November 27, 2025 • 16 mins
Today on the Poddy: The Weeknd and more tunes!
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Speaker 1 (00:00):
No, here we go.
Speaker 2 (00:04):
Welcome along to the podcast the Friday, the twenty eighth
of November edition.
Speaker 3 (00:15):
Yeah, hitting into the Weekend. See what I did there? Yes, yeah,
because the song is by the Weekend. I was listening
to The Weekend on the way in this morning, and
as I was thinking, as I was listening to it,
I was like, you know who I bit loves the Weekend,
Jeremy Wells.
Speaker 4 (00:31):
I really do love the Weekend? What was it that
made you think that I would love The Weekend?
Speaker 3 (00:38):
Basically, thinly veiled sexual double on tendre This is right
up Jerry's Ali The Weekend. I was at UNI when
The Weekend came out with his trilogy album that was
three back to back albums or released on the one album.
I came over in town one night and to get
into a flat at that time you had to walk
(00:59):
through a giant runch slides straight into the lounge. And
I got home, one of my flatmates was on the
couch with a girl lights on with The Weekend blasting
on the thing. Yeah, and I was like, oh God,
I'm gonna have to walk through this to get to
my room. So yeah, that's just some dry humping going on.
Speaker 4 (01:19):
Yeah, yes, this is deeply six the soft all of us,
all of us music is.
Speaker 1 (01:25):
It's got six.
Speaker 4 (01:26):
But who likes music that doesn't have any six? You know,
like you, it's got to have some six.
Speaker 3 (01:32):
In it, like rim losing my religion or take a
picture by filter.
Speaker 4 (01:37):
It doesn't have any six in it at all.
Speaker 3 (01:41):
But not oil, it's a burning well hang on, So Jerry,
you don't get turned on when you hear that guy
go mining, come bunny.
Speaker 4 (01:50):
That does not give us for me, like the least sick,
there's nothing sixy about that.
Speaker 1 (01:55):
You hate ins, I hate.
Speaker 4 (01:57):
An I just look actually, look, that's not fair to
say I had them. I just don't feel anything. It
just makes me feel nothing. It's music that it's music
that just makes me feel nothing, and it's got to
make you feel like it's going to.
Speaker 1 (02:10):
Make you feel something.
Speaker 5 (02:11):
Just funny, because if you were to be a song,
you'd be no.
Speaker 3 (02:18):
Yeah, does that make you feel I can picture you
in the music video for this.
Speaker 4 (02:24):
I mean, I appreciate it's a catchy hook. I suppose
I'm trying to find it positive about that song. I
never liked it when it came out, And my issue
is that for a lot of this music, like MESHI,
you weren't alive when that song came out, and so
for you, it's like a classic cut of the past.
But when you lived it, you were there, and I
was there in the contemporary moment when it existed, and
(02:46):
that was where it was written and performed, and it
sat in its contemporariness at that point with its other
contemporary friends. So it's other things that were happening at
the time that sucked.
Speaker 1 (02:58):
It sucked at the time.
Speaker 5 (03:00):
Callback sucked, similar kind of category. And yeah, now earnestly
do listen to Creed and we quite like it, but
it's not really.
Speaker 3 (03:08):
Me on one of them.
Speaker 5 (03:09):
It's like live. It just sucked at the time. So
hard Fighting Cracious is a huge tune.
Speaker 1 (03:16):
It sucked.
Speaker 3 (03:17):
What about the dolphins, crist We me and me and
my mate were driving and both of our misses with
us in the car and one of those lives that
live song came on and when it hit the.
Speaker 4 (03:30):
The Angel happens around.
Speaker 3 (03:34):
We both hit that as hard as we possibly could,
and both of our partners like, what the I've never
heard the song before my.
Speaker 1 (03:40):
Life, but they heard it.
Speaker 3 (03:41):
I know they hadn't heard it and then wow, me
and Pete who had grow up, grown up angsty teenagers
in the Canterbury Planes, we hit it. Yeah, bad.
Speaker 1 (03:54):
Singing Jerry.
Speaker 3 (03:59):
But because the thing was the thing with Creed I
think in particular, first off, Christian rock band, which does
not make Christianity call it makes rock shit. But the
other thing is they were a bit derivative of bands
of like the grunge era bands.
Speaker 4 (04:12):
They were legit gm They were a copy of Pearl
Jam from ninety ninety one. That is like he's trying
to he's doing any better in person, shitty pearl Jam.
There's only enough one. There's enough for him for one
Eddy better with that yarling and that's enough. He invented it.
Speaker 1 (04:29):
That's fine, that's the style.
Speaker 3 (04:30):
But to impersonate that, yeah, But I think without that
frame of reference with people my age, because we didn't
have that like this is a shitty pearl Jam, we
just we just took it at face value and we're like,
is there's something about It's the same as like those
eight the eighties music, because it's so unironic and so
earnest that it's quite funny now to listen back to them.
(04:53):
It's like watching an eighties action movie.
Speaker 4 (04:54):
Like I heard Dave Grohl talking about his drumming on
never Mind when he's drumming for Nirvana, and he was
saying that he was embarrassed that it was a rip
off of disco, and he was embarrassed that people would
work out that he was impersonating. Now, that was incredibly
original at the time. Like what they did on never
(05:16):
Mind was as a never Mind's a great album. Yeah,
And I know now when you hear Nirvanna again sometimes
it sounds dirgy and grim, but on Gostand put it
in nineteen ninety one, and it's a completely different thing
because that sounded completely fresh and great. New now that
there is great musicianship when you actually are derivative of something.
(05:37):
But I never knew that when I was listening to it,
I wouldn't have known that it was disco. Yeah, he
was impersonating.
Speaker 3 (05:42):
There's that great clip of him talking to Pharrell and
he's like, he stole that stuff off those funk bands.
Speaker 4 (05:46):
Then he was like, surely someone's going to find me out. However, Creed,
now that is derivative in a way that you immediately go, no,
that music should be original.
Speaker 3 (05:57):
You should borrow from people and lean on them, but
you should never just straight roomed them.
Speaker 1 (06:01):
You shouldn't be able to tell this nekel band, this
is Nickelback. How do you think about Nuckleback.
Speaker 4 (06:10):
I never really listened to Nekelback because they were I
was working on a student radio station at the time
and we kind of were we were the opposite of Neckleback,
so we wouldn't even listen to any of this sort
of stuff. But I would hear this occasionally if I
was flucking through the radio in the car or something.
I'd hear this on a on a hodech in those.
Speaker 3 (06:28):
Days, because that's rasher. Yeah, mainstream, I'd.
Speaker 1 (06:31):
Never really didn't really come into my sphere.
Speaker 3 (06:33):
Have you watched the Nickelback doco on Netflix? No, you
should watch that.
Speaker 1 (06:37):
Yeah.
Speaker 4 (06:37):
I never I never had any hate because I never
really cared.
Speaker 3 (06:41):
But it became a meme in the twenty tens that
Nckleback suck, and there was all these jokes about Knuckleback
and a petition because they were supposed to play at
the Super Bowl, and they launched a petition to get
rid of Nukelback off the Super Bowl. If you go
and watch the Netflix doco. They talk about all that stuff,
and the guy is really interesting Chad Kroger because he
was like he's talking to his bandmates, one of them
(07:02):
is his brother, and he's like, the difference is for me,
I am Knickelback. So when I go to the supermarket,
I'm Knickelback. When I go to the pub, I'm knuckleback.
You they can just you know, they don't notice it.
Speaker 1 (07:11):
It's you.
Speaker 3 (07:12):
And so every time he walked out of the house,
someone of.
Speaker 1 (07:14):
Your bed sucks your ship. Yeah, and it really had
an effect on it.
Speaker 4 (07:18):
Yeah, well, I mean that sucks because the guy was
just putting out music.
Speaker 1 (07:21):
It was really popular.
Speaker 3 (07:22):
Like that's really good.
Speaker 1 (07:24):
Like really hating something.
Speaker 4 (07:25):
It's like you gotta love something to hate it, that's right.
Speaker 3 (07:28):
Yeah, it's got to be a certain level of popular
for anyone to actually give a ship.
Speaker 4 (07:31):
Kind of the ultimate form of love. Really differently the
reason we like it as well.
Speaker 5 (07:35):
I saw an interview that he was doing something that
he figured out that country music had, like, you know,
really catchy choruses and stuff like that.
Speaker 4 (07:41):
Yeah.
Speaker 5 (07:41):
I realized that if he writes his rock songs, so
he writes a country churn, then all of a sudden,
he's gonna have some really catchy rock songs. And now
you can hear yeah, like the kind of of someone
you just sounded a little bit more southern. They would
be country songs.
Speaker 1 (07:53):
What's what's the big one? What's the big what's the big?
Speaker 4 (07:58):
Yeah? Not photograph?
Speaker 1 (08:03):
Yeah, that's got great chorus, Like that's a catchy.
Speaker 5 (08:07):
This is not photograph, this is this is photograph?
Speaker 1 (08:11):
Okay, not this.
Speaker 4 (08:11):
One off this one that goes so hard. That's clever,
I reckon, that's a really clever. That's clever, But it's
for me. It's just too in a narrow to sonically,
(08:33):
it's too narrow.
Speaker 3 (08:34):
Every piss up with my mates by three am we're
screaming this.
Speaker 4 (08:40):
Every wedding I stoppling, and then with the gaps like
that's that's that's really good, so hard.
Speaker 1 (08:45):
I appreciate it, but I don't. I wouldn't put it
on na.
Speaker 3 (08:49):
What if you're wasted around a kitchen table at three am?
Speaker 4 (08:52):
And tomorrow I think if I knew the lyrics, maybe
you know, it's one of those kind of the lyrics
to really love it.
Speaker 3 (08:59):
That's falls in South canon. We'll never forget that song.
Let's take a break.
Speaker 4 (09:05):
It always feels like how could I be lovers when
they can't be friends through its? So for me, I
think your knickelback is probably my tool.
Speaker 3 (09:19):
I not a lot of party anthems from tool.
Speaker 4 (09:23):
Wow, stink first, the way that stink first, particularly.
Speaker 1 (09:31):
The last part of it when it breaks down, which
is going to come try to see, Oh, we might
not be able to get there. So I've just got
the hook SNAr full.
Speaker 4 (09:44):
It's a powerful, powerful roof that one that's.
Speaker 1 (09:52):
Newer, pretty heavy in it.
Speaker 4 (09:54):
Oh, super heavy, yeah, super heavy, but live sounds exactly
the same. They can replicate that sound perfectly with band live,
not the band live.
Speaker 1 (10:04):
No live. They are the musician's next level.
Speaker 4 (10:10):
Yeah, and you kind of realize that, actually you can't
always think it's it's the lead singer who's driving. It's like, no,
that's not actually it's the rhythm section of the drama
is next to weird time signatures.
Speaker 3 (10:20):
Oh dude, Yeah, And I've watched I mean, I go
home and I get on the YouTube and watch these
guys talking about the stuff. And apparently even within the
band they will have the arguments about the time signature.
They all play in time, but they're all like they've
got a different idea of where they are and the well,
that's it.
Speaker 4 (10:34):
You've got a singer who's singing and the completely different
time signature than the guitarist that's playing in the wed
and then the drama's doing and they're all playing their
own things, but it somehow works.
Speaker 3 (10:45):
It's the thinking man's bogan metal. They were here a
couple of weeks ago.
Speaker 4 (10:49):
Last week, two shows And this is the interesting thing,
two shows at Victor Yeah, sold out, yes, back to back,
two nights.
Speaker 1 (10:56):
Yes. And how many other bands are there in New
Zealand that could do true? That too in New Zealand.
Speaker 4 (11:01):
Apparently Tall and Shania Twain New Zealand New Zealanders by
the most Tall albums per capita and the most Twain
albums by that.
Speaker 1 (11:10):
Yeah, I believe that.
Speaker 3 (11:13):
And apparently she sounds just like that's live as well.
That's the the amazing part of Shanaia.
Speaker 5 (11:19):
Shanaiah's not the crossover diagram between Tall and Twain.
Speaker 3 (11:23):
Though, You'll go to Shania Twain if your message will
come with you at all.
Speaker 1 (11:27):
That's probably.
Speaker 5 (11:30):
What else did she say?
Speaker 4 (11:35):
Yeah, she has a New Zealm connection too, because she
brought that South Island station, didn't.
Speaker 3 (11:41):
She Yeah, all right, brad Pet.
Speaker 1 (11:44):
That doesn't impress me. But funk that didn't impress me.
Speaker 3 (11:48):
Yeah, appreciate it if someone was Brad Pet. If you
shout up tomorrow and you were Brad Pad, I would
be pretty impressed. Whip that did impress That impressed me much?
Speaker 1 (11:58):
What else do you want to listen to? Well?
Speaker 3 (12:00):
Tall also won our Battle of the Bands last year
and then sold out to gigs and then we were like,
you know what, get off our playlist.
Speaker 1 (12:12):
That was a bit too much. I understand some people
are like, go and listen to Toll in the morning.
Speaker 4 (12:18):
Maybe not, Yeah, maybe not, But I people probably thought
the same thing about Raging its Machine.
Speaker 3 (12:23):
A lot of people think that about our show.
Speaker 1 (12:25):
But I mean ranging its Machine that will make you
feel something.
Speaker 4 (12:31):
The song was disappoints because when we apply it, it
doesn't finish it so that it should. And I like
this song too.
Speaker 5 (12:39):
This is my favorite rage tune.
Speaker 1 (12:41):
Bomb track just.
Speaker 3 (12:43):
Started out as a skitch in his notebook. I didn't
know it. Let's know you're in it, but it does
sound like bomb track, does yeh?
Speaker 5 (12:55):
What?
Speaker 4 (12:56):
I think I know? Ever? Sa bombem because he's from LA.
Speaker 1 (13:04):
Because it's a bomb trigger.
Speaker 4 (13:10):
Faint and were raised first witness to the slit wrists.
Speaker 5 (13:13):
With back to your point earlier, still in a role
without a view. With these guys singing love songs.
Speaker 3 (13:20):
They would protest songs. It was anger, which again is
another emotion. They made you feel something pre intimate. They
wanted you to get into.
Speaker 1 (13:26):
Some good trouble. Yeah, they're all about sticking it to
the man.
Speaker 4 (13:30):
Regimes and communists, No, not communists, corrupt corrupt regimes that
were backed by the American government in South America, pressing
the people of South America.
Speaker 5 (13:41):
Do you know a band that I feel like it
hasn't aged that well? And I might be putting my
head on the chopping block here and I'm going to
offend a few people. Is fucking the Red Hot Chili People.
And I'm not saying that for any other other controversial reasons.
Is I feel like their music just sounds a bit weird?
Or is it because we hear so much of it
here already?
Speaker 1 (13:59):
Yeah?
Speaker 3 (14:00):
I think that because for me what put me off
the Red Heart Chili Peppers is every dude growing up
my age learned Red Heart Chili Peppers songs on the
guitars and butchered them, and so all I can hear
is just like some dude sitting there are flattens and
eating butchering Californication.
Speaker 4 (14:17):
I've got a sound though, I mean, oh yeah, lots
and lots of moodly bass. And then Ketis is got
as he's got his way of saying that it's pretty unique.
He's very focused on the young ladies, that's for sure,
and he looks weird with that mode.
Speaker 1 (14:36):
You reckon.
Speaker 3 (14:36):
His music might not belong for our playlist.
Speaker 4 (14:39):
We'll see seeing them live though, great Man live and
they play all their hats. Plus they noodle in the
middle and riff together and just jam and Ketus goes
with a bit of a chill and they jam and
they they are good. So why I think that clever
is because they could be turning up and playing their
hits all day and that would be bloody boring for them,
because they're all great music. But instead they get something
(15:02):
out of it because they get to just jam in
front of a crowd for fun and be creative and
then play the huts as well, so the crowd happy
and that happy just brillant.
Speaker 5 (15:13):
This tune here has a touch of the incubation about it.
Speaker 1 (15:17):
It does annoying harmonies bvs BV.
Speaker 5 (15:23):
Sorry to the chilies, they didn't really that.
Speaker 4 (15:26):
Should we go all right?
Speaker 1 (15:29):
Up your play out on that?
Speaker 5 (15:33):
What do we not play on a song?
Speaker 3 (15:35):
What are you feeling that?
Speaker 1 (15:36):
What are you reckon? Hmmm?
Speaker 3 (15:40):
What about take a picture of filter. We're gonna space hole, bro.
When you touch me, not kill me.
Speaker 5 (16:01):
Woul me.
Speaker 4 (16:03):
Wuloutter killed me and I
No, here we go.
Speaker 2 (00:04):
Welcome along to the podcast the Friday, the twenty eighth
of November edition.
Speaker 3 (00:15):
Yeah, hitting into the Weekend. See what I did there? Yes, yeah,
because the song is by the Weekend. I was listening
to The Weekend on the way in this morning, and
as I was thinking, as I was listening to it,
I was like, you know who I bit loves the Weekend,
Jeremy Wells.
Speaker 4 (00:31):
I really do love the Weekend? What was it that
made you think that I would love The Weekend?
Speaker 3 (00:38):
Basically, thinly veiled sexual double on tendre This is right
up Jerry's Ali The Weekend. I was at UNI when
The Weekend came out with his trilogy album that was
three back to back albums or released on the one album.
I came over in town one night and to get
into a flat at that time you had to walk
(00:59):
through a giant runch slides straight into the lounge. And
I got home, one of my flatmates was on the
couch with a girl lights on with The Weekend blasting
on the thing. Yeah, and I was like, oh God,
I'm gonna have to walk through this to get to
my room. So yeah, that's just some dry humping going on.
Speaker 4 (01:19):
Yeah, yes, this is deeply six the soft all of us,
all of us music is.
Speaker 1 (01:25):
It's got six.
Speaker 4 (01:26):
But who likes music that doesn't have any six? You know,
like you, it's got to have some six.
Speaker 3 (01:32):
In it, like rim losing my religion or take a
picture by filter.
Speaker 4 (01:37):
It doesn't have any six in it at all.
Speaker 3 (01:41):
But not oil, it's a burning well hang on, So Jerry,
you don't get turned on when you hear that guy
go mining, come bunny.
Speaker 4 (01:50):
That does not give us for me, like the least sick,
there's nothing sixy about that.
Speaker 1 (01:55):
You hate ins, I hate.
Speaker 4 (01:57):
An I just look actually, look, that's not fair to
say I had them. I just don't feel anything. It
just makes me feel nothing. It's music that it's music
that just makes me feel nothing, and it's got to
make you feel like it's going to.
Speaker 1 (02:10):
Make you feel something.
Speaker 5 (02:11):
Just funny, because if you were to be a song,
you'd be no.
Speaker 3 (02:18):
Yeah, does that make you feel I can picture you
in the music video for this.
Speaker 4 (02:24):
I mean, I appreciate it's a catchy hook. I suppose
I'm trying to find it positive about that song. I
never liked it when it came out, And my issue
is that for a lot of this music, like MESHI,
you weren't alive when that song came out, and so
for you, it's like a classic cut of the past.
But when you lived it, you were there, and I
was there in the contemporary moment when it existed, and
(02:46):
that was where it was written and performed, and it
sat in its contemporariness at that point with its other
contemporary friends. So it's other things that were happening at
the time that sucked.
Speaker 1 (02:58):
It sucked at the time.
Speaker 5 (03:00):
Callback sucked, similar kind of category. And yeah, now earnestly
do listen to Creed and we quite like it, but
it's not really.
Speaker 3 (03:08):
Me on one of them.
Speaker 5 (03:09):
It's like live. It just sucked at the time. So
hard Fighting Cracious is a huge tune.
Speaker 1 (03:16):
It sucked.
Speaker 3 (03:17):
What about the dolphins, crist We me and me and
my mate were driving and both of our misses with
us in the car and one of those lives that
live song came on and when it hit the.
Speaker 4 (03:30):
The Angel happens around.
Speaker 3 (03:34):
We both hit that as hard as we possibly could,
and both of our partners like, what the I've never
heard the song before my.
Speaker 1 (03:40):
Life, but they heard it.
Speaker 3 (03:41):
I know they hadn't heard it and then wow, me
and Pete who had grow up, grown up angsty teenagers
in the Canterbury Planes, we hit it. Yeah, bad.
Speaker 1 (03:54):
Singing Jerry.
Speaker 3 (03:59):
But because the thing was the thing with Creed I
think in particular, first off, Christian rock band, which does
not make Christianity call it makes rock shit. But the
other thing is they were a bit derivative of bands
of like the grunge era bands.
Speaker 4 (04:12):
They were legit gm They were a copy of Pearl
Jam from ninety ninety one. That is like he's trying
to he's doing any better in person, shitty pearl Jam.
There's only enough one. There's enough for him for one
Eddy better with that yarling and that's enough. He invented it.
Speaker 1 (04:29):
That's fine, that's the style.
Speaker 3 (04:30):
But to impersonate that, yeah, But I think without that
frame of reference with people my age, because we didn't
have that like this is a shitty pearl Jam, we
just we just took it at face value and we're like,
is there's something about It's the same as like those
eight the eighties music, because it's so unironic and so
earnest that it's quite funny now to listen back to them.
(04:53):
It's like watching an eighties action movie.
Speaker 4 (04:54):
Like I heard Dave Grohl talking about his drumming on
never Mind when he's drumming for Nirvana, and he was
saying that he was embarrassed that it was a rip
off of disco, and he was embarrassed that people would
work out that he was impersonating. Now, that was incredibly
original at the time. Like what they did on never
(05:16):
Mind was as a never Mind's a great album. Yeah,
And I know now when you hear Nirvanna again sometimes
it sounds dirgy and grim, but on Gostand put it
in nineteen ninety one, and it's a completely different thing
because that sounded completely fresh and great. New now that
there is great musicianship when you actually are derivative of something.
(05:37):
But I never knew that when I was listening to it,
I wouldn't have known that it was disco. Yeah, he
was impersonating.
Speaker 3 (05:42):
There's that great clip of him talking to Pharrell and
he's like, he stole that stuff off those funk bands.
Speaker 4 (05:46):
Then he was like, surely someone's going to find me out. However, Creed,
now that is derivative in a way that you immediately go, no,
that music should be original.
Speaker 3 (05:57):
You should borrow from people and lean on them, but
you should never just straight roomed them.
Speaker 1 (06:01):
You shouldn't be able to tell this nekel band, this
is Nickelback. How do you think about Nuckleback.
Speaker 4 (06:10):
I never really listened to Nekelback because they were I
was working on a student radio station at the time
and we kind of were we were the opposite of Neckleback,
so we wouldn't even listen to any of this sort
of stuff. But I would hear this occasionally if I
was flucking through the radio in the car or something.
I'd hear this on a on a hodech in those.
Speaker 3 (06:28):
Days, because that's rasher. Yeah, mainstream, I'd.
Speaker 1 (06:31):
Never really didn't really come into my sphere.
Speaker 3 (06:33):
Have you watched the Nickelback doco on Netflix? No, you
should watch that.
Speaker 1 (06:37):
Yeah.
Speaker 4 (06:37):
I never I never had any hate because I never
really cared.
Speaker 3 (06:41):
But it became a meme in the twenty tens that
Nckleback suck, and there was all these jokes about Knuckleback
and a petition because they were supposed to play at
the Super Bowl, and they launched a petition to get
rid of Nukelback off the Super Bowl. If you go
and watch the Netflix doco. They talk about all that stuff,
and the guy is really interesting Chad Kroger because he
was like he's talking to his bandmates, one of them
(07:02):
is his brother, and he's like, the difference is for me,
I am Knickelback. So when I go to the supermarket,
I'm Knickelback. When I go to the pub, I'm knuckleback.
You they can just you know, they don't notice it.
Speaker 1 (07:11):
It's you.
Speaker 3 (07:12):
And so every time he walked out of the house,
someone of.
Speaker 1 (07:14):
Your bed sucks your ship. Yeah, and it really had
an effect on it.
Speaker 4 (07:18):
Yeah, well, I mean that sucks because the guy was
just putting out music.
Speaker 1 (07:21):
It was really popular.
Speaker 3 (07:22):
Like that's really good.
Speaker 1 (07:24):
Like really hating something.
Speaker 4 (07:25):
It's like you gotta love something to hate it, that's right.
Speaker 3 (07:28):
Yeah, it's got to be a certain level of popular
for anyone to actually give a ship.
Speaker 4 (07:31):
Kind of the ultimate form of love. Really differently the
reason we like it as well.
Speaker 5 (07:35):
I saw an interview that he was doing something that
he figured out that country music had, like, you know,
really catchy choruses and stuff like that.
Speaker 4 (07:41):
Yeah.
Speaker 5 (07:41):
I realized that if he writes his rock songs, so
he writes a country churn, then all of a sudden,
he's gonna have some really catchy rock songs. And now
you can hear yeah, like the kind of of someone
you just sounded a little bit more southern. They would
be country songs.
Speaker 1 (07:53):
What's what's the big one? What's the big what's the big?
Speaker 4 (07:58):
Yeah? Not photograph?
Speaker 1 (08:03):
Yeah, that's got great chorus, Like that's a catchy.
Speaker 5 (08:07):
This is not photograph, this is this is photograph?
Speaker 1 (08:11):
Okay, not this.
Speaker 4 (08:11):
One off this one that goes so hard. That's clever,
I reckon, that's a really clever. That's clever, But it's
for me. It's just too in a narrow to sonically,
(08:33):
it's too narrow.
Speaker 3 (08:34):
Every piss up with my mates by three am we're
screaming this.
Speaker 4 (08:40):
Every wedding I stoppling, and then with the gaps like
that's that's that's really good, so hard.
Speaker 1 (08:45):
I appreciate it, but I don't. I wouldn't put it
on na.
Speaker 3 (08:49):
What if you're wasted around a kitchen table at three am?
Speaker 4 (08:52):
And tomorrow I think if I knew the lyrics, maybe
you know, it's one of those kind of the lyrics
to really love it.
Speaker 3 (08:59):
That's falls in South canon. We'll never forget that song.
Let's take a break.
Speaker 4 (09:05):
It always feels like how could I be lovers when
they can't be friends through its? So for me, I
think your knickelback is probably my tool.
Speaker 3 (09:19):
I not a lot of party anthems from tool.
Speaker 4 (09:23):
Wow, stink first, the way that stink first, particularly.
Speaker 1 (09:31):
The last part of it when it breaks down, which
is going to come try to see, Oh, we might
not be able to get there. So I've just got
the hook SNAr full.
Speaker 4 (09:44):
It's a powerful, powerful roof that one that's.
Speaker 1 (09:52):
Newer, pretty heavy in it.
Speaker 4 (09:54):
Oh, super heavy, yeah, super heavy, but live sounds exactly
the same. They can replicate that sound perfectly with band live,
not the band live.
Speaker 1 (10:04):
No live. They are the musician's next level.
Speaker 4 (10:10):
Yeah, and you kind of realize that, actually you can't
always think it's it's the lead singer who's driving. It's like, no,
that's not actually it's the rhythm section of the drama
is next to weird time signatures.
Speaker 3 (10:20):
Oh dude, Yeah, And I've watched I mean, I go
home and I get on the YouTube and watch these
guys talking about the stuff. And apparently even within the
band they will have the arguments about the time signature.
They all play in time, but they're all like they've
got a different idea of where they are and the well,
that's it.
Speaker 4 (10:34):
You've got a singer who's singing and the completely different
time signature than the guitarist that's playing in the wed
and then the drama's doing and they're all playing their
own things, but it somehow works.
Speaker 3 (10:45):
It's the thinking man's bogan metal. They were here a
couple of weeks ago.
Speaker 4 (10:49):
Last week, two shows And this is the interesting thing,
two shows at Victor Yeah, sold out, yes, back to back,
two nights.
Speaker 1 (10:56):
Yes. And how many other bands are there in New
Zealand that could do true? That too in New Zealand.
Speaker 4 (11:01):
Apparently Tall and Shania Twain New Zealand New Zealanders by
the most Tall albums per capita and the most Twain
albums by that.
Speaker 1 (11:10):
Yeah, I believe that.
Speaker 3 (11:13):
And apparently she sounds just like that's live as well.
That's the the amazing part of Shanaia.
Speaker 5 (11:19):
Shanaiah's not the crossover diagram between Tall and Twain.
Speaker 3 (11:23):
Though, You'll go to Shania Twain if your message will
come with you at all.
Speaker 1 (11:27):
That's probably.
Speaker 5 (11:30):
What else did she say?
Speaker 4 (11:35):
Yeah, she has a New Zealm connection too, because she
brought that South Island station, didn't.
Speaker 3 (11:41):
She Yeah, all right, brad Pet.
Speaker 1 (11:44):
That doesn't impress me. But funk that didn't impress me.
Speaker 3 (11:48):
Yeah, appreciate it if someone was Brad Pet. If you
shout up tomorrow and you were Brad Pad, I would
be pretty impressed. Whip that did impress That impressed me much?
Speaker 1 (11:58):
What else do you want to listen to? Well?
Speaker 3 (12:00):
Tall also won our Battle of the Bands last year
and then sold out to gigs and then we were like,
you know what, get off our playlist.
Speaker 1 (12:12):
That was a bit too much. I understand some people
are like, go and listen to Toll in the morning.
Speaker 4 (12:18):
Maybe not, Yeah, maybe not, But I people probably thought
the same thing about Raging its Machine.
Speaker 3 (12:23):
A lot of people think that about our show.
Speaker 1 (12:25):
But I mean ranging its Machine that will make you
feel something.
Speaker 4 (12:31):
The song was disappoints because when we apply it, it
doesn't finish it so that it should. And I like
this song too.
Speaker 5 (12:39):
This is my favorite rage tune.
Speaker 1 (12:41):
Bomb track just.
Speaker 3 (12:43):
Started out as a skitch in his notebook. I didn't
know it. Let's know you're in it, but it does
sound like bomb track, does yeh?
Speaker 5 (12:55):
What?
Speaker 4 (12:56):
I think I know? Ever? Sa bombem because he's from LA.
Speaker 1 (13:04):
Because it's a bomb trigger.
Speaker 4 (13:10):
Faint and were raised first witness to the slit wrists.
Speaker 5 (13:13):
With back to your point earlier, still in a role
without a view. With these guys singing love songs.
Speaker 3 (13:20):
They would protest songs. It was anger, which again is
another emotion. They made you feel something pre intimate. They
wanted you to get into.
Speaker 1 (13:26):
Some good trouble. Yeah, they're all about sticking it to
the man.
Speaker 4 (13:30):
Regimes and communists, No, not communists, corrupt corrupt regimes that
were backed by the American government in South America, pressing
the people of South America.
Speaker 5 (13:41):
Do you know a band that I feel like it
hasn't aged that well? And I might be putting my
head on the chopping block here and I'm going to
offend a few people. Is fucking the Red Hot Chili People.
And I'm not saying that for any other other controversial reasons.
Is I feel like their music just sounds a bit weird?
Or is it because we hear so much of it
here already?
Speaker 1 (13:59):
Yeah?
Speaker 3 (14:00):
I think that because for me what put me off
the Red Heart Chili Peppers is every dude growing up
my age learned Red Heart Chili Peppers songs on the
guitars and butchered them, and so all I can hear
is just like some dude sitting there are flattens and
eating butchering Californication.
Speaker 4 (14:17):
I've got a sound though, I mean, oh yeah, lots
and lots of moodly bass. And then Ketis is got
as he's got his way of saying that it's pretty unique.
He's very focused on the young ladies, that's for sure,
and he looks weird with that mode.
Speaker 1 (14:36):
You reckon.
Speaker 3 (14:36):
His music might not belong for our playlist.
Speaker 4 (14:39):
We'll see seeing them live though, great Man live and
they play all their hats. Plus they noodle in the
middle and riff together and just jam and Ketus goes
with a bit of a chill and they jam and
they they are good. So why I think that clever
is because they could be turning up and playing their
hits all day and that would be bloody boring for them,
because they're all great music. But instead they get something
(15:02):
out of it because they get to just jam in
front of a crowd for fun and be creative and
then play the huts as well, so the crowd happy
and that happy just brillant.
Speaker 5 (15:13):
This tune here has a touch of the incubation about it.
Speaker 1 (15:17):
It does annoying harmonies bvs BV.
Speaker 5 (15:23):
Sorry to the chilies, they didn't really that.
Speaker 4 (15:26):
Should we go all right?
Speaker 1 (15:29):
Up your play out on that?
Speaker 5 (15:33):
What do we not play on a song?
Speaker 3 (15:35):
What are you feeling that?
Speaker 1 (15:36):
What are you reckon? Hmmm?
Speaker 3 (15:40):
What about take a picture of filter. We're gonna space hole, bro.
When you touch me, not kill me.
Speaker 5 (16:01):
Woul me.
Speaker 4 (16:03):
Wuloutter killed me and I
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