Halo 20 - Only

[00:00:40] Speaker A: Step right up its nail, the halo by halo journey through the music of Nine Inch Nails. I'm Blake. [00:00:44] Speaker B: I'm Jessica. [00:00:45] Speaker A: And we are the micro Machine Men. Ripping through this Halo 20 faster than the speed of shit. Trying to set world records for quickest. Never mind. This fell apart. It's been a long time since we did this. I forgot how to do this. Someone helped me. [00:01:04] Speaker B: That fell apart very fast. [00:01:07] Speaker A: I forgot how to podcast. [00:01:09] Speaker B: It's okay. This is going to be a rough one. [00:01:13] Speaker A: I think it's a fun one, but. [00:01:15] Speaker B: I think it will be fun. [00:01:16] Speaker A: We've been away too long. [00:01:17] Speaker B: Yeah, we're a little rusty away. [00:01:19] Speaker A: So long. [00:01:19] Speaker B: See, we're just talking over each other. We can't even figure it out. [00:01:24] Speaker A: Okay, so Halo 20. Sorry, I went over it too fast. [00:01:28] Speaker B: Yeah, that's what we're talking about. Tonight. [00:01:30] Speaker A: We're in the big 20, which is crazy, right? Only is the single. And I was thinking, like, we're past the halfway point. Only twelve or 14 halos to go. [00:01:47] Speaker B: 14, right? [00:01:48] Speaker A: Yeah. Okay. Yes. 14 halos until we get to 34, which is ghosts. Six locusts. 2020. [00:01:59] Speaker B: Wow. [00:02:00] Speaker A: Yes. [00:02:01] Speaker B: I figure year Zebra will take us a while to get through because that's a big motherfucker. [00:02:06] Speaker A: Sorry, we got the 90s down. We're going to start ripping through these, I think. [00:02:12] Speaker B: Okay. [00:02:12] Speaker A: But anyway. Yeah, that'll take a while. Anyway, we're talking about only. But first, do you want some Nine Inch news? [00:02:22] Speaker B: Yeah. [00:02:23] Speaker C: So everything is in the news today. [00:02:27] Speaker B: What you got? [00:02:28] Speaker A: Well, multiple people sent me this. Our Nine Inch Nails were an answer on jeopardy. Or a question on Jeopardy. They have been before because they reversed the question and the answer. Oh, have they been before? [00:02:41] Speaker B: This is not the first time. [00:02:43] Speaker A: What was the. [00:02:43] Speaker B: I don't know what the first time would have been, but I know there was a question like this. Trent Reznor led band came back haunted in 2013. [00:02:53] Speaker A: Came back haunted reference. [00:02:55] Speaker B: Yeah. [00:02:56] Speaker A: My God. That's an obscure one. If they said closer, it'd be too easy to get. [00:03:01] Speaker B: But this, maybe that was one of the higher. But Trent Reznor led. I mean, they put the name right there. [00:03:07] Speaker A: Come on. This one that just happened. Oscar just came in. He wants to talk about JeOpardy. [00:03:15] Speaker B: I was so pathetic. [00:03:17] Speaker A: The Jeopardy question or answer or whatever was. Oh, they were doing bands. In other words, I'm just going to play it. [00:03:27] Speaker B: Yeah, play it. [00:03:27] Speaker A: Because the first lady fucks up spectacularly. [00:03:31] Speaker B: But she comes back strong. [00:03:33] Speaker A: She came back haunted. Sorry. She comes back strong. That was funny. Her attempt. Hang on. [00:03:40] Speaker D: Yes. [00:03:40] Speaker B: Her first attempt was funny bands. [00:03:42] Speaker A: In other words, you'll have to name the 20th century band. [00:03:46] Speaker B: Let's check out bands. In other words, for 600. [00:03:48] Speaker A: Sure. Unused young goats for sale at an auction. [00:03:53] Speaker B: Emily, what is new kid lot? No, what is the new kids on the block? [00:04:00] Speaker C: That's it. [00:04:01] Speaker A: New kid lots for 800. Fine. Young cannibals. [00:04:04] Speaker C: Zero point 75 foot tax. [00:04:06] Speaker B: Jelana, what is Nine Inch Nails? Correct spans. In other words, for 1000 so point. [00:04:11] Speaker A: They didn't convert to metric. Interestingly, they said zero point 75ft tax and tax are not nails. I don't know where they come up with these. [00:04:22] Speaker B: Close enough, Blake? [00:04:23] Speaker A: It's close, but what are some other. [00:04:26] Speaker B: Ones you could come up with bands and other words. [00:04:31] Speaker A: How to annihilate cherubs. [00:04:42] Speaker D: Pill. [00:04:42] Speaker B: Place of worship drug church. Yeah, nice. [00:04:50] Speaker A: You're just looking around the room trash, garbage. Because you looked at my Shirley. [00:04:57] Speaker B: Just listing people, looking at stickers. I'm like, what are bands? [00:05:01] Speaker A: I don't know. I can't think of any bands right now. [00:05:03] Speaker B: Okay. [00:05:04] Speaker A: But I'm glad she got it right away. That was not the same lady, by the way, who said New Kid lot. [00:05:10] Speaker B: Yeah, no, it was a different person. [00:05:13] Speaker A: So that's it for Nine Inch News? That's all we have. Nothing else happened in the world of Nine Inch Nails? [00:05:19] Speaker B: No, not that we know. I mean, I'm sure there's a lot of shit going on, but we don't know of anything. [00:05:23] Speaker A: Trent is going to Knottsberry Farm and all that on a weekly basis. I think that's all that's been happening in the public sphere. So, Jess, do you want to get us into only. [00:05:36] Speaker B: All right, let's do this. So only the second single from with Teeth, released July 25, 2005, credited writing and performance to Trent. Production, Trent and Alan Mulder programming an additional production by Atticus Ross and mixed by AlaN Mulder. And as usual, it wouldn't be a Nine Inch Nails release without a ton of different formats for this halo. [00:06:00] Speaker A: Confusingly many. [00:06:03] Speaker B: So there's a CD digital version that has only the hand that feeds DFA remix and Love is not enough. Live from rehearsals, we've already heard the. [00:06:12] Speaker A: DFA remix on hand that feeds. [00:06:14] Speaker D: Yay. [00:06:14] Speaker B: We don't have to talk about it. Okay, then there's a Europe CD maxi version which has only the DFA remix of hand that feeds. Love is not enough. And then the only music video, there's a UK DVD single which has know I'm not going to go over all. [00:06:28] Speaker A: These who look it up on Ninwiki. DVD singles should have been a thing though. It contains the music video. [00:06:35] Speaker B: I believe the CD maxi that did. [00:06:38] Speaker A: Not take off on this continent or maybe any continent. [00:06:41] Speaker B: Maybe Europe. I don't know. [00:06:42] Speaker A: Maybe. [00:06:43] Speaker B: I feel like Europe got all the cool singles. Yeah, they did at least CD singles. [00:06:48] Speaker A: They're more into maxi singles there for some reason. [00:06:51] Speaker B: I don't know. There's also a UK nine inch limited edition. And then there is a US twelve inch vinyl. This is the one that we'll be pulling the most from. [00:06:59] Speaker A: This is the only one we own a physical copy of, right? Yeah, this is the one to own in my opinion. Definitely has the coolest remixes. [00:07:06] Speaker B: I agree. And probably the best remixes from this era. [00:07:11] Speaker A: Probably more exciting to listen to than DF. [00:07:14] Speaker B: Well, at least that we've come across so far. There are a couple of other remixes. [00:07:17] Speaker A: Yeah. [00:07:18] Speaker B: Discuss. [00:07:20] Speaker A: Some of this stuff is new to me. [00:07:23] Speaker B: Yeah. [00:07:23] Speaker A: That I only just heard for the first time. [00:07:27] Speaker B: There's several different promo versions, but they're basically just album and clean versions and radio edits of the track. [00:07:32] Speaker A: Love that radio edit. [00:07:34] Speaker B: Yeah, it did reach number one on the Billboard Modern Rock chart and it stayed on the chart for seven weeks. [00:07:40] Speaker A: I heard it on the radio a bunch after they were proof. [00:07:43] Speaker B: Proof that it was number one at some point. [00:07:45] Speaker A: The local alt rock or whatever station. After they were done playing the hand that feeds every hour on the hour they played only a bunch. Maybe not as much, but I heard it a bunch. [00:07:56] Speaker B: According to Ni and wiKi, this was the last song finished for with Teeth. Multi tracks were released for fan remixes. [00:08:04] Speaker A: Yes. Lucky for me, because I got to pull some great clips from that. [00:08:10] Speaker B: And then I'm going to read a quote from Karang. It's Trent talking about this song. This was in 2005 and I want to know if you hear. [00:08:22] Speaker A: Okay, I need to pull up the lyrics too. [00:08:24] Speaker B: Okay, but I need to know if you think this is an apt description for the song because it doesn't fit for me, but maybe I'm not listening to it correctly or something. So here's Reznor. He said it's about the business. When you get on this path of trying to sell records, it becomes about selling more records and playing bigger venues. It's like, I'm friends with Tom Morello, but audio Slave are releasing something on the same day as us and I must destroy him. It's like, wait a minute. The goal has to be about making the best music possible or else it becomes something that will make you implode. Although I'd rather have money than not because I know what not having it is like, and not being able to pay the gas bill sucks. I feel lucky that I can do this, but I constantly have to remind myself what the goal is. Should I say yes to that Microsoft commercial because I could use a new house? Or do I say no because this is something precious that would be tarnished if I did that. I find myself saying this to record labels and business manager guys, and they're like, you won't do what? Because of what? My feelings were hurt when I heard David Bowie's Heroes on a fucking Microsoft commercial. It's like, why fuck? Also, I want to confess something. That Microsoft commercial was the first time I ever heard heroes. I remember it clearly. [00:09:34] Speaker A: I don't remember the commercial, but whenever that was, it's not like I was familiar with Bowie's catalog other than a song or I was anyway. [00:09:45] Speaker B: That's probably funny, but my mom was not a big David Bowie. Like, I mean, she liked them, but she didn't know an album. Listen to them or anything. [00:09:50] Speaker A: You hate to see it. You hate to hear it. Hate to hear your faves sell out. [00:09:55] Speaker B: Well, that's when Bowie did some weird thing with his rights to his music. I can't remember what it was exactly, but it was anyway. [00:10:02] Speaker A: Okay, so he said it's about the music biz and his constant combative relationship toward the industry. And what do you say? What's your question for me? [00:10:15] Speaker B: Well, I think we should maybe listen to it and then we'll talk about it. But that description doesn't work for me. [00:10:22] Speaker A: You say that that doesn't fit the lyrics. [00:10:25] Speaker B: I don't think it does. I don't know what he's talking about. [00:10:28] Speaker A: We have to be real about. Maybe he's not always 100% honest in interviews. [00:10:38] Speaker B: Exactly. I think that, honestly, if you want my theory on this song, I think it was written for bleed through. It's got more of a solipsistic vibe. [00:10:50] Speaker A: Yeah, well, it's very obviously lonely, but, I mean, that describes, like 90% of nin songs. [00:10:56] Speaker B: I'm just talking about, like, if you think about it philosophically, I'm not going to go into Philosophy 101 or anything. [00:11:02] Speaker A: No, I need it. Go into it. [00:11:03] Speaker B: But he's. [00:11:03] Speaker A: I don't understand. [00:11:04] Speaker B: I just made you up anyway. Yeah, doesn't matter. I think it's part of that concept. And he just kind of was like, it's a bullshit something. When people ask me about it, I don't know, because who wants to get into, like, well, it was a song I wrote for a failed concept album, but I decided not to explore. So it's really about blah, blah, blah, blah, blah. [00:11:22] Speaker A: I think if he wants to say it's about something else, I guess you're allowed to change your own mind about your own song. [00:11:28] Speaker B: Oh, yeah, totally. [00:11:30] Speaker A: Looking at the lyrics, it could fit that. But, I mean, you can make anything fit anything, almost. It's vague. It's abstract. As he says, the lyrics are abstract and weird, and they could mean multiple things. So you could shoehorn some of it into that. Maybe not all of it, but, I mean, talking about feeling fading away, like I'm becoming less relevant. A theme that we see again and again. So that's maybe how he feels within the industry. Less concerned about fitting into your world. That is Mr. Music industry. I don't need your world. [00:12:19] Speaker B: I Think the lyrics, I guess, could fit anything that you. It fits with the midlife cris thing. I don't know if the music industry thing really works for me. I think it kind of. [00:12:28] Speaker A: Also, we've talked about the bleed through album, addiction album dichotomy. I could also super fit the addiction concept for me. I just made you up to hurt myself part. I don't know why. You were never really real. I don't know. I feel like it's the addict talking to himself or the person talking to the addict. Because sometimes addicts see the addict part as, like, someone else can be a useful way of looking at it to recover. I don't know what I'm talking about. [00:13:14] Speaker B: Anyway, why don't we take a listen to what enemy described as blood curdling electro pop and the most bizarre offering from with teeth. [00:13:23] Speaker A: Okay, is it the most bizarre offering? It's up there. I mean, it's a little weird. [00:13:28] Speaker B: It's kind of weird. [00:13:29] Speaker A: He's rapping again. [00:13:31] Speaker B: It's very down in it. [00:13:33] Speaker A: Not that down inity. [00:13:34] Speaker B: I mean, he references the song and the lyrics. [00:13:38] Speaker A: Okay, good point. Let's say talk. Singing that beat. No Dave Grohl here. I love that bass synth, too. Sawtooth vintage synth, pretty piano sequence beat. And now the dirtiest bass you've ever heard. Okay, all the with teeth elements are here. [00:14:17] Speaker B: Except for grilled drumming. That's not. [00:14:19] Speaker A: Yeah. Long drones, foreboding. [00:14:24] Speaker C: I'm becoming less defined as days go by. [00:14:28] Speaker D: Fading away. [00:14:30] Speaker A: A lot of. It's kind of a half sing, half talk. I was joking when I said rapping. It doesn't sound like rapping to me. [00:14:37] Speaker D: What do you think? [00:14:38] Speaker B: It's rapping in the same way down in. It's rapping, in my opinion. [00:14:42] Speaker A: Down in it is almost more rappy than this. It's just kind of meandering. But then the chorus, he really kind of falls in line with the more. [00:14:54] Speaker D: Melodic type thing about fitting into the world, your world. That is how it doesn't really matter. [00:15:07] Speaker A: Who'S my favorite little synth when it comes in both of our favorites. It has to be that milk saw toothpaste. Have to be mogue. [00:15:19] Speaker D: Then again, I was as far back as I can tell. [00:15:23] Speaker A: I think maybe I like that cool guitar. Ultra distorted guitar there. I like the way the vocals go all over the place. Like left to right. Change up a lot. The effects change a lot. [00:15:43] Speaker D: Just meet you. [00:15:48] Speaker A: Just meet you also, super long verse one in the works. [00:15:54] Speaker D: If it did. There is no you there is only. [00:15:59] Speaker A: Me that's drummy guitar. [00:16:01] Speaker D: No you there is only me there is a fucking yellow there is only. [00:16:08] Speaker A: Me that is a really great synth based part, though. Very catchy. [00:16:13] Speaker B: That's good grooves. [00:16:33] Speaker A: Can't be a with peace song without that. [00:16:35] Speaker D: Have this funny feeling like I just knew it's something bad. I couldn't even. [00:16:47] Speaker A: That was the down reference, by the way. The little dot. [00:16:53] Speaker D: Now I'm somewhere I'm not supposed to be and I could be things I know I really thought. [00:17:00] Speaker A: I have cool backup vocals like that. [00:17:04] Speaker D: Now I know why things are as pretty only inside. [00:17:12] Speaker A: Shorter verse, too. [00:17:13] Speaker D: There is now. [00:17:19] Speaker A: Guitar changes on chorus, too, which I really like. It kind of goes crazy here. Squealing. [00:17:26] Speaker D: There is a fucking. There is only. [00:17:43] Speaker A: Bass melody, which is cool. Then it goes out on just this long drum and bass and drone. And it fades, which. You don't hear a lot of fade outs on nine Inch Nell's tracks, do you? [00:18:10] Speaker B: No, not really. [00:18:11] Speaker A: It's not a total fade because it's more like a transition into the next. [00:18:16] Speaker B: Oh, and this song also has additional lyrics. [00:18:19] Speaker A: All right. [00:18:20] Speaker B: I guess you'll talk about when we talk about the multi tracks because it was featured in one of the multi tracks. [00:18:24] Speaker A: I read that. [00:18:24] Speaker D: Did you find? [00:18:25] Speaker A: I didn't know. [00:18:26] Speaker B: Okay. [00:18:26] Speaker A: I searched through them. If someone knows. Well, what are the lyrics? [00:18:30] Speaker B: Is this really all there is? [00:18:32] Speaker A: Yeah. [00:18:32] Speaker B: Repeated two times. Yeah. [00:18:35] Speaker A: They weren't in the multi track files that I had. [00:18:37] Speaker B: Okay. [00:18:38] Speaker A: I was hoping they would be. Yeah, because I wanted to hear that. But I know that they released a bunch of versions of the multi tracks for different file formats for whatever reason. But tell me if you've got them and I'll do a remix. [00:18:56] Speaker B: Nice. [00:18:57] Speaker D: Maybe. Okay. [00:18:58] Speaker A: Do you want to go back to the lyric discussion real quick. [00:19:01] Speaker B: Sure. I don't know if that's going to. [00:19:05] Speaker A: Get picked up by the mic. It probably will be. Just no more talk of lyrics. Maybe we already discussed everything we can discuss. Did you have anything else to say on them? Because you don't buy that it's about the music industry. [00:19:21] Speaker B: I guess it could. [00:19:22] Speaker A: It could be some parts work. [00:19:24] Speaker D: Yeah. [00:19:24] Speaker B: There is no you. There is only me. It kind of fits into that whole. Towards the latter half of the album, when things become more like bleed through. To me, it works with that better. With the idea of making up worlds and dreaming up worlds. Isn't the whole idea of solipsism. Isn't it? [00:19:44] Speaker A: Oh. To no one else is real. [00:19:46] Speaker B: No one else is real. That you've created this world in your head. Right. [00:19:51] Speaker A: That everyone else is, like, your projection, maybe. And that you are the only real one. [00:19:56] Speaker B: Yeah. That you've just made the whole world up around you. [00:19:59] Speaker A: Yeah. And I think certain states of psychosis make people really think this. To me, that doesn't fit with bleed through so much. That's a whole different thing. [00:20:08] Speaker B: I mean, people talk about the idea of right where it belongs as being solipsistic, but also fitting with bleed through, and I think it's kind of like that. [00:20:18] Speaker A: Okay. [00:20:19] Speaker B: I'm not necessarily saying it is, totally. [00:20:22] Speaker A: Well, I see how it goes hand in hand with right where it belongs, for sure, and climbing through doorways into some weird place you're not supposed to be. I could see that. Obviously the multiversal concept, but also maybe. Also maybe the industry thing. Like, I'm on the other side of the industry now. Guess what? Things aren't as pretty on this side of the industry. It's maybe a more shallow reading of it, but if you want to take it that way, sure. I was expressing myself pretty stupidly when I first tried to talk about that. There's no fucking you. There's only me. But if there's something in you, like your addiction or your awful anxiety or depression. I don't know anything about any of those three things, but I have a friend who does, and people can't hear you holding in a laugh, but she's about to break. And I don't know if it's helpful or more self destructive to say, that's not me. That piece, that bad part. There is no the addicted person, the depressed person, the mentally ill person. There's no that person. It's just me. This doesn't make any fucking sense, dude. [00:21:58] Speaker B: This song has always kind of puzzled me. As far as lyrical content, I'm not going to lie. I used to actually not really like this song much. I always liked the beat and I always beat slaps. It does slap and I always liked the bass. And I love when our little synth comes in. There are things about this song that I loved. But the lyrics I've always found very perplexing. And they can be interpreted in a ton of ways. But the chorus always annoyed the shit out of me. [00:22:22] Speaker A: Really? Why? [00:22:23] Speaker B: I don't know. There is no you, there's only me. There is no you, there's only you. [00:22:27] Speaker A: Don't forget the fucking. [00:22:28] Speaker B: There is no fucking you. There is only me only. I don't know. It's kind of lazy compared to the rest of the lyrics in the song. Because there's a lot. I don't know. [00:22:42] Speaker A: You could see it as repetitive and lazy. But I do recall one listening when I was going through particularly bad anxiety and stuff related to that. And I found it possibly even comforting and helpful. For some reason, I was just in the right headspace to hear it. I don't know. Sometimes you're. [00:23:01] Speaker B: It grew on me, though. I like it. [00:23:03] Speaker A: Yeah. [00:23:04] Speaker B: That's all I'm going to say. But the first kind of couple of listens with teeth. I was just kind of like. I don't know about this one. [00:23:12] Speaker A: The lyrics are vague and mysterious and perplexing. But I don't necessarily see that as a bad thing. [00:23:21] Speaker B: It's always annoying because I want to sing. Whenever he says, hold on. It's not a misheard lyric. It's a lyric that I always want to sing wrong. Because I can clearly hear what he's saying. I'm losing focus. Kind of drifting into the abstract. I always want to say. Kind of drifting into the atmosphere. Always. Obviously it doesn't work with the next line. But for some reason, if I'm singing along, I always want to say drifting into the atmosphere. And that doesn't work. Obviously that's not right. Even though I know it's abstract and I've heard it 5 million times. I feel like I always want to say atmosphere there instead of abstract. And I don't know why. So dumb. [00:23:59] Speaker A: I never thought that. I did have misheard lyrics in this song. [00:24:03] Speaker B: I think, like I said, that was not a misheard lyric. I know what he's saying. I just want to substitute it with a different word. [00:24:10] Speaker A: Every time I think I heard. I was a doorway trying to seal itself shut for some reason. But in fact, it was the scab. Like it was a doorway trying to seal itself shut. We should mention the tiniest little dot caught my eye. And the part where the tambourine comes in, direct reference to down in it, obviously. What do you make of that 15 years later? [00:24:40] Speaker B: I mean, this is the album that people compare a lot to pretty hate Machine in a lot of ways. [00:24:44] Speaker A: Yeah. [00:24:45] Speaker B: The fact that he demoed it like he did pretty hate machine, he kind of sort of says it's a concept album kind of. Not kind of vibe, but, yeah. Well, pretty hate Machine didn't have that, but technically it's not a concept album, so it's kind of like pretty hate Machine in that way. [00:25:04] Speaker A: Yeah. More just like single songs. And this is definitely a single also. [00:25:11] Speaker B: I like when artists call back previous. It's like. It's like a special little thing between you and the artist. [00:25:18] Speaker A: Yeah. Like fan service almost. And he calls back a lot and reuses lyrics. And this is just a more obvious callback, almost like a nostalgic callback because it's been so long. So just looking back at his career. [00:25:36] Speaker B: Which fits with his music industry things, so it's using that song as it was his first single. It was his entrance into, I guess, the world of, I guess, into the music industry. And it was his. I mean, it wasn't like a super. [00:25:54] Speaker A: Huge hit, but it was an entryway. [00:25:57] Speaker B: An entryway for sure. [00:25:58] Speaker A: In this song, the dot stay with me now that is the scab becomes the entryway. It becomes the doorway into whatever the other side is. And down in it, he says, the tiny little dot. He watched it way too long. It was pulling him down. So it is something bad, as he says. But I guess it took us this long to find out what it is. Turns out it was a doorway. No, it was a scab. [00:26:30] Speaker B: It was a scab gretz. Gross image that became a doorway. [00:26:33] Speaker A: That is gross, because he kept picking at it. Oh, yeah, picking at scabs. That's a very nine Inch Nails lyric right there. Okay. [00:26:42] Speaker B: That one little part, I think, is, you could say, that's obviously totally about. I don't know. Anyway, whatever. I guess sometimes talking things out helps me a little bit if I'm having a hard time interpreting them myself. And I can see a little bit of this being about the music industry if you interpret it that way. But, yeah, I don't know. [00:27:06] Speaker A: Interpret it how you will. I think that's what he wants. He obviously doesn't want to give straight answers on everything, and he doesn't want to spoon feed you anything. So should I just do my clips now. Yes, I got a lot. Because as we said, there are multi tracks from the old remix nin.com, but that's defunct. So now they're all on Nindestruct thanks to that website. Now and forever. Okay, so those drums had to make a loop of it. This is them in the verse. They actually change up a little bit in the chorus. You have a crash and open hats. Kind of wondering these might have been like these samples made in the studio. Like not pulled from anything. Not a drum machine, but I don't know, sample Jerome Dillon hitting some or even Trent or whoever. An intern. [00:28:22] Speaker B: I'm going to credit it to Trent because he says writing a performance by so. [00:28:27] Speaker A: But I mean, it wouldn't be the first time Jerome was denied credit. Sorry. That kick ass snare fill, I love that. That goes somehow. I know Dave Grohl does these incredible fills, but somehow that goes just as hard in the context of the song. Okay, here's the dirtiest tambourine. You ready? It's filthy. [00:29:01] Speaker B: Okay. That's some dirty tambo. [00:29:07] Speaker A: Yeah, it's highly manipulated. Also an interesting trick. I put it in mono and it sounded like a clean tambourine. So I'll do that in post. That was interesting. The bass and then the bass and a guitar following. [00:29:48] Speaker D: It's. [00:29:57] Speaker A: I really like that. This is what I call the choppy guitar. It almost sounds like some guitar feedback or noise. MayBe put through a gate. Some kind of sequencing like gating it. And then there's the super distorted guitar drones. I bet that's Ebo put through. [00:30:28] Speaker B: Extreme Ebo. [00:30:29] Speaker A: He loves ebony guitar guitars in this song. The really strummy, jangly, less distorted guitar on the first chorus. He's a good strummer. The guitar in the post chorus. [00:31:40] Speaker D: It. [00:31:40] Speaker A: Sounds like it's through a delay pedal. Some slap back. Maybe the guitars in the second chorus which change up to that really wild party he's shredding. Sat is like the most slash trent ever got on the guitar. Another crunchy guitar melody. Bendy guitar. I think that's all the guitars. There's so many. [00:33:01] Speaker B: There are a lot of guitars. [00:33:03] Speaker A: Okay. This track and the multi tracks was labeled Bosendorfer, which is a piano manufacturer, which tells me that this is played on an acoustic piano and not a sample or a virtual instrument, which is cool. I mean, it sounds very nice and real. I love isolating that. And you hear all the atmosphere and reverb. [00:33:45] Speaker B: It's really cool. [00:33:46] Speaker A: Does that part remind you of anything? Of any other parts? [00:33:49] Speaker B: Play it again, please. [00:33:57] Speaker A: Okay. I made a loop out of it. See if this reminds you of something. [00:34:01] Speaker B: Okay. [00:34:08] Speaker D: It. [00:34:09] Speaker A: And then I added a harmony to it. Okay. It's in a different key. And yes, on one note, there is a half step difference for you nerds who are noticing, but I can't ever get that out of my head. It's a similar little movement. I've incorporated it into the intro music of nailed for most iterations of that since the beginning. Since we first, like, go back to the first nailed ever, you'll hear a little shade of that. I promise. It's there. Okay. The piano on the second chorus. I want to say this does something really awesome that I just think sounds really cool. That I never noticed before hearing these. [00:35:02] Speaker B: Okay. I've never noticed that either. [00:35:20] Speaker A: It's almost like a whole nother. That could be a whole different song. Like a really different type thing. And that kind of follows this guitar that comes before. Right before that. That sounds like this. That one. Okay. Some noises. Now we're dealing with some drum sequences here. [00:35:54] Speaker B: It kind of reminds me of early Atari games or something. [00:35:59] Speaker A: Yeah, it's very vintage, as corny as that word is. And then that noise loop goes a little harder. This reminds me of something out of pretty hate machine. You can barely hear it in the song. It almost sounds like scratching. Okay, the drones. The foreboding, dark, gloomy drones. I don't know what. I think it's a synth. I don't know what it is, but it's got a cool delay on it. There are a few things with labels that weren't clear to me. This one was called Pe Horny. [00:37:06] Speaker B: Okay. [00:37:16] Speaker A: It's a reversed sample. I'm going to reverse it in post. And I'm pretty sure it's a guitar. It's a couple guitar plucks reversed. I don't know what PE stands for. Maybe a guitar person will know. And then this next one is called PE String. All that crackle sounds like old Sci-Fi or something. Vinyl crackle. Plus this sounds like a siren. [00:38:00] Speaker B: Yeah. [00:38:03] Speaker A: Okay. That kick ass sawtooth bass, that's a fat mog right there. [00:38:16] Speaker D: Oof. [00:38:18] Speaker B: Injected in my veins. [00:38:20] Speaker A: Our favorite scent. [00:38:24] Speaker B: I love that little guy. [00:38:33] Speaker A: Something I called the chili synth. Reminds me of cold weather. I don't know. Sounds chilly. [00:38:43] Speaker B: It does sound chilly. It sounds like the weather we've been having around here lately. Cold, overcast. [00:38:50] Speaker A: It's disgusting. Here at the end, the bass and synth do a cool thing. Oh, yeah. There's a synth part that doubles the bendy guitar part. That's pretty cool. Didn't notice that before. Okay, I have a lot of vocals. Are you ready? [00:39:20] Speaker B: I am ready. [00:39:22] Speaker C: I'm becoming less defined as days go by fading away well, you might say I'm losing focus kind of drifting into the abstract in terms of how I see myself. Sometimes I think I can see right through myself sometimes I can see right through myself less concerned about fitting into the world. Your world, that is. Cause it doesn't really matter anymore he's so breathy. [00:40:02] Speaker A: Not afraid to breathe heavy right in that mic. [00:40:04] Speaker B: He's never been afraid to breathe heavy. [00:40:06] Speaker A: Heavy breathing. [00:40:07] Speaker B: Yeah. [00:40:08] Speaker A: Some backup vocals. Background vocals. [00:40:12] Speaker C: Sometimes I think I can see right through Myself sometimes I think I can. [00:40:18] Speaker A: See right through myself love the false edit. It cuts off. [00:40:23] Speaker C: No, it doesn't really matter anymore doesn't really matter anymore none of this really matters anymore. [00:40:33] Speaker A: Like, the effects get so weird toward the end, and then because it has this really long. I like that the structure is different on this song because the first verse is so extended, it takes so long to get to the chorus. The second part of the first verse. [00:40:50] Speaker C: Yes, I am alone but then again, I always was as far back as I can tell. I think maybe it's because you were never really real to begin with. I just made you up to hurt myself I just made you up to hurt myself I just made you up to hurt myself I just made you up to hurt myself I just made you up to hurt myself and it worked. Yes, it did. [00:41:30] Speaker A: I like where he goes. Yeah. I just made you that part to hurt myself backup singers. [00:41:39] Speaker C: To hurt myself I just made you up to hurt myself I just made you up to hurt myself there's like. [00:41:51] Speaker A: Three distinct flavors of Trent right there. A kind of mumbly one, a whispering one, and a falsetto. [00:41:57] Speaker B: One's gotta be my favorite genders. [00:42:07] Speaker A: The three genders, folks. All right, finally. Chorus. [00:42:11] Speaker C: There is no you There is only me There is no you There is only me There is no fucking you There is only me There is no fucking you There is only me he's. [00:42:28] Speaker A: Screaming his lungs out. [00:42:31] Speaker D: Only. [00:42:37] Speaker A: I like the. Just go for it. We're not going to auto tune these. Doesn't matter if you hit the note perfectly or not. Just scream it as loud as you can. Sort of approach to that one. He delivers a second chorus a little differently, but here's the second verse. [00:42:55] Speaker C: Well, the tiniest little dot caught my eye and it turned out to be a stab. [00:43:00] Speaker B: That's when you hear some tambourine here. [00:43:02] Speaker C: Feeling like I just knew it something bad I just couldn't leave alone I keep picking at that scab like it was a doorway trying to seal itself shut. Yeah, but I climbed through now I am somewhere I am not supposed to be and I can see things I know I really shouldn't say and now I know why now I know why things aren't as pretty on the inside. [00:43:36] Speaker A: Then the backups on that final part there. [00:43:40] Speaker D: Now I am somewhere I am not supposed to be and I can see things I know I really shouldn't say. [00:43:48] Speaker A: These almost sound like broken vocals. [00:43:50] Speaker B: Yeah. You think he's screaming in a pillow? [00:43:52] Speaker A: No, I don't. [00:43:53] Speaker B: No, I was being said. [00:43:55] Speaker A: I know I had the pillow thought as we were listening. I think it's low, passed and very affected. The pillow is a distinct thing. [00:44:02] Speaker B: Yeah, it's very muffled. [00:44:03] Speaker A: Yeah. I am a pillow believer. The more I think about it, I'm. [00:44:08] Speaker B: Totally a pillow truthr with that. [00:44:10] Speaker A: I'm a pillow truth. Yeah, we probably already talked about it. But a pillow is different than a low pass filter because a pillow on your face will affect how you pronounce words because your lips are up against a pillow. They're two distinct things. [00:44:25] Speaker B: You should have a comparison. [00:44:27] Speaker A: I feel like we litigated this to death when we did it, but I want to remind people I'm pillow all the way. Someone needs to ask him that. Maybe it wasn't a pillow. Maybe it was like an old filthy blanket or something. Maybe it was a fur coat. [00:44:48] Speaker B: I don't know. [00:44:50] Speaker D: I am somewhere I am not supposed. [00:44:53] Speaker B: To be and I can see things. [00:44:56] Speaker C: I know I really shouldn't say. [00:44:58] Speaker A: Yeah, broken coated. [00:45:00] Speaker B: Damn. [00:45:01] Speaker A: Okay, the yelling in chorus two. See if you notice any differences. [00:45:07] Speaker C: There is no yo there is only May. There is no yo there is only May. There is no fucking yo. There is only May. There is no fucking yo. There is only May. [00:45:38] Speaker D: Only. [00:45:42] Speaker A: I think he screams it harder, maybe slightly more distorted just because he's like blowing out the preamp or whatever. More like on the money with pitch on that second chorus. And I think Melodyne helped that in maybe a few syllables. Could be wrong. That's just my theory where they didn't use it in chorus one. Anyway, that's all I have. 34 clips. [00:46:12] Speaker B: Damn, I went hard on this one. [00:46:15] Speaker D: Yeah. [00:46:15] Speaker B: What's the highest number of clips that you had on one song, do you know? [00:46:19] Speaker A: I don't remember, but I had a lot for the hand that feeds. Maybe close to that amount. Yeah, because it has multi tracks too. [00:46:27] Speaker B: True. [00:46:28] Speaker A: I don't have clips for all these remixes, thank God I do have limits. [00:46:34] Speaker B: I think this song is just kind of a. Maybe it is a bizarre offering. I don't know. I think it's a mishmash of all the things we've talked about. [00:46:43] Speaker A: Got a lot of the Nine Inch Nails elements. [00:46:46] Speaker B: I just meant, like, lyrically too. Yeah, conceptually, lyrically, et cetera. [00:46:52] Speaker A: You're going to tell us about the live version of this? [00:46:55] Speaker B: Yeah. So according to Ni and Wiki, it didn't make its live debut until the Fall arena tour. The With Teeth Fall Arena Tour? [00:47:05] Speaker A: Yeah, like on the first leg, it wasn't in there. [00:47:07] Speaker B: That's kind of interesting to me because this was released in June. Well, sorry, released in July. [00:47:16] Speaker A: He said it was the last one recorded. So it's the song you're least familiar with, maybe. The song you're least comfortable going live with, maybe. So it took a little more rehearsal. That's what I'm thinking. [00:47:28] Speaker B: That's what you think makes sense. It's just one of the more catchier and more radio friendly singles or songs on the album, I think so just kind of surprising that it wasn't played at the earlier shows. [00:47:40] Speaker A: But it's also weird for a radio single because of well, down in it. [00:47:46] Speaker B: Was a weird radio single. [00:47:48] Speaker A: One, the weird sing talking, and two, it has a chorus that is completely. [00:47:55] Speaker B: Ruined by censoring, like, another famous song. [00:48:01] Speaker A: It's just a giant gaping hole in the lyrics. Once you clip out the fucking. They didn't even try to put something creative in there. And he's not going to do there is no sucking you. We're not doing a star suckers. Actually, that would make the song sound way more filthy. [00:48:19] Speaker B: There is no ducking you. That's how your iPhone would correct it. [00:48:23] Speaker A: Not anymore, though. [00:48:25] Speaker B: Yeah. So after it made its debut, it became a set list staple. It appeared at most of the shows during the Performance 2007 tour, and almost every performance on the Lights in the Sky Tour was not performed on the Wave Goodbye Tour, and it has appeared sporadically since 2013. Also, according to Ni and Wiki, it was played with live drums until 2014 and then Alon switched to bass while the band played to a backing track. [00:48:53] Speaker A: Yeah, that's inTeresting. It's just like these drums are so simple. Do we really need a live human doing it? [00:49:01] Speaker B: Do we really need Alon doing it? [00:49:03] Speaker A: He's bored. He got bored. [00:49:05] Speaker B: He's like, can I play bass or something? [00:49:07] Speaker A: He likes to switch around. [00:49:09] Speaker B: Yeah. [00:49:11] Speaker A: Is that it for live? [00:49:12] Speaker B: That's all I have for live. Really? [00:49:15] Speaker A: Do you want to take a quick break and then talk about the remixes? [00:49:18] Speaker B: Yeah, let's do that. We'll come back and talk about Richard X and LP and the rehearsal performance. [00:49:24] Speaker A: All right, be right back. [00:49:47] Speaker B: Kind of most casual episodes we've done, maybe just for me. [00:49:52] Speaker A: Why? [00:49:52] Speaker B: I don't know. Because I like to feel put together whenever I record. I feel like it helps me get out of my space cadet mode. If I am wearing normal clothes and have makeup on, dress for the job you want. So I guess a podcaster should always dress up and wear their makeup and fix their hair. I feel like I feel more pulled together if I look more pulled together, if that makes sense. [00:50:19] Speaker A: That's you, though. I always podcast in pajamas. [00:50:22] Speaker B: This is true. I'm wearing just, like, Phoebe Bridger's sweatpants and a hoodie. No makeup. [00:50:29] Speaker A: Hey, I'm wearing Phoebe Bridgers. [00:50:31] Speaker B: Holy shit. [00:50:32] Speaker A: Together we make a whole Phoebe Bridger suit. No, I'd always dress like this if possible. [00:50:39] Speaker B: I've got the seasonal sads. I think it's just, uhoh. [00:50:42] Speaker A: Yeah, well, Nine Inch Nails is the cure for that cheery music. [00:50:50] Speaker B: Very cheery. Okay, I guess we should talk about these remixes. [00:50:55] Speaker A: Yes. [00:50:56] Speaker B: So first up, let's talk about Richard X. Do you know who Richard. [00:51:00] Speaker A: Richard X? Yes, the Apex Twin guy. I know him well. With that scary face. Is that right? [00:51:10] Speaker B: No, sorry. It's not the same person. [00:51:12] Speaker A: Dang it. [00:51:13] Speaker B: Yeah, sorry. Richard X real name is Richard Phillips. So totally not the same person. [00:51:19] Speaker A: If my last name was Phillips, yeah, I'd be going by X too. There's nothing wrong with Phillips. It just makes you sound way more cool to be X. Oh, yeah. [00:51:31] Speaker B: Anything. Jessica X sounds way cooler than. Right. Who is she exactly? Isn't there a famous painting called, like, madame X? Hold on. [00:51:40] Speaker A: There's lots of X. [00:51:41] Speaker B: Hold on. [00:51:41] Speaker A: There's Lil Nas X. [00:51:43] Speaker B: It's true. [00:51:44] Speaker A: Malcolm X. [00:51:50] Speaker B: There is. And she's a babe. [00:51:52] Speaker A: Who? Let me see. [00:51:53] Speaker B: Okay, hold on. [00:51:54] Speaker A: Who is it? Madame X. Yeah, who is she? [00:51:57] Speaker B: Look at her. [00:51:58] Speaker A: Oh, it's a. Yeah, okay. [00:52:00] Speaker B: Yeah. [00:52:01] Speaker A: Okay, so what do we know Richard X from? Anything notable? [00:52:06] Speaker B: Sure. So British producer and songwriter, he became famous for these bootleg mashups that he. [00:52:13] Speaker A: Would make couldn't be me. [00:52:17] Speaker B: So under a pseudonym, girls on top, he released. Yeah, he released several vinyl only singles. For example, one was called I Want to dance with numbers, and it was a mashup of Whitney Houston's I Want to dance with somebody who loves me and craftworks numbers. [00:52:34] Speaker A: Ooh, I need to hear that. [00:52:36] Speaker B: Yeah, I listened to it. It's kind of cool. [00:52:37] Speaker A: Is it on YouTube? [00:52:38] Speaker B: Yeah. Anyway, according to Wikipedia, it kind of created the basic template of vocals from a female pop singer mixed with, like, a noteworthy song. Blake, you've done a mashup of a Dua Lipa with a nine inch Nail. [00:52:55] Speaker A: Yeah, dua Lipa and the hand that feeds. You can look it up on the nail YouTube channel, which is blowing up faster than ever these days. [00:53:05] Speaker B: Was it called don't start the Hand? [00:53:07] Speaker A: Yeah, don't start the hand that feeds. Now, I think, is what I called. I want to do more pop mashups. Anyway, it's funny that this is called Girls on Top. And then there was that mashup artist called Girl Talk. [00:53:18] Speaker B: That's true. [00:53:19] Speaker A: What's up with that? This is an Audi's thing, too. [00:53:23] Speaker B: Like, very early audies, I think. [00:53:26] Speaker A: Okay. [00:53:33] Speaker D: I want to be lucky with somebody. With somebody who love me. [00:53:44] Speaker A: Okay. I've heard better mashups in my time. [00:53:46] Speaker B: I mean, it's not my favorite thing in the world, but anyway, he also did a mashup of Adina Howard's freak like me with Gary Newman's our friends electric called We don't give a damn about our friends. And that got Island Records attention, and they requested there's a girl group called Sugar Babes around this time. Sugar Babes? Like Sugar booze, sugar Babes. [00:54:08] Speaker A: Was this a British thing? I vaguely remember that name. [00:54:11] Speaker B: So they had a song. They kept the song titled Freak like me. So Sugar babes freak like me. But you can hear. It's very weird. You got to play it. I think it's weird. And iT's weird that it was a number one hit, I think, in the UK. [00:54:25] Speaker A: What's it called? Freak like me. [00:54:26] Speaker B: It's called Freak Like Me by Sugar babes. [00:54:29] Speaker A: And this is Richard X. [00:54:30] Speaker B: Yes. He produced it, I think. [00:54:32] Speaker A: Is this not. Don't you wish your girlfriend was a freak like me? No, that's Pussycat Dolls. [00:54:37] Speaker B: That's Pussycat Dolls? [00:54:38] Speaker D: Yeah. [00:54:43] Speaker A: Oh, I hear that. Gary Nil. [00:54:45] Speaker B: Yeah. Just like he'll recognize it. [00:54:52] Speaker D: I got a little freaking mess inside and you know that I met. Can I deal with it? I don't care what they say I'm not about to pay nobody's way. Cause it's all about the dark in me wanna be in the morning. [00:55:23] Speaker A: That'S pretty cool. [00:55:24] Speaker B: Is just kind of weird hearing our friends electric part behind this girl group singing. [00:55:31] Speaker A: Anyway, not since where's your head at? Have I heard such wild, off the wall use of Gary Newman. [00:55:41] Speaker B: He also did a mashup with Liberty X to create Something called Be Nobody, which was a mashup of Chaka Khan's Ain't Nobody and the Human Leagues being boiled. [00:55:49] Speaker A: Richard X and Liberty X. Liberty X. A match made in Heaven. [00:55:55] Speaker B: I know, right? [00:55:56] Speaker A: That song. That Shaka Khan song, ain't nobody. I love that song. [00:56:00] Speaker B: Yeah, that song fucks. [00:56:01] Speaker A: That song's great. [00:56:02] Speaker B: Yeah. He also co wrote me plus one for Annie and produced Chewing Gum on Annie's album, Animal. [00:56:10] Speaker A: I loved that album so much. [00:56:12] Speaker B: I never have gotten into Annie. It's not that I don't like. [00:56:15] Speaker A: Can I play, like, a little bit of me plus one? He did that one. [00:56:18] Speaker B: He co wrote it. [00:56:20] Speaker A: He's very into this bubblegum stuff in this era. [00:56:23] Speaker D: I'm. [00:56:23] Speaker A: I'm guessing I fucked with Annie. Dude. [00:56:39] Speaker D: If video make you fancy, there's. [00:56:47] Speaker B: A lot of shit going on there. I kind of want to peel that song apart. [00:56:50] Speaker A: I need the stems. [00:56:53] Speaker B: He also worked with MIa on her first album, he Crow, and produced Amazon $10 in Ombre under another pseudonym. That pseudonym was Dwayne Willie Wilson II. [00:57:05] Speaker A: Dwayne Willie Wilson. [00:57:06] Speaker B: So that's really Richard X? Yes. And I want to go on a little side note. In the years 2004 and 2005, Richard X got to remix, like, three of my favorite musicians of all time. He did a remix, an extended remix of Depeche Mode's enjoy the Silence. [00:57:22] Speaker A: I listened to that today. [00:57:23] Speaker B: Did you like it? [00:57:24] Speaker A: Decent, yeah. [00:57:26] Speaker B: He also remixed bizarre Love Triangle for New Order. It appeared on the waiting for the Sirens call single. And then guess what else he remixed only. Only nine Inch Nails. Like, three of my favorite bands in the span of, like, two years. He got to. [00:57:42] Speaker A: He's clearly is into that certain genre. He's into Gary Newman, Depeche Mode, New Order. It only stands to reason he'd eventually get to Nine Inch Nails. [00:57:55] Speaker B: Let's listen to the. Do you want to listen to the first remix? [00:57:59] Speaker A: Yes. [00:57:59] Speaker B: All right. [00:58:00] Speaker A: What's this one called? [00:58:02] Speaker B: Just only remix. [00:58:04] Speaker A: Only Richard X Remix. [00:58:05] Speaker B: Yeah. [00:58:06] Speaker A: And this is not on the regular Halo version, we should point out. [00:58:13] Speaker B: It's on the twelve inch vinyl, the. [00:58:15] Speaker A: American version, since there are ten different iterations of only. Love these bells. [00:58:23] Speaker B: I love them. Okay. I'm so glad you like them. [00:58:25] Speaker A: They get me excited. I'm just saying, if I'm in the. [00:58:29] Speaker B: Club and you hear them bells, well. [00:58:33] Speaker A: Yeah, you get high fee. But if I'm given a choice between this one's really long, there's also the really long DFA stuff. That's a different song. So it's not a fair comparison for the hand that feeds. I'm getting down way harder to this than BFA. I'm choosing this every time. [00:58:57] Speaker B: Yeah, I think these Richard X remixes go hard. [00:59:01] Speaker A: I mean, it's pretty straightforward, but it's pure club banger material. Cool synth, bass. It is kind of reminiscent of pretty hate Machine era remixes when there'd be a long club twelve inch mix, you know, it's just super danceable. [00:59:31] Speaker B: And none of them were compiled on, like, a remix album. They were just on singles. [00:59:35] Speaker D: I'm becoming less defined as days go. [00:59:37] Speaker A: I think this one's a little bit sped up, maybe. [00:59:43] Speaker D: Focus, kind of drifting into the abstract. In terms of how I see myself less concerned about fitting into the World War, that is because it doesn't really matter. [01:00:04] Speaker A: It's all about that change up to the chorus. They go into it early. [01:00:09] Speaker B: They do go into it early. And he left out the. I think I can see right through myself. [01:00:19] Speaker A: Yeah, he left out like a whole half, but he brings it back in later. [01:00:24] Speaker D: It only turns out to be a sCab. And I have this funny feeling, like, I just knew it. Something bad. Now I am somewhere I am not supposed to be. [01:00:55] Speaker A: Also, there's a. There's a long dub mix of this same one. I don't know that we have to play it because it's the same type of thing. Because it's dub. He messes with the vocals and chops them up and puts them through different effects, but it's mostly the same type of thing. There's also the one called Richard X Edit. [01:01:27] Speaker B: And that's edited. Like, literally, the lyrics are edited. [01:01:30] Speaker A: The fucking is taken out. Kind of like what you'd hear on the radio. And it's cut down to three minutes. [01:01:36] Speaker B: And change, which was like, was it. [01:01:38] Speaker A: Going to be as if they're wanting it to be on the radio? That's not the one I heard on the radio, but maybe in some markets, maybe. [01:01:45] Speaker B: I don't know, maybe in the UK. [01:01:48] Speaker A: Oh, maybe. But, oh, man, we're only halfway through. [01:02:00] Speaker B: We were on the dance floor dancing this. You would be so tired. And I would be like, still going. And then afterwards I'd be like, I'm really fucking tired. [01:02:07] Speaker A: Okay, so you get the idea, right? [01:02:11] Speaker B: Wow. Blake is like, I want to be done with this shit. [01:02:13] Speaker A: It's mostly just that it goes hard for seven and a half minutes. [01:02:18] Speaker B: All right. Is that all we're going to say about Richard X and all the mixes? [01:02:21] Speaker A: I mean, what? No. [01:02:22] Speaker B: Okay. [01:02:23] Speaker A: I don't think we need to play the whole dub either. Just, if you're interested, look it up on YouTube. [01:02:30] Speaker B: Wow. I feel like we're phoning this episode. [01:02:31] Speaker A: No, we're not. I did 34 fucking clips, dude. It's a fun dance mix. I don't know what else to say. [01:02:42] Speaker B: Yeah, it kind of reminds me of a pretty hate machine. Everyone were like, yeah, it's another dance mix. It's good. [01:02:48] Speaker A: Yeah, this is a bit more exciting than those, I do think. [01:02:54] Speaker B: Okay, so we're going to move on to LP. [01:02:56] Speaker A: Yes, the LP version. [01:02:58] Speaker B: And I apologize that we don't have a version of the edit to listen. [01:03:03] Speaker A: To, but as I said, it's not that exciting. It's just shortened and the fucks are taken out. [01:03:11] Speaker B: Okay, so LP Blake, who's LP? If you don't know who LP. [01:03:15] Speaker A: One of the best rappers alive. [01:03:18] Speaker B: I feel sad for you. I agree. [01:03:20] Speaker A: Half of Run the jewels, best rap duo out. [01:03:25] Speaker B: Definitely. So he started very young in the hip hop world. He started as a member of Company Flow with Mr. Lyn. I think he was 17 when they met and eventually started his own record label, Definitive Juxt or Deaf Jux, in 1999 and was sued by Def Jam for having a similar name. [01:03:45] Speaker A: Wow. [01:03:46] Speaker B: Yeah. You call it Definitive Juxt now you don't call it Def Jux. Okay. [01:03:50] Speaker A: Okay. [01:03:52] Speaker B: But on that label, he basically helped foster and start the careers of, like, ASAP Rock, Cannibal Ox and Mr. Liff. Also, Del the Funky Homo Sapien released on that album or not on that album. On that label, he eventually went solo amicably, parted ways. Company Flow, went solo in 2001 and released Fantastic Damage. And we'll visit, actually, one of his albums in 2007, I'll sleep when you're Dead, which has flyontology on it. [01:04:23] Speaker A: Yes. It's a dope one. [01:04:25] Speaker B: Yes. That features a guy named Trent Reznor, not sure if you're familiar with. [01:04:32] Speaker A: Yeah, his. The first thing I heard from him was the album cancer for a Cure, which is an all timer. It's a good one, that one. [01:04:40] Speaker D: Slapped. [01:04:40] Speaker B: I had a friend when I worked at Barnes and Noble who was really into all this stuff on Def Juxt and made me, like, a mixed CD that had, like, Mr. Liff and LP and all that company flow and all that shit on it. I'll have to find it. I think he called it, like, positive abstraction. Anyway, I'll have to dig it out. I found it a while ago. He formed Run the Jewels with Killer Mike in 2013. He produced Killer Mike's 2012 album, Rap. [01:05:05] Speaker A: Music yeah, that was a killer album. All the beats were by LP. LP is a fantastic beat maker. Like one of the best. [01:05:13] Speaker B: Yeah. And I read on Wikipedia, I need to know if this is true or not, that he and DJ Shadow were drafted to work with Zach De La Roca on the Never to see the light of day solo album. And I wonder if he and Trent kind of traded, like, war stories on that. You know what? [01:05:33] Speaker A: Like, after Trent didn't work out, he went to the other guys. [01:05:36] Speaker B: I have no, like, I have no idea and didn't say anything about years or. [01:05:40] Speaker A: That would be an amazing. If it worked out. An amazing collaboration between the three of. [01:05:44] Speaker B: Them and DJ shadows, too. [01:05:47] Speaker A: Sure. Why not? Like a super group. [01:05:49] Speaker D: Yeah. [01:05:52] Speaker B: Album full of bangers. [01:05:53] Speaker A: I listen to that. [01:05:54] Speaker B: Be really good. So. Man, I want to hear this album so bad. Zach, what's wrong? Zach? [01:06:00] Speaker A: Dude, somebody put it out there. [01:06:02] Speaker B: Release the LP. Cut. Please. [01:06:06] Speaker A: Release it. Free it. [01:06:08] Speaker B: Yeah. [01:06:09] Speaker A: Should I play LP's remix? [01:06:11] Speaker B: Definitely. [01:06:12] Speaker A: Now, I was hoping he was going to rap on this. He does not. [01:06:15] Speaker B: Yeah. Blake was disappointed because the first time you heard it was today, right? [01:06:18] Speaker A: Yeah. [01:06:19] Speaker B: Okay. [01:06:20] Speaker A: It sounds a little LP ish. Sounds like his flavor. I'll just play it. Got this sloggy, slowed down sample. This one is way more abstract. It's, like, laid back. It's the opposite of what the Richard X dance mix is. [01:07:03] Speaker B: It's almost kind of creepy. There's a part where it's just Trent whispering and it's the scary whispers that scare me. [01:07:15] Speaker A: Yeah. [01:07:18] Speaker B: Kind of like, is it the end of the Opal mix had, like a hole where you just. [01:07:24] Speaker A: You know who you are. [01:07:25] Speaker B: Yeah, the scary whisper. It happens again in this. He doesn't say that, but it reminds me of that. [01:07:32] Speaker D: Less concerned about fitting into the world. [01:07:35] Speaker A: I bet hearing LP rap over this beat would go really hard. [01:07:40] Speaker D: Really matters. [01:07:42] Speaker A: There's also an instrumental version of this on that twelve inch on the opposite side. If you want to hear that without the Trent vocals, do your own raps over it. Freestyle. [01:07:56] Speaker D: I'm alone. But then again, I was far back, as I can tell. I think maybe it's because you were never really. [01:08:06] Speaker B: I mean, this is his vibe. [01:08:07] Speaker A: Vibey, lazy beat. Not like lazy lazy, but just feel of it. Horn and I just made you up to hurt myself. [01:08:21] Speaker D: I just made you up to. [01:08:26] Speaker A: Yeah. This was not what I expected at all. [01:08:35] Speaker B: So what were you expecting? Just LP freestyling over it. Like what? More upbeat? [01:08:39] Speaker A: Not necessarily. Maybe a little more upbeat. I don't really know what I was expecting. I think it's probably better. The second time I heard it. [01:08:55] Speaker D: There is only me. [01:08:59] Speaker A: First time was just kind of like, what is this? Horns are really characteristic of LP stuff. [01:09:09] Speaker D: You. [01:09:28] Speaker A: We got to see LP and Killer Mike not far from here. We got lucky. [01:09:34] Speaker B: Got to see run the jewels. [01:09:35] Speaker A: Yeah. That's a damn good live show. [01:09:37] Speaker B: It was so good. It was so effing hot. [01:09:39] Speaker A: It was way too hot. He twirls a lot. [01:09:42] Speaker B: He does twirl. He's like the Dave gone of the hip hop world. [01:09:46] Speaker A: They do the twirl. [01:09:48] Speaker D: Now I know why things were as. [01:09:51] Speaker B: Pretty, but, yeah, it was a hell of a show. I just remember it being so, so hot. It was like 104 degrees, and this. [01:10:00] Speaker A: Was at night, too. [01:10:02] Speaker B: Yeah. [01:10:06] Speaker A: Oh, this is what you meant. [01:10:10] Speaker C: There is no you. [01:10:12] Speaker D: There is only me. [01:10:14] Speaker A: Yeah. The beat drops out. I like how on the instrumental version, we thought it was over. [01:10:19] Speaker B: I did. I got up and I was like, oh, wait, I forgot about that. [01:10:22] Speaker A: And then it jump scares you because the beat comes back in. [01:10:25] Speaker D: Yeah, only me. There is only me. [01:10:32] Speaker A: I think it works fairly well for something totally out of left field and an actual fade out of all things. Not bad, not bad. LP. [01:10:45] Speaker B: Pretty good LP. Should we get LP on the show? Should I contact. [01:10:51] Speaker A: We know they've met some point. I've got a picture of Run the jewels and Trent somewhere. [01:10:57] Speaker B: Yeah, they're like, at an airport. I think Killer Mike posted it. [01:10:59] Speaker A: At an airport. [01:11:00] Speaker B: Yeah, I think they all just kind of ran into each other at an airport and killer Mike posted it. It's him. Killer Mike and LP. [01:11:07] Speaker A: Should we talk about the track? [01:11:12] Speaker B: The rehearsal version of Love is not enough. Yes. [01:11:15] Speaker A: The other thing on Halo 20 that they put on there is rehearsal recording of Love is not enough. And there's also video of it. You can look that up on YouTube, but I'll just play the audio version from the actual Halo 20 CD. I believe that's where this is ripped from. This does not sound like love is not enough at first, these electronic percussive things. This is like a totally new element just for the live show, I guess. And then Jerome drumming along to the mechanical drums, obviously. I. I don't know if I love the weird electronic thing. I'll talk about it. [01:12:13] Speaker B: Okay. [01:12:16] Speaker A: I don't know if it helps anything. [01:12:18] Speaker D: I can't remember what it is. [01:12:20] Speaker A: Kind of sounds like he's fighting against those things, trying to stay with him. I do like the crash on the. He adds a crash on the beat. [01:12:32] Speaker B: That towel. [01:12:34] Speaker A: That damn wet towel. [01:12:37] Speaker D: Words, remember. [01:12:43] Speaker A: Cool to hear more guitar on this, obviously. Great. Like, hard rock band live song fucking Way. [01:12:55] Speaker B: Those little clattering beats are kind of distracting to me. [01:13:01] Speaker A: I don't know that they add anything. [01:13:03] Speaker B: Well, they take away because I'm kind of distracted and I'm just listening those. [01:13:07] Speaker A: I know, and I think they're probably distracting Jerome. They would be me if I was drumming. This chorus sounds great. The electronic percussion, it sounds super. Nine inch Nails. He sounds like something almost out of pretty hate Machine era, but I don't know if it belongs here. [01:13:31] Speaker B: I don't know if it's definitely not adding anything for me anyway. [01:13:35] Speaker A: And it kind of fights the drum. [01:13:37] Speaker D: Beat, so there's that. [01:13:41] Speaker A: Guitars are great, though. [01:13:43] Speaker B: Oh, yeah. [01:13:44] Speaker A: Aaron North. Trent actually has a guitar, too. Drum fill. We don't have live drums at all on the album version. Or do we? I don't think we do. [01:14:10] Speaker D: Out real time. Recover me, but not. I'm not. [01:15:04] Speaker A: Alessandro on the Cool Cynthia Sounds harmony. Can't remember if it's Aaron north doing the backup vocals. [01:15:23] Speaker D: It might be love is not enough. [01:15:27] Speaker B: Okay, so that was the rehearsal version of Love is not enough. [01:15:33] Speaker A: Think that's everything. [01:15:34] Speaker D: Gosh. [01:15:35] Speaker A: On this halo. [01:15:36] Speaker B: Yeah. So many. So much. [01:15:38] Speaker A: Although not that much. [01:15:40] Speaker B: Okay. I don't know. I feel really rusty right now, so I apologize. [01:15:46] Speaker A: Well, we might be rusty because we haven't recorded in a while because we had to take a break because of stuff. So that's part of it. [01:15:57] Speaker B: Yeah. And thanks to everyone for being patient. [01:16:01] Speaker A: Yeah, everyone was very cool. But I want to be back on to finish out this era. I want to be back on a regular schedule. Although there are the holidays. [01:16:15] Speaker B: There are the holidays, and I don't want to record over the holidays. [01:16:19] Speaker A: Yeah, well, we made it our rule for ourselves that we don't record on holiday weekends. [01:16:23] Speaker B: Yes. [01:16:24] Speaker A: Or holidays in general. [01:16:25] Speaker B: Yes. So I have it all planned out so that basically we'll be done with the. Whenever we come back from our break, it'll just be the with Teeth tour and beside you in time stuff that we'll talk about. So we'll have all the singles done, and then whenever we come back in January. That's a nice little break. Gives us time to spend with beside you in time and get ready for that episode and talk about the with teeth tours and all that stuff. [01:16:53] Speaker A: Sweet. [01:16:54] Speaker B: I do have that kind of planned out, and that will end perfectly. I think the last episode for this era will be January 31, and then we'll take a little break. Then we'll do some of our Patron picks. [01:17:07] Speaker A: All right back to. [01:17:08] Speaker B: And then year zero. [01:17:11] Speaker A: That's right, folks. Here, before you know it, everyone's favorite album. Okay, so what's up next then? [01:17:20] Speaker B: So next in the bonus feed, we'll talk about the Art of the Wisdith era by Mr. [01:17:29] Speaker A: Rob Sheridan. [01:17:30] Speaker D: That's right. [01:17:31] Speaker B: And on the main feed we'll have Halo 21. Every day is exactly the same. [01:17:37] Speaker A: And speaking of main Feed, there is a music video to only. But we talked about it already in the main feed, if you want to hear about the music video or bonus feed, go to the bonus feed. If you want to hear about the only music video, there's a whole episode on it, among other things. [01:17:57] Speaker B: The other videos. [01:17:58] Speaker A: Yeah. Okay. We talked about all the videos of the era. Are there just two? Two and one that never got released. [01:18:07] Speaker B: That's true. [01:18:08] Speaker A: They got shot, but it was never saw the light of day. Trent had it buried. Every day is exactly the same, just. [01:18:15] Speaker B: Like the everything video. Maybe he hates the every songs. [01:18:18] Speaker A: He must. [01:18:19] Speaker B: Yeah. [01:18:20] Speaker A: So if you want those bonus episodes, if you want twice as much nailed, if you want to go nailed even deeper, Patreon.com nailed Pod and subscribe to get the episodes that go beyond the Halos plus the Patron discord, plus merch discounts and other stuff. [01:18:48] Speaker B: Do you have any new patrons? [01:18:50] Speaker A: Yeah, I think we have a few new ones that I'm going to shout out right now. Going to call you out. Okay, thank you. To new subscribers Chris, Mike, Spencer and Casey. So thanks everybody. It's always awesome that we continue to get people subscribing. We're very grateful for that. [01:19:17] Speaker B: What's our number at right now? [01:19:20] Speaker A: Well, it says 164, but Patreon did this God awful thing where, well, it's always had this thing where you can follow any Patreon for free without subscribing. You're just following it. But now they include those followers in your number for membership. [01:19:43] Speaker B: Oh no. How will we know when we legit have 200? [01:19:48] Speaker A: Well, if I look on the desktop site, okay, I can break it down. But they have this horrible mobile app that I'm looking at right now. [01:19:57] Speaker B: They were really pushing this mobile app too. It's new and improved and better than ever. [01:20:02] Speaker A: Still dog shit. There's like no detail to it. 161 members. And then over here it says 164. Make up your mind, Patreon. But anyway, we're trying to get to 200 subscribers so we can make Jess get a Nin tatoo and you get to pick what it is. [01:20:23] Speaker B: That's not true. [01:20:24] Speaker A: You get to make it as embarrassing as you want. [01:20:26] Speaker B: That's not true at all. No. [01:20:28] Speaker A: It could be a Trent with flip floppy arms. [01:20:30] Speaker B: No, that's not. [01:20:32] Speaker A: And a head on a. There's. [01:20:37] Speaker B: I already have my design picked out. [01:20:38] Speaker A: Oh, do you? [01:20:40] Speaker B: Okay, you know what it is? [01:20:43] Speaker A: Is it the Resner dinosaur? Because that's what I want. [01:20:46] Speaker B: No, I talked about that, though. Getting the little Resnore, like, from Mario. [01:20:52] Speaker A: Resnore. You're getting the Resnor heater. [01:20:55] Speaker B: No, I don't want to say it on air, but I'll tell you. But you can't put this on the show. [01:21:02] Speaker A: I'll cut it out. [01:21:03] Speaker B: Okay. So I'm going to get the. [01:21:07] Speaker A: That'd be good. Anyway, so all of our stuff [email protected]. You can email us at [email protected], rate, and review us on all the podcast apps. They do that now. Well, a few of them let you do that. [01:21:26] Speaker B: Yeah. [01:21:27] Speaker A: Thanks again for your patience waiting for our episodes, and thanks for listening, as always. Anything else I'm forgetting, Jess. [01:21:36] Speaker B: Everyone'S so kind and nice, so thank you for. [01:21:39] Speaker A: Oh, and you can play Mario Kart with us if you join our discord. [01:21:43] Speaker B: Thanks for interrupting my nice thought. [01:21:45] Speaker A: I'm so sorry. I thought you were done. [01:21:48] Speaker B: I thought you were done about Mario Kart. [01:21:50] Speaker A: No, I thought you were just. [01:21:52] Speaker B: It doesn't matter. I just think everyone's just been really nice and kind and patient and checking in on us and stuff while. [01:22:00] Speaker A: Yes. [01:22:01] Speaker B: So I just wanted to thank that. [01:22:03] Speaker A: Because we had a rough time tHere. So thank you. But also Mario Kart. [01:22:12] Speaker B: Sorry. [01:22:13] Speaker A: Okay. [01:22:14] Speaker B: All right. That's it. [01:22:15] Speaker A: Thanks, everybody. See you on Halo 21. And didn't that make you feel better? We forgot to give the inch rating once again. It's almost like we don't see this as very important, and we just keep forgetting it. To rate this halo an inch, I. [01:22:34] Speaker B: Even forget to put it in my outline, like, every time. [01:22:37] Speaker A: You're so organized, you don't put that. [01:22:40] Speaker B: I never said I was organized. Number one. [01:22:42] Speaker A: Okay. [01:22:42] Speaker B: Number two. I send these to you for you to check over. [01:22:45] Speaker A: So we give every halo a rating out of nine inches. And I completely forgot to think about it for only. But what did you give it? [01:22:57] Speaker B: If I was just going to rate, like, the song only by itself, it'd probably be, like, an eight. The halo as a whole, with all the remixes, 7.5. It's good. [01:23:08] Speaker A: Oh, it takes it down a little bit. [01:23:10] Speaker B: I mean, it's not like the greatest thing ever in the world. No, but it's good. It's solid. [01:23:16] Speaker A: I'll give only. Just only the song would be like a seven. [01:23:22] Speaker B: Oh, really? I thought you liked it more than that. That's surprising. [01:23:26] Speaker A: Seven is good. Like, seven is good. It's still good. If I thought it was bad, I'd give it a two or something. But it's not my favorite Nin song by any metric. The halo as a whole, I'll give an eight because it includes a cool kick ass club mix and a little thing from LP, a guy I like, plus an interesting live rehearsal, I guess. [01:23:57] Speaker B: See, maybe I was just rating what we have, which is just the vinyl remixes. [01:24:03] Speaker A: Yeah, it's kind of hard to rate. [01:24:05] Speaker B: These, by the way, because we don't have all of these different formats. We don't have those. So I just rate off what we have and so I'm just looking at it as the remixes. [01:24:16] Speaker A: I guess. The normal one includes the DFA hand that feeds, right? The normal Halo 20 includes the thing that's already been covered, so that doesn't really earn it any more inches in my book. [01:24:29] Speaker B: Yeah. So maybe I should rethink my rating because if we're actually looking at what it contains. You know what I mean? Like, I'm just reviewing the vinyl remixes. So anyway, I don't know. HonestlY, sometimes I don't know how to review these because there are so many different formats. [01:24:44] Speaker A: I hate the inch rating we're going to do. [01:24:45] Speaker B: All right, that's it. This is the last inch rating. [01:24:49] Speaker A: We're going to have to stop overthinking it. Maybe that's what we got to do. People are going to hate us. [01:24:54] Speaker B: How about we just give inch ratings to eras from now on? [01:24:58] Speaker A: Eras are going to get really muddy in the coming years. There aren't as many distinct eras. I guess there sort of are kind of. The late oughts are going to be an era unto themselves. And then a hesitation marks era, which is the one album era, and then a trilogy era, trilogy EPs era, and. [01:25:25] Speaker B: Then the pandemic era. [01:25:27] Speaker A: Now the not releasing music era. [01:25:33] Speaker B: Yeah, I don't like the century thing and I always forget it and I feel like I was pressured into doing it anyway. [01:25:38] Speaker A: I'm amazed. Did I pressure you into doing it? [01:25:40] Speaker B: I think you had the idea. [01:25:43] Speaker A: I thought it. Well, turns out it wasn't an original idea at all because another podcast had already done it. I thought it was a good idea. Fun idea. Boy, was I wrong. Let us know if you want us to keep. I want to hear from listeners if you want us to keep rating things out of nine inches. Do you care about that at all? You probably shouldn't. [01:26:05] Speaker B: I don't care about. [01:26:06] Speaker A: If you do care, I want to know. [01:26:07] Speaker B: Okay. [01:26:08] Speaker A: I think it's absurd. [01:26:10] Speaker B: I literally assign arbitrary numbers to these things. [01:26:14] Speaker A: The more I think about it, the more I think assigning numbers, number ratings to any kind of media is absurd in itself. I've never really liked it. That's not how my mind works. But some people are all about it, like you. Letterboxed fiends who live and die by your precious fucking stars. [01:26:35] Speaker B: I don't know why you're looking at me. I haven't used my letterbox. The last movie I reviewed was when I rewatched the Curious case. Or not rewatched. It was my first viewing of the Curious case of Benjamin Button during the pandemic, and I decided that was the highlight of my life, and I'm leaving it. [01:26:49] Speaker A: Not the highlight. [01:26:50] Speaker B: It was. That was the last movie? I think so. That was, like three years ago. [01:26:55] Speaker A: Okay. People are going to hate us if we keep talking. [01:26:57] Speaker B: I'm more of a Goodreads person. [01:26:59] Speaker A: See you online, on the Instagram, on the discord, wherever. Sorry we had to come back and do this. Hey, at least we remembered. It's amazing that you remembered just in time. [01:27:11] Speaker B: Thank you. [01:27:11] Speaker A: Before we put away the recording stuff, bye bye, everyone. [01:27:33] Speaker D: On radio.