a song develops over four, five, six, seven minutes even. And the journey that's taken through that, um, and you're not going to get that on a TikTok. You're not going to, you're not going to explore that on an Instagram reel. You know what I mean? And, and, and it's, it's, it's, it's affecting the way that people write songs, you know, in the end that they don't travel, in my opinion, they don't, they don't journey. Most of the album tracks are missing. You know, we talk about the big singles and then there's, there's album tracks on there where you kind of go back to, um, I've been listening to a lot of the Slayerback catalogue this week and, um, it's phenomenal. They, they had some big singles, but it's the album tracks that stand out for me today, going back like 30 and 40 years back. It's the album tracks. It's the tracks that were, there were never released as singles, probably don't get played that much in the live show. But they're the ones you, they're the ones you land on, aren't they? Yeah. They're the ones that stick with you. Well, it changes a little bit, doesn't it? Your favourites change as you go through, um, you know, as the, as your tastes change and stuff as well. But, but yeah, I think, um, I, I interviewed Michael Amart from, uh, Arch Enemy played guitar in, uh, Carcass as well. And he, he was a massive album fan, but it's fascinating. Uh, he, his, like, I guess the way he described it was, he said, I, I'm of a generation that I love albums. Yes. And I'm not saying that's better or worse than not loving albums, but that's what I love. I, I, you know, for me, I buy an album and I, that's what I, I love everything about it, I love the artwork, I love the stuff on the back cover, I love the stories behind how it was made and the, you know, the choices that the band has made to, to do that. He said, but I'm incredibly aware that, um, especially with Arch Enemy, he said our fan base, since, uh, Alicia joined the band, um, our fan base is a lot younger. Yeah, yeah, yeah, yeah. And they're not those people, they're not, they've got a different perspective. So he said, it's, it's been, uh, you know, he said, luckily we've got a really great company that help us. I'm sure lots of bands do this today where you're, you know, you're, say pandering, but you're, you, you're, the product you're producing is not for you, do you know, it's for a different audience. Yeah, yeah, yeah, yeah. And so he was saying that you have to do that. You have to go and cater to the, both of these audiences, which I guess is, is tough for a lot of bands now. I wouldn't do it. No, you can't have it. No. You're not allowed to listen to it. Oh, can you just, honestly, can you, oh, can you just, you're not allowed to listen to it. Can you just put a little thing on that? No. You're not allowed, you're not listening to it. No. We'll have to drop you from the label then. Good. Good. Labels don't add a lot of value to most bands. These, I, I, I've seen a few bands that, that, uh, got excited. You see them online and getting excited about getting signed by a label. You think it's not really happen. No, it doesn't do a great, it doesn't seem, it's not the same as it used to be. It's not where labels had 20 acts and then put a million quid behind each one of them. They've got a million acts and put 20 quid behind each one of them. And if one of them does well, great. And if it doesn't, but that isn't that the way it feels like it. I mean, I'm sure that's probably a gross oversimplification. But there's no, but there's no money in record. That's the thing. There's very little money in making records anywhere. You can't sell them at 15 quid a pop. No, that's true. This one, so, uh, Polythene, um, it was gold eventually, which I think is 300,000. Which is interesting because you said it was only 65 in the charts when it first came out. Yeah, it didn't chart at all. So when it came out, it didn't chart. It was only, uh, so the singles did okay. So some of the singles did, did okay. High really landed well. Um, it wasn't until the albums that came, uh, after this, that it started to, um, that they started to get a foothold. And then I think this similarly to, um, Temple of the Dog. Yeah. You know, we talked about Temple of the Dog. Like Temple of the Dog, uh, was an album that didn't sell really. And then, and then as, um, Pearl Jam started to get really popular, then people discovered, uh, Temple of the Dog and then you went and, uh, um, and bought it. Um, but this one was a bit similar in that it didn't, didn't do particularly well when it came out. It didn't chart. It never charted really. Um, but still went gold. Yeah. Yeah. And I think because of that enduring, you know, people discover those big singles that came out in kind of the later nineties, um, you know, Buck Rogers and all of that stuff. Yeah. And then, and then kind of came back and discovered this album. Yeah. Yeah. Yeah. Yeah. Yeah. And oh, yeah. I see what you're saying. I mean, we, to be fair, we've had that quite recently with riding the low where we've had people that have obviously found us through like, we've played a download and all those sort of things and, and they've ordered the whole back catalog. No way. In hard copy. You're not just, you know, not just gone and streamed it. They've done that as well, but you know, ordered, ordered the full set of everything because they want to, they want to get into it, which is incredible really. It is, isn't it? Yeah. Yeah. I like that though. It's really, there's something really reassuring about when people say the music industry is dead, you know, you, I just think it, I don't know. It's one of those things where you can almost like choose your own adventure now. It feels like to me that it's quite liberating in my mind. Yeah. And I guess the barrier to entry so low, you can just record like in the, in the room we're sitting in right now, we could just go and we could go and record. Yeah. And it would sound all right. Yeah. Yeah. Yeah. And so, um, I think it's quite liberating, but, um, yeah, I, I, I don't know, I kind of think back to those days. I think that there's golden days, aren't they? When you discovered, you were discovering music and it was all a little bit special. Yes. Um, uh, but yeah, it's, um, I don't know. I, I, I, I, I don't think that you keep hearing there's no good music now. And I don't think that's true. No. It's just different. Yeah. I mean, I remember being told there was no good music when, you know, in, in the, in the late eighties and early nineties. It's definitely a generational thing, isn't it? Yeah. Everyone was saying, oh, that's rubbish. You want, you know, get some of this down. Yeah. You know, listen to your Iron Maiden. Yeah. And, and, and like, because that was what they were listening to when they were 14, 15, 16, whatever. Yeah. And that's what we did. We, when we were kids, we would listen to that, the, the kind of older, like there was the new wave of British heavy metal, but then you had the American thrash metal and then death metal and all of that. So we, we, we, I, I kind of felt that we just listened to all of that and it was, it was pretty cool. Yeah. You could go and listen to, you know, Black Sabbath or, or Anthrax and that was cool. You know, and that was pretty good. And I guess it's easy to, I don't know, judge, isn't it? You know, when, when the kids are listening to Sabrina Carpenter, apparently that's, that's who, that's who the kids at school listen to. Yeah. And that's it. That's the one. Leo says that they're all into Sabrina Carpenter. Yeah. He doesn't like, he doesn't like it. No. No. No. Doesn't like that. No. Likes a sleep token. But isn't that good? Isn't that good that there's a gateway? Cause it is, isn't it? I mean, there's loads of, you know, all those, all those huge fans of downloads who are the download's biggest critic. Oh God. No one hates heavy metal, like heavy metal fans. Do they? No. It's phenomenal. I, I don't, I left the download, you know, the download groups on Facebook. I left them. I just, I was getting so excited. Sad. People just being miserable. Yeah. But it's only on there. Yeah. You see everyone at the festival. At the festival. They're having the best time. Best time in their life. Yeah. At the festival, everybody's like having the best time, aren't they? And then, but on, on Facebook, it's, you'd think that they've been asked to go to the front lines and fight for, you know, fight. It's just awful. It's like, the worst one was Diane Tward. Do you remember when they, that was horrific? Yeah. Yeah. Heavy metal fans didn't like that very much at all. No. But, um, seeing them do, do download and there was still people, you know, going like, oh, they're not metal, they're pop music, you know, and all that. And it's like, yeah, but they're bringing a whole generation of kids into, into your world. Well, what about Prodigy? Yeah, exactly. They were back on tour again. Prodigy had just come back out on tour again. Yeah, playing, playing with them at, um, uh, 2000 Trees. Are you? They're on, they're on, on the same day we're on. Yeah, yeah, yeah. Nice. Yeah. No, no, no, no, no. No, Kendall calling, not 2000 Trees. Kendall. Sorry, Kendall calling. When's Kendall? How long is it? Um, August, first weekend in August, usually. Oh, you've got a bit of time then. Yeah. Practice, practice me, uh, gizbutt. But it's true though, that you had like Pendulum, you had, um. Yeah, yeah. Had all kinds of like these crossover bands. Yeah. Prodigy are more metal than most metal bands, aren't they? Well, they get going. They're punk rock, I think. Yeah, no, it is punk. Yeah, it's proper punk energy. I read a brilliant quote today saying the most punk rock thing you can do today in, in this, in this current world is to be kind to people. Yeah, it's probably true. Because you're so, like, the world is so, um, you're, you're, everything's driven by clicks and anger and making people rage about something. Yeah. And, like, you know, punk rock was kind of railing against the 70s hippies. Yeah. Where everyone was being nice to each other. Yeah. And it's the opposite way around now. And it's like, I just thought it was just such a kind of, do you know when you kind of, when you think, no. Yeah. Oh, yeah. Actually, yeah. Maybe. Yeah. So, yeah. If you want to be punk rock, be nice to people. Weird, isn't it? Yeah. Yeah. Very good. Should we do next? Let's play a song. Let's play a song. Let's play a song. Let's play a song. Let's play a song. Let's play a song. Let's play a song. Let's play a song. Let's play a song. Let's play a song. The thing is, you can't do that now because you've got bloody plugins doing it. Oh, you've got your pedals or you've got whatever else. So, you can't get feedback? No. Well, you can't. You have to really turn it up, though. Do you? Yeah. Yeah. To get what you want. To slam the pickups into the cabs. so yeah the way i think i'm going to do it live yeah is this is going geeky now you have to do you're going to have to do it with you're going to have to do it with yourself you're going to down the mic yeah so i've got a kemper right but dan told me there's you love your kemper i do love the kemper i've got this um two rock bloomfield pro like sound in it like this this is a particular amp that i absolutely love it it's the best sounding amp in the world i've got like really nice distortion pedals on it proper fuzzy one and like and then like a tube screamer and then um there's a thing you can do with like marshals or certain particular amps where you've got an effects loop yeah and what you do is when you plug your say you plug your kemper into it or whatever you've got might be a quad cortex or one of these sort of things whatever you've got and then you plug it into the effects loop yeah it bypasses the the amp but you still get the grunt and you still get the sounds with the speaker yeah so i'm thinking might be able to get some feedback yeah if i've got the gen the main outs going out of the kemper left and right yeah and then like this thing behind me doing the grunty bit it might give me some feedback oh where do you practice this where do you do you like on the stage so you literally do it do you know one of my one of the and i still it makes the hair stand up on the back of my neck a little bit but seeing slayer over the years when they do south of heaven yeah they kind of just hang on to this note yeah yeah yeah oh it's the best thing in the world but it's like so i remember seeing them at some tiny gigs and then seeing them in an arena thinking slayer's not going to work in an arena yeah yeah yeah and honestly it was just this i just like you know there's the hairs on the back of your neck just like this is the best thing ever yeah it's just so cool yeah yeah the other thing that you think about is just how cool that will be like kerry king does it yeah and big pointy guitar just stand there yeah massive pointy guitar chains everywhere just hanging on to one note and letting it ring out like over the yeah and the the other thing that i love is watching um scott ian from anthrax yeah he's a phenomenal rhythm guitar player yeah yeah but he does these like really slow hooky riffs yeah and when they do it live often what he'll do is he'll do it slowly yes so it's like you know what i mean and it's just this chuggy and you can it's but it's you know 20 000 people in an arena just completely transfixed as you're just going and you just imagine what that must feel like yeah yeah power behind you and you've got a whole crowd with you you've got massive stack of cabs behind you just but that's the thing i was messaging the lads about this like when we watched spirit box who were phenomenal incredible band nothing on the stage no nothing nothing just the three of them yeah and their and their instrument like bass guitar vocal and drum kit no no nothing well yeah probably had a bit of that they must have had some in terms of like yeah but behind them yeah on the stage yeah like just empty space and then they had like really amazing visuals which did the visual candy stuff right so not the acd because acd so used to have empty cabs didn't yeah that's right yeah that's quite common like like marshall or whoever will supply you know you know these these these these empty cabs and then they'd have like a combo behind it mic'd up you know yeah yeah yeah that was quite common um but with with this like i didn't really like it i'm like i want to see i want to see some amps doesn't feel yeah it doesn't feel quite right it's all from the line arrays isn't it yeah yeah no and it's that you know they're a great band i'm not just you know i'm not there's no disrespect anyway intended but just as a taste thing it was i'm like i kind of want to see do you remember seeing spirit box the first there was the first time they played in this tiny little tent and we went we got there early yeah we were in there and then all the children came in these young kids just appeared with like blue hair and looking really cool and we were just steadily backing away and then you went oh i need to go to the toilet now we didn't talk about the toilets last week oh no tell me about the toilets at the download yeah brilliant were they better better than ever yeah better than ever keep threatening to get i found somebody who is a toilet a festival toilet expert yeah yeah and i just you know i really want to interview them yeah she's amazing she's been in sunday times all these guys she talks about uh download she talks about um she does uh toilet design yeah for these big festivals uh and there's all these mathematical models to it depending on the weather who's playing yeah um like uh she was talking that um like certain festivals but people will drink more than others so some it's kind of more uh more drugs more yeah so this is more drink and then depending on what the weather is like and you know all this other stuff um and you can and the male and female split as well and you can make all these predictions and then they have uh uh these models which tell them how many of the different types of toilets to yeah yeah where to place all that's all that yeah and how often they're going to need emptying and all and i just i just i don't know you know that nerdy brain it's like that is just how how do you get into that how do you do you mean how do you yeah yeah yeah because she was geography student and how do you get from that into toilet expert i yeah i love that and and the history of it she was talking about the history of toilets yeah uh festival toilets yeah saying what it used to be yeah and then what it's like now yeah um i know they were they were wonderful toilets were they were like the urinals in particular i mean you know the normal ones which are normal ones you know yeah but the urinals you were in the vip area there were no no not for some of it oh no for the vip area there's like proper proper toilets you just slum it into the yeah i'll tell you what i did off air but yeah the the the normal toilets yeah were fantastic lovely yeah it's nice did you know where they all were yeah yeah i did have a mental map and then you're like yeah yeah but i didn't drink a lot you see so so it was okay i only needed once or twice really yeah yeah yeah that's pretty good yeah yeah because normally well we normally you're driving yeah that's true oh you have to drive yeah yeah yeah yeah so i've so i was like so but i remember bloodstock bloodstock was like oh yeah you i was having a party with myself you were weeing all the time weren't you you were a lot of a lot of weeing we met connor's dad didn't we remember yeah he was amazing i like him he was good he was he was good lad wasn't he yeah lots of people actually yeah it was good loads of people there that um we didn't see that that kind of came up after yeah message afterwards oh i didn't know you were going to be there which is which is very on brand for both of us yeah just like turn up drift in not turn up late hide at the back and then and then disappear do you know what i mean i didn't see you there it's so bad isn't it yeah go into these things and they're not um yeah definitely um back to feeder we should do some facts shouldn't we oh facts yeah i'll put my glasses on hang on we were hoping we're gonna do a shorter show yeah that's gone well hasn't it we're at 50 minutes now uh right so i'm reading off of the blog yeah riffology.co if you like that kind of thing and you like reading about blogs and that uh there's some stuff on there from us um this album's called polythene title is about being isolated yeah i see i didn't know it makes the total sense but i didn't realize that yeah it's really interesting is this there's this this concept of kind of um we can see each other but we're isolated so yeah all about that um released on 18th may 1997 someone's going to tell me that's wrong and i don't care but that's what wikipedia says um it's described as alternative rock and post grunge yeah post grunge post grunge means it's got synthesizers in it yeah and i'm not sure it has but there you go it's got synthesizers in it um uh runtime 50 minutes tracks 13 on the uk cd yeah the reissued one recorded in a few different places the vast majority was uh great linford manor yeah uh and the townhouse in london recorded by i think possibly one of my favorite producers that i've discovered that i didn't know until i saw this was uh chris sheldon yeah um who yeah he's done some of my all-time favorite records that's interesting isn't it it's down there's down to a producer perhaps which is it's phenomenal and i love this album i mean i really do love this album and i'd not really given it the time of you know enough time to listen to previously so um it's definitely a top tip isn't it if you if there's an album that you love look and see who produced it and look and see what other albums they worked on yeah definitely the chances are that you might find you might find a um so what others did he do because i thought that's on our blog as well isn't it uh it is i'm gonna have a look i'm scrolling down he did um guns swagger yeah therapy trouble gum which we did a few weeks ago yeah yeah he did uh hard cold fire which is therapy's new record uh uh my vitriol fine lines biffy chiro's black and sky but black and sky i was just it's good isn't it it's really good 2002 um ocean size um and then reuben as well yeah yeah which which reuben one did he do uh he did a few very fast very dangerous 2005 yeah um so yeah and he did the ep did the feeder swim ep as well yes so he's done all kinds of stuff but he's done like just tons of cool stuff basically um um all right let me get through it and and read my read my bits and pieces here so um released in um uh 97 as we talked about um band as grant nicholas who did vocals guitars and was the primary songwriter john lee uh and taka heroes um on bass uh the album was financed by echo the band's label um the rumor is that it was less than 50 000 pounds which is not a great deal to record uh an album and to not at that time no most studios were over a thousand pounds a day yeah that's true that's very true and then um the album uh title polythene uh i mentioned it's this this concept of being uh isolated but protected at the same time so you're protected and isolated um so you bubble yeah exactly um the cover art was designed by echo's in-house album art team um uh which uh yeah again it's quite interesting so they wanted the artwork to reflect the feeling of being sealed off and not quite part of the world um it's interesting if someone depicted drowning and then they've also got the swim thing as well so there's something going on there around that thing it is it's a bit weird it's it's it's kind of quite um stark isn't it though yeah the album uh the the artwork i quite like it it's very 90s yeah it's a very very 90s look which i think is quite uh quite cool um was recorded analog which is weird for 97 it is because yeah things were getting yeah it was analog and bounced yeah okay um so i'm sure it wasn't done just on on uh on tape um pedals add you big muff yes and your boss ds1 which uh that there's bits of this record where they're using the that fuzzy guitar sound yeah i love that really it reminds me of napalm death yeah i love napalm that's definitely the big muff thing yeah really really cool um commercial performance of this album uh it reached number 65 on the uk albums chart uh which is it's a gold record that's quite surprising isn't it it is it's incredibly rare apparently for a gold album eventually not to have charted yes because they say if it's out of the top 40 they kind of refer to it saying it's not charted really yeah um and then um singles from the album so tangerine i think that's one of my favorite tracks i love i love the video to that one they're kind of in this like broken down house and there's like oranges in the in the kick drum and yeah there's somebody in a bath full of oranges it's very it's a very 90s yeah um kind of chaotic yeah yeah yeah video um high is another one always is looking through the fish tank yes video to that way it's kind of you're like the cameras on the other side of the fish tank and you're looking through it yeah and it's just kind of uh um singing it's very yeah very kind of image um oriented lyrics in that actually yeah all of it is all of it's about a trip in it it's quite cool it's kind of the band kind of just wandering around as well just doing stuff but it was like um yeah i don't know there's just something it's very much of its time yes it's very kind of it's quite a cool quite cool video um anyway so it's tangerine cement crash and then eventually high um and high broke into the top 30 well it's almost got that um you know that intro that acoustic guitar so even the sound of the acoustic guitar is quite like wonderwall isn't it it is it's that second fret it's that similar sort of shapes it's um it's definitely got that groove to it um but it's also got like the drum beat is more like the eels to me you know it's got that sort of when that comes in it's an album of of influences it's like sponges isn't it where they've just soaked up all these influences yeah and then gone and recorded this record and it's i i think they became themselves in i mean i don't know like probably by echo park yeah that kind of comforting sound and that kind of stuff but um this one felt feels like this kind of um i like like just this mishmash of influences and feeder you know and so i i anyway i think it's really i there's something super cool about this record um it was their first album they did an ep before called swim um this was voted as the number one album in in metal hammer's pole yeah metal hammer did a pole in 1997 which is weird yes so metal hammer would have been 97 um oh can i try to well i i'll have to my list in a little bit but there was some big like metally albums out although metal went through a bit of a weird time yeah you mean back in the late 90s um uh you had albums like okay computer yeah of course it was then wasn't it urban hymns yeah in it for the money by supergrass um attack of the gray lantern by manson great um clumsy by our lady peace and song two by blur yeah um so yeah i it was big brit poppy that manson album was wonderful yeah it's cool i'd forgotten about that to be honest i just think it's it's odd for this album to be as in a metal but you wouldn't get that now you wouldn't like you wouldn't but back then it was completely normal for like metal hammer to cover yeah yeah it was and hard rock and and and stuff as well um as i look down my list here at other other stuff that they did so um um yesterday went too soon was the follow-up that charted at eight echo park charted at five comfort and sound charted at six pushing the senses but that was the biggest one that charted at number two really um and then since then uk charting has been like you know eight sixteen thirteen ten four five yeah and then they did black and red in 2024 uh which charted at eight yeah yeah um so you know pretty popular and still doing it tons of back catalogue yeah tons and tons of back catalogue stuff um it's worth going to watch the videos i think as well if you liked this and you've not watched them if you go into apple music i think spotify do it as well but you can go and watch the videos on them um and i had an entertaining afternoon um uh listening to those um meaning behind some of the tracks so stereo world is about escapism and drifting away from reality finding solace in music um tangerine and cement um they're basically both about being kind of stuck and overwhelmed yeah yeah um which i think it's quite kind of quite cool um it talks about i've got concrete shoes and i can't swim it's about being kind of paralyzed and stuff um crashes about uh life's sudden twists and turns um and then high was uh that they talk about is these moments of clarity and connection um so the the meaning behind it's very um connection driven yeah yeah it is isn't it yeah yeah um they promoted it uh pretty heavily they went out on tour and did which which everyone did back then you were kind of you did your videos the videos would have gone out on uh on mtv and and stuff because there was no youtube back then um and you wouldn't have had short or tiktok yeah so you'd have had to you dump it onto mtv hope that your label bunged them enough money to play it um and then you would have gone out on tour um and that's what they did so they uh they ended up on tour with everclear ash gary newman um they played at the heavy festival in folkestone in 2009 um so they were busy boys yeah touring um get down here so five things uh about polythene i think i should change this ranks normally by the time i get here i've already covered it all so um the album title polythene refers to protection and isolation um high became feeder's first top 30 uk single peaking at 24 um grant nicholas broke his ankle during filming for polythene really and um the original polythene the video singles vhs yeah uh is now an incredibly rare collector's item so if you've got one of those might get a tenner for it on the ebay um get on discogs um and it was voted number one in metal hammers magazine best album poll for 1997 it's been used in some film and tv uh we talked about gran turismo yes it was definitely tangerine was in there um the other interesting thing is reviews they everybody absolutely loved it wow um so even going back i was looking at some reviews like lots of magazines reviewed it back in the day and then they've reviewed it yeah um uh why would they have done that what uh oh because of the anniversaries i suppose yes 20 how old would it have been 97 uh 2022 would have been what 35 so um did the people have been re-reviewing it and people still absolutely like gushing over it basically um uh yeah commercial peak was uh with the the album echo echo park in 2001 yeah and it was the track book rogers i think that's what drove yes you know people to go back and and do it um there are currently no known official remasters or expanded reissues of polythene which is good yeah because i was able to find it and listen to it in its original form its original form and i didn't have to muck about and it was wonderful absolutely want a well done feeder for not so come into the deluxe edition beast yeah just leave it you know reissue it on vinyl or something yeah colored splatter whatever right um oh so you know you know i've ordered my carcass yes i want um i didn't look at what i'd ordered because it just came up and i'm having that yeah so i ordered it and it's called the gore slop release gore slop gore slop gore slop um and that is it that all my facts that all my facts about um which to be fair uh uh there's not it's very hard to find stuff about this album funny the interviews there was there was that there was a few interviews on it but and with them but not not related to this era not related to when they did this so yeah this is an underappreciated album i think yeah this is a this is an absolute uh like diamond yeah in in this time and period yeah that for whatever reason i think the world came to them as they grew yeah with you know into the 2000s and buck rogers and stuff and they kind of you know the the two things the two worlds collided right they were the first people that did this whole kind of like crowdsource video thing weren't they yeah they did that was amazing do you remember that that was really cool yeah they did all that stuff which i don't remember anyone doing it before what was the song called it was uh it was just today just today that was it it's got all the little people in their bedrooms yeah yeah yeah it's got it's got all them like singing away yeah i loved that video it was really cool um yeah i i get the feeling that the world came to feeder as they grew into themselves yeah yeah you know which is which where they got um super popular but this album was like i don't know was it two years too soon maybe yeah maybe so yeah maybe so but it was you know there were it was fledgling it was there that was their they've done their ep yeah and then this is their first album really you know and it's a debut so it there were it's a it's a mighty debut it is it's a sign of things to come for them wasn't it it is it's good it's one of my of all of their albums this this is the one that i would pick off the shelf yeah you know this is the one that i would go for um which is often the case when i like i tend to like debut yeah albums we want to do we want to do a special at some point where we just talk through a bunch of debut albums yeah yeah yeah what should we do next let's play a song yeah we'll argue and fight about it while the song's playing yeah and then and then by the time the song's finished we shall uh have a decision sweet show it to me one way i gotta see it all scientific radar reaching through the storm it's gotta be home as people move on it's gotta be home it's gotta be home it's gotta be home it's gotta keep on believing it's time to get at everything Will you not let us sing? Hear me, hear me cry Suffocate, let them die A better life, say goodbye But hear me, hear me cry I see everything Silver and gold Way up, I'm reaching out Clouds wide as snow There's gotta be hope As people move on It's gotta be It's since you're giving everything Will you not let us sing? Hear me, hear me cry Suffocate, let them die A better world, say goodbye But hear me, hear me cry Hear me, hear me cry Why don't you hear me Why don't they hear me Suffocate, let them die I better lie, say goodbye But hear me, hear me cry Give, give them now I care So yes, this was going to be a short one Yeah, we can't do that, can we? No, that's not possible We don't know when to stop talking No We don't know when to shut up That's a lesson we've never learned So we've decided We haven't even decided What we're doing next I want to do something first I've not told you about this yet I want to do a thing We got distracted, didn't we? Yeah, we did, yeah Which is not unlike us Like a squirrel So we get better stats for our show now So I can see what's going on Oh, wow So, for example I can see that we've got people listening to the show on iHeartRadio Yeah And Podcast Addicts If that's you, thank you very much for joining us Yeah, thank you very much Thank you, thank you, thank you People are listening to old episodes Okay, going back Yeah, so Aerosmith, Permanent Vacation Oh really, that old? 271 days ago we did that Yeah And people are checking it out Twisted Sisters, Stay Hungry Yes 250 days old And then Faith No More, Angel Dust All three of those have been listened to quite a bit Over the past week Which I quite like We had a big spurt of listeners from Germany Thank you, Germany So if that's you, well done Thank you for listening to us And that's it for stats That's good, that is, isn't it? But it's good, you know me, I like stats and numbers and that And yeah, it made, it got me excited When I was able to see that information I thought, get in Get in Get in, I can see, I can see what's happening in that So what's next then, what should we do? So, there was Terror Vision Terror Vision But then you played that Three Colours Red song Off Revolt Yeah, and I went, oh That a beautiful day But beautiful day, but saying that That's probably the one track I mean, I love the whole album But that, like High That beautiful day track Is a real standout for me On that record But I think Terror Vision are more About the scene, aren't they? Their debut Three Colours Red Was pure in 97 That's the one I knew Yeah But I think We should do The Debut From Terror Vision Yeah I think we should do Because we talked about it Yeah I'm just pulling it up on my list So that would be Formaldehyde Yeah, yeah 1993 Yeah, well, okay So going back a bit Right, yeah, yeah And I think I think that's what we should do We kind of We've been talking about it Forever Yeah And this was again The parallels with this one today That was before they did The kind of Perseverance And the tracks like Tequila And all that sort of stuff Oblivion and Perseverance Oblivion, yeah Exactly, exactly Yeah Was it Tequila? Was that theirs? Yeah Yeah, yeah, yeah So they Tequila Yeah, yeah So that was like That was They found themselves Doing that later Whereas the first The first one from Alderhyde That was like Like this album Yeah, no one's heard of it Yeah, they're finding themselves Yeah, American TV Was a single New Policy One And My House Yeah Did not sell billions of copies And I kind of quite like that about it Yeah, yeah, yeah I think And I think for the I think the plan will do Should we do another two? Yeah We do this one Yeah And then we'll do three colours red And then let's do bush Yeah Bush Yeah And then I think we should launch off Into some big fat American Yeah, great Super Get over some Into the Massive Into the big area Yeah, into the Like we need to do something Proper big and meaty Yeah From America I'm trying to think of Where we go and what we do I kind of like to do something Like big Big and rocky Yeah Do you know what I mean? Not like too metally Yeah, yeah, yeah, yeah Something like Yeah We're going to need to bridge the gap Yeah Between This and Yeah Oh, we did say we were going to do Like Oasis and stuff as well, didn't we? We'll come back for that later We'll come back to that later Yeah, this feels like the undiscovered Like, you know This is like This is what you might not have heard before But you should I'm sorry I can't believe people are listening to it Yeah Well, our podcast Does that make sense? Yeah, yeah Just I was rattling But it's interesting Yeah You know, there are albums like You know, you do Back in Black Or you do Nevermind Or, you know, you do the Black album You expect that a lot of people are going to Click in and listen to what it's about Because those albums sold, you know 30, 40, 50 million copies Yeah, yeah, yeah These sold a few hundred thousand Yeah, but people are still tuning in In the 90s Yeah You know, so the fact that people still remember And still Yeah Still tune in Thank you very much Thank you very much You're all very good people I feel like I was talking about toilets And who doesn't? I swear, honestly There's a few things that I would love to do Before we end our career Before I die As podcasters I want to do Like an alternative Eurovision Yeah Where When On the Eurovision night Yeah What we do is we look at all the countries And we play our favourite songs That's a great idea From that country I want to do that I know it's a great idea It's a brilliant idea We're just so poorly organised I never know That it's Eurovision Until it is Eurovision Until it's the day I'm the same Oh, I'm not Well, maybe we'll do it next year And Where was I going with this? I wanted to do that one And Oh, what else did I want My brain's just stopped working I wanted to do something else as well I can't remember I'd be surprised when we talk about it Oh, the toilets lady The toilets lady I want the toilets lady To come and talk to us About festival toilets Because that was Never been so transfixed On anyone in my entire life And I just think It's so fit Like the The ethos of our show Yeah I'd like talking about stuff That probably no one cares about And I love it I just think Just Where else could you hear About festival toilets? Yeah And you're an expert I love them So you will be honest I just I cannot wait For you and her To have this Back and forth Where you can talk about Your favourite toilet And she'll tell you Why she did it Why it's my favourite I still remember Download Going and doing Doing the toilet Probably like the Tenth time that day Or whatever And then looking down At my feet And realising I was standing In a pool of it Yeah You know I remember which one That was as well That was the one That was near the Near the food place Yeah where we got Those lovely kebabs Yeah They were nice They were Well I had wet feet Well I had wet feet I had Wee feet Yeah we Had to hose them Do you remember It was the year That it got really muddy Yeah They're the best The years were as dry Like this year They're Obviously great And people have Great memories But it's the ones That it's really muddy Yeah That I love looking On social media On the Monday It just slided about Yeah It's the state of people You know You're like going to Tesco in Ashby Yeah And they're like They look like They've come out Of like a World War I Trench You know Some kind of thing They just like Mud everywhere Yeah Just Brilliant I think that Yeah Because that day There was all the weather In one day Yeah Because I got sunburn And then he threw it down And there was mud everywhere And then it was yeah Yeah that's true actually Yeah that is true There was a lot of weather I remember Do you remember Because Camouflage Santa Do you remember There's a picture Of you and Dan Yeah And it's torrential rain Yeah It's You've both got wellies on And shorts Yeah And it's like Absolutely Like you know Normally when you take a phone picture You can't see the rain Yeah yeah yeah You can really clearly see the rain And behind you Is a guy with a really big white beard Looks like Santa Claus But he's wearing He's wearing a full camo Like poncho thing And Dan called him Camo Santa We're just waffling now Yeah that's good I think we're done And we've not got A sign off Oh no We can't do love you by now No because that's what Scott Mills does So we'll just see you next week See you bye Bye Bye