October 31, 2024 • 47 mins
In this episode we discuss the midway tracks leading up to the icy end of this magical album known as Bjork's Vespertine. Check it out.
Includes music by Robbie Torres, ☆, †Я▲СΣS ❍F GΗ❍5†5, Luke Chable, and everlxst
intro/outro music by Sinewave (sinevvave.bandcamp.com)
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
What kind of sound like cereal?
(00:07):
Who are you?
I'm Jesse.
Hello Mark.
In this podcast we take a deep dive into albums from some of our favorite artists track by track.
And today we're continuing with New York's Vaspertine and we're halfway through it.
(00:31):
See you.
And today we're doing songs 6, 7, 8, 9 which are Frosty, Aurora, and Echo of Stain and Son of
My Mouth.
It sounds like a good time.
Yeah.
Alright so let's start off with track number 6 Frosty.
(00:52):
Yeah, is this short instrumental that features music box?
Did you ever have a music box?
(01:13):
I made fun of kids that had music boxes.
Why?
Did you have one?
Yeah.
Like with a ballerina, it came out.
It was my mom's.
And I took it from her.
What track did you have today?
(01:34):
It was for pop free.
But that's a uterker for her.
It was originally for that.
And I made it in my own and I would put, I don't know, little jewelry.
(01:56):
I don't know.
Like doll jewelry.
It's true.
Oh, okay.
I made a song with my brother.
A structure and melody.
What's the music box?
(02:17):
Can we hear it?
Yeah.
That's very fort looking for two young people.
Yeah.
I would like a music box.
I like going into a store and winding them all up at the same time and they make crazy scary music.
(02:42):
If you could have any song of yours put into a music box, like one of those things created for your song which one would be.
I don't any song.
Okay.
What's your first impression of this song?
(03:07):
It feels like getting lost in a magical giant crystal cave.
It sparkly ice goals and snowflakes.
What do you think?
Okay, Elsa.
Okay.
Oh, the oak.
Yeah, composed of all the music boxes from Best�or team in the music software.
(03:34):
Sidebally is every use of the list.
No.
Seems cool though.
Then brought them to Jack Perron who worked with Porter music box company in Vermont to make her three music boxes of different sizes and 12-inch copper disc plates with the songs carved into them.
(03:56):
Everything else?
What does it look like?
Yeah.
Pickle.
Yeah.
Okay.
(04:18):
Also, Tina, who said Sebelus was.
No.
It was from Johan Julius Christian Sebelus.
And he was a finished composer of the late romantic and early modern periods.
And he's widely regarded as his country's greatest composer.
(04:39):
Are you going to check me on this?
Yes.
Just believe you.
Yeah.
He was the greatest in Finland, right?
Yeah.
Yeah.
Well, did you find it?
Yeah.
Okay.
Well, Jack Perron said that Frosty was originally had vocals over it.
(05:07):
And it was longer than the album's one minute and 40 seconds.
I'm curious to know what that sounds like.
Drop a girl.
Let us hear it.
If you had to write lyrics to this song, what would they be like?
Just rap something.
Like, slat them cheap steady.
(05:31):
His fame in the clerk says slat my cheap steady.
Please make that make sure.
How does it fit within the album's flow?
Well, it's like an intermission where you can reflect on where the album is gone.
And Ponderrault, it will go next.
And where will it go next?
Um, just like, it gets more magical.
(05:53):
More abstract things.
Speaking of magicwebstract, it's a random, tells about random magicweb abstract productions.
Well, it's unique rhythm can note it's come from the music box.
Okay.
What?
I was gonna say it's icy like you're hard.
(06:18):
Sure.
You know, yoga, remember the song yoga?
Yeah.
Yeah.
So that's her son.
Okay.
Okay.
Sit down.
I was in bad at it.
I would've got live performances.
Even though she had open her shows in 2001 with the music box version of
(06:41):
Peyton Poetry or Aurora, she would still call it frosty.
Whatever.
She's so shady.
Hey.
One time, you told me that, oh, do you hear it?
When you first listened to this album, it was in your loft in San Francisco.
(07:02):
Yeah.
Tell me about that.
Oh, no.
It was a good time.
You said you listened to it in the speakers?
Yeah.
You know?
How does it make you feel?
It was a good time in my life.
(07:24):
And I felt like this sort of echo that.
Was it, you like put the lights out?
Yeah.
But you know that a candle or something?
No, just so I listened to it in a big empty loft that I just got.
And I was just in a good space.
That's cool.
(07:45):
And it was like the soundtrack to that situation.
Yeah.
And you know it, because this album actually has roots in San Francisco.
Tell me about it.
Because she collaborated with Matt most.
And they were living in San Francisco at the time.
And the tenderloin.
But they had just to remember they were talking about that when we saw them.
And they had a studio in the show Hill.
(08:07):
Oh, I'm so happy.
So shout out to those neighborhoods.
Tell me about the critics.
What's happening?
It's a good song.
I wouldn't say this is a critic.
(08:28):
But a lot of people on Reddit were upset that people hate on frosty.
I definitely do not hate on frosty.
I like this song.
Um, yeah.
I don't know.
I guess there's a lot of frosty hate.
Okay.
(08:48):
Well, then I'm going to tell you about some remix.
Wait if those are children in frosty, it would feel like like...
Two joke profit I rose.
Would they really pay off my wife?
And she's always been still all the time.
She doesn't move.
Why?
Because she's so frozen.
(09:09):
You know.
Anyway.
And she'd have short hair and spiky with frosted tips.
So she looked like in San Clump I see a joke aloud.
Let's move on to remix this then.
All right.
Um, um, you gotta watch this.
Are you watching it?
(09:32):
I can't see where she's under the screen.
Oh my god.
Oh.
Click on the screen recording.
Wait.
Play it.
I hate it.
What is that?
She's...
She's like popping a pussy to this one.
Yeah.
Is that's no way.
Oh no.
It's Elsa.
Remix.
(09:53):
Okay.
Okay.
There's a cover by Robbie Swadays on Viberphone and Glockenspiel on it's quite good.
Yeah.
(10:14):
Um, and then there's one, uh, I'm ex-called the reinterpretation.
And it's really good.
Listen to it.
It's not fair.
Um, and then there's also, um, yeah, that's it.
(10:39):
I guess.
Okay.
Frosty was included in Alexander McQueen's fall winter.
To those in one fashion show called Wood America Around.
And it was also a show called Wood America Around.
And it was also in, um, trees then no ends spring summer, 2002 fashion show.
(11:00):
So it's just a very fashionable song.
It is.
Very avant-garde.
Yeah.
In.
I could see how it's set that mode on the runway.
She's probably said, can you play my song from one of my new albums?
Like, show your girl, don't want to have that your voice.
Okay.
Did I mention I could play pagan poetry on piano?
(11:24):
We're not talking about pagan poetry.
And yes, you said that every fucking day.
Oh my god.
This is mother fuck up.
What's every day?
No, it's like, I've, which is random moment.
You obviously like starting to do dishes and you'll be like.
(11:45):
Did I tell you we could play pagan poetry?
You're not picking up on my hints.
Sorry.
All right.
Let's move on to the next song, Aurora.
Let's play a song.
Let's play a song.
Let's play a song.
Let's play a song.
(12:06):
Let's play a song.
All right.
It's like, Borks are consenetious pictures.
Yeah.
Who is that?
The share.
Oh, I thought it was like Queen Elizabeth or something.
No.
Okay.
That's a really disturbing thing.
Anyway, this is an ode to snow and there's beautiful beautiful Northern lights.
(12:29):
Have you ever seen Aurora and person?
No.
No.
Have you?
No.
I just saw you seen everything.
No.
I don't see that.
Well, that's why it's going to be special.
There were seven together.
Iceland just tonight.
And then, you know, I saw there's an article that said you can see some
(12:56):
Aurora's in the Northern part of the country like Maine and Washington was consenetious.
So, just saying that.
All right.
I've never even seen a person named Aurora and person.
Yeah, I mean either.
I don't know any.
Sleeping Beauty.
First impressions.
(13:18):
In 2000, I was then McQueen and Nick Knight created an installation of a model's face.
And then they didn't paint the flies.
There's a maggots.
There's maggots.
I know.
They fed them.
They put a food color in there.
Food color in there.
Yeah.
Still crawl.
Bird.
Right.
(13:39):
Oh, because you said there's so many chemicals in food color.
It's a maggot.
They're part of the world too.
That could be your moment after life.
Are you?
I'm not one.
Oh, you're a grail.
Oh.
Okay.
Anyway, the all the maggots were squirming around.
(14:01):
And because of how they were colored, it was replicating the face.
Contours in the face of the model.
Who said he wanted to be a modern day?
Business time.
Engine lighting.
Conductor.
Yeah.
Yeah.
Byzantine Queen.
Yes.
(14:22):
And then they asked Björk to create music for the piece that they did.
And she composed an instrumental harp and music box piece.
Which would later become Aurora.
Yeah.
Yeah.
(14:45):
And she said that she wrote this in the Cibelius software, which she got in 1989.
You tried that.
I never used Cibelius.
They said it would complicated.
Yeah.
And the UI is like, yeah, weird stuff.
And all that software so hard.
Yeah.
Okay.
(15:06):
Sorry, Valious.
Come for you.
So Björk wrote some of it during winter in the cabin in Borg.
Yeah.
You have an instrument.
(15:29):
It's all you see, Borg.
Yeah.
Yes.
So she had a cabin there.
And it's on the west coast of Iceland.
Do you ever hear Björk being called mother?
Yeah.
All the time.
It's the one.
(15:51):
Why is that?
Because she has some motherly qualities.
She has some mother.
And no, why do people use the word mother?
Like, I don't know, like, oh, mother.
Because maybe there are real mothers.
(16:12):
And then they want new mothers.
So they adopt these pop stars to mother them.
That surgery mother.
Okay.
Well, how does it, um, you would know outlums flow.
Just keeps the story going.
It's chill.
It's beautiful.
It's magical.
It's good.
(16:33):
It's a good midway song.
Just nothing too big about it.
Um, and what about production?
It's crunchy and it's chilly.
And you know how frosty fades into a roar.
Yeah.
And then you start to hear these footsteps.
(16:54):
And this now.
Oh, that's when the guy was crunching on the stage.
Yeah.
Yeah.
Something like that.
No, in the video.
Yeah.
Yeah.
Okay.
Um, it also has a prominent harp with the music box.
And the microbeats by Mary's Diffy.
Moist.
Moist.
(17:15):
Diffy.
And Matt Moose.
Yeah.
So Drew Daniel from Matt Moose said,
some of the sounds were made from sampling.
Bjork spit while she was singing.
That's weird.
They probably aren't going to it after.
(17:37):
Oh, sick.
And then also Bjork did the bass line.
We stand up.
Yeah.
We stand up.
Pace line.
Clean.
Oh, it's sad again.
We stand up.
It's like clean.
We're in a sample that for our next song.
Maybe that's the title of it.
(18:00):
Anyway.
Okay.
What is this song mean to you?
It's about worshiping nature and becoming one with the tenetrale phenomenon.
Aurora.
Okay.
The second delic experience.
All of the above.
And then she has a lyric that goes like,
I tumble down on my knees, fill my mouth with snow.
(18:23):
It reminds me of playing the snow as a child.
I feel so bad.
Oh, it's snow.
Did you enjoy that?
Yes.
I don't know because this is just a film on my mouth.
(18:44):
It's snow.
It's like when you're beating somewhere up.
You just like cramming snow in your mouth.
No, because you eat it by yourself on your awful mission.
Well, this is a visual and emotional impact of the noise lights.
Or an unnatural wonder capturing the feeling of how beautiful and emotional nature can be.
Like, it doesn't seem real.
(19:05):
It doesn't seem real.
And I think people can be beautiful in a natural.
But who knows?
What are you talking about?
Like, the Northern Lights are beautiful, but they almost seem like surreal.
(19:26):
You know what I mean?
Yeah.
Like, they're almost, like, they're almost so, even though they're nature, they just seem like.
What's the most surrealist thing about nature you've seen?
I like eating on the ground for a bit.
I don't know.
There's so many.
So many.
Everything about nature is surreal.
(19:47):
Yeah.
Okay.
So, what's the most important thing about nature?
Yeah.
Okay.
So, it's pretty.
Anyway, one of the critics said to say about this song.
Hold on.
My computer.
(20:08):
All right.
Well, one critic said this is for pagan poetry,
but I think it applies here at features.
If features of flutty music, flutty music, flutty music,
(20:33):
flutty music boxes within Asian teahouse touch.
The Rolling Stones and that.
Okay.
I really doubt it, but okay.
What I read the Rolling Stones said was that it's just one of the songs that you can put on and play loudly,
(20:58):
and you just let go.
And before you know, your body moves violently from side to side.
Hey.
But at the same time, you can put it on with your headphones and my embed,
and feel like your soul is relaxing.
Okay.
All the dream mixes and opiate did a dream mix, and I like it.
(21:19):
Check it out.
Music box version and anything else.
And I did a cover on Garage Band.
(21:43):
Please tell me where we can take a look into that.
Yeah.
Oh, I'm not singing.
It's just the instrumental.
I like the stuff that you sing on and don't sing on.
(22:05):
I'm curious, let me hear.
There's also one called traces of ghosts, remix.
That's cool.
And it's in SoundCloud, it's under the Witchhouse category.
I like what you're singing.
(22:36):
Dude, I hate it.
In 2011.
You have to be ashamed.
In 2011, pure performed Aurora and Reykjavik, which on a sin.
An Olaf or an Olt.
Yeah.
And a girl's choir that included her daughter.
I was at the moment where we were watching her.
Yeah.
Standing around.
Yeah.
(22:57):
The little girl's.
Okay.
In the end, in 2011, she performed again in Reykjavik with the Depronutsack
correctly for you.
Yeah.
Okay.
With this string orchestra and a harp, what do you think about it?
The S-Sounds Garage.
(23:25):
Yeah.
I think I've seen her perform that live.
Greg performed 2017 at the Waltz's Neconsare Hall in LA.
Yeah.
Yeah.
Let's talk about it first.
(23:59):
This isn't one of the previous Jörg Songs.
I feel like you would be a good song for, you know, like, there's heaven held within
those limbo.
Like that place you go and you can't go to either one.
Yeah.
Of work or toy.
Yeah.
Purgatory.
Yeah.
That's the same thing as limbo.
Right.
Oh, isn't this thing?
(24:21):
Yeah.
Ding one of the fun.
Yeah.
Yeah.
Yeah.
What do you mean?
Yeah.
What do you mean?
It gives me rose married babies.
Hives.
Or didn't a call can I have to film the others?
Have you seen that?
(24:42):
Yeah.
I like that film.
Yeah.
Both of those films.
Yeah.
It was originally called Crave.
Yeah.
Why?
Because the lyrics are from a 1998 play.
If I controversial playwright, Sarah Kane, and it was called Crave.
Have you seen any of it?
I tried it.
I saw some videos of it on YouTube.
(25:05):
Very disturbing.
And what tells about the play.
It touches on dark topics such as rape and incest.
It shows everything.
Great incest.
That is failure.
Interacts here.
Drug addiction.
Mental instability.
(25:27):
Murder.
And suicide.
It's not like a good time.
No, we have to do the hotline number.
What do you want to talk about it?
I don't know.
Okay.
(25:48):
All right.
How does it fit within the album's flow?
Well, it's like a dark and stormy night.
And then suddenly it comes in passes into the winter.
That's not what I asked.
Who do you ask?
How is it fit within the flow?
You know, like, what a story.
(26:10):
It's like, you know, everything is going good in the story.
And then you need like a little bit of the darkness.
You know, it's like the story arc.
You need like, it needs like conflict or need something that has to be resolved.
Yeah.
Comes in passes.
(26:32):
That's life.
Most of the time.
What can you tell me about the production?
Well, it's got glitchy samples.
Which, I don't know, when you sample something that's glitchy, it just gets more glitchy.
Like it's something at some point you just run into like maximum glitchiness.
(26:53):
Yeah.
Okay.
And a haunting choral hum.
Yeah.
What does that sound like?
Now it's just where you hold the note.
It's like, you know, I'm not going to do it again.
Okay.
I did it.
Yeah.
There's a lot of interesting electronic percussion that sounds like a fix for me.
(27:18):
Yes.
On coiludes.
Yes.
Yeah.
Include.
Or like when we listen to a motor water.
Oh, yeah.
That was cool.
It kind of had like that.
Yeah.
And then it including some wobbled speech samples swarming throughout the song backed by haunting
choir and strings by Vince Mendoza.
(27:41):
Did he, did she work with him a lot after this?
No.
Okay.
She's like, yeah, I employed it.
Thank you.
There's also some Celesta by Guy Sigsworth and harp by Zina Parkens.
(28:03):
That's awesome.
In Guy Sigsworth wrote some of the music on this one too.
And the beats include contributions from Matt Mous.
Guy Sigsworth, Damian Taylor, and more Morious to Fry.
Yeah.
Right a team.
(28:25):
Does like a whole team.
You know what I mean?
Yeah.
It's like her collaborators all together.
Yeah.
So, what does it mean?
The lyrics are quite cryptic and because the play, because of the play of the lyrics,
are derived from doesn't have a linear meeting, meaning only one can only infer what the meaning
(28:50):
of the lyrics are.
What does that mean?
It's like you're running in circles.
Well, it's just all very avant-garde, trickling down to avant-garde.
What did you think it was about?
When I first heard it, I used to think it was about encountering a ghost or something
(29:13):
to do with death, meaning the grim reaper, especially in the last lines, or she says,
free falling complete.
So, what about you?
I think it's about like when you're in a relationship and you get some bad behavior
that becomes part of who you are in that relationship.
(29:34):
Yeah.
And then in your next relationship, you keep doing that.
Yeah.
I don't know.
That's what I thought.
All right.
I'm sorry you saw that.
Yeah, like she didn't mean to show that ugly side.
To the new person, you know?
(29:56):
No.
I feel like it's bad.
No, you get into new relationship and you want to start fresh.
You're like, all those bad habits I had.
I'm going to like, yeah, not bring into this relationship.
I'm sorry you saw that.
I'm sorry he did it in echo.
A stain.
I hit it and quit it.
What?
It makes you wonder.
(30:18):
What did you see?
What did he do?
I'm sorry.
I'm sorry.
I'm sorry.
I'm sorry.
You know what I'm saying?
I don't know.
And you can find the play online and my clear some things up.
Yeah.
(30:39):
Um.
Like, is it?
This green move had to have a deal.
The stain of the screen.
Are you doing this in like a country?
Oh, watch my father beat my mother with a walking stick.
A stain.
An echo.
A stain.
I'm sorry you saw that.
(31:00):
I'm sorry he did it.
I just spare.
I'm just spare.
No regrets.
I swear I can't hear it.
I'm looking at you.
I did nothing.
I did nothing.
I did nothing.
I did nothing.
Okay.
My father beat my mother with a walking stick.
A stain.
A stain.
(31:21):
I'm sorry you saw that.
I'm sorry you did it.
I just spare.
I just spare.
No regrets.
I just spare.
I'm not bad.
What did the critics say?
The critic from enemies said, I get instant chills.
Duke has done quite a few scary sounding songs in her discography.
You know, like vertebrae, vertebrae, vertebrae.
(31:43):
Hullo.
Where's the line?
Victim hood.
etc.
But I don't think any of them shape up to a neco stain in terms of pure scaring.
It's the same.
I agree.
You.
Yes.
And from you.
No, she's done some scary songs on the her side project drawing.
(32:04):
We're straight in nine.
Some creepy songs in there.
If you can.
If you know, you know.
It will go around in the dark.
There's no to that.
Okay.
I'm from Reddit.
Someone said the songs production is enough to keep it on the album.
(32:25):
But you add your arcs and say and whispered in ear delivery.
And the strings that play back and forth.
And then result is so gene-like.
It's just not melody-heavy.
Drawing more on towards ambient.
Yeah.
So do you think that puts people off the spritzine?
(32:49):
No.
Is this like like these ghosty kind of tracks?
They like create a cool feeling for the album.
Yeah.
Who are you texting?
No.
Well, I'll need a little bit of tension every now and then.
(33:12):
Yeah.
It's like, how can you know what happiness is unless you've been tired?
Yeah.
That's what I've been saying.
What about remixes?
Well, ma'am, I'm literally mixed called I-Duck Mix.
And, okay, must go in.
(33:42):
Yeah.
Then there's the electro cast remixes, which I really like.
And then there's the lyrics.
Stable, a crisp.
Gainer remixes from 2003.
That's better recognized.
Lood, jable, and crisp gainer.
Because we have people to find it.
(34:13):
Yeah.
And as far as performances and mashups, you're only performed it on the best
Virginia tour and the greatest hit store.
She sure did.
I'm cold.
(34:37):
I'm scared.
You know, at some point you have so many songs.
Hey, but you know what?
I just imagine of the Neko-A-Stain with massive attacks, version of nature boy from the
Mulan Rouge song.
It's less.
What's so funny?
(35:00):
Hey.
I'm laughing at me.
I'm not a Rusevank track.
This is so gangster.
It's you.
You don't even know.
Can we listen to it?
Okay.
Alright, you're all right.
Yeah.
I'm going to talk about Son of my mouth now.
(35:35):
Okay, just.
So lucky.
Well yeah this is a short and sweet tune that's giving Bambi
printing in the woods. I have to put description. Yeah it's like your
spare animal. Yeah to when you're in first encountering your spare animal. So my
(35:59):
first impression was it's so Disney or Disney on eyes if you nasty.
This is the next sentence. The lyrics are taken from a 1923 poem by E.
Coming called I won't wait out and she also recorded another song based on E.
(36:19):
Coming's poem called Mother Harrowic. What did she say about E. Coming?
She said his poetry and the right combination of being humble and new folk and
(36:47):
his words were just screaming to be sung. She's the right person for it then.
Yeah and she said the music was written on a day of improvisations and
improvisations with guys 6 were. What does that mean? Like they were just kind of
damn dadding. Yeah music leads speaking.
(37:09):
Jim. Jim style. That's a joke. Jim. And she said when I heard the song I hear the
connection between me and guy at this moment. Well yeah. She said this
so yeah she hears that. That's a Blomini of E. Coming's words but also me
(37:35):
storming out of a certain film studio regaining the right to my music. It was the
moment I got in power to stand by myself. The me too clock was got wound up to be
running, run again, run 18 years later. What? I think she's saying they
(37:57):
should have gotten powered in this moment. They get all locked in her and then locked her again,
17 years later. Interesting. It's just about empowerment. What happened 17 years later?
The uh need to. Oh she was me too. Yeah she said the director of dancer in the
(38:19):
hood. That's right. Her assing her and that's right. Yeah. Okay. How does it fit with the
obbombs flow? It lights the mood after the previous tracks. Center
soutoon. It's like a beautiful morning sunrise after a dark storm. That's
what? It's like son of my man. What about production? If he just a
(38:44):
prominent solicitor played by guys six worth and what's the solicitor? It's a
wooden. It's a small wooden piano made popular by Tracoske's dance of the
little baby piano. Like do you play with toothpicks? Say it's half the size of this
island. Oh okay. No you can play it like you know it only goes so many
(39:10):
octaves. That's why it's small anyway. It's like a portion of a piano. I see
that's a third minute driving it so that it was just all tiny. Maybe they might
have minute drives to it a little bit but you can still play it with your fingers.
Okay. How do you play it on? No. Maybe I can. Yeah. Where was I?
(39:43):
There's also some harp by Zina Parkens and strings by Vince Minders and some
beats by Bjork and Val Gear Citizen. Yeah how would you say it?
Val get it, Sikerson. Okay. And the song starts off quiet and it rises up to
(40:06):
the居 before finally coming down. Yeah that's cool. Did you know Sikov
wrote this last from Get the fuck out? They borrowed it from Bjork for their
amazing gear back. Yeah for the 2005 album tack.
Do you like that album? Yeah I like it a lot. What is this song about?
(40:45):
Some of the songs stands for Awakening and that is an expression of unity
between body and spirit. What are you interpreted as? I interpret as some kind of
self discovery through adventures, restaking and being one with nature and the wild.
(41:06):
That sounds like a daily hiking for us. Yeah it really is. How it's that
uncomfortable? Yeah no idea. What is in here? Two lyrics. What do you understand
(41:29):
out to you? I like what are you saying? I shall interfere. I'll smooth
mastery with chasiness of Seagulls. Okay critics generally consider some of my
(41:53):
mouth as one of us routines most intimate and poetic tracks. Do you think it's both
of those things? Yeah. And Rolling Stone praised the songs, Lyrical Beauty and
Cinematic Production. While the wire noted that it's it's all about
(42:17):
aching vulnerability. I didn't say it. And there's a room
expire in Thumball. A.K. Love you at Allery. And you need to remix called
recompose by on Thumball. And it feels like watching the sun flickery through all
the trees. That's a really nice picture. Yeah.
(42:37):
There's an Averics Demix Mix Averics Demix.
(43:08):
Yeah. That's all. Well, she has performed this song, Son of my mouth, only five
times. In the first time was in 2011 in Rikyvik with Jonas Sen.
Yeah. And the second time wasn't 2015 with Molder Joe. What?
(43:39):
My new that logo on the handpan. What's the handpan? That's a handpan?
It's kind of like that, but do that again. It's bigger.
I think it's harder. Okay.
(44:06):
And the last time Bjork performed, Son of my mouth was in 2011.
A lot of him was on the string. Okay. Well, the last time Bjork performed Son of my mouth
wasn't in 2011 in Rikyvik with a harp and string orchestra.
(44:30):
Were you there? Was I there now? Always not there. One hour was. Yeah.
I didn't see at all. I don't know.
Well, said something about it. There's no. Was it an entire set about working with Bjork?
(44:51):
Who's Ellen Paris? Did you guys did their her graphics? Oh, yeah.
I heard them. They find me on the screen. They're really nice.
They said she cooks good pasta with cream and caviar and sing along.
Bonnie ever tunes. You don't know Bonnie and Tons? No.
(45:16):
Okay. Well, Halsey, let's talk about her. Okay. Tell me about Halsey.
She just put on an album I think yesterday. And you know, she calls it the great impersonator.
She's been promoting it while by taking pictures of herself as different singers.
(45:43):
And so she did Bjork.
You got a super for copyright infringement.
And then she said, this is because the last song on my album is influenced by her.
And it sounds like eight. I'll play a clip. You can decide for yourself.
(46:05):
What do you think about it?
And here lies the great impersonator.
It's like I ain't. Okay.
Eat dried.
Eat dried.
No shame.
(46:31):
See, like, Bonnie's not yours. Yeah.
Does it? That's it. Is this the end of the album?
No. We got one more to go. And then we're done with this album.
So what's on the next podcast?
What?
What?
The next one is...
(46:53):
Are we done with this one?
Error room.
Dush.
Oh, horrible. And unison.
Do you like them?
You got to look unison.
What do you like about it?
Give people a taste.
It's gonna come.
It's out here to give a moment.
(47:15):
It's epic.
It's just going to wait around the album.
It's got some good lyrics.
And it's got everything you want.
Just like rap, this album.
29, 29, you know what?
It's a key, we see.
I'm gonna sign this again. Bye.
Goodbye.
What kind of sound like cereal?
(00:07):
Who are you?
I'm Jesse.
Hello Mark.
In this podcast we take a deep dive into albums from some of our favorite artists track by track.
And today we're continuing with New York's Vaspertine and we're halfway through it.
(00:31):
See you.
And today we're doing songs 6, 7, 8, 9 which are Frosty, Aurora, and Echo of Stain and Son of
My Mouth.
It sounds like a good time.
Yeah.
Alright so let's start off with track number 6 Frosty.
(00:52):
Yeah, is this short instrumental that features music box?
Did you ever have a music box?
(01:13):
I made fun of kids that had music boxes.
Why?
Did you have one?
Yeah.
Like with a ballerina, it came out.
It was my mom's.
And I took it from her.
What track did you have today?
(01:34):
It was for pop free.
But that's a uterker for her.
It was originally for that.
And I made it in my own and I would put, I don't know, little jewelry.
(01:56):
I don't know.
Like doll jewelry.
It's true.
Oh, okay.
I made a song with my brother.
A structure and melody.
What's the music box?
(02:17):
Can we hear it?
Yeah.
That's very fort looking for two young people.
Yeah.
I would like a music box.
I like going into a store and winding them all up at the same time and they make crazy scary music.
(02:42):
If you could have any song of yours put into a music box, like one of those things created for your song which one would be.
I don't any song.
Okay.
What's your first impression of this song?
(03:07):
It feels like getting lost in a magical giant crystal cave.
It sparkly ice goals and snowflakes.
What do you think?
Okay, Elsa.
Okay.
Oh, the oak.
Yeah, composed of all the music boxes from Best�or team in the music software.
(03:34):
Sidebally is every use of the list.
No.
Seems cool though.
Then brought them to Jack Perron who worked with Porter music box company in Vermont to make her three music boxes of different sizes and 12-inch copper disc plates with the songs carved into them.
(03:56):
Everything else?
What does it look like?
Yeah.
Pickle.
Yeah.
Okay.
(04:18):
Also, Tina, who said Sebelus was.
No.
It was from Johan Julius Christian Sebelus.
And he was a finished composer of the late romantic and early modern periods.
And he's widely regarded as his country's greatest composer.
(04:39):
Are you going to check me on this?
Yes.
Just believe you.
Yeah.
He was the greatest in Finland, right?
Yeah.
Yeah.
Well, did you find it?
Yeah.
Okay.
Well, Jack Perron said that Frosty was originally had vocals over it.
(05:07):
And it was longer than the album's one minute and 40 seconds.
I'm curious to know what that sounds like.
Drop a girl.
Let us hear it.
If you had to write lyrics to this song, what would they be like?
Just rap something.
Like, slat them cheap steady.
(05:31):
His fame in the clerk says slat my cheap steady.
Please make that make sure.
How does it fit within the album's flow?
Well, it's like an intermission where you can reflect on where the album is gone.
And Ponderrault, it will go next.
And where will it go next?
Um, just like, it gets more magical.
(05:53):
More abstract things.
Speaking of magicwebstract, it's a random, tells about random magicweb abstract productions.
Well, it's unique rhythm can note it's come from the music box.
Okay.
What?
I was gonna say it's icy like you're hard.
(06:18):
Sure.
You know, yoga, remember the song yoga?
Yeah.
Yeah.
So that's her son.
Okay.
Okay.
Sit down.
I was in bad at it.
I would've got live performances.
Even though she had open her shows in 2001 with the music box version of
(06:41):
Peyton Poetry or Aurora, she would still call it frosty.
Whatever.
She's so shady.
Hey.
One time, you told me that, oh, do you hear it?
When you first listened to this album, it was in your loft in San Francisco.
(07:02):
Yeah.
Tell me about that.
Oh, no.
It was a good time.
You said you listened to it in the speakers?
Yeah.
You know?
How does it make you feel?
It was a good time in my life.
(07:24):
And I felt like this sort of echo that.
Was it, you like put the lights out?
Yeah.
But you know that a candle or something?
No, just so I listened to it in a big empty loft that I just got.
And I was just in a good space.
That's cool.
(07:45):
And it was like the soundtrack to that situation.
Yeah.
And you know it, because this album actually has roots in San Francisco.
Tell me about it.
Because she collaborated with Matt most.
And they were living in San Francisco at the time.
And the tenderloin.
But they had just to remember they were talking about that when we saw them.
And they had a studio in the show Hill.
(08:07):
Oh, I'm so happy.
So shout out to those neighborhoods.
Tell me about the critics.
What's happening?
It's a good song.
I wouldn't say this is a critic.
(08:28):
But a lot of people on Reddit were upset that people hate on frosty.
I definitely do not hate on frosty.
I like this song.
Um, yeah.
I don't know.
I guess there's a lot of frosty hate.
Okay.
(08:48):
Well, then I'm going to tell you about some remix.
Wait if those are children in frosty, it would feel like like...
Two joke profit I rose.
Would they really pay off my wife?
And she's always been still all the time.
She doesn't move.
Why?
Because she's so frozen.
(09:09):
You know.
Anyway.
And she'd have short hair and spiky with frosted tips.
So she looked like in San Clump I see a joke aloud.
Let's move on to remix this then.
All right.
Um, um, you gotta watch this.
Are you watching it?
(09:32):
I can't see where she's under the screen.
Oh my god.
Oh.
Click on the screen recording.
Wait.
Play it.
I hate it.
What is that?
She's...
She's like popping a pussy to this one.
Yeah.
Is that's no way.
Oh no.
It's Elsa.
Remix.
(09:53):
Okay.
Okay.
There's a cover by Robbie Swadays on Viberphone and Glockenspiel on it's quite good.
Yeah.
(10:14):
Um, and then there's one, uh, I'm ex-called the reinterpretation.
And it's really good.
Listen to it.
It's not fair.
Um, and then there's also, um, yeah, that's it.
(10:39):
I guess.
Okay.
Frosty was included in Alexander McQueen's fall winter.
To those in one fashion show called Wood America Around.
And it was also a show called Wood America Around.
And it was also in, um, trees then no ends spring summer, 2002 fashion show.
(11:00):
So it's just a very fashionable song.
It is.
Very avant-garde.
Yeah.
In.
I could see how it's set that mode on the runway.
She's probably said, can you play my song from one of my new albums?
Like, show your girl, don't want to have that your voice.
Okay.
Did I mention I could play pagan poetry on piano?
(11:24):
We're not talking about pagan poetry.
And yes, you said that every fucking day.
Oh my god.
This is mother fuck up.
What's every day?
No, it's like, I've, which is random moment.
You obviously like starting to do dishes and you'll be like.
(11:45):
Did I tell you we could play pagan poetry?
You're not picking up on my hints.
Sorry.
All right.
Let's move on to the next song, Aurora.
Let's play a song.
Let's play a song.
Let's play a song.
Let's play a song.
(12:06):
Let's play a song.
All right.
It's like, Borks are consenetious pictures.
Yeah.
Who is that?
The share.
Oh, I thought it was like Queen Elizabeth or something.
No.
Okay.
That's a really disturbing thing.
Anyway, this is an ode to snow and there's beautiful beautiful Northern lights.
(12:29):
Have you ever seen Aurora and person?
No.
No.
Have you?
No.
I just saw you seen everything.
No.
I don't see that.
Well, that's why it's going to be special.
There were seven together.
Iceland just tonight.
And then, you know, I saw there's an article that said you can see some
(12:56):
Aurora's in the Northern part of the country like Maine and Washington was consenetious.
So, just saying that.
All right.
I've never even seen a person named Aurora and person.
Yeah, I mean either.
I don't know any.
Sleeping Beauty.
First impressions.
(13:18):
In 2000, I was then McQueen and Nick Knight created an installation of a model's face.
And then they didn't paint the flies.
There's a maggots.
There's maggots.
I know.
They fed them.
They put a food color in there.
Food color in there.
Yeah.
Still crawl.
Bird.
Right.
(13:39):
Oh, because you said there's so many chemicals in food color.
It's a maggot.
They're part of the world too.
That could be your moment after life.
Are you?
I'm not one.
Oh, you're a grail.
Oh.
Okay.
Anyway, the all the maggots were squirming around.
(14:01):
And because of how they were colored, it was replicating the face.
Contours in the face of the model.
Who said he wanted to be a modern day?
Business time.
Engine lighting.
Conductor.
Yeah.
Yeah.
Byzantine Queen.
Yes.
(14:22):
And then they asked Björk to create music for the piece that they did.
And she composed an instrumental harp and music box piece.
Which would later become Aurora.
Yeah.
Yeah.
(14:45):
And she said that she wrote this in the Cibelius software, which she got in 1989.
You tried that.
I never used Cibelius.
They said it would complicated.
Yeah.
And the UI is like, yeah, weird stuff.
And all that software so hard.
Yeah.
Okay.
(15:06):
Sorry, Valious.
Come for you.
So Björk wrote some of it during winter in the cabin in Borg.
Yeah.
You have an instrument.
(15:29):
It's all you see, Borg.
Yeah.
Yes.
So she had a cabin there.
And it's on the west coast of Iceland.
Do you ever hear Björk being called mother?
Yeah.
All the time.
It's the one.
(15:51):
Why is that?
Because she has some motherly qualities.
She has some mother.
And no, why do people use the word mother?
Like, I don't know, like, oh, mother.
Because maybe there are real mothers.
(16:12):
And then they want new mothers.
So they adopt these pop stars to mother them.
That surgery mother.
Okay.
Well, how does it, um, you would know outlums flow.
Just keeps the story going.
It's chill.
It's beautiful.
It's magical.
It's good.
(16:33):
It's a good midway song.
Just nothing too big about it.
Um, and what about production?
It's crunchy and it's chilly.
And you know how frosty fades into a roar.
Yeah.
And then you start to hear these footsteps.
(16:54):
And this now.
Oh, that's when the guy was crunching on the stage.
Yeah.
Yeah.
Something like that.
No, in the video.
Yeah.
Yeah.
Okay.
Um, it also has a prominent harp with the music box.
And the microbeats by Mary's Diffy.
Moist.
Moist.
(17:15):
Diffy.
And Matt Moose.
Yeah.
So Drew Daniel from Matt Moose said,
some of the sounds were made from sampling.
Bjork spit while she was singing.
That's weird.
They probably aren't going to it after.
(17:37):
Oh, sick.
And then also Bjork did the bass line.
We stand up.
Yeah.
We stand up.
Pace line.
Clean.
Oh, it's sad again.
We stand up.
It's like clean.
We're in a sample that for our next song.
Maybe that's the title of it.
(18:00):
Anyway.
Okay.
What is this song mean to you?
It's about worshiping nature and becoming one with the tenetrale phenomenon.
Aurora.
Okay.
The second delic experience.
All of the above.
And then she has a lyric that goes like,
I tumble down on my knees, fill my mouth with snow.
(18:23):
It reminds me of playing the snow as a child.
I feel so bad.
Oh, it's snow.
Did you enjoy that?
Yes.
I don't know because this is just a film on my mouth.
(18:44):
It's snow.
It's like when you're beating somewhere up.
You just like cramming snow in your mouth.
No, because you eat it by yourself on your awful mission.
Well, this is a visual and emotional impact of the noise lights.
Or an unnatural wonder capturing the feeling of how beautiful and emotional nature can be.
Like, it doesn't seem real.
(19:05):
It doesn't seem real.
And I think people can be beautiful in a natural.
But who knows?
What are you talking about?
Like, the Northern Lights are beautiful, but they almost seem like surreal.
(19:26):
You know what I mean?
Yeah.
Like, they're almost, like, they're almost so, even though they're nature, they just seem like.
What's the most surrealist thing about nature you've seen?
I like eating on the ground for a bit.
I don't know.
There's so many.
So many.
Everything about nature is surreal.
(19:47):
Yeah.
Okay.
So, what's the most important thing about nature?
Yeah.
Okay.
So, it's pretty.
Anyway, one of the critics said to say about this song.
Hold on.
My computer.
(20:08):
All right.
Well, one critic said this is for pagan poetry,
but I think it applies here at features.
If features of flutty music, flutty music, flutty music,
(20:33):
flutty music boxes within Asian teahouse touch.
The Rolling Stones and that.
Okay.
I really doubt it, but okay.
What I read the Rolling Stones said was that it's just one of the songs that you can put on and play loudly,
(20:58):
and you just let go.
And before you know, your body moves violently from side to side.
Hey.
But at the same time, you can put it on with your headphones and my embed,
and feel like your soul is relaxing.
Okay.
All the dream mixes and opiate did a dream mix, and I like it.
(21:19):
Check it out.
Music box version and anything else.
And I did a cover on Garage Band.
(21:43):
Please tell me where we can take a look into that.
Yeah.
Oh, I'm not singing.
It's just the instrumental.
I like the stuff that you sing on and don't sing on.
(22:05):
I'm curious, let me hear.
There's also one called traces of ghosts, remix.
That's cool.
And it's in SoundCloud, it's under the Witchhouse category.
I like what you're singing.
(22:36):
Dude, I hate it.
In 2011.
You have to be ashamed.
In 2011, pure performed Aurora and Reykjavik, which on a sin.
An Olaf or an Olt.
Yeah.
And a girl's choir that included her daughter.
I was at the moment where we were watching her.
Yeah.
Standing around.
Yeah.
(22:57):
The little girl's.
Okay.
In the end, in 2011, she performed again in Reykjavik with the Depronutsack
correctly for you.
Yeah.
Okay.
With this string orchestra and a harp, what do you think about it?
The S-Sounds Garage.
(23:25):
Yeah.
I think I've seen her perform that live.
Greg performed 2017 at the Waltz's Neconsare Hall in LA.
Yeah.
Yeah.
Let's talk about it first.
(23:59):
This isn't one of the previous Jörg Songs.
I feel like you would be a good song for, you know, like, there's heaven held within
those limbo.
Like that place you go and you can't go to either one.
Yeah.
Of work or toy.
Yeah.
Purgatory.
Yeah.
That's the same thing as limbo.
Right.
Oh, isn't this thing?
(24:21):
Yeah.
Ding one of the fun.
Yeah.
Yeah.
Yeah.
What do you mean?
Yeah.
What do you mean?
It gives me rose married babies.
Hives.
Or didn't a call can I have to film the others?
Have you seen that?
(24:42):
Yeah.
I like that film.
Yeah.
Both of those films.
Yeah.
It was originally called Crave.
Yeah.
Why?
Because the lyrics are from a 1998 play.
If I controversial playwright, Sarah Kane, and it was called Crave.
Have you seen any of it?
I tried it.
I saw some videos of it on YouTube.
(25:05):
Very disturbing.
And what tells about the play.
It touches on dark topics such as rape and incest.
It shows everything.
Great incest.
That is failure.
Interacts here.
Drug addiction.
Mental instability.
(25:27):
Murder.
And suicide.
It's not like a good time.
No, we have to do the hotline number.
What do you want to talk about it?
I don't know.
Okay.
(25:48):
All right.
How does it fit within the album's flow?
Well, it's like a dark and stormy night.
And then suddenly it comes in passes into the winter.
That's not what I asked.
Who do you ask?
How is it fit within the flow?
You know, like, what a story.
(26:10):
It's like, you know, everything is going good in the story.
And then you need like a little bit of the darkness.
You know, it's like the story arc.
You need like, it needs like conflict or need something that has to be resolved.
Yeah.
Comes in passes.
(26:32):
That's life.
Most of the time.
What can you tell me about the production?
Well, it's got glitchy samples.
Which, I don't know, when you sample something that's glitchy, it just gets more glitchy.
Like it's something at some point you just run into like maximum glitchiness.
(26:53):
Yeah.
Okay.
And a haunting choral hum.
Yeah.
What does that sound like?
Now it's just where you hold the note.
It's like, you know, I'm not going to do it again.
Okay.
I did it.
Yeah.
There's a lot of interesting electronic percussion that sounds like a fix for me.
(27:18):
Yes.
On coiludes.
Yes.
Yeah.
Include.
Or like when we listen to a motor water.
Oh, yeah.
That was cool.
It kind of had like that.
Yeah.
And then it including some wobbled speech samples swarming throughout the song backed by haunting
choir and strings by Vince Mendoza.
(27:41):
Did he, did she work with him a lot after this?
No.
Okay.
She's like, yeah, I employed it.
Thank you.
There's also some Celesta by Guy Sigsworth and harp by Zina Parkens.
(28:03):
That's awesome.
In Guy Sigsworth wrote some of the music on this one too.
And the beats include contributions from Matt Mous.
Guy Sigsworth, Damian Taylor, and more Morious to Fry.
Yeah.
Right a team.
(28:25):
Does like a whole team.
You know what I mean?
Yeah.
It's like her collaborators all together.
Yeah.
So, what does it mean?
The lyrics are quite cryptic and because the play, because of the play of the lyrics,
are derived from doesn't have a linear meeting, meaning only one can only infer what the meaning
(28:50):
of the lyrics are.
What does that mean?
It's like you're running in circles.
Well, it's just all very avant-garde, trickling down to avant-garde.
What did you think it was about?
When I first heard it, I used to think it was about encountering a ghost or something
(29:13):
to do with death, meaning the grim reaper, especially in the last lines, or she says,
free falling complete.
So, what about you?
I think it's about like when you're in a relationship and you get some bad behavior
that becomes part of who you are in that relationship.
(29:34):
Yeah.
And then in your next relationship, you keep doing that.
Yeah.
I don't know.
That's what I thought.
All right.
I'm sorry you saw that.
Yeah, like she didn't mean to show that ugly side.
To the new person, you know?
(29:56):
No.
I feel like it's bad.
No, you get into new relationship and you want to start fresh.
You're like, all those bad habits I had.
I'm going to like, yeah, not bring into this relationship.
I'm sorry you saw that.
I'm sorry he did it in echo.
A stain.
I hit it and quit it.
What?
It makes you wonder.
(30:18):
What did you see?
What did he do?
I'm sorry.
I'm sorry.
I'm sorry.
I'm sorry.
You know what I'm saying?
I don't know.
And you can find the play online and my clear some things up.
Yeah.
(30:39):
Um.
Like, is it?
This green move had to have a deal.
The stain of the screen.
Are you doing this in like a country?
Oh, watch my father beat my mother with a walking stick.
A stain.
An echo.
A stain.
I'm sorry you saw that.
(31:00):
I'm sorry he did it.
I just spare.
I'm just spare.
No regrets.
I swear I can't hear it.
I'm looking at you.
I did nothing.
I did nothing.
I did nothing.
I did nothing.
Okay.
My father beat my mother with a walking stick.
A stain.
A stain.
(31:21):
I'm sorry you saw that.
I'm sorry you did it.
I just spare.
I just spare.
No regrets.
I just spare.
I'm not bad.
What did the critics say?
The critic from enemies said, I get instant chills.
Duke has done quite a few scary sounding songs in her discography.
You know, like vertebrae, vertebrae, vertebrae.
(31:43):
Hullo.
Where's the line?
Victim hood.
etc.
But I don't think any of them shape up to a neco stain in terms of pure scaring.
It's the same.
I agree.
You.
Yes.
And from you.
No, she's done some scary songs on the her side project drawing.
(32:04):
We're straight in nine.
Some creepy songs in there.
If you can.
If you know, you know.
It will go around in the dark.
There's no to that.
Okay.
I'm from Reddit.
Someone said the songs production is enough to keep it on the album.
(32:25):
But you add your arcs and say and whispered in ear delivery.
And the strings that play back and forth.
And then result is so gene-like.
It's just not melody-heavy.
Drawing more on towards ambient.
Yeah.
So do you think that puts people off the spritzine?
(32:49):
No.
Is this like like these ghosty kind of tracks?
They like create a cool feeling for the album.
Yeah.
Who are you texting?
No.
Well, I'll need a little bit of tension every now and then.
(33:12):
Yeah.
It's like, how can you know what happiness is unless you've been tired?
Yeah.
That's what I've been saying.
What about remixes?
Well, ma'am, I'm literally mixed called I-Duck Mix.
And, okay, must go in.
(33:42):
Yeah.
Then there's the electro cast remixes, which I really like.
And then there's the lyrics.
Stable, a crisp.
Gainer remixes from 2003.
That's better recognized.
Lood, jable, and crisp gainer.
Because we have people to find it.
(34:13):
Yeah.
And as far as performances and mashups, you're only performed it on the best
Virginia tour and the greatest hit store.
She sure did.
I'm cold.
(34:37):
I'm scared.
You know, at some point you have so many songs.
Hey, but you know what?
I just imagine of the Neko-A-Stain with massive attacks, version of nature boy from the
Mulan Rouge song.
It's less.
What's so funny?
(35:00):
Hey.
I'm laughing at me.
I'm not a Rusevank track.
This is so gangster.
It's you.
You don't even know.
Can we listen to it?
Okay.
Alright, you're all right.
Yeah.
I'm going to talk about Son of my mouth now.
(35:35):
Okay, just.
So lucky.
Well yeah this is a short and sweet tune that's giving Bambi
printing in the woods. I have to put description. Yeah it's like your
spare animal. Yeah to when you're in first encountering your spare animal. So my
(35:59):
first impression was it's so Disney or Disney on eyes if you nasty.
This is the next sentence. The lyrics are taken from a 1923 poem by E.
Coming called I won't wait out and she also recorded another song based on E.
(36:19):
Coming's poem called Mother Harrowic. What did she say about E. Coming?
She said his poetry and the right combination of being humble and new folk and
(36:47):
his words were just screaming to be sung. She's the right person for it then.
Yeah and she said the music was written on a day of improvisations and
improvisations with guys 6 were. What does that mean? Like they were just kind of
damn dadding. Yeah music leads speaking.
(37:09):
Jim. Jim style. That's a joke. Jim. And she said when I heard the song I hear the
connection between me and guy at this moment. Well yeah. She said this
so yeah she hears that. That's a Blomini of E. Coming's words but also me
(37:35):
storming out of a certain film studio regaining the right to my music. It was the
moment I got in power to stand by myself. The me too clock was got wound up to be
running, run again, run 18 years later. What? I think she's saying they
(37:57):
should have gotten powered in this moment. They get all locked in her and then locked her again,
17 years later. Interesting. It's just about empowerment. What happened 17 years later?
The uh need to. Oh she was me too. Yeah she said the director of dancer in the
(38:19):
hood. That's right. Her assing her and that's right. Yeah. Okay. How does it fit with the
obbombs flow? It lights the mood after the previous tracks. Center
soutoon. It's like a beautiful morning sunrise after a dark storm. That's
what? It's like son of my man. What about production? If he just a
(38:44):
prominent solicitor played by guys six worth and what's the solicitor? It's a
wooden. It's a small wooden piano made popular by Tracoske's dance of the
little baby piano. Like do you play with toothpicks? Say it's half the size of this
island. Oh okay. No you can play it like you know it only goes so many
(39:10):
octaves. That's why it's small anyway. It's like a portion of a piano. I see
that's a third minute driving it so that it was just all tiny. Maybe they might
have minute drives to it a little bit but you can still play it with your fingers.
Okay. How do you play it on? No. Maybe I can. Yeah. Where was I?
(39:43):
There's also some harp by Zina Parkens and strings by Vince Minders and some
beats by Bjork and Val Gear Citizen. Yeah how would you say it?
Val get it, Sikerson. Okay. And the song starts off quiet and it rises up to
(40:06):
the居 before finally coming down. Yeah that's cool. Did you know Sikov
wrote this last from Get the fuck out? They borrowed it from Bjork for their
amazing gear back. Yeah for the 2005 album tack.
Do you like that album? Yeah I like it a lot. What is this song about?
(40:45):
Some of the songs stands for Awakening and that is an expression of unity
between body and spirit. What are you interpreted as? I interpret as some kind of
self discovery through adventures, restaking and being one with nature and the wild.
(41:06):
That sounds like a daily hiking for us. Yeah it really is. How it's that
uncomfortable? Yeah no idea. What is in here? Two lyrics. What do you understand
(41:29):
out to you? I like what are you saying? I shall interfere. I'll smooth
mastery with chasiness of Seagulls. Okay critics generally consider some of my
(41:53):
mouth as one of us routines most intimate and poetic tracks. Do you think it's both
of those things? Yeah. And Rolling Stone praised the songs, Lyrical Beauty and
Cinematic Production. While the wire noted that it's it's all about
(42:17):
aching vulnerability. I didn't say it. And there's a room
expire in Thumball. A.K. Love you at Allery. And you need to remix called
recompose by on Thumball. And it feels like watching the sun flickery through all
the trees. That's a really nice picture. Yeah.
(42:37):
There's an Averics Demix Mix Averics Demix.
(43:08):
Yeah. That's all. Well, she has performed this song, Son of my mouth, only five
times. In the first time was in 2011 in Rikyvik with Jonas Sen.
Yeah. And the second time wasn't 2015 with Molder Joe. What?
(43:39):
My new that logo on the handpan. What's the handpan? That's a handpan?
It's kind of like that, but do that again. It's bigger.
I think it's harder. Okay.
(44:06):
And the last time Bjork performed, Son of my mouth was in 2011.
A lot of him was on the string. Okay. Well, the last time Bjork performed Son of my mouth
wasn't in 2011 in Rikyvik with a harp and string orchestra.
(44:30):
Were you there? Was I there now? Always not there. One hour was. Yeah.
I didn't see at all. I don't know.
Well, said something about it. There's no. Was it an entire set about working with Bjork?
(44:51):
Who's Ellen Paris? Did you guys did their her graphics? Oh, yeah.
I heard them. They find me on the screen. They're really nice.
They said she cooks good pasta with cream and caviar and sing along.
Bonnie ever tunes. You don't know Bonnie and Tons? No.
(45:16):
Okay. Well, Halsey, let's talk about her. Okay. Tell me about Halsey.
She just put on an album I think yesterday. And you know, she calls it the great impersonator.
She's been promoting it while by taking pictures of herself as different singers.
(45:43):
And so she did Bjork.
You got a super for copyright infringement.
And then she said, this is because the last song on my album is influenced by her.
And it sounds like eight. I'll play a clip. You can decide for yourself.
(46:05):
What do you think about it?
And here lies the great impersonator.
It's like I ain't. Okay.
Eat dried.
Eat dried.
No shame.
(46:31):
See, like, Bonnie's not yours. Yeah.
Does it? That's it. Is this the end of the album?
No. We got one more to go. And then we're done with this album.
So what's on the next podcast?
What?
What?
The next one is...
(46:53):
Are we done with this one?
Error room.
Dush.
Oh, horrible. And unison.
Do you like them?
You got to look unison.
What do you like about it?
Give people a taste.
It's gonna come.
It's out here to give a moment.
(47:15):
It's epic.
It's just going to wait around the album.
It's got some good lyrics.
And it's got everything you want.
Just like rap, this album.
29, 29, you know what?
It's a key, we see.
I'm gonna sign this again. Bye.
Goodbye.
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