November 4, 2024 • 55 mins
In the latest episode of Columbia House Party, hosts Jake Goldsbie and Blake Murphy discuss Romance Is Boring, the 2010 album from Los Campesinos! Yes, it's a run of a lot of sports references sprinkled into your emo/indie-pop. You knew what you signed up for. Find out more about why Romance Is Boring is such an important transition album for the band, which track stands out as an influential piece of the 2010s emo revival, and how Los Campesinos! became the rare band listed among both hosts' favorites on this week's podcast.
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While you're there say hello to @BlakeMurphyODC and @JGoldsbie.If merch is your thing, be sure to check out the store: http://bit.ly/chpmerchOr reach out to the show and say hey: podcast@columbiahouseparty.com
If you enjoyed today’s show, please rate Columbia House Party 5-Stars on Apple Podcasts.
See you next week for another episode of CHP.
Sick of hearing all the ads? Subscribe to Soda Premium on Apple Podcasts to get rid of them!Follow @ColumbiaHP on X!
While you're there say hello to @BlakeMurphyODC and @JGoldsbie.If merch is your thing, be sure to check out the store: http://bit.ly/chpmerchOr reach out to the show and say hey: podcast@columbiahouseparty.com
If you enjoyed today’s show, please rate Columbia House Party 5-Stars on Apple Podcasts.
See you next week for another episode of CHP.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:24):
Well, let's talk about you for a minute, with a
vomit in your gullet from a half bottle of vodka
that we'd stolen from the optic on the back seat
in your car because it wasn't safe to start the
latest episode of Columbia House Party, Jake, what's up man?
Speaker 2 (00:38):
Oh much? That was a very passionate intro. I liked
that that was done with a lot of force.
Speaker 1 (00:43):
Yeah. I did not grow up in Wales around the
time this album was written, but I do very much
know the vibe of sitting in the backseat of a
car while someone throws up from drinking too.
Speaker 2 (00:57):
Yeah, I guess I do too.
Speaker 1 (01:00):
We're all town vibes, buddy. When you're dding for the
Bush Party, When you're d ding for the Bush Party,
someone is gonna vomit in their gullet from a half
bottle of vodka stolen from the optics.
Speaker 2 (01:11):
Not even a minute in and we're already doing region talk.
Speaker 3 (01:15):
I see.
Speaker 1 (01:15):
Yeah, Look, I'm in the region right now recording this,
so I kind of had to do it to him.
Speaker 2 (01:19):
That's fair, that's fair.
Speaker 1 (01:21):
Plus it's out of the way.
Speaker 2 (01:22):
Now, that's right. I'm sure it'll come back somehow it
always comes back.
Speaker 1 (01:26):
Jake one today A band today anyway. I don't know
if the album hit the spreadsheet right away, but a
band that's been on there since the very beginning one,
I'm pretty excited to talk about it.
Speaker 4 (01:37):
You.
Speaker 2 (01:38):
Yeah, I think this is obviously not the first but
maybe the first band in a while that both of
us are big fans of. Feel like we've been like
trading one offs lately, and uh now we got like
a good a good Blake and Jake band for today,
which is nice.
Speaker 1 (01:56):
Today's artist also seems to have similar taste to us,
so potentially future Columbia house party guests. Maybe I don't know.
Speaker 2 (02:04):
A lot of footy references here.
Speaker 1 (02:06):
Oh yeah, there's a there's a quote from the lead
singer about what this album is about that I want
to read later. And boy, if it isn't just my
entire life brand.
Speaker 2 (02:18):
Jake ts so today we are talking about I'm not
sure I was thinking last night when I was making
the run sheet, but the thing I have in my
notes is a sad at Christmas band, just because that's
how this band feels to me, A good walking around
in the in the shit weather kind of band. Because
they are from Wales, so that makes sense. Today is
(02:38):
a band that I think, and we'll talk about this
in a bit. In the sort of emo revival that
we are currently in that we talk a lot about,
this is a band that I think doesn't get enough
credit for their place in it. You hear their lyrics
sort of mentioned a lot as influence but not really
the band itself, which the band and myself thinks is
(03:01):
a mistake. I would say this is not necessarily one
of like the foundation building block bands of our podcast,
but it kind of is, if that makes sense, and
just in terms of who they've influenced and who likes them.
It's the long winded way of saying, we're talking about
one of my favorite bands in the world, and I
think one of Blake's favorite bands too. So today we're
talking about Romance is boring by Los Capasinos, Darling.
Speaker 5 (03:27):
I'm the save but notly scouring the Alps me Andy, And.
Speaker 3 (03:33):
If they died in it is on my head.
Speaker 5 (03:36):
They followed Paul Prince in this night, So that's why I.
Speaker 1 (03:39):
Was in my band.
Speaker 4 (03:41):
And you say, I'm way games Todd into house.
Speaker 6 (04:05):
Start as you mean to contain you completion that self involved,
trying not to be nerves if you were trying.
Speaker 7 (04:13):
At all, We'll wait.
Speaker 8 (04:15):
I will make bad the cake, take your gif fingles,
make it.
Speaker 9 (04:19):
My club house, but my strength wearing life ventricle cor
The rite is the way you're flipping the dies spouse.
Speaker 4 (04:29):
To padding in sleep. That wait tasjarding, but promsing each
other that romance is boring. Show out exactly through with
that was catto. Presume each other that rows massly that
way still yardings each other, romances fer each other the
(04:56):
b masic.
Speaker 1 (05:00):
Yes, I would say calling them one of my favorite
bands is fairly accurate. I would also say they are
a big Not to be reductive about who listens to
what kind of music, but I'll just say that a
lot of sports writers under a certain age seem to
really like those Campasinos. I think my pal over at
the Athletic air Cream might be disappointed that he didn't
(05:22):
get the nod for this one, because he has sent
a bunch of albums that he wants to do. But
he gave one album for a bunch of bands, and
then he said anything by Los Campasinos. Unfortunately, we already
had this one queued up. I believe they're a Dan
Devine band as well. You know, hey, when all of
your references are sad and layered with sports references and
(05:46):
how sports misery plays into your general misery, You're gonna
make some fans in the sports writing spirit.
Speaker 2 (05:51):
Sports misery and literary misery. It's just like, oh, would
you like twenty something? Your old white guys with beards
like your band? Here you go in it, Techers, Yes, Teckers.
Speaker 1 (06:03):
The song we played off the top, there is a
title track called the Romance Is Boring off of this
album Romance Is Boring, Jake. When you and I first
kind of set out to do a those Campasino's episode,
one of this was I think one of the toughest
decisions we've had in terms of what album to do.
You know, I know that in those instances in the
past we've thrown it to the Patreon group to kind
(06:24):
of vote, But I don't know that Lost Campusinos are
big enough to get a large voting populace. Maybe I'm wrong,
but also I don't know. I think going through it
is interesting, and I think that while there are bands
that you would think we're going to do multiple episodes
of over the life of this podcast. You know, Los
Campusinos maybe aren't at the top of the list, but
(06:46):
I definitely think, especially in researching for this one and
going back and listening to kind of their big four
album Mark, I definitely think there's fertile ground for a
different Lost Campusinos album as well. Why why romance is
boring for you? What's your connection here?
Speaker 2 (07:03):
Honestly, this one I just think is the most interesting one.
I don't think it's either of our favorite Lose Campusinos albums, no, because.
Speaker 1 (07:12):
Your yours is no Yours is No Blues in minus
six scenes.
Speaker 2 (07:16):
Yeah, so I think interesting that both of ours are
at the sort of the end of their discography. But
I think this one's the most interesting. It's also the
first one I heard of theirs, which I think is
a big part of it. I think it's just interesting
because it's such a evolutionary album for a band that
was sort of very much pigeonholed into one thing very quickly,
(07:37):
as we'll talk about, and then breaking out of that.
I always find that an interesting discussion, and I just
think they're a really interesting band in general, both how
they've been received, where they've been received, and sort of
their whole existence or not these days, but that could
be another episode. And like I honestly, we could do
(07:58):
a whole month of just their albums and I'd be happy.
But I picked this one just because I think it's
the most interesting one and the most it's set the
foundation for them as a band, and also, as I
was saying, I think should be considered a big part
of like the Emo revival sound.
Speaker 1 (08:16):
Yeah, for sure, I think, you know, to build off
a couple of points there. I think the biggest thing
to me with this album is this is where kind
of what the Lost Campsinos sound is got locked in.
And I think that that's especially true with Garrett's songwriting,
where he himself said, like up to this point, because
some of their songs that got popular were a little
(08:38):
more like general or optimistic or just like you know,
you me dancing like it's that's a good song. And
obviously their earlier albums have some difficult lyrics, but this
is the album where, by his own admission, he was
basically like, I'm not going to try to write for
anyone else anymore. I'm just gonna I'm just gonna let
(08:59):
it out, melted out. And you know, they're part of
their songwriting process is so interesting that the band does
all the music and then he just kind of throws
the lyrics on not short notice necessarily, but like, if
we do a six Scenes episode, we're going to talk
I'm sure a lot about how you know they've recorded
that in Amarante in Portugal and how that came together,
(09:19):
and then obviously that'll be a five one nine episode
as well, since Amarante is actually in Gulf in gult
Oh really, Cambridge, No, So I think that this is,
you know, this is kind of when they became them
and when Gareth especially became him. And then to your
point about the Emo revival, you know, I think this
is the album that kind of pushed that forward. Like
(09:40):
I think No Blues and Six Scenes are really good
albums that maybe get more onto the like indie pop side.
I don't don't really know what you classify them as,
but this one is, you know, this one's an Emo
revival album and that's really the case lyrically, and there
are a couple of songs on here that really stand
the test in terms of of what kind of shapes
(10:02):
where Emo is now ten years ago or I guess
eleven years old.
Speaker 2 (10:05):
Yeah, I agree with that. I agree with that as well,
and especially like the sort of twee pigeonhole they were
in before this one and their success as an early
Internet MySpace band. I think this one's right, yes, for
evolution we're going to get indeed, all.
Speaker 1 (10:21):
Right, so, Jake, I think we're going to talk about MySpace,
and we're going to talk about where those Campasinos were before.
Romance is boring as we get into romances boring after this,
(10:46):
all right, Jake, So we are aging ourselves a little
bit by talking about MySpace here, but I will I
will insulate myself from that by saying that I actually
never had a MySpace account.
Speaker 2 (10:58):
I had one for about eight seconds and got rid
of it, and then got it again for another eight seconds,
then got rid of it again. But yeah, I was
also not a MySpace guy.
Speaker 1 (11:06):
I imagine the Degrassi groupies on there must have been insane.
Everyone in your top eight.
Speaker 2 (11:11):
I don't think I was on there long enough for
that to be a thing, but perhaps the time it
would have been, I truly don't know, because I got
rid of it so quickly.
Speaker 1 (11:20):
Yeah, I do think that I maybe missed some of
the like you can find music via MySpace Yeah boom,
which which is regrettable because it sounds like some cool
stuff came up that way. Like Los Campasinos. I did
get some stuff secondhand from my middle brother who was
much bigger into the MySpace music scene. But Jake take
us through not just MySpace, but give us the lowest
(11:42):
camp background here.
Speaker 2 (11:43):
So Los Campsinos performed in two thousand and six at
Cardiff University in Wales. The band really consisted of Neil
Turner on guitar, Ellen Waddell on bass and Ollie Briggs
on drums, and then in March of two thousand and six,
Tom Bromley joined the band as lead guitarist and musical director,
later followed by Gareth David Paisley on lead vocals, glockenspiel
(12:06):
and the primary lyricists for the group. They also added
Harriet Coleman on violin and keyboard and Alexandra Berdichkev's Nope,
it's very Eastern European Birditchevskaya. I think sorry if I
fucked that up on vocals, keyboards and melodica. Speaking of
the La Times, Gareth said of the formation of the band,
(12:27):
we were depressed by the music we were hearing while
at Cardiff. It was boring, derivative, masculine, and in the
context of UK guitar bands who were into looking cool,
moody or stylish, we were anomalies, a mixed gender band
with multiple instruments, who looked like they were enjoying themselves.
Gareth said they originally a four piece. They were looking
for a singer and he loved their songs and I
desperately wanted in. I couldn't really sing, and I couldn't
(12:49):
really play the glock, but I figured a combination might
get me in somehow, and it worked.
Speaker 1 (12:54):
I couldn't play the glow. Sorry. I know you have
tons of notes for this episode, but I'm just gonna
and say, First of all, they did us a huge
favor with the name pronunciation. You could just call everyone
by the surname Campusinos.
Speaker 3 (13:06):
I was gonna.
Speaker 2 (13:07):
I was actual about to say, I'm referring to people
in their first names this episode. I know I usually
do the opposite, Yeah, but they're all Campusinos now in
the band, and it's just I don't want to say
that word that much.
Speaker 1 (13:16):
Yeah, exclamation point. But also, I couldn't play the glock
that well is great, it's good stuff.
Speaker 2 (13:27):
I like that he couldn't do anything that he does
in the band there and they were like all right,
and then it worked, which is great, even though I
think he is a good singer.
Speaker 1 (13:33):
But yeah, it's it's it's bizarre how many bands we've
done episodes on that start like that, where it's like, well,
this guy was just like kind of playing the bass
because he wanted to be in the band and didn't
know how to do anything else, and then it's like,
oh and now he's our front man and the entire
reason our band was a success. Like the number of
bands who didn't realize that their best singing option was
already in the band doing something else. Is uh, the
(13:55):
list is long.
Speaker 2 (13:56):
That does seem to happen a lot.
Speaker 1 (13:57):
You're right, yeah, wait, wait until Pup has a with
Steve as the lead singer.
Speaker 2 (14:02):
It's just gonna be fucking saxophones falling down the stairs.
Speaker 4 (14:05):
Yeah.
Speaker 1 (14:06):
Yeah, I don't know where you were.
Speaker 2 (14:07):
I don't know where married at they met.
Speaker 1 (14:09):
No, we're at the part of your notes where I
presume it says in all caps bold I can't play
the glock.
Speaker 2 (14:17):
It's in a big italics Tom has said that him
and Neil met in a club after having a conversation
without Sophie and Stevens, and Gareth has also said that
they wish they had put more thought into their band name, saying,
have we thought we were going anywhere? We would have
put more thought into it. Our guitarist, Neil was pretty
fluent in Spanish, and we all thought the word, which
means peasants, looked and sounded pretty cool, so why not.
(14:40):
But it's ended up that people make all sorts of
assumptions that have really nothing to do with the band
or its intentions. People show up expecting a flamenco band
or a political band and leave quite disappointed. They suggest
it's in bad taste or inappropriate. We're not trying to
upset anyone. We're just not that kind of band.
Speaker 1 (14:56):
You know what, though, I do think I get that,
But I think I do you think there isn't a
little at least like an underpinting and a lot of
their songwriting about, you know, the class system that capitalism
forces on it for sure, Like that's not maybe not
overtly a thing, but like that's certainly a vibe you get. Also,
(15:16):
if you guys are such big sufian stands come on
the I would also.
Speaker 2 (15:20):
Say that in their later years though, they've I think
maybe not so much in their music, but in their
sort of social media presence and what they talk about
and raise money for, they become quite political. They have
on their merch site they have a low income option
for all their items, where it's marked down a little
bit if you don't have the cash but still want
to support. They had that great shirt of David Cameron
(15:42):
making out with a pig's head and underneath it said
never kiss a Tory boy. They did a big shirt
fundraiser with the Socialist Rose on it for the Labor
Party in their last UK elections.
Speaker 1 (15:53):
So they're basically what idols pretends to be good.
Speaker 2 (15:56):
Yeah, without getting too deep into it, that's kind of
how it sounds.
Speaker 1 (16:01):
By the way, speaking of their merch, if anyone ever
comes along an XL of that limited run Los Capasino's football.
Speaker 2 (16:08):
Kid, Oh the Doomed a great, a great merch. They
performed their first gig on May six, two thousand and six,
at a student union club night, followed this up with
shows all around Cardiff and made a four song demo tape.
They posted those four songs on MySpace, which took off
a little bit in the early MySpace internet days. This,
(16:28):
combined with their well received LID shows, led to radio
play on BBC Radio one Whales In talking about their
sort of Internet fame, so to speak, Gareth told Stereo
Gum in twenty thirteen, we were a MySpace band, which
is surreal. I would very much consider us a band
that got signed because of that platform. Within three or
four days of putting our demo online, we were offered
(16:49):
a record deal in Australia and crazy stuff like that.
The Internet seemed a lot smaller than you, seemed more
in control of everything and what people could say and
think about you. That's something that I perhaps enjoyed too
much and as a result, was far too easy to
see people's perception of us and allow that to influence
what we were doing as a band. One of those
four songs that was put onto MySpace that gained the
(17:11):
band some traction is the opening track to their debut album,
and that song is death to most Campasinos.
Speaker 3 (17:29):
Broken down like a war economy. Father, I'm be madam
Me Child Chill Games both names the take.
Speaker 8 (17:38):
Tax Time calling that some everywhere a sign on the osage.
Speaker 3 (17:42):
I'm better up with that of the show's eligen and
I infected you.
Speaker 7 (17:47):
I meant to.
Speaker 4 (17:48):
I would destroy you.
Speaker 1 (17:50):
If you catch me, went my hands.
Speaker 3 (17:52):
In the town.
Speaker 2 (17:53):
I'm probably shut out to try.
Speaker 8 (17:55):
To stay after spending a commerce madam.
Speaker 4 (17:58):
Send on your part.
Speaker 1 (18:29):
I dig it. Let's come out of the gate with
please kill us. That's the lowest campus.
Speaker 2 (18:34):
Yeah, we are a broken robot, Please destroy me.
Speaker 1 (18:36):
A little surprised with the in this segment of the
show where we usually do one song that hearkens back
to the band pre album. Thought for sure you me
Dancing would get the nod here.
Speaker 2 (18:47):
I was thinking of Dylan because it's a seven and
a half minute song, so I didn't want to I
didn't want to tax him too hard.
Speaker 1 (18:52):
Oh yeah, that would be the first time you chose
a seven and a half minute.
Speaker 2 (18:55):
I'm trying to be mindful of the people around me.
Speaker 1 (18:58):
Alright, man, what comes next?
Speaker 2 (19:00):
Said of Death de los Campasinos. That was the first
song I wrote lyrics for in the first song we completed.
I think there's something quite amusing and appropriate about our
first song, Wishing we were Dead. It's a weird song
for me. I feel like it's probably least like the
style of songwriting I developed after. I was just trying
to be Stephen Malkmus. Really Pavement, where the band we
all bonded over. That song is mostly nonsense. If anyone's
(19:22):
been able to get any bigger meaning out of it,
they're doing me more credit than I deserve. I was
just trying to write words and sentences that sounded good.
It's one of the silliest songs we've written. It's a
lot of fun, but it was a style that I
didn't stick with for too long. After the sort of
MySpace boom, they continued to grow in popularity in Wales
in the UK and gained a big boost internationally in
(19:43):
two thousand and six when they opened for Broken Social
Scene on a tour. Following that, in November two thousand
and six, they signed to Wichita Records to distribute There's
Records in the UK, and then in February two thousand
and seven, after releasing a double A side single on Wichita,
they signed to Arts and Crafts for their North American releases.
A good Canadian representation here.
Speaker 1 (20:04):
Wichita Recordings, by the way, named after the Wichita state
Chockers just huge Fred van Bleek fans over there in London.
Speaker 2 (20:11):
Another Toronto connection for the band, Arts and Crats and
Fred Vandelit.
Speaker 1 (20:15):
Yeah, Los Capasitos may as well be from Iowa at
this rate.
Speaker 2 (20:18):
I mean they kind of will get into that. Actually,
that's not as an aside as you might think. They
would then release You Me Dancing as You Said as
a seven inch single. That song in twenty eleven would
be using a Budweiser commercial, which sort of re sparked
their popularity for a second. Regarding this whole period, Gareth
told Dork we finished our final year and went to
(20:40):
Toronto to record for over a month. It was a
very odd experience that was both brilliant and terrible at
the same time. We were the first band to record
in this new studio and it was half finished when
we got there. It was a converted church in a
place called Trenton outside of Toronto. I think it was
where dead Canadian soldiers are brought back. There wasn't much
going on. What was going on none of us were
confident to participate in. We released CD singles. That's a
(21:03):
weird thing that makes us sound a lot older than
we actually are, and we signed a record deal for
a pretty large advance. We are right at the end
when there was a lot of money in indie music,
and then going back four years later and doing the
Budweiser advert for an injection of cash, that was a
pretty good representation of how things changed. I think we
are one of the last bands to really build our
career around MySpace. Despite being only twelve years ago. It
(21:25):
feels like a really dated thing to say now.
Speaker 1 (21:28):
The Trenton connection is interesting. So I went to school
in Kingston, as we've discussed, So Trenton's on the drive
out there, and one of my best friends out there, Adam.
I lived with him in second and third year with
a couple other friends, and he's from Trenton, so I'm
very familiar with Trenton. Did not know that shortly after
(21:48):
I was done in that area lost Camp where they're recording,
had I known man. So basically my friend Adam Clementsik
is Adam Campesino by extension. No way he listens to
this podcast, though I don't think he listens to music.
Speaker 2 (22:01):
My dumbass lack of Ontario geography was like, oh God,
is Trenton in the region?
Speaker 1 (22:06):
But it's not apparently so no, it's the other side.
Speaker 2 (22:09):
I don't fucking know, man. Whatever. I'll go to school
for geography anyway.
Speaker 1 (22:15):
By the way, So when you sorry when you said
they were in Trenton. Was this for Romances?
Speaker 10 (22:20):
No?
Speaker 2 (22:20):
This was for their debut album, hold On No Youngster,
which was released in February two thousand and eight in
the UK and April of two thousand and eight in
North America. This was followed by a UK North American tour,
and the album was quite well received by outfits like Pitchfork,
Spin and The av Club. Gareth told Stereo Gum of
the record, it's a lot of me reacting to people's
(22:41):
perception of the band and confirming it for them. It
was all blogs and message boards rather than social media
we know now, and I was quite happy to sing
about that and keep things relevant to it. Following the
release of Holdown No Youngster. In October two thousand and eight,
the band released We Are Beautiful We Are Doomed, a
release that is still debated amongst fans as to whether
it is an EP or a full length. The band
(23:02):
considers it to be a full length, so I'll go
with that as the band put it on their website
at the time.
Speaker 1 (23:07):
They kind of get the final say, don't think yeah, because.
Speaker 2 (23:09):
It's like eight songs long or something in like half
an hour. But nowadays in the streaming world that's normal
for an album, So it's a very two thousand and
eight conversation.
Speaker 1 (23:17):
Yeah.
Speaker 2 (23:17):
As the band put it on their website at the time,
this is no post album cash in. It's not b
sides and rarities or songs that weren't good enough to
be on. The album cobbled together with some remixes and
field recordings of Cardiff's indie scene. It's ten all new
tracks that none of you have ever heard before, though
no singles were released from the record and its distribution
was limited. Following the release of We Are Beautiful We
(23:39):
Are Doomed, which actually is one of my favorite low
Scamp releases, the band hooked up with producer John Goodmanson
to record the follow up to their quote unquote full
length debut or first album or whatever you want to
call it, which is what we're talking about today. Finally,
Romance is Boring. This was the biggest project the band
had taken on so far. The album clocks in at
(24:00):
forty nine minutes over fifteen tracks in a clear three
act structure. Tom Campasinos told Line of Best Fit, it
was the first time we had a long time to
think about the record we wanted to make, probably too long.
They took their time making the record. As the mid
two thousand's British indie boom was beginning to fade, they
felt they needed to go all out, and on September ninth,
(24:21):
two thousand and nine, they released the single or the
song The Sea Is a Good Place to Think of
the Future, a song that was a complete departure from
the twee pop of Hold On Now, Youngster that they'd
become popular for. Tom said of the song, this was
a really big moment for us. We are trying to
surprise people, to show them that we weren't this one
dimensional tweet pop band or whatever people called us. So
(24:43):
it became this huge thing to us that we are
really proud of. That song opened up things for us
and we knew we could trust our instincts because it
was still connecting to people. So this is that song,
The Sea Is a Good Place to Think of the Future.
Speaker 7 (25:00):
I grabbed hold of the rest of my closes for
tip to tickuss it. You're taking the diet too far.
Speaker 10 (25:06):
You've got to let it slip.
Speaker 7 (25:08):
But she's not eating again. She's not eating again. She's
not eating again. She's not eating again. I asked her
to speak French and I needed her to translate. I
get the feeling. She makes the mean moussignif kept.
Speaker 11 (25:24):
She was always far too pretty for me to believe
in the single words she said.
Speaker 7 (25:30):
Believe though woods she said.
Speaker 3 (25:36):
A fourteen her mother.
Speaker 11 (25:38):
Died and busy operation from allergic reactions to your general
anesthetics and the rest of the scenes, experimenting descriptions in
a futile attempt to know more than the ductors.
Speaker 8 (25:53):
She's waiting for the.
Speaker 4 (26:00):
Uh hi.
Speaker 1 (26:03):
Shut this songs like how.
Speaker 4 (26:11):
A lot of.
Speaker 5 (26:12):
Church you can.
Speaker 4 (26:18):
Is the sound of your.
Speaker 6 (26:21):
H You can feel the chill ups flown and the
blood coast.
Speaker 3 (26:30):
I can't see.
Speaker 4 (26:33):
Hundreds.
Speaker 6 (26:34):
This has made at the High a thousand years imperfect
seven strain.
Speaker 3 (26:47):
I love that song.
Speaker 2 (26:48):
An s Tier loves Campasino song.
Speaker 1 (26:50):
In my opinion, Yes, on top of which you know
zooms and I have the the whole stare at the
lake thing right where you know that's the most emo thing.
An emo boy can do is just go Stare at
the Lake. So great song title and per Ian Cohen
a top one hundred Emo song of all time. There's
always debate around what genre Los Campesinos belong to, but
(27:13):
I think when we're talking about our earlier discussion and
the influence they had on the emo revival to come,
this is kind of the song and as they themselves
jokingly said, they're the UK's first and only emo bands,
So this is kinda, at least to me anyway, Like
if you were going to make the argument that Los
(27:34):
camp were emo, that's the song that I would, Yeah,
I put up there for that argument.
Speaker 2 (27:38):
I think I agree with that entirely.
Speaker 1 (27:41):
I love to just the entire theme of this album,
and this is the quote that I teased earlier, that
this album is about quote the death and decay of
the human body, sex, lost love, mental breakdown, football, and
ultimately that there probably isn't a light at the end
of the tunnel.
Speaker 2 (27:59):
That's a good that's a good thesis statement for this band,
I think on the whole.
Speaker 1 (28:03):
Yeah, I mean it's a good thesis statement for Twitter.
I think it's just we're all getting older and broken down.
All of our brains are Yeah, our brains are succumbing
to online brain worms and our favorite teams suck.
Speaker 2 (28:18):
Yeah that was a thing. I very much related to
it this band, especially on the Hell of Sadness record.
But anyway, what do we know?
Speaker 1 (28:27):
Sorry? Do we know what his football team is he support?
Speaker 5 (28:29):
Yeah?
Speaker 2 (28:30):
I knew once and now I forget. It's a small
like Welsh team. It's like, it's not Ycombe but it's
some like tiny Welsh club Welton Rovers. There we go,
he's on the board. There you go of the team.
Speaker 1 (28:42):
Wow, wow we Actually that reminds me that. So the
athletic now is in the UK and pretty big, covering
the Premiership. And in July of twenty twenty, Jeff Reuder,
one of our writers, that they're actually sat down with
Gareth to talk about their football lyrics and running a
non league club. So go check that out. That it
(29:04):
was a fun read. He get a lot of insight
into I mean, I don't think it's that complicated. I
think if I were writing songs and I was missing
a line here or there, or I was writing earnestly
about what was bothering me and I was upset about,
there would be a lot of lyrics cursing the blue
and the leeks overtime, you know, absolutely all right, where
do we go from here?
Speaker 6 (29:22):
Jake?
Speaker 2 (29:23):
So the album and their sounds. They were experimenting with
their sounds, which was helped by Tom, who, as I said,
function as a musical director. He had acquired the recording
software Cbase, which he says, before I was having to
do it in my head and hoping things would turn
into basslines or chords or a riff. Once you can
start recording and getting things down, you can go a
lot deeper. I would spend far too long coming up
(29:44):
with ideas and exploring as many possibilities before I even
presented them to the band, trying to write weird things
that would challenge us but also maybe challenge the listener
a bit more. Sometimes it was just to annoy the
listener because we were dicks like that. There was less
instant gratification, But if you stuck with it, then we
hope that things could be drawn from it over a
period of time. They also extended their musical influence for
(30:07):
this record. According to Tom, some of the albums that
influence Romances Boring are guided by voices Earthquake glue Pavements,
Wowie Zowie Blurs self titled record, Built to Spills, Keep
It Like a Secret, and Modest Mouse is the Lonesome
Crowded West, which should not surprise anyone that I love
this record because those are all of my favorite albums
from those bands.
Speaker 1 (30:26):
But also there is just like a lot of modest
Mouse on this.
Speaker 2 (30:32):
Yeah, especially with some of the noise stuff. Tom actually
sort of speaks to that, saying it's kind of dumb
because Pavement, we're ripping off all these British bands like
The Fall, and we're a British band trying to make
music that sounds like Pavement, So I don't know how
that ends up, which I think is a good quote.
But like influence and things, the experimentation of the band
also heavy inspired them and made them excited. Gareth said
(30:55):
that he met with Wichita Recordings founder Mark Bone in
Seattle during the record of this album and said, I
remember very well having a conversation with him at the
Space Needle and saying to him, this is going to
be our Wowie z aUI and he said quite correctly,
but you haven't made your Crooked Rain Crooked Rain yet,
which if You're Not Familiar is the more commercial Pavement
(31:15):
album before they made their more experimental Wowie z aUI.
Outside of Tom's direct contributions, the album featured a lot
of brass instrumentation, which, as Tom said, was a cliche
way of answering how do we make this bigger? Harriet
also contributed her own string arrangements for the record, also
in an attempt to make things sound bigger. Tom said,
it was the first record where we had the ability
(31:37):
to write the songs the way we wanted them to sound.
We were a lot more deliberate in our approach, and
we went really deep on the amount of detail in
the arrangements. It was properly maximalist pop to us. He said,
I was experimenting deliberately with contrasting if there was a
noisy verse with a sugary chorus, then it would have
more impact. And I think the best example of that
(31:59):
is on one of my favorite songs off this record,
which is also a great title, which is I Just Sighed.
I Just sighed, just so you know, Sister Summers.
Speaker 8 (32:19):
To let it be said, I'm writing this is seventy
ten a m on the hard giant time of a
vacant forecas. Astronomically speaking, it's the first time of the
sun is hanging around like Summer's Tanno's first and not
the gayshtan Field flast us in the traffic center the system.
Speaker 9 (32:35):
They're barely registered and its nons like can mix the
tree petrols and dark ship.
Speaker 3 (32:43):
He's dating them up.
Speaker 5 (32:50):
I promise after.
Speaker 9 (32:52):
This, I will pick up the phone book and choose
the name My eyes fall the pond.
Speaker 6 (32:59):
On the.
Speaker 11 (33:01):
Am all of my colleague composed declarations there in the future.
Speaker 9 (33:08):
I'm so sorry for you.
Speaker 7 (33:12):
Listen time.
Speaker 5 (33:14):
I'm fifteen years old, my parents and like I barely
five to go to school education, pretty.
Speaker 9 (33:35):
Daddy's grown hair, I'm a slip of a man's in
psych cut mine or not.
Speaker 4 (33:41):
He's just like, bring you one six sacks of the friends,
some job.
Speaker 1 (34:05):
Yeah, they really really went to the follow up boy
Panic at the disco playbook with the song title work.
Speaker 2 (34:10):
They really did.
Speaker 1 (34:11):
That's a great song and that is the kind of
noise elements. There are a lot of fun. There's just
a lot going on. It makes it feel like like
obviously this is a large band in general, but it
feels even bigger, like there could be fifteen of them
instead of six of them.
Speaker 2 (34:25):
Yeah, when they played it at the show I saw
them at I guess god, like three years ago now,
they played that and I was actually surprised to hear
them play it because I just wouldn't think that would
be a song they would attempt live that often. But
it was great.
Speaker 1 (34:38):
It's not awesome, so I dig the musical experimentation. But
where this album really hits for me, and it's one
of the I mean not one of It's the reason
I gravitate to Lowest Camp so much is I do
feel like, in addition to pushing themselves musically, they really
pushed themselves lyrically on this one as well. And a
lot of that's attributed to Gareth And I said early
(35:00):
your you know, I mentioned that his perspective on what
the right change it and this is a quote from him.
I'm kind of at a point now where the songs
are so detailed and honest that it's hard to misinterpret them.
They're all pretty literal these days, which is makes a
lot of sense when you get into like the hyper
specificity of some of these lyrics.
Speaker 2 (35:18):
Yeah, I agree with that. I'm glad you brought that up.
Speaker 1 (35:21):
Yeah, there's also this element to of you know, obviously
it's it's a bit more of a negative or angsty album,
and so Rob said, yeah, you don't want to analyze
your happiness, do you. When you're happy, you don't need
to analyze anything, Whereas when you're sad, everything sort of
hits you, to which Gareth expands, the happier, more hopeful
songs do have a certain ignorance or innocence to them,
(35:43):
and the rest of the time it seems like I'm
combating a doom that I'm well aware of. I suppose
that's what I'm like in life, though I think can
worry too much to a stupid, almost childish level, which yep, yeah,
hard to not relate telling it why the two of
us love those campasinos.
Speaker 2 (36:01):
Regarding exactly what you're saying the lyrics, Tom and Gareth
did a Noisy Rank Your Records in twenty seventeen where
they put this at number one, though Gareth has said
that his favorite is actually No Blues, but that's another story.
Regarding his lyrics, he said, it's so dense, there's so
many words. It's quite referential and things cut back and forth.
From each other. I like albums where lyrically it works
(36:24):
better as a whole than as individual tracks, and I
think this is one of those. Also, the first track
we put out from it, being the Sea as a
Good Place, was the first time we've done something that
was slow and quite emo. So that made a lot
of people who previously dismissed us step back a bit
and wonder if actually they do like us after all.
For me, the thing that puts this at the top
spot is that when we were touring the most, and
(36:45):
when I felt like we were being our best selves,
I suppose looking at the track list now there's a
lot of songs that we maybe took for granted at
the time that have now found themselves to be cult
favorites or whatever. The other thing that I think is
really interesting about this band, and I will get back
to the lyrics in a minute, is how it was
sort of received and how the band is received both
in North America and in the UK, and sort of
(37:08):
the conflict that Los Campusinos have always had with this,
Just as Holding On Now Youngster was recorded in Toronto
or in Trenton. I guess Romance Is Boring was recorded
in Stamford, Connecticut, and in Seattle in two separate sessions.
They said this made them reflect on their relationship with
North America. Gareth said that I think American fans of
(37:29):
writers have always seen us as a really English band,
and I think English fans and writers have usually seen
us as being a particularly American influence band. He further
told Stereo Gum the UK has always perceived us differently
than the US. It's funny, how because we were on
a tour with no age and times New Viking people
that didn't want to cover us previously had to. It
was amazing all three bands on a sleeper bus with
(37:51):
bunk beds. We learned quite a lot about drinking from
them because they were a good six or seven years
older than us. We've always been too American for the
UK and too British for America, just in terms of
getting above the level of success we have. It's our
own fault, mostly mine, To be honest, I was far
too smug and self aggrandizing for my own good as
an early twenties person who thought the music they like
(38:11):
made them more interesting than they actually were. That only
lasted for eighteen months, or at least I like to
think it did. We rubbed a lot of the British
press the wrong way because of that. In the US,
I don't think that necessarily came across as much, probably
because when it came to touring America we were so
happy and surprised that we didn't dwell on the negatives,
which I think is really interesting because when I first
(38:32):
started listening to them, I think that that first record
sounds super British and then this one sounds super American.
So I see that sort of THEUS the Footy references,
I suppose, but I see that sort of troubled dichotomy
they have.
Speaker 1 (38:50):
So you might say, Jake that when it comes to
their nationality, this is a flag. There is no wind.
Speaker 2 (38:57):
That's a really good fun that I hope everyone gets.
Only people who like this album will get. But I
get it and I like it a lot.
Speaker 1 (39:03):
Yeah, especially since that's not the next song that we're playing.
The next song that we are going to play off
of Romances boring is this one straight in at one
on one.
Speaker 9 (39:17):
I think you leave more post coital and less post rock.
Speaker 1 (39:22):
Feels like the build.
Speaker 7 (39:24):
Out takes forever, but you never get me off.
Speaker 9 (39:29):
You put your dress sofa your face and I stare
down to what my chest testa is both pre se hair,
wonder who's ga is the suck this stum with my
into the door, listening.
Speaker 1 (39:43):
To the live floor.
Speaker 9 (39:45):
Let's looking in at pen will be safe to dash
the mantras to your bathroom, where I bomb my fingers
into fists of my knuckles glow bright wire, prest the
heels into my sackets to like the flashing lights. Stop
me when my stories changed, when they have started to
(40:06):
a feet because last time I was miss a sleeper icea.
Speaker 4 (40:11):
Feet so baby, all the color so discs.
Speaker 6 (40:19):
And in never explained, and get help some even slightly.
Speaker 9 (40:26):
It's best to cast yourself on then get straight back
on the barge.
Speaker 1 (40:33):
I come to send the smile with directly at the camera,
and if you lay in both our senses.
Speaker 9 (40:40):
I tiptoe at the back door, casting down icy streets
and fume my face in the reflection of the high
street launcher race doore, though it.
Speaker 1 (40:51):
Wasn't my intention.
Speaker 9 (40:54):
Upon my friends and family together around the television, the
talking heads count down the most hot, wrenching breakups of
all time. Imagine a great sense of waste, the indignity,
the embarrassment when not a single one that Hull century
(41:18):
was mine.
Speaker 1 (41:20):
Opening lyric of that song aside, why that one outside
of the great opening lyric.
Speaker 2 (41:25):
Actually, because of the opening and closing lyrics of that
song are what sold me on the band. Originally, when
I heard this album, I liked it, but I wasn't
crazy about the first few tracks. I was like, okay,
and then that song came in that first line of
I think we need more post coital and less post rock,
and then the last line of I call my friends
(41:47):
and family to gather around the television the talking heads
count down the most heart wrenching breakups of all time.
Imagine the great sense of waste, the indignity, the embarrassment
when not a single one in that whole history was mine.
I was like, this is the best fucking band I've
ever heard. That's the best lyrics I've ever heard. It
got me, So it was just like to his point
about his lyrics evolving, that was like, I feel like
(42:11):
this is the song where he really he's now one
of my like all time favorite lyricists, and I feel
like this song is where he really like sort of
hit that that peak of what he would eventually become
as lyricist for.
Speaker 1 (42:23):
Sure, And I think you know it's in their lyrics
and in you know, first of all, the like I said,
the hyper specificity, which obviously you look at some of
the Emo revival bands that followed, or emo pop if
you prefer, you know, that kind of became a trademark
of the of the subgenres that everyone just kind of realized, Hey,
we don't have to keep it general so everyone can relate.
(42:44):
We could be really specific and people still take what
they want from it.
Speaker 2 (42:49):
Yeah, And I think you that's a sort of a
trend that we've seen a lot in sort of the
Emo revival of and like people like it's not unique
to that, like people like John K. Sampson been doing
it forever. But that like hyper specificity, I think is
so important to these kind of bands and why I
like them so much for sure.
Speaker 1 (43:10):
And I think you know, that's again where we can
kind of trace some of the influence, which we're gonna
talk about. We're gonna talk about their influence. We're going
to talk about how Romances Boring was received, and we're
going to talk about probably two lust Ca Casinos albums
that we both like even more than after this. All right, Jake,
(43:42):
So do we have more on Romances Boring or is
it time to discuss how it was received and then
how we got from there to Avocado Baby.
Speaker 2 (43:53):
Yeah, that's where so. Romance Is Boring was released on
January twenty sixth, twenty ten. It was very very well received,
and as an album that I think sort of to
what we were touching on tiptoeing around earlier, is a
major influence on the emo revival scene, something that Gareth
agrees with when he told Stereo Gum, if I may
(44:13):
be so bold as far as the emo revival thing
was concerned, we deserved a mention that we did not get.
We've always considered ourselves more of an emo band than
anything else, to be honest. Yeah, we have a glockenspiel
and a violin, and maybe we're more upbeat than most emo,
but the lyrics have always been honest and direct and
a lot more similar to emo bands than mid two
(44:33):
thousands indie rock bands. We're due for some contemporary emo
megastar being like, yeah, this Lowscamps album turned me on
to this kind of music, or from for some band
younger than us to take us out on support tour
to show the kids what it used to be like.
Our younger fans are more into Hello Sadness and Romance
Is Boring, which are more emo records. I'll look forward
to the ten year anniversaries of those two. That was
(44:56):
an interview about the ten year anniversary of Hold On
No Youngster. In terms of reception, an Amy gave the
album an aid out of ten, calling it a significant
step forward for the band. It has a seventy five
on Metacritic. It got an adit of ten from Drowned
in Sound, an eight point three from Pitchfork, a nine
out of ten from Pop Matters, a three and a
half out of five from Spin, and a four out
(45:18):
of five from Consequence of Sound. As I said, Tom
and Gareth also ranked it as their favorite Los Campascios
record in the Rank of Records article. Following Romances Boring,
the band put out Hello Sadness in twenty eleven, followed
by a massive lineup change in the group in which Alexandra, Allie,
Harriet and Ellen all left the band. They are replaced
(45:41):
by Rob Taylor on keyboards, additional guitars, percussion and backing vocals.
Jason Adelina on drums and Matt Fiddler on bass and
backing vocals, although Matt Feader only joined in twenty fourteen,
as Ellen stayed around till twenty twelve. They released No Blues,
my personal favorite Los Campacinos record in twenty thirteen. Regarding
(46:02):
No Blues, Gareth told Music and Riots magazine, it was
a time where the record label that we were working
with at the time kind of didn't really want to
work with us, like they weren't interested in working with
us anymore. So I think as a result, the album
was released and then disappeared. It was a time where
we all got proper job because we weren't touring enough
to justify it. We didn't have as much money in
the band as we previously had, and so we had
(46:24):
to get proper jobs as a result. We didn't fall
out of love with being in the band, but it
just seemed like a really difficult thing to be doing
at that point, because when No Blues came out, we
were all in our late twenties and that's not old age,
but we were aware that we had to think about
real life responsibilities, like think about what our careers would
be because we knew we were never going to be
a full time band again. However, Gareth says now that
(46:45):
Noble's is his personal favorite Los Campsios album, and it
starts with my personal favorite Los Campsinos song and an
all time song one side one mixtape song for flotsam
these okay.
Speaker 10 (47:02):
But flowing So.
Speaker 7 (47:05):
I want you to.
Speaker 5 (47:30):
You say you were an old.
Speaker 10 (47:32):
Said that let us come and spilled its folf.
Speaker 1 (47:36):
I'm more like a web com by this snackup toil.
Speaker 10 (47:41):
As I describe the lonely lessen very clear, the last
set of gold Coast taken down the summer of a
numbers locking.
Speaker 4 (47:55):
Flowing side. I want you.
Speaker 1 (48:15):
Yeah, definitely a peak mixtape song or playlist song, if
you will.
Speaker 2 (48:20):
That was a track one of the mix that I
made for my wife when I first met her. In fact,
because you have a wife. I do have a wife.
It's crazy, but it's true.
Speaker 1 (48:33):
Nice. I don't know if we've ever talked about that mix.
I would love to. We should dive deeper on that.
Speaker 2 (48:38):
That could be a point, that could be a thing
we could do. That'll be fine. It was a good mix.
Speaker 1 (48:41):
While I've been home, I found an old CD case
of mind. Oh so that could be a fun sign.
I would love to just do an unboxing of it.
Speaker 2 (48:49):
That'd be great. I would love to see what you had.
Speaker 1 (48:51):
Yeah, I intentionally didn't look through it, but it popped
open and I saw Alkaline Tree over written in my
awful handwriting on one mixed CDs or on one sea
So I'm ready to I'm ready to go. It'll be
It'll be a good one, harfect.
Speaker 3 (49:05):
All right?
Speaker 1 (49:05):
So No Blues is your favorite lowest camp album? Correct?
Speaker 5 (49:11):
Yes? All right?
Speaker 1 (49:12):
And then that flowed into six Scenes.
Speaker 2 (49:13):
Yes, twenty seventeen. They're least six scenes, which is yours.
Gareth has said that Romance is Boring and six Scenes
are closely related, saying that he sees a lot more
in common between those two than he does with Hold On,
No Youngster, And I think I can see what he means.
They're both albums about sort of getting older or death
and figuring things out. They haven't put anything out since
(49:37):
Six Scenes, but hopefully maybe something soon. Their last activity
came in February twenty twenty, when they played two sold
out shows at Islington's Assembly Halls on Valentine's Day and
the fifteenth, playing Romances Boring in full for its tenth anniversary,
which damn.
Speaker 1 (49:54):
On Valentine's Day.
Speaker 2 (49:55):
No less, of course, they are nothing if not direct.
Speaker 1 (49:59):
All right, neck, well, I guess we are at the
point where we rank some stuff.
Speaker 2 (50:03):
Let's rank some stuff.
Speaker 1 (50:04):
All right, Let's do albums first quickly, since we've both
given away what our favorite is. I would have them,
not surprisingly based on Gareth's comments about them being kind
of sister albums. I have six scenes one Romance is
boring to No Blues three.
Speaker 2 (50:18):
I have No Blues one Romance is boring two, and
I actually have We Are Beautiful We Are Doomed three
only because the first three tracks on there are three
of my favorite low Scamp songs. But then I do
have six scenes at four. And if we're not counting
We Are Beautiful as real album, then I would have
six scenes at three as well.
Speaker 1 (50:37):
Fair, I did count it, but I had it at four,
and then Hello as My as my last one?
Speaker 2 (50:43):
Oh yes, same, yeah, I agree?
Speaker 1 (50:46):
Yeah, Okay, so we're we're in pretty We're in pretty
similar similar spots there, all right. Maybe there would be
more disagreement on picking our favorite songs off this album, Jake.
Speaker 2 (50:55):
Let's hope so or else? This is gonna be a
really quick segment. Yeah.
Speaker 1 (50:58):
I mean, look, we're toward the end of the pod. Yes, anyway,
that's true, it's at the end of the world. Yeah.
Plus all these song titles, all these song titles are
like thirty words long, so that full a bunch of
error on its own.
Speaker 2 (51:10):
That's a good point, all right.
Speaker 1 (51:12):
So I'll go first here off the track list at
number one, and I think I kind of gave this
away earlier and just why I feel this band is
so important, I would have to sea is a good
place to think of the future at the top.
Speaker 2 (51:25):
Yeah, I do as well. I think it's it's not
only I think it's just one of their Like there's
three or four like indisputable lost Camp songs, and that's
one of them.
Speaker 1 (51:38):
I think, Yeah, what else would you have on that
list of indisputable lost camp songs?
Speaker 2 (51:43):
I mean, I feel like you kind of have to
put you me dancing just for like what it is,
even though it's not really one of my favorites, even
though it is very fun. The other ones I was
thinking of, though, would be Baby I got the Death
Rattle off, Hello, Sadness and Miserabilia off. We Are Beautiful
we are doomed.
Speaker 1 (52:04):
Yeah, I think there are a couple sixteen ones you
could throw in there too, but it's hard to say
because they haven't done an album since. Yeah, you don't
know really what's stuck and what are the ones that
have transitioned? You know, Sad Suppers and I Broke Up
an Amarante are the two that stand out to me
as the ones that could potentially agree, but there are
a lot of options. Six Scenes is kind of like
(52:24):
where the you know, you just laid out some songs
off their albums that are maybe more like the top
couple tracks heavy. Six Scenes is just like this medium
hum of bangers without any like I think standout tracks.
Speaker 2 (52:38):
I agree, except I would only just agree to say
that I think I Broke Up in Amarante is like
an unbelievable song.
Speaker 1 (52:45):
Yeah, and also like once you learn the backstory of
how that album was written and put together, like, yeah,
it's so much more, which is like, I do think
Romance Is Boring is the most important low Scamp album.
I'm glad we did it first, but I really want
to do a six Scenes episode as well off of
Romance Is Boring. So I had the Sea is a
(53:05):
good place to get the future first, and then I
would go this is a flag there is no win. Second,
and then there are listed buildings at number three, there's
no there's too many options here.
Speaker 2 (53:16):
There really are.
Speaker 1 (53:17):
Number one.
Speaker 2 (53:18):
It's rare to find like a fifteen track album where
ninety eight percent of it pretty much is could qualify
as a top song.
Speaker 6 (53:25):
Yeah.
Speaker 1 (53:25):
Now, now they do help themselves with two songs that
are only forty five seconds long, so that's true. Me,
they don't count, but.
Speaker 2 (53:33):
Keeps it humming along. I appreciate it.
Speaker 1 (53:35):
Yeah.
Speaker 2 (53:36):
Yeah, but my three are Sea is a good place.
I just sighed at number two, and then I have
in Media's reds at number three. Great opener, yes, also
a great show closer, surprisingly interesting. I've never seen them live,
so I've seen them twice.
Speaker 1 (53:51):
I believe nice. Okay, So I guess if it's both
of our favorite tracks and a top one hundred emo
song of all time, and we both feel it's most
important to the emo revival genre, safe to put the
sea is a good place to think of the future
on the mixtape.
Speaker 2 (54:05):
Yeah, I think so.
Speaker 1 (54:06):
All right, that's uh, that's us. So that's that's head
into the mixtape. Uh, and then you can head to
the sea yourself and think of the futureape which, by
the way, I keep I do keep updated on Spotify,
so if you ever need the link to the entire mixtape.
It is a real thing. It's not just a gimmick.
As part of the end of these episodes, we'd also
like to thank producer Dylan. I have not been on
(54:26):
my game this podcast, but you'll never know it because
Dylan does such a good job cleaning these up.
Speaker 2 (55:13):
Please try the Fish
Well, let's talk about you for a minute, with a
vomit in your gullet from a half bottle of vodka
that we'd stolen from the optic on the back seat
in your car because it wasn't safe to start the
latest episode of Columbia House Party, Jake, what's up man?
Speaker 2 (00:38):
Oh much? That was a very passionate intro. I liked
that that was done with a lot of force.
Speaker 1 (00:43):
Yeah. I did not grow up in Wales around the
time this album was written, but I do very much
know the vibe of sitting in the backseat of a
car while someone throws up from drinking too.
Speaker 2 (00:57):
Yeah, I guess I do too.
Speaker 1 (01:00):
We're all town vibes, buddy. When you're dding for the
Bush Party, When you're d ding for the Bush Party,
someone is gonna vomit in their gullet from a half
bottle of vodka stolen from the optics.
Speaker 2 (01:11):
Not even a minute in and we're already doing region talk.
Speaker 3 (01:15):
I see.
Speaker 1 (01:15):
Yeah, Look, I'm in the region right now recording this,
so I kind of had to do it to him.
Speaker 2 (01:19):
That's fair, that's fair.
Speaker 1 (01:21):
Plus it's out of the way.
Speaker 2 (01:22):
Now, that's right. I'm sure it'll come back somehow it
always comes back.
Speaker 1 (01:26):
Jake one today A band today anyway. I don't know
if the album hit the spreadsheet right away, but a
band that's been on there since the very beginning one,
I'm pretty excited to talk about it.
Speaker 4 (01:37):
You.
Speaker 2 (01:38):
Yeah, I think this is obviously not the first but
maybe the first band in a while that both of
us are big fans of. Feel like we've been like
trading one offs lately, and uh now we got like
a good a good Blake and Jake band for today,
which is nice.
Speaker 1 (01:56):
Today's artist also seems to have similar taste to us,
so potentially future Columbia house party guests. Maybe I don't know.
Speaker 2 (02:04):
A lot of footy references here.
Speaker 1 (02:06):
Oh yeah, there's a there's a quote from the lead
singer about what this album is about that I want
to read later. And boy, if it isn't just my
entire life brand.
Speaker 2 (02:18):
Jake ts so today we are talking about I'm not
sure I was thinking last night when I was making
the run sheet, but the thing I have in my
notes is a sad at Christmas band, just because that's
how this band feels to me, A good walking around
in the in the shit weather kind of band. Because
they are from Wales, so that makes sense. Today is
(02:38):
a band that I think, and we'll talk about this
in a bit. In the sort of emo revival that
we are currently in that we talk a lot about,
this is a band that I think doesn't get enough
credit for their place in it. You hear their lyrics
sort of mentioned a lot as influence but not really
the band itself, which the band and myself thinks is
(03:01):
a mistake. I would say this is not necessarily one
of like the foundation building block bands of our podcast,
but it kind of is, if that makes sense, and
just in terms of who they've influenced and who likes them.
It's the long winded way of saying, we're talking about
one of my favorite bands in the world, and I
think one of Blake's favorite bands too. So today we're
talking about Romance is boring by Los Capasinos, Darling.
Speaker 5 (03:27):
I'm the save but notly scouring the Alps me Andy, And.
Speaker 3 (03:33):
If they died in it is on my head.
Speaker 5 (03:36):
They followed Paul Prince in this night, So that's why I.
Speaker 1 (03:39):
Was in my band.
Speaker 4 (03:41):
And you say, I'm way games Todd into house.
Speaker 6 (04:05):
Start as you mean to contain you completion that self involved,
trying not to be nerves if you were trying.
Speaker 7 (04:13):
At all, We'll wait.
Speaker 8 (04:15):
I will make bad the cake, take your gif fingles,
make it.
Speaker 9 (04:19):
My club house, but my strength wearing life ventricle cor
The rite is the way you're flipping the dies spouse.
Speaker 4 (04:29):
To padding in sleep. That wait tasjarding, but promsing each
other that romance is boring. Show out exactly through with
that was catto. Presume each other that rows massly that
way still yardings each other, romances fer each other the
(04:56):
b masic.
Speaker 1 (05:00):
Yes, I would say calling them one of my favorite
bands is fairly accurate. I would also say they are
a big Not to be reductive about who listens to
what kind of music, but I'll just say that a
lot of sports writers under a certain age seem to
really like those Campasinos. I think my pal over at
the Athletic air Cream might be disappointed that he didn't
(05:22):
get the nod for this one, because he has sent
a bunch of albums that he wants to do. But
he gave one album for a bunch of bands, and
then he said anything by Los Campasinos. Unfortunately, we already
had this one queued up. I believe they're a Dan
Devine band as well. You know, hey, when all of
your references are sad and layered with sports references and
(05:46):
how sports misery plays into your general misery, You're gonna
make some fans in the sports writing spirit.
Speaker 2 (05:51):
Sports misery and literary misery. It's just like, oh, would
you like twenty something? Your old white guys with beards
like your band? Here you go in it, Techers, Yes, Teckers.
Speaker 1 (06:03):
The song we played off the top, there is a
title track called the Romance Is Boring off of this
album Romance Is Boring, Jake. When you and I first
kind of set out to do a those Campasino's episode,
one of this was I think one of the toughest
decisions we've had in terms of what album to do.
You know, I know that in those instances in the
past we've thrown it to the Patreon group to kind
(06:24):
of vote, But I don't know that Lost Campusinos are
big enough to get a large voting populace. Maybe I'm wrong,
but also I don't know. I think going through it
is interesting, and I think that while there are bands
that you would think we're going to do multiple episodes
of over the life of this podcast. You know, Los
Campusinos maybe aren't at the top of the list, but
(06:46):
I definitely think, especially in researching for this one and
going back and listening to kind of their big four
album Mark, I definitely think there's fertile ground for a
different Lost Campusinos album as well. Why why romance is
boring for you? What's your connection here?
Speaker 2 (07:03):
Honestly, this one I just think is the most interesting one.
I don't think it's either of our favorite Lose Campusinos albums, no, because.
Speaker 1 (07:12):
Your yours is no Yours is No Blues in minus
six scenes.
Speaker 2 (07:16):
Yeah, so I think interesting that both of ours are
at the sort of the end of their discography. But
I think this one's the most interesting. It's also the
first one I heard of theirs, which I think is
a big part of it. I think it's just interesting
because it's such a evolutionary album for a band that
was sort of very much pigeonholed into one thing very quickly,
(07:37):
as we'll talk about, and then breaking out of that.
I always find that an interesting discussion, and I just
think they're a really interesting band in general, both how
they've been received, where they've been received, and sort of
their whole existence or not these days, but that could
be another episode. And like I honestly, we could do
(07:58):
a whole month of just their albums and I'd be happy.
But I picked this one just because I think it's
the most interesting one and the most it's set the
foundation for them as a band, and also, as I
was saying, I think should be considered a big part
of like the Emo revival sound.
Speaker 1 (08:16):
Yeah, for sure, I think, you know, to build off
a couple of points there. I think the biggest thing
to me with this album is this is where kind
of what the Lost Campsinos sound is got locked in.
And I think that that's especially true with Garrett's songwriting,
where he himself said, like up to this point, because
some of their songs that got popular were a little
(08:38):
more like general or optimistic or just like you know,
you me dancing like it's that's a good song. And
obviously their earlier albums have some difficult lyrics, but this
is the album where, by his own admission, he was
basically like, I'm not going to try to write for
anyone else anymore. I'm just gonna I'm just gonna let
(08:59):
it out, melted out. And you know, they're part of
their songwriting process is so interesting that the band does
all the music and then he just kind of throws
the lyrics on not short notice necessarily, but like, if
we do a six Scenes episode, we're going to talk
I'm sure a lot about how you know they've recorded
that in Amarante in Portugal and how that came together,
(09:19):
and then obviously that'll be a five one nine episode
as well, since Amarante is actually in Gulf in gult
Oh really, Cambridge, No, So I think that this is,
you know, this is kind of when they became them
and when Gareth especially became him. And then to your
point about the Emo revival, you know, I think this
is the album that kind of pushed that forward. Like
(09:40):
I think No Blues and Six Scenes are really good
albums that maybe get more onto the like indie pop side.
I don't don't really know what you classify them as,
but this one is, you know, this one's an Emo
revival album and that's really the case lyrically, and there
are a couple of songs on here that really stand
the test in terms of of what kind of shapes
(10:02):
where Emo is now ten years ago or I guess
eleven years old.
Speaker 2 (10:05):
Yeah, I agree with that. I agree with that as well,
and especially like the sort of twee pigeonhole they were
in before this one and their success as an early
Internet MySpace band. I think this one's right, yes, for
evolution we're going to get indeed, all.
Speaker 1 (10:21):
Right, so, Jake, I think we're going to talk about MySpace,
and we're going to talk about where those Campasinos were before.
Romance is boring as we get into romances boring after this,
(10:46):
all right, Jake, So we are aging ourselves a little
bit by talking about MySpace here, but I will I
will insulate myself from that by saying that I actually
never had a MySpace account.
Speaker 2 (10:58):
I had one for about eight seconds and got rid
of it, and then got it again for another eight seconds,
then got rid of it again. But yeah, I was
also not a MySpace guy.
Speaker 1 (11:06):
I imagine the Degrassi groupies on there must have been insane.
Everyone in your top eight.
Speaker 2 (11:11):
I don't think I was on there long enough for
that to be a thing, but perhaps the time it
would have been, I truly don't know, because I got
rid of it so quickly.
Speaker 1 (11:20):
Yeah, I do think that I maybe missed some of
the like you can find music via MySpace Yeah boom,
which which is regrettable because it sounds like some cool
stuff came up that way. Like Los Campasinos. I did
get some stuff secondhand from my middle brother who was
much bigger into the MySpace music scene. But Jake take
us through not just MySpace, but give us the lowest
(11:42):
camp background here.
Speaker 2 (11:43):
So Los Campsinos performed in two thousand and six at
Cardiff University in Wales. The band really consisted of Neil
Turner on guitar, Ellen Waddell on bass and Ollie Briggs
on drums, and then in March of two thousand and six,
Tom Bromley joined the band as lead guitarist and musical director,
later followed by Gareth David Paisley on lead vocals, glockenspiel
(12:06):
and the primary lyricists for the group. They also added
Harriet Coleman on violin and keyboard and Alexandra Berdichkev's Nope,
it's very Eastern European Birditchevskaya. I think sorry if I
fucked that up on vocals, keyboards and melodica. Speaking of
the La Times, Gareth said of the formation of the band,
(12:27):
we were depressed by the music we were hearing while
at Cardiff. It was boring, derivative, masculine, and in the
context of UK guitar bands who were into looking cool,
moody or stylish, we were anomalies, a mixed gender band
with multiple instruments, who looked like they were enjoying themselves.
Gareth said they originally a four piece. They were looking
for a singer and he loved their songs and I
desperately wanted in. I couldn't really sing, and I couldn't
(12:49):
really play the glock, but I figured a combination might
get me in somehow, and it worked.
Speaker 1 (12:54):
I couldn't play the glow. Sorry. I know you have
tons of notes for this episode, but I'm just gonna
and say, First of all, they did us a huge
favor with the name pronunciation. You could just call everyone
by the surname Campusinos.
Speaker 3 (13:06):
I was gonna.
Speaker 2 (13:07):
I was actual about to say, I'm referring to people
in their first names this episode. I know I usually
do the opposite, Yeah, but they're all Campusinos now in
the band, and it's just I don't want to say
that word that much.
Speaker 1 (13:16):
Yeah, exclamation point. But also, I couldn't play the glock
that well is great, it's good stuff.
Speaker 2 (13:27):
I like that he couldn't do anything that he does
in the band there and they were like all right,
and then it worked, which is great, even though I
think he is a good singer.
Speaker 1 (13:33):
But yeah, it's it's it's bizarre how many bands we've
done episodes on that start like that, where it's like, well,
this guy was just like kind of playing the bass
because he wanted to be in the band and didn't
know how to do anything else, and then it's like,
oh and now he's our front man and the entire
reason our band was a success. Like the number of
bands who didn't realize that their best singing option was
already in the band doing something else. Is uh, the
(13:55):
list is long.
Speaker 2 (13:56):
That does seem to happen a lot.
Speaker 1 (13:57):
You're right, yeah, wait, wait until Pup has a with
Steve as the lead singer.
Speaker 2 (14:02):
It's just gonna be fucking saxophones falling down the stairs.
Speaker 4 (14:05):
Yeah.
Speaker 1 (14:06):
Yeah, I don't know where you were.
Speaker 2 (14:07):
I don't know where married at they met.
Speaker 1 (14:09):
No, we're at the part of your notes where I
presume it says in all caps bold I can't play
the glock.
Speaker 2 (14:17):
It's in a big italics Tom has said that him
and Neil met in a club after having a conversation
without Sophie and Stevens, and Gareth has also said that
they wish they had put more thought into their band name, saying,
have we thought we were going anywhere? We would have
put more thought into it. Our guitarist, Neil was pretty
fluent in Spanish, and we all thought the word, which
means peasants, looked and sounded pretty cool, so why not.
(14:40):
But it's ended up that people make all sorts of
assumptions that have really nothing to do with the band
or its intentions. People show up expecting a flamenco band
or a political band and leave quite disappointed. They suggest
it's in bad taste or inappropriate. We're not trying to
upset anyone. We're just not that kind of band.
Speaker 1 (14:56):
You know what, though, I do think I get that,
But I think I do you think there isn't a
little at least like an underpinting and a lot of
their songwriting about, you know, the class system that capitalism
forces on it for sure, Like that's not maybe not
overtly a thing, but like that's certainly a vibe you get. Also,
(15:16):
if you guys are such big sufian stands come on
the I would also.
Speaker 2 (15:20):
Say that in their later years though, they've I think
maybe not so much in their music, but in their
sort of social media presence and what they talk about
and raise money for, they become quite political. They have
on their merch site they have a low income option
for all their items, where it's marked down a little
bit if you don't have the cash but still want
to support. They had that great shirt of David Cameron
(15:42):
making out with a pig's head and underneath it said
never kiss a Tory boy. They did a big shirt
fundraiser with the Socialist Rose on it for the Labor
Party in their last UK elections.
Speaker 1 (15:53):
So they're basically what idols pretends to be good.
Speaker 2 (15:56):
Yeah, without getting too deep into it, that's kind of
how it sounds.
Speaker 1 (16:01):
By the way, speaking of their merch, if anyone ever
comes along an XL of that limited run Los Capasino's football.
Speaker 2 (16:08):
Kid, Oh the Doomed a great, a great merch. They
performed their first gig on May six, two thousand and six,
at a student union club night, followed this up with
shows all around Cardiff and made a four song demo tape.
They posted those four songs on MySpace, which took off
a little bit in the early MySpace internet days. This,
(16:28):
combined with their well received LID shows, led to radio
play on BBC Radio one Whales In talking about their
sort of Internet fame, so to speak, Gareth told Stereo
Gum in twenty thirteen, we were a MySpace band, which
is surreal. I would very much consider us a band
that got signed because of that platform. Within three or
four days of putting our demo online, we were offered
(16:49):
a record deal in Australia and crazy stuff like that.
The Internet seemed a lot smaller than you, seemed more
in control of everything and what people could say and
think about you. That's something that I perhaps enjoyed too
much and as a result, was far too easy to
see people's perception of us and allow that to influence
what we were doing as a band. One of those
four songs that was put onto MySpace that gained the
(17:11):
band some traction is the opening track to their debut album,
and that song is death to most Campasinos.
Speaker 3 (17:29):
Broken down like a war economy. Father, I'm be madam
Me Child Chill Games both names the take.
Speaker 8 (17:38):
Tax Time calling that some everywhere a sign on the osage.
Speaker 3 (17:42):
I'm better up with that of the show's eligen and
I infected you.
Speaker 7 (17:47):
I meant to.
Speaker 4 (17:48):
I would destroy you.
Speaker 1 (17:50):
If you catch me, went my hands.
Speaker 3 (17:52):
In the town.
Speaker 2 (17:53):
I'm probably shut out to try.
Speaker 8 (17:55):
To stay after spending a commerce madam.
Speaker 4 (17:58):
Send on your part.
Speaker 1 (18:29):
I dig it. Let's come out of the gate with
please kill us. That's the lowest campus.
Speaker 2 (18:34):
Yeah, we are a broken robot, Please destroy me.
Speaker 1 (18:36):
A little surprised with the in this segment of the
show where we usually do one song that hearkens back
to the band pre album. Thought for sure you me
Dancing would get the nod here.
Speaker 2 (18:47):
I was thinking of Dylan because it's a seven and
a half minute song, so I didn't want to I
didn't want to tax him too hard.
Speaker 1 (18:52):
Oh yeah, that would be the first time you chose
a seven and a half minute.
Speaker 2 (18:55):
I'm trying to be mindful of the people around me.
Speaker 1 (18:58):
Alright, man, what comes next?
Speaker 2 (19:00):
Said of Death de los Campasinos. That was the first
song I wrote lyrics for in the first song we completed.
I think there's something quite amusing and appropriate about our
first song, Wishing we were Dead. It's a weird song
for me. I feel like it's probably least like the
style of songwriting I developed after. I was just trying
to be Stephen Malkmus. Really Pavement, where the band we
all bonded over. That song is mostly nonsense. If anyone's
(19:22):
been able to get any bigger meaning out of it,
they're doing me more credit than I deserve. I was
just trying to write words and sentences that sounded good.
It's one of the silliest songs we've written. It's a
lot of fun, but it was a style that I
didn't stick with for too long. After the sort of
MySpace boom, they continued to grow in popularity in Wales
in the UK and gained a big boost internationally in
(19:43):
two thousand and six when they opened for Broken Social
Scene on a tour. Following that, in November two thousand
and six, they signed to Wichita Records to distribute There's
Records in the UK, and then in February two thousand
and seven, after releasing a double A side single on Wichita,
they signed to Arts and Crafts for their North American releases.
A good Canadian representation here.
Speaker 1 (20:04):
Wichita Recordings, by the way, named after the Wichita state
Chockers just huge Fred van Bleek fans over there in London.
Speaker 2 (20:11):
Another Toronto connection for the band, Arts and Crats and
Fred Vandelit.
Speaker 1 (20:15):
Yeah, Los Capasitos may as well be from Iowa at
this rate.
Speaker 2 (20:18):
I mean they kind of will get into that. Actually,
that's not as an aside as you might think. They
would then release You Me Dancing as You Said as
a seven inch single. That song in twenty eleven would
be using a Budweiser commercial, which sort of re sparked
their popularity for a second. Regarding this whole period, Gareth
told Dork we finished our final year and went to
(20:40):
Toronto to record for over a month. It was a
very odd experience that was both brilliant and terrible at
the same time. We were the first band to record
in this new studio and it was half finished when
we got there. It was a converted church in a
place called Trenton outside of Toronto. I think it was
where dead Canadian soldiers are brought back. There wasn't much
going on. What was going on none of us were
confident to participate in. We released CD singles. That's a
(21:03):
weird thing that makes us sound a lot older than
we actually are, and we signed a record deal for
a pretty large advance. We are right at the end
when there was a lot of money in indie music,
and then going back four years later and doing the
Budweiser advert for an injection of cash, that was a
pretty good representation of how things changed. I think we
are one of the last bands to really build our
career around MySpace. Despite being only twelve years ago. It
(21:25):
feels like a really dated thing to say now.
Speaker 1 (21:28):
The Trenton connection is interesting. So I went to school
in Kingston, as we've discussed, So Trenton's on the drive
out there, and one of my best friends out there, Adam.
I lived with him in second and third year with
a couple other friends, and he's from Trenton, so I'm
very familiar with Trenton. Did not know that shortly after
(21:48):
I was done in that area lost Camp where they're recording,
had I known man. So basically my friend Adam Clementsik
is Adam Campesino by extension. No way he listens to
this podcast, though I don't think he listens to music.
Speaker 2 (22:01):
My dumbass lack of Ontario geography was like, oh God,
is Trenton in the region?
Speaker 1 (22:06):
But it's not apparently so no, it's the other side.
Speaker 2 (22:09):
I don't fucking know, man. Whatever. I'll go to school
for geography anyway.
Speaker 1 (22:15):
By the way, So when you sorry when you said
they were in Trenton. Was this for Romances?
Speaker 10 (22:20):
No?
Speaker 2 (22:20):
This was for their debut album, hold On No Youngster,
which was released in February two thousand and eight in
the UK and April of two thousand and eight in
North America. This was followed by a UK North American tour,
and the album was quite well received by outfits like Pitchfork,
Spin and The av Club. Gareth told Stereo Gum of
the record, it's a lot of me reacting to people's
(22:41):
perception of the band and confirming it for them. It
was all blogs and message boards rather than social media
we know now, and I was quite happy to sing
about that and keep things relevant to it. Following the
release of Holdown No Youngster. In October two thousand and eight,
the band released We Are Beautiful We Are Doomed, a
release that is still debated amongst fans as to whether
it is an EP or a full length. The band
(23:02):
considers it to be a full length, so I'll go
with that as the band put it on their website
at the time.
Speaker 1 (23:07):
They kind of get the final say, don't think yeah, because.
Speaker 2 (23:09):
It's like eight songs long or something in like half
an hour. But nowadays in the streaming world that's normal
for an album, So it's a very two thousand and
eight conversation.
Speaker 1 (23:17):
Yeah.
Speaker 2 (23:17):
As the band put it on their website at the time,
this is no post album cash in. It's not b
sides and rarities or songs that weren't good enough to
be on. The album cobbled together with some remixes and
field recordings of Cardiff's indie scene. It's ten all new
tracks that none of you have ever heard before, though
no singles were released from the record and its distribution
was limited. Following the release of We Are Beautiful We
(23:39):
Are Doomed, which actually is one of my favorite low
Scamp releases, the band hooked up with producer John Goodmanson
to record the follow up to their quote unquote full
length debut or first album or whatever you want to
call it, which is what we're talking about today. Finally,
Romance is Boring. This was the biggest project the band
had taken on so far. The album clocks in at
(24:00):
forty nine minutes over fifteen tracks in a clear three
act structure. Tom Campasinos told Line of Best Fit, it
was the first time we had a long time to
think about the record we wanted to make, probably too long.
They took their time making the record. As the mid
two thousand's British indie boom was beginning to fade, they
felt they needed to go all out, and on September ninth,
(24:21):
two thousand and nine, they released the single or the
song The Sea Is a Good Place to Think of
the Future, a song that was a complete departure from
the twee pop of Hold On Now, Youngster that they'd
become popular for. Tom said of the song, this was
a really big moment for us. We are trying to
surprise people, to show them that we weren't this one
dimensional tweet pop band or whatever people called us. So
(24:43):
it became this huge thing to us that we are
really proud of. That song opened up things for us
and we knew we could trust our instincts because it
was still connecting to people. So this is that song,
The Sea Is a Good Place to Think of the Future.
Speaker 7 (25:00):
I grabbed hold of the rest of my closes for
tip to tickuss it. You're taking the diet too far.
Speaker 10 (25:06):
You've got to let it slip.
Speaker 7 (25:08):
But she's not eating again. She's not eating again. She's
not eating again. She's not eating again. I asked her
to speak French and I needed her to translate. I
get the feeling. She makes the mean moussignif kept.
Speaker 11 (25:24):
She was always far too pretty for me to believe
in the single words she said.
Speaker 7 (25:30):
Believe though woods she said.
Speaker 3 (25:36):
A fourteen her mother.
Speaker 11 (25:38):
Died and busy operation from allergic reactions to your general
anesthetics and the rest of the scenes, experimenting descriptions in
a futile attempt to know more than the ductors.
Speaker 8 (25:53):
She's waiting for the.
Speaker 4 (26:00):
Uh hi.
Speaker 1 (26:03):
Shut this songs like how.
Speaker 4 (26:11):
A lot of.
Speaker 5 (26:12):
Church you can.
Speaker 4 (26:18):
Is the sound of your.
Speaker 6 (26:21):
H You can feel the chill ups flown and the
blood coast.
Speaker 3 (26:30):
I can't see.
Speaker 4 (26:33):
Hundreds.
Speaker 6 (26:34):
This has made at the High a thousand years imperfect
seven strain.
Speaker 3 (26:47):
I love that song.
Speaker 2 (26:48):
An s Tier loves Campasino song.
Speaker 1 (26:50):
In my opinion, Yes, on top of which you know
zooms and I have the the whole stare at the
lake thing right where you know that's the most emo thing.
An emo boy can do is just go Stare at
the Lake. So great song title and per Ian Cohen
a top one hundred Emo song of all time. There's
always debate around what genre Los Campesinos belong to, but
(27:13):
I think when we're talking about our earlier discussion and
the influence they had on the emo revival to come,
this is kind of the song and as they themselves
jokingly said, they're the UK's first and only emo bands,
So this is kinda, at least to me anyway, Like
if you were going to make the argument that Los
(27:34):
camp were emo, that's the song that I would, Yeah,
I put up there for that argument.
Speaker 2 (27:38):
I think I agree with that entirely.
Speaker 1 (27:41):
I love to just the entire theme of this album,
and this is the quote that I teased earlier, that
this album is about quote the death and decay of
the human body, sex, lost love, mental breakdown, football, and
ultimately that there probably isn't a light at the end
of the tunnel.
Speaker 2 (27:59):
That's a good that's a good thesis statement for this band,
I think on the whole.
Speaker 1 (28:03):
Yeah, I mean it's a good thesis statement for Twitter.
I think it's just we're all getting older and broken down.
All of our brains are Yeah, our brains are succumbing
to online brain worms and our favorite teams suck.
Speaker 2 (28:18):
Yeah that was a thing. I very much related to
it this band, especially on the Hell of Sadness record.
But anyway, what do we know?
Speaker 1 (28:27):
Sorry? Do we know what his football team is he support?
Speaker 5 (28:29):
Yeah?
Speaker 2 (28:30):
I knew once and now I forget. It's a small
like Welsh team. It's like, it's not Ycombe but it's
some like tiny Welsh club Welton Rovers. There we go,
he's on the board. There you go of the team.
Speaker 1 (28:42):
Wow, wow we Actually that reminds me that. So the
athletic now is in the UK and pretty big, covering
the Premiership. And in July of twenty twenty, Jeff Reuder,
one of our writers, that they're actually sat down with
Gareth to talk about their football lyrics and running a
non league club. So go check that out. That it
(29:04):
was a fun read. He get a lot of insight
into I mean, I don't think it's that complicated. I
think if I were writing songs and I was missing
a line here or there, or I was writing earnestly
about what was bothering me and I was upset about,
there would be a lot of lyrics cursing the blue
and the leeks overtime, you know, absolutely all right, where
do we go from here?
Speaker 6 (29:22):
Jake?
Speaker 2 (29:23):
So the album and their sounds. They were experimenting with
their sounds, which was helped by Tom, who, as I said,
function as a musical director. He had acquired the recording
software Cbase, which he says, before I was having to
do it in my head and hoping things would turn
into basslines or chords or a riff. Once you can
start recording and getting things down, you can go a
lot deeper. I would spend far too long coming up
(29:44):
with ideas and exploring as many possibilities before I even
presented them to the band, trying to write weird things
that would challenge us but also maybe challenge the listener
a bit more. Sometimes it was just to annoy the
listener because we were dicks like that. There was less
instant gratification, But if you stuck with it, then we
hope that things could be drawn from it over a
period of time. They also extended their musical influence for
(30:07):
this record. According to Tom, some of the albums that
influence Romances Boring are guided by voices Earthquake glue Pavements,
Wowie Zowie Blurs self titled record, Built to Spills, Keep
It Like a Secret, and Modest Mouse is the Lonesome
Crowded West, which should not surprise anyone that I love
this record because those are all of my favorite albums
from those bands.
Speaker 1 (30:26):
But also there is just like a lot of modest
Mouse on this.
Speaker 2 (30:32):
Yeah, especially with some of the noise stuff. Tom actually
sort of speaks to that, saying it's kind of dumb
because Pavement, we're ripping off all these British bands like
The Fall, and we're a British band trying to make
music that sounds like Pavement, So I don't know how
that ends up, which I think is a good quote.
But like influence and things, the experimentation of the band
also heavy inspired them and made them excited. Gareth said
(30:55):
that he met with Wichita Recordings founder Mark Bone in
Seattle during the record of this album and said, I
remember very well having a conversation with him at the
Space Needle and saying to him, this is going to
be our Wowie z aUI and he said quite correctly,
but you haven't made your Crooked Rain Crooked Rain yet,
which if You're Not Familiar is the more commercial Pavement
(31:15):
album before they made their more experimental Wowie z aUI.
Outside of Tom's direct contributions, the album featured a lot
of brass instrumentation, which, as Tom said, was a cliche
way of answering how do we make this bigger? Harriet
also contributed her own string arrangements for the record, also
in an attempt to make things sound bigger. Tom said,
it was the first record where we had the ability
(31:37):
to write the songs the way we wanted them to sound.
We were a lot more deliberate in our approach, and
we went really deep on the amount of detail in
the arrangements. It was properly maximalist pop to us. He said,
I was experimenting deliberately with contrasting if there was a
noisy verse with a sugary chorus, then it would have
more impact. And I think the best example of that
(31:59):
is on one of my favorite songs off this record,
which is also a great title, which is I Just Sighed.
I Just sighed, just so you know, Sister Summers.
Speaker 8 (32:19):
To let it be said, I'm writing this is seventy
ten a m on the hard giant time of a
vacant forecas. Astronomically speaking, it's the first time of the
sun is hanging around like Summer's Tanno's first and not
the gayshtan Field flast us in the traffic center the system.
Speaker 9 (32:35):
They're barely registered and its nons like can mix the
tree petrols and dark ship.
Speaker 3 (32:43):
He's dating them up.
Speaker 5 (32:50):
I promise after.
Speaker 9 (32:52):
This, I will pick up the phone book and choose
the name My eyes fall the pond.
Speaker 6 (32:59):
On the.
Speaker 11 (33:01):
Am all of my colleague composed declarations there in the future.
Speaker 9 (33:08):
I'm so sorry for you.
Speaker 7 (33:12):
Listen time.
Speaker 5 (33:14):
I'm fifteen years old, my parents and like I barely
five to go to school education, pretty.
Speaker 9 (33:35):
Daddy's grown hair, I'm a slip of a man's in
psych cut mine or not.
Speaker 4 (33:41):
He's just like, bring you one six sacks of the friends,
some job.
Speaker 1 (34:05):
Yeah, they really really went to the follow up boy
Panic at the disco playbook with the song title work.
Speaker 2 (34:10):
They really did.
Speaker 1 (34:11):
That's a great song and that is the kind of
noise elements. There are a lot of fun. There's just
a lot going on. It makes it feel like like
obviously this is a large band in general, but it
feels even bigger, like there could be fifteen of them
instead of six of them.
Speaker 2 (34:25):
Yeah, when they played it at the show I saw
them at I guess god, like three years ago now,
they played that and I was actually surprised to hear
them play it because I just wouldn't think that would
be a song they would attempt live that often. But
it was great.
Speaker 1 (34:38):
It's not awesome, so I dig the musical experimentation. But
where this album really hits for me, and it's one
of the I mean not one of It's the reason
I gravitate to Lowest Camp so much is I do
feel like, in addition to pushing themselves musically, they really
pushed themselves lyrically on this one as well. And a
lot of that's attributed to Gareth And I said early
(35:00):
your you know, I mentioned that his perspective on what
the right change it and this is a quote from him.
I'm kind of at a point now where the songs
are so detailed and honest that it's hard to misinterpret them.
They're all pretty literal these days, which is makes a
lot of sense when you get into like the hyper
specificity of some of these lyrics.
Speaker 2 (35:18):
Yeah, I agree with that. I'm glad you brought that up.
Speaker 1 (35:21):
Yeah, there's also this element to of you know, obviously
it's it's a bit more of a negative or angsty album,
and so Rob said, yeah, you don't want to analyze
your happiness, do you. When you're happy, you don't need
to analyze anything, Whereas when you're sad, everything sort of
hits you, to which Gareth expands, the happier, more hopeful
songs do have a certain ignorance or innocence to them,
(35:43):
and the rest of the time it seems like I'm
combating a doom that I'm well aware of. I suppose
that's what I'm like in life, though I think can
worry too much to a stupid, almost childish level, which yep, yeah,
hard to not relate telling it why the two of
us love those campasinos.
Speaker 2 (36:01):
Regarding exactly what you're saying the lyrics, Tom and Gareth
did a Noisy Rank Your Records in twenty seventeen where
they put this at number one, though Gareth has said
that his favorite is actually No Blues, but that's another story.
Regarding his lyrics, he said, it's so dense, there's so
many words. It's quite referential and things cut back and forth.
From each other. I like albums where lyrically it works
(36:24):
better as a whole than as individual tracks, and I
think this is one of those. Also, the first track
we put out from it, being the Sea as a
Good Place, was the first time we've done something that
was slow and quite emo. So that made a lot
of people who previously dismissed us step back a bit
and wonder if actually they do like us after all.
For me, the thing that puts this at the top
spot is that when we were touring the most, and
(36:45):
when I felt like we were being our best selves,
I suppose looking at the track list now there's a
lot of songs that we maybe took for granted at
the time that have now found themselves to be cult
favorites or whatever. The other thing that I think is
really interesting about this band, and I will get back
to the lyrics in a minute, is how it was
sort of received and how the band is received both
in North America and in the UK, and sort of
(37:08):
the conflict that Los Campusinos have always had with this,
Just as Holding On Now Youngster was recorded in Toronto
or in Trenton. I guess Romance Is Boring was recorded
in Stamford, Connecticut, and in Seattle in two separate sessions.
They said this made them reflect on their relationship with
North America. Gareth said that I think American fans of
(37:29):
writers have always seen us as a really English band,
and I think English fans and writers have usually seen
us as being a particularly American influence band. He further
told Stereo Gum the UK has always perceived us differently
than the US. It's funny, how because we were on
a tour with no age and times New Viking people
that didn't want to cover us previously had to. It
was amazing all three bands on a sleeper bus with
(37:51):
bunk beds. We learned quite a lot about drinking from
them because they were a good six or seven years
older than us. We've always been too American for the
UK and too British for America, just in terms of
getting above the level of success we have. It's our
own fault, mostly mine, To be honest, I was far
too smug and self aggrandizing for my own good as
an early twenties person who thought the music they like
(38:11):
made them more interesting than they actually were. That only
lasted for eighteen months, or at least I like to
think it did. We rubbed a lot of the British
press the wrong way because of that. In the US,
I don't think that necessarily came across as much, probably
because when it came to touring America we were so
happy and surprised that we didn't dwell on the negatives,
which I think is really interesting because when I first
(38:32):
started listening to them, I think that that first record
sounds super British and then this one sounds super American.
So I see that sort of THEUS the Footy references,
I suppose, but I see that sort of troubled dichotomy
they have.
Speaker 1 (38:50):
So you might say, Jake that when it comes to
their nationality, this is a flag. There is no wind.
Speaker 2 (38:57):
That's a really good fun that I hope everyone gets.
Only people who like this album will get. But I
get it and I like it a lot.
Speaker 1 (39:03):
Yeah, especially since that's not the next song that we're playing.
The next song that we are going to play off
of Romances boring is this one straight in at one
on one.
Speaker 9 (39:17):
I think you leave more post coital and less post rock.
Speaker 1 (39:22):
Feels like the build.
Speaker 7 (39:24):
Out takes forever, but you never get me off.
Speaker 9 (39:29):
You put your dress sofa your face and I stare
down to what my chest testa is both pre se hair,
wonder who's ga is the suck this stum with my
into the door, listening.
Speaker 1 (39:43):
To the live floor.
Speaker 9 (39:45):
Let's looking in at pen will be safe to dash
the mantras to your bathroom, where I bomb my fingers
into fists of my knuckles glow bright wire, prest the
heels into my sackets to like the flashing lights. Stop
me when my stories changed, when they have started to
(40:06):
a feet because last time I was miss a sleeper icea.
Speaker 4 (40:11):
Feet so baby, all the color so discs.
Speaker 6 (40:19):
And in never explained, and get help some even slightly.
Speaker 9 (40:26):
It's best to cast yourself on then get straight back
on the barge.
Speaker 1 (40:33):
I come to send the smile with directly at the camera,
and if you lay in both our senses.
Speaker 9 (40:40):
I tiptoe at the back door, casting down icy streets
and fume my face in the reflection of the high
street launcher race doore, though it.
Speaker 1 (40:51):
Wasn't my intention.
Speaker 9 (40:54):
Upon my friends and family together around the television, the
talking heads count down the most hot, wrenching breakups of
all time. Imagine a great sense of waste, the indignity,
the embarrassment when not a single one that Hull century
(41:18):
was mine.
Speaker 1 (41:20):
Opening lyric of that song aside, why that one outside
of the great opening lyric.
Speaker 2 (41:25):
Actually, because of the opening and closing lyrics of that
song are what sold me on the band. Originally, when
I heard this album, I liked it, but I wasn't
crazy about the first few tracks. I was like, okay,
and then that song came in that first line of
I think we need more post coital and less post rock,
and then the last line of I call my friends
(41:47):
and family to gather around the television the talking heads
count down the most heart wrenching breakups of all time.
Imagine the great sense of waste, the indignity, the embarrassment
when not a single one in that whole history was mine.
I was like, this is the best fucking band I've
ever heard. That's the best lyrics I've ever heard. It
got me, So it was just like to his point
about his lyrics evolving, that was like, I feel like
(42:11):
this is the song where he really he's now one
of my like all time favorite lyricists, and I feel
like this song is where he really like sort of
hit that that peak of what he would eventually become
as lyricist for.
Speaker 1 (42:23):
Sure, And I think you know it's in their lyrics
and in you know, first of all, the like I said,
the hyper specificity, which obviously you look at some of
the Emo revival bands that followed, or emo pop if
you prefer, you know, that kind of became a trademark
of the of the subgenres that everyone just kind of realized, Hey,
we don't have to keep it general so everyone can relate.
(42:44):
We could be really specific and people still take what
they want from it.
Speaker 2 (42:49):
Yeah, And I think you that's a sort of a
trend that we've seen a lot in sort of the
Emo revival of and like people like it's not unique
to that, like people like John K. Sampson been doing
it forever. But that like hyper specificity, I think is
so important to these kind of bands and why I
like them so much for sure.
Speaker 1 (43:10):
And I think you know, that's again where we can
kind of trace some of the influence, which we're gonna
talk about. We're gonna talk about their influence. We're going
to talk about how Romances Boring was received, and we're
going to talk about probably two lust Ca Casinos albums
that we both like even more than after this. All right, Jake,
(43:42):
So do we have more on Romances Boring or is
it time to discuss how it was received and then
how we got from there to Avocado Baby.
Speaker 2 (43:53):
Yeah, that's where so. Romance Is Boring was released on
January twenty sixth, twenty ten. It was very very well received,
and as an album that I think sort of to
what we were touching on tiptoeing around earlier, is a
major influence on the emo revival scene, something that Gareth
agrees with when he told Stereo Gum, if I may
(44:13):
be so bold as far as the emo revival thing
was concerned, we deserved a mention that we did not get.
We've always considered ourselves more of an emo band than
anything else, to be honest. Yeah, we have a glockenspiel
and a violin, and maybe we're more upbeat than most emo,
but the lyrics have always been honest and direct and
a lot more similar to emo bands than mid two
(44:33):
thousands indie rock bands. We're due for some contemporary emo
megastar being like, yeah, this Lowscamps album turned me on
to this kind of music, or from for some band
younger than us to take us out on support tour
to show the kids what it used to be like.
Our younger fans are more into Hello Sadness and Romance
Is Boring, which are more emo records. I'll look forward
to the ten year anniversaries of those two. That was
(44:56):
an interview about the ten year anniversary of Hold On
No Youngster. In terms of reception, an Amy gave the
album an aid out of ten, calling it a significant
step forward for the band. It has a seventy five
on Metacritic. It got an adit of ten from Drowned
in Sound, an eight point three from Pitchfork, a nine
out of ten from Pop Matters, a three and a
half out of five from Spin, and a four out
(45:18):
of five from Consequence of Sound. As I said, Tom
and Gareth also ranked it as their favorite Los Campascios
record in the Rank of Records article. Following Romances Boring,
the band put out Hello Sadness in twenty eleven, followed
by a massive lineup change in the group in which Alexandra, Allie,
Harriet and Ellen all left the band. They are replaced
(45:41):
by Rob Taylor on keyboards, additional guitars, percussion and backing vocals.
Jason Adelina on drums and Matt Fiddler on bass and
backing vocals, although Matt Feader only joined in twenty fourteen,
as Ellen stayed around till twenty twelve. They released No Blues,
my personal favorite Los Campacinos record in twenty thirteen. Regarding
(46:02):
No Blues, Gareth told Music and Riots magazine, it was
a time where the record label that we were working
with at the time kind of didn't really want to
work with us, like they weren't interested in working with
us anymore. So I think as a result, the album
was released and then disappeared. It was a time where
we all got proper job because we weren't touring enough
to justify it. We didn't have as much money in
the band as we previously had, and so we had
(46:24):
to get proper jobs as a result. We didn't fall
out of love with being in the band, but it
just seemed like a really difficult thing to be doing
at that point, because when No Blues came out, we
were all in our late twenties and that's not old age,
but we were aware that we had to think about
real life responsibilities, like think about what our careers would
be because we knew we were never going to be
a full time band again. However, Gareth says now that
(46:45):
Noble's is his personal favorite Los Campsios album, and it
starts with my personal favorite Los Campsinos song and an
all time song one side one mixtape song for flotsam
these okay.
Speaker 10 (47:02):
But flowing So.
Speaker 7 (47:05):
I want you to.
Speaker 5 (47:30):
You say you were an old.
Speaker 10 (47:32):
Said that let us come and spilled its folf.
Speaker 1 (47:36):
I'm more like a web com by this snackup toil.
Speaker 10 (47:41):
As I describe the lonely lessen very clear, the last
set of gold Coast taken down the summer of a
numbers locking.
Speaker 4 (47:55):
Flowing side. I want you.
Speaker 1 (48:15):
Yeah, definitely a peak mixtape song or playlist song, if
you will.
Speaker 2 (48:20):
That was a track one of the mix that I
made for my wife when I first met her. In fact,
because you have a wife. I do have a wife.
It's crazy, but it's true.
Speaker 1 (48:33):
Nice. I don't know if we've ever talked about that mix.
I would love to. We should dive deeper on that.
Speaker 2 (48:38):
That could be a point, that could be a thing
we could do. That'll be fine. It was a good mix.
Speaker 1 (48:41):
While I've been home, I found an old CD case
of mind. Oh so that could be a fun sign.
I would love to just do an unboxing of it.
Speaker 2 (48:49):
That'd be great. I would love to see what you had.
Speaker 1 (48:51):
Yeah, I intentionally didn't look through it, but it popped
open and I saw Alkaline Tree over written in my
awful handwriting on one mixed CDs or on one sea
So I'm ready to I'm ready to go. It'll be
It'll be a good one, harfect.
Speaker 3 (49:05):
All right?
Speaker 1 (49:05):
So No Blues is your favorite lowest camp album? Correct?
Speaker 5 (49:11):
Yes? All right?
Speaker 1 (49:12):
And then that flowed into six Scenes.
Speaker 2 (49:13):
Yes, twenty seventeen. They're least six scenes, which is yours.
Gareth has said that Romance is Boring and six Scenes
are closely related, saying that he sees a lot more
in common between those two than he does with Hold On,
No Youngster, And I think I can see what he means.
They're both albums about sort of getting older or death
and figuring things out. They haven't put anything out since
(49:37):
Six Scenes, but hopefully maybe something soon. Their last activity
came in February twenty twenty, when they played two sold
out shows at Islington's Assembly Halls on Valentine's Day and
the fifteenth, playing Romances Boring in full for its tenth anniversary,
which damn.
Speaker 1 (49:54):
On Valentine's Day.
Speaker 2 (49:55):
No less, of course, they are nothing if not direct.
Speaker 1 (49:59):
All right, neck, well, I guess we are at the
point where we rank some stuff.
Speaker 2 (50:03):
Let's rank some stuff.
Speaker 1 (50:04):
All right, Let's do albums first quickly, since we've both
given away what our favorite is. I would have them,
not surprisingly based on Gareth's comments about them being kind
of sister albums. I have six scenes one Romance is
boring to No Blues three.
Speaker 2 (50:18):
I have No Blues one Romance is boring two, and
I actually have We Are Beautiful We Are Doomed three
only because the first three tracks on there are three
of my favorite low Scamp songs. But then I do
have six scenes at four. And if we're not counting
We Are Beautiful as real album, then I would have
six scenes at three as well.
Speaker 1 (50:37):
Fair, I did count it, but I had it at four,
and then Hello as My as my last one?
Speaker 2 (50:43):
Oh yes, same, yeah, I agree?
Speaker 1 (50:46):
Yeah, Okay, so we're we're in pretty We're in pretty
similar similar spots there, all right. Maybe there would be
more disagreement on picking our favorite songs off this album, Jake.
Speaker 2 (50:55):
Let's hope so or else? This is gonna be a
really quick segment. Yeah.
Speaker 1 (50:58):
I mean, look, we're toward the end of the pod. Yes, anyway,
that's true, it's at the end of the world. Yeah.
Plus all these song titles, all these song titles are
like thirty words long, so that full a bunch of
error on its own.
Speaker 2 (51:10):
That's a good point, all right.
Speaker 1 (51:12):
So I'll go first here off the track list at
number one, and I think I kind of gave this
away earlier and just why I feel this band is
so important, I would have to sea is a good
place to think of the future at the top.
Speaker 2 (51:25):
Yeah, I do as well. I think it's it's not
only I think it's just one of their Like there's
three or four like indisputable lost Camp songs, and that's
one of them.
Speaker 1 (51:38):
I think, Yeah, what else would you have on that
list of indisputable lost camp songs?
Speaker 2 (51:43):
I mean, I feel like you kind of have to
put you me dancing just for like what it is,
even though it's not really one of my favorites, even
though it is very fun. The other ones I was
thinking of, though, would be Baby I got the Death
Rattle off, Hello, Sadness and Miserabilia off. We Are Beautiful
we are doomed.
Speaker 1 (52:04):
Yeah, I think there are a couple sixteen ones you
could throw in there too, but it's hard to say
because they haven't done an album since. Yeah, you don't
know really what's stuck and what are the ones that
have transitioned? You know, Sad Suppers and I Broke Up
an Amarante are the two that stand out to me
as the ones that could potentially agree, but there are
a lot of options. Six Scenes is kind of like
(52:24):
where the you know, you just laid out some songs
off their albums that are maybe more like the top
couple tracks heavy. Six Scenes is just like this medium
hum of bangers without any like I think standout tracks.
Speaker 2 (52:38):
I agree, except I would only just agree to say
that I think I Broke Up in Amarante is like
an unbelievable song.
Speaker 1 (52:45):
Yeah, and also like once you learn the backstory of
how that album was written and put together, like, yeah,
it's so much more, which is like, I do think
Romance Is Boring is the most important low Scamp album.
I'm glad we did it first, but I really want
to do a six Scenes episode as well off of
Romance Is Boring. So I had the Sea is a
(53:05):
good place to get the future first, and then I
would go this is a flag there is no win. Second,
and then there are listed buildings at number three, there's
no there's too many options here.
Speaker 2 (53:16):
There really are.
Speaker 1 (53:17):
Number one.
Speaker 2 (53:18):
It's rare to find like a fifteen track album where
ninety eight percent of it pretty much is could qualify
as a top song.
Speaker 6 (53:25):
Yeah.
Speaker 1 (53:25):
Now, now they do help themselves with two songs that
are only forty five seconds long, so that's true. Me,
they don't count, but.
Speaker 2 (53:33):
Keeps it humming along. I appreciate it.
Speaker 1 (53:35):
Yeah.
Speaker 2 (53:36):
Yeah, but my three are Sea is a good place.
I just sighed at number two, and then I have
in Media's reds at number three. Great opener, yes, also
a great show closer, surprisingly interesting. I've never seen them live,
so I've seen them twice.
Speaker 1 (53:51):
I believe nice. Okay, So I guess if it's both
of our favorite tracks and a top one hundred emo
song of all time, and we both feel it's most
important to the emo revival genre, safe to put the
sea is a good place to think of the future
on the mixtape.
Speaker 2 (54:05):
Yeah, I think so.
Speaker 1 (54:06):
All right, that's uh, that's us. So that's that's head
into the mixtape. Uh, and then you can head to
the sea yourself and think of the futureape which, by
the way, I keep I do keep updated on Spotify,
so if you ever need the link to the entire mixtape.
It is a real thing. It's not just a gimmick.
As part of the end of these episodes, we'd also
like to thank producer Dylan. I have not been on
(54:26):
my game this podcast, but you'll never know it because
Dylan does such a good job cleaning these up.
Speaker 2 (55:13):
Please try the Fish
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