Halo 21 - Every Day is Exactly the Same

[00:00:42] Speaker A: Step right up. It's nailed. A halo by Halo journey through the music of Nine Inch Nails. I'm Blake. [00:00:47] Speaker B: I'm Jessica. [00:00:48] Speaker A: And sorry to say it, but for the first time, we have an ad that we're going to read. We have to do an ad read to pay the bills. So here it goes. Today we're supported by ediets.com. Ediets.com is an online service offering professional dietary, nutritional, and exercising advice. Did you know that Trent Reznor himself used this service? [00:01:17] Speaker B: Edie, I had no idea. [00:01:21] Speaker A: Well, you want to know what he said about it? [00:01:24] Speaker B: Yes, it worked. [00:01:28] Speaker A: Yes, it did. And that's how he got in such good shape for the with teeth tour. [00:01:40] Speaker B: Oh, it was all ediets. [00:01:42] Speaker A: It was using the edie.com service. [00:01:46] Speaker B: Surely they've made that a handy app now. The ediets app. [00:01:50] Speaker A: Well, ediets, until very recently, ediets.com was a real thing that existed. But I went to actually. Well, since they're our sponsor, let me go to pull up their website real quick. Ediets.com. It appears to be online gambling. Actually, it's completely inscrutable. What it is. I don't even think. It's not in English. It's an indonesian website that maybe looks like online gambling. But honestly, I think the Nine Inch Nails camp should have snatched up ediets.com. You know why? [00:02:32] Speaker B: Why? [00:02:33] Speaker A: Because that's the acronym for every day is exactly the same. [00:02:39] Speaker B: Whoa. [00:02:40] Speaker A: In other words, halo 21. That's how it all comes full circle with our sponsor. [00:02:46] Speaker B: I'm glad we have a sponsor for a defunct website. [00:02:51] Speaker A: Yeah. I can't believe they still paid us. [00:02:53] Speaker B: Yeah, that's crazy. [00:02:54] Speaker A: They paid us ten grand for me to say that. Easy. [00:02:59] Speaker B: We're really rich now, thanks to ediats. [00:03:03] Speaker A: Halo 21. [00:03:05] Speaker B: Well, first, before we get into Halo 21. [00:03:09] Speaker A: Oh, yeah. [00:03:10] Speaker B: Is there any nine inch news? [00:03:12] Speaker C: So everything is in the news today. [00:03:17] Speaker A: Yes, there is. And I should drop that Steve Brill clip. It's about a topic I really, really like. Video games. [00:03:30] Speaker B: Why don't you just drop in my favorite video game related media, which is Lana Del Rey singing video games. SNL live version. [00:03:40] Speaker A: Nine Inch Nails is in Trent Reznor's kids favorite game, Fortnite. Fortnite or what I assume to be their favorite game. We have no evidence of this, though. [00:03:54] Speaker B: What are they doing in, uh, weirdly. [00:03:57] Speaker A: There'S a new rhythm game. Well, let me explain why the hell this happened. You can play the hand that feeds on guitar, bass, or drums or vocals in a rhythm game in Fortnite, which I know you thought was a battle royale game, but the Fortnite company, Epic, purchased harmonics, which is. Let me actually double make sure I have my facts straight on that. Okay? Yes, they bought out harmonics for 175,000,000 because Epic is on the rise and harmonics is on the decline. I guess harmonics is the company that created both Guitar hero and rock Band. [00:04:40] Speaker B: The video games of my late college years. [00:04:43] Speaker A: Yeah, I was a big guitar hero person and a little bit of rock band person, and I remember in 2005, playing the hand that feeds on Rock Band. [00:04:51] Speaker B: Oh, nice. I never had rock Band. I had Guitar Hero. And the only thing I clearly remember about Guitar Hero, well, actually, we'll talk about some Guitar hero related stuff in a minute. But all I remember is my little cousin lived with us briefly and he would stay up all night playing Guitar hero. And in my room all I could hear were those clicks and clacks, and I was like, I fucking hate noisiest. [00:05:14] Speaker A: Little plastic controller in the world. [00:05:16] Speaker B: Yeah. [00:05:18] Speaker A: From what I understand, the only reason you can play this almost 20 year old song from the nin catalog, hand that feeds in this new feature of Fortnite is because when they acquired harmonics, they also acquired the game license rights for the hand that feeds. And rock Band already had it mapped out and programmed into their game, so they just, I don't know, copy and pasted it over. They had all the notes in there, but there's also new songs you can play too, but also some random weird old stuff like the Cranberry zombie, all american rejects, which I assume is from the rock band days. [00:06:07] Speaker B: Oh, it's got to be. [00:06:08] Speaker A: Or even the guitar. [00:06:09] Speaker B: I don't think anyone's cared about all american rejects since 2007 or something. I don't know, guys. I really don't know. [00:06:14] Speaker A: I'm just making stuff up they definitely haven't cared about. Dirty little secret, but yeah, really weird mishmash of songs in there. The Weeknd is in there in a big way, including an avatar you can play as I was really hoping for a Trent reznor skin, but not yet. Did not get that. Maybe the weekend has an exclusive deal right now, like Ariana Grande did a while back. [00:06:44] Speaker B: You can buy Fortnite weekend merch. I think people always gripe about how certain artists are big, like merch whores. I think the Weeknd is really bad. Like, he's really bad. Like everything has an exclusive merch drop. It's bad. It's like my chemical romance level is bad. Almost. [00:07:05] Speaker A: Almost can't be worse than Taylor Swift. [00:07:08] Speaker B: She's pretty bad, too. [00:07:09] Speaker A: But, I mean, everyone's doing that model now. [00:07:12] Speaker B: I mean, that's the only way you can make money, because you're not making shit off streaming unless you are Taylor Swift. Anyway, we talk about this all the time, but I was just thinking, I get emails constantly because I ordered a record through the Weeknd's website, like, a zillion years ago, and now I get constant emails. I say, like, once a month, there's a new exclusive merch drop. [00:07:30] Speaker A: Even Nin is in that merch game a little bit. [00:07:33] Speaker B: Not as often. [00:07:34] Speaker A: Not nearly as often. But they're still doing, like, limited drops and so forth. [00:07:39] Speaker B: Yeah. [00:07:41] Speaker A: Okay, so get on Fortnite, and you can play as a Peter Griffin skin, singing the hand that feeds, or playing other instruments. And you can play with my guy, who is a frozen banana. No one's played with me yet, so I'm really on there. Get at me. What was the other bit of nine Inch news we had? [00:08:03] Speaker B: It's more gaming crap that I could care less gaming. [00:08:07] Speaker C: Oh, yeah. [00:08:07] Speaker A: It is lots of gaming stuff this week. [00:08:10] Speaker B: Yeah, you can go into it if you want, because I don't know anything. [00:08:13] Speaker A: But you tell me what you know, and then. [00:08:15] Speaker B: Okay, I'll tell you how. Here's what I know. Some friends in our discord dropped. They all started freaking out because at the game awards in 2023. This year, just a couple of weeks ago, maybe a week ago, I can't remember the date. So Hideo Kojima came out to present his latest game. I believe I have him written in our outline as Death Stranding dude. [00:08:45] Speaker A: Yeah, we can just say Death Stranding, man. [00:08:48] Speaker B: He presented a sneak peek of his newest game at the game awards, and Jordan Peele is working on it with them. And it's called Od. And I have no idea what the hell this game is about because it looks like a damn movie trailer. [00:09:02] Speaker A: Well, that was the same thing with Death Stranding. It had a title that didn't make sense. No one understood what it was about. Still no. [00:09:09] Speaker B: And it turns out you're just like Amazon delivery person at the apocalypse. Is that right? Is that what Death Stranding is? [00:09:16] Speaker A: You're a delivery guy and everyone lives inside and no one comes? Mean. [00:09:25] Speaker B: That's my dream world. [00:09:26] Speaker A: But, like, months after beating that game, the COVID lockdowns started. And I was like, wait, what the fuck? And Amazon was bringing us everything, all of our essentials. [00:09:38] Speaker B: That's not really true. [00:09:40] Speaker A: Well, everyone in the world was getting more Amazon than usual. [00:09:44] Speaker B: That's true. [00:09:45] Speaker A: And they were all carrying them on big death stranding backpacks. [00:09:48] Speaker B: It was weird. It was really weird. [00:09:49] Speaker A: But no, this isn't about. It's about this game. A horror game, I guess, called OD. [00:09:55] Speaker B: Has some up and coming young stars in the trailer. Anyway, it doesn't matter. Here's the nine inch part. Yeah, the nin part. Whenever he came out to present the game, I guess he came out to a nine inch Nails song and it was came back haunted, which left our group in a little tizzy because now they're kind of convinced that Reznor might be scoring and Ross. And Ross. Sorry. Might be scoring the new game. However, sometimes I think people just think this is a cool song and I want to walk out to it, but. [00:10:33] Speaker A: We never know he's coming back. After maybe a few years of not having a game, and he's coming back haunted because his game is scary, I guess. Death Stranding was scary. [00:10:44] Speaker B: I remember you playing it, and it did kind of scare me. [00:10:46] Speaker A: When the shadow people pop up out of nowhere, legit, and they'll be like, behind you, legit, spooky stuff. [00:10:55] Speaker B: Wasn't there a baby that you had to carry around? [00:10:57] Speaker A: Yeah, that part's scary in itself. [00:10:59] Speaker B: Did that baby make it? What happened to that baby? [00:11:02] Speaker A: The baby made it. [00:11:04] Speaker B: Why were you carrying a baby? Why are we talking about this, then? I do want to know more about this baby. [00:11:09] Speaker A: I still don't know what I played and I beat it. But, yeah, I've been saying Reznor and Ross should do a game for a long time. The last thing we had was quake. [00:11:21] Speaker B: And that was just Resner. [00:11:23] Speaker A: Yeah, but maybe don't get your hopes up, but maybe. Okay. Should we get into ediets? [00:11:31] Speaker B: Yes. Let's do this. It's time for ediets.com. Ediets.com. So Halo 21, released April 4, 2006. So almost a year after the release of with teeth, was available in a CD and digital format. And the track listing is going to sound very familiar because it's kind of just a mishmash of the various artists that have done remixes throughout this period on a single. [00:12:04] Speaker A: It's stuff we've seen. [00:12:06] Speaker B: So you've got hand that feeds DFA mix, hand that feeds straight mix. That's. [00:12:10] Speaker A: Mm hmm. [00:12:11] Speaker B: Only the lp mix, only the Richard X mix. And the only new thing on here is the everyday is exactly the same. Sam Fogg, the Carlos D main mix. We'll talk more about who those people are. You have no idea title, but basically everything on here except for the Sam Fogg v Carlos D mix has been previously released in various forms, either promos or vinyl only singles or previously imports or whatever. [00:12:45] Speaker A: And previously listened to and talked about at length on this show. [00:12:48] Speaker B: That's right. Of course the japanese CD is a little bit different. They also have the hand that feeds dub mix and the love is not enough live at rehearsals, so not anything new again. And then there are some various promos that came out that have different mixes of the Sam Fog and Carlos D mix. There's the main mix and edit, something that says full vocals that's on a twelve inch vinyl. [00:13:16] Speaker A: I did think the promo. I don't know if there's more than one promo artwork, but I kind of like the promo artwork for Edie. It's like this brown pixely thing. [00:13:29] Speaker B: Yeah, it's fine. [00:13:30] Speaker A: The promo art has underscores on it. [00:13:32] Speaker B: It does, but it doesn't have the cool lines anyway. [00:13:37] Speaker A: True. [00:13:38] Speaker B: Okay, so let's actually get into the song now. Song credits, writing and performance Trent Reznor production Reznor and Alan Mulder programming and additional production by Atticus Ross. The usual mixed by Alan Mulder and live drums Dave Grohl. Another grol track? No, it's just another grol track. If I was a really good rapper, I would sing that in the style of bomb track, but I'm not. [00:14:06] Speaker A: Oh, I think there should be like a dj tag at the beginning of Grohl's tracks that are like, dang, it's another Dave Grohl joint. [00:14:18] Speaker B: I like mine better. [00:14:20] Speaker A: That'd be funny, though. Like really cheesy tags in nen songs. [00:14:26] Speaker B: No, that's okay. Don't do that. [00:14:28] Speaker A: Exclusive, exclusive. Nevermind. Droll, droll grums. Droll on the grums. [00:14:40] Speaker B: Okay, so, Blake, I got to ask you a question. Do you want to play a quick game? [00:14:48] Speaker A: Do I have any choice? [00:14:49] Speaker B: No. No choice. I don't even know if you're going to need the buzzer. [00:14:53] Speaker A: Okay. [00:14:54] Speaker B: I'm just going to play a game called the 2007 best hard rock performance. [00:14:59] Speaker A: Oh, boy. Nominees all the way in 2007. [00:15:04] Speaker B: Weird. Cutoff dates, man. [00:15:05] Speaker A: Yeah. [00:15:06] Speaker B: So that year every day is exactly the same. Was nominated for best hard Rock performance. So were these other songs. Your job is to figure out who won the Grammy. [00:15:17] Speaker A: I think I've looked this up at one point and it's something dumb, but I don't remember. But go ahead. [00:15:22] Speaker B: Buck Cherry, my favorite band. Crazy bitch. [00:15:25] Speaker A: I don't think that won. [00:15:26] Speaker B: You don't think that won? No, that was the ringtone. For a lot of people. [00:15:30] Speaker A: It was the ringtone. [00:15:32] Speaker B: The ringtone system of a down, lonely day. [00:15:37] Speaker A: That didn't win tool. [00:15:40] Speaker B: Vicarious. That didn't win Wolf mother woman. [00:15:43] Speaker A: Okay, that one. [00:15:44] Speaker B: That one. [00:15:45] Speaker A: And that pisses me off. [00:15:46] Speaker B: What the hell? That's not a good song. [00:15:48] Speaker A: Look back. Oh, my God. [00:15:50] Speaker B: 2000 mainstream rock. [00:15:53] Speaker A: Can I play real briefly? [00:15:55] Speaker B: Because I was going to say this was also on Guitar hero. That's the only way I've ever heard that song in my life, was Guitar hero. Did anyone else play that? [00:16:03] Speaker A: Yeah, I do recall that now. [00:16:05] Speaker B: That's the only time I've ever heard. [00:16:07] Speaker A: And it's like a blatant, throwback led Zeppelin Ripoff. And it's obviously not going to age well. But let me just check in and see. Black Sabbath. [00:16:36] Speaker B: Got to stop it. I'm not a big Led Zeppe fan. Anyway. Weren't they australian and like, in the same kind of vein as jet anyone? [00:16:47] Speaker A: They were definitely in the vein of jet in that they were a pastiche. Pastiche, like, derivative type thing. [00:16:54] Speaker B: Yeah. [00:16:55] Speaker A: I don't know. Let's see. It would make sense. Yeah. Australian. Stop sending us your worst australian only. [00:17:03] Speaker B: Send us your hotties. Only Margot Robbie's. [00:17:05] Speaker A: Please keep sending more actors, fewer musicians. [00:17:09] Speaker B: Unless it's Kylie Minogue. We love Kylie. [00:17:12] Speaker A: We don't need any more tame Impala's on the scene. I like Tame Impala way more than wolf mother. [00:17:18] Speaker B: I thought people love tame and Paula. [00:17:20] Speaker A: We like Tame Impala. We like to clown on them too. [00:17:24] Speaker B: Okay, anyway, that was. Can you play just a little bit of crazy bitch? I want to hear how that age. [00:17:29] Speaker A: Do we have to? [00:17:31] Speaker B: Please? [00:17:31] Speaker A: Okay, I'll play like 3 seconds of it. A lyric video. [00:17:36] Speaker B: Ooh. [00:17:49] Speaker C: Break me down. You got a lovely face. [00:17:51] Speaker B: Okay, you can stop. You can stop it. Yeah, stop it. [00:17:53] Speaker A: That's enough. That's enough. [00:17:54] Speaker B: Too much. Remember whenever we were on our way to Liz fair, Mackenzie confirmed my Buck cherry being mean at Patton Alley pub story. She was there. [00:18:01] Speaker A: Was she there? Okay, so go back to episode whatever where we've talked about that. [00:18:06] Speaker B: It might have been like episode one. [00:18:08] Speaker A: It was really early. It might have been head like a hole or something. [00:18:12] Speaker B: I really don't know. It was like back there. Buck Cherry always seems to come up and I don't know, why do I do this to myself? [00:18:18] Speaker A: I know. I wish they'd stop being brought up. [00:18:23] Speaker B: So, Blake, I have another question for you. [00:18:25] Speaker A: The drums on this track, they're a Dave drollgoint. [00:18:32] Speaker B: Grave. Dol I can't do the fun stuff you do. I'm sorry. [00:18:39] Speaker A: Dave Dangus. If Steve Brule had Dave Grohl on as a guest, he'd introduce him as Dave Dangus. [00:18:48] Speaker B: I was reading an ni n wiki, and I haven't listened to this track in a long time, so I was hoping you could help me. The drums on this track are allegedly similar to the drums on my hero. Is this true? [00:18:58] Speaker A: I have some clips for you. [00:18:59] Speaker B: Oh, my. And did I ruin something? [00:19:01] Speaker A: Did you ruin something? [00:19:02] Speaker B: Did I go out of order? Do you have an order? [00:19:04] Speaker A: No, not at all. Making sure these clips are what I call wild. They can be played at any time. [00:19:10] Speaker B: Ooh. I didn't know you had wild clips. Nice. [00:19:13] Speaker A: That's an industry term. At first, I was, like, similar to my hero. Whatever. But when I got in there and played them back to back, there is some similarity. So I made some clips. Hang on. First you'll hear my hero, then you'll hear Eda. [00:19:47] Speaker C: It. [00:19:48] Speaker A: Then I did one where they are tempo matched. So obviously, Edie's is a little slower. But if we match the tempos, you hear a little more similarity. So not the exact same speed. But I think what the similarity we're hearing is that they're both beats that are one played by Dave Grohl. Two are based around kick, snare, and a lot of tom. [00:20:26] Speaker B: So Dave did play the drums on my hero. It wasn't Taylor. [00:20:29] Speaker A: I believe that was from the color and the shape, which every instrument was Dave Grohl. I'm going to verify that, though. Yeah, it was from the color and the shape. [00:20:38] Speaker B: Okay. [00:20:38] Speaker A: Yeah. And Grohl plays the drums. I always liked that album. And the way that Grohl played, like. [00:20:46] Speaker B: Everything, he was resnering it. [00:20:49] Speaker A: He was. Oh, and I also noticed another similarity that I don't think I'd heard brought up before, but the similarity is in the bass parts. So listen to this. [00:21:11] Speaker C: Whoa, close. [00:21:16] Speaker A: So maybe Trent really was thinking about my hero. Maybe they start on the same note, but there's, like, a half step difference in the note that it goes to. And my hero base goes up while the ediat's synth base goes down. [00:21:48] Speaker B: So confirmed Foo fighters exist in the bleed through universe. Is this what we're. [00:21:54] Speaker A: Yes, I think so. [00:21:56] Speaker B: We can confirm this. All right. [00:21:58] Speaker A: But the rhythm of the bass and just the pattern of it is identical. Just a slight difference in notes. Interesting coincidence. You tell me. [00:22:11] Speaker B: I have another drum question. [00:22:13] Speaker A: Okay. [00:22:14] Speaker B: I read that these were interpolated in a song in 2015. By a group called the Vamps. A song called wake up. [00:22:22] Speaker A: I listened to a little bit of this and I hated it, but this I think we need to listen to live. [00:22:29] Speaker B: And really, I didn't like this song either. No offense to the vamps. [00:22:33] Speaker A: Vamps maybe hated was a strong word. I don't recall liking it. The vamps wake up. It sounded just kind of like some throwaway. Whatever interpolated depends on what they mean by that. But to me it means not sampled but used. Usually it means you used notes, but I guess you could interpolate drums too far. I'm not hearing it at all. [00:23:14] Speaker C: You've been deep in a coma. [00:23:17] Speaker A: But I hate it. [00:23:22] Speaker C: But no, I play and say my fear. [00:23:28] Speaker A: No, they kind of sound like an amalgam of all the kind of most mainstream pop rock acts of the last ten years. [00:23:37] Speaker B: Yeah, they really do. [00:23:38] Speaker A: Like if you combined imagine dragons panic at the disco. I don't even know, just the stuff I've heard on the radio. If you like mishmashed it all. [00:23:49] Speaker B: Yeah, it would be the vamps, which is a shame because I like that band name. Okay. The vamps, like it could be a cool beginning band name. When you're 15 and forming your first band. It sounds like a rock band. Like the vamps sounds kind of cool. [00:24:03] Speaker A: Sounds like it's going to be something from the indie sleeves era in the aughts alongside the hives and the Vines and the Strokes. Something like that. [00:24:14] Speaker B: Yeah. It's disappointing. I'd rather it be that. [00:24:16] Speaker A: Yeah. But I don't hear the drum at all, so I don't know where that. [00:24:19] Speaker B: Is it even in the credits? I don't even know how to check that to see where they got it. [00:24:24] Speaker A: Let me check credits. [00:24:25] Speaker B: It was from just regular wikipedia, not ni n wiki says the drum beats in the song are interpolated in wake up by a british rock band, the Vamps. [00:24:35] Speaker A: I'm looking at the wake up wikipedia for just that song and it's not listed there. Not here? No. [00:24:44] Speaker B: Weird. [00:24:45] Speaker A: So I don't know what the hell. [00:24:47] Speaker B: Does it have any kind of song credits, like writers? [00:24:52] Speaker A: It does? [00:24:53] Speaker B: Oh, yeah. [00:24:53] Speaker A: To several people. But not. [00:24:55] Speaker B: No, it's listed here on another site called you music. And they list ten favorite tracks from the vamps. Let's see if I can find. Wow, there are ten. They're like a little boy pop group. I say that and that sounds like bad, but they just look really young. Okay. Off their second album of the same name, wake up saw the vamps heading in a new musical direction while there still reeked an element of tasty pop. It was becoming clear that the band actually held a lot of depth within them using a drum sample from nine inch Nails. But it doesn't say what it just says using a drum sample from Nine Inch Nails. [00:25:32] Speaker A: Okay, well, maybe they just pulled the kick and snare or either or and then just resequenced it. That's not an interpolation, though. It's a sampling, if. [00:25:48] Speaker B: So, anyway. [00:25:50] Speaker A: So, sure, you can pull little drum hits from anywhere, look at pretty hate machine. But really, when they're stealing from e diets, they're stealing from Grohl. Hope they got his permission. [00:26:06] Speaker B: I'm sure he didn't care. He seems like a nice enough dude. Okay, so other uses of this song in pop culture was used in some tv shows, was used in Hawai 50 and criminal minds. [00:26:18] Speaker A: Why those shows? [00:26:19] Speaker B: I don't know. My guess is that they're well watched and probably have the budget to afford it. I don't know. I've never watched either one. Well, actually, that's not true. One time we were at Becky's house and she was watching Hawaii 50 and it was on in motion smoothing, and it was a traumatizing experience. [00:26:35] Speaker A: Yeah, I think my parents probably had it on. [00:26:38] Speaker B: I think it's been on in the background and it was featured in the film wanted. I've never seen that movie and I will never watch. [00:26:48] Speaker A: Is that the comic book? [00:26:50] Speaker B: Yeah, I think it's. Isn't it a Mark Millar comic book? [00:26:53] Speaker A: So. [00:26:53] Speaker B: I don't like Mark Millar. Sorry. I think he's gross. [00:26:56] Speaker A: Sorry. Kick ass. [00:26:58] Speaker B: Kind of a gross. Anyway, actually read the comics, don't watch the movies. Like actually read his comics because they're really kind of gross. They've been cleaned up for Hollywood and they're still not good. [00:27:11] Speaker A: Right. Some of the things, if you put them on the screen, it would be considered a crime. [00:27:16] Speaker B: Yes. Especially unwanted. Okay, so on the charts, peak position, billboard Hot 156, mainstream rock airplay, twelve and alternative airplay number one. So it did pretty well. [00:27:34] Speaker A: Not bad. [00:27:34] Speaker B: Not bad. So before we get into the actual song and we play it and we break it down, I want to read just two different reviews, perspectives about this song before we start listening to it to kind of keep in the back of your mind. Okay, so one is from a review when pop matters, and it was by Mike Schiller and he wrote it was in listening to the very beginning of every day is exactly the same that my disgust with teeth, Nine Inch Nails first album in six long anticipation filled years finally took shape you see every day is exactly the same because it's a delicate piano melody consisting of a string of note note pause groupings. Perhaps intentionally, it immediately evokes the memory of the end of Nine Inch, Nils's biggest hit, closer, where that motif would go on to become the theme of the downward spiral by resurfacing in that album's title track. The new yet similar melody here serves as a startling declaration of severe writer's block. As that small piano line launches into perhaps the single most sonically uninteresting song Nine Inch Nails has ever released, the listener's suspicions are confirmed. I believe I can see the future because I repeat the same routine we hear, allowing us to draw but one conclusion. Trent Reznor has run out of ideas. Okay, he's reading a little weird into. [00:28:57] Speaker A: This, but, yeah, reading a little too much into it. [00:29:03] Speaker B: Anyway, I see you. I'll talk about it in a second, actually. [00:29:06] Speaker A: Well, he definitely hadn't run out of ideas, since we now have nearly two decades of material after that. [00:29:16] Speaker B: Well, I just see it as a callback. Kind of like the lyric in only the down in it callback. Like, why couldn't this be kind of a little bit? And it's not exactly the same. [00:29:27] Speaker A: No. Maybe this makes me dumb, but I never actually heard the downward spiral when I listened to this. Until you brought this up. [00:29:36] Speaker B: I've always thought it sounded a little bit like maybe I was just being dense. Piano part and closer. [00:29:43] Speaker A: I hear it now, but it's different enough that it just didn't click with me. [00:29:49] Speaker B: It's definitely different enough, and I see it maybe more as a little of a callback, or maybe I was thinking a little bit too deeply into this, but I was just thinking about how closer was kind of the song that thrust them into, or him into a much bigger audience, where it was on during that touring cycle that they went from smaller venues to much bigger venues to eventually co headlining with David Bowie, really expanding their audience. And then I was thinking about closure and just how boring. Honestly, most of the time, it must be to be a musician. Just the drudgery of touring and the promotional cycle, and it's got to just kind of feel whenever you're doing these things, it's just all the same routine. Like when you're promoting an album and you're touring for an album, and it just seems like a very lonely, especially grueling experience. And then I was thinking, I don't know why I connected the two, I guess just because of the closer. And then I was thinking about how his fame started rising with the release of that track. [00:31:02] Speaker A: That was the biggest hit. [00:31:04] Speaker B: And then this album is. There are things that kind of call back to earlier songs. And so using that little refrain or a similar refrain, maybe. [00:31:15] Speaker A: Yeah, but it's at the beginning instead of the end. Maybe that means something, I don't know. [00:31:20] Speaker B: Anyway, I went a little too deep into it, too, but in the other direction where I was trying to maybe do a better time to make it make sense. Well, I don't want to do, like, a disservice and say, oh, he's out of ideas, because I really don't hear that at all. But, no, I was just trying to maybe connect and rationalize the two, I guess. [00:31:39] Speaker A: And to me, this album is so incredibly different. It doesn't seem like recycling. Obviously there are a few reused things, but on a whole, it's like, oh, they've never sounded like this before and they never did. Just. It's a different album. [00:31:57] Speaker B: So Andy Healy, in albumism, had kind of a slightly different view. He wrote, reznor is most honest about his struggles, and the crippling pangs of self doubt in every day is exactly the same. Acknowledging the creative blocks he was weighed down by he brutes. I think I used to have a voice. Now I never make a sound and calls out the numbing effect of his addiction as he sings in the chorus. There is no love here and there is no pain. Every day is exactly the same. Obviously, this song works on multiple levels, I feel like. So there's a lot we can talk about and discuss when we're talking about this song. So do you want to play the song? Play this? [00:32:34] Speaker A: Yeah, let's do it. [00:32:35] Speaker B: Derivative. [00:32:38] Speaker A: Piece of shit. Here comes that closer motif. Does have that warbly little piano. It's like a piano with effects on it, essentially. But then there's a low part that's some kind of soft synth sound. I don't know what it is, this big swell of noise. [00:33:15] Speaker B: So it is that bass, Blake, we. [00:33:18] Speaker A: Think that lovely synth bass. Many people say mog voyager, which I think I said earlier, mini moog. The mog voyager is just a fancified, modern version of the mini moog. So I was basically right. It's not verified by Resner or anything. [00:33:39] Speaker C: I think I used to have a voice. [00:33:42] Speaker A: Those cool harmonies, which many people, including myself, thought were strings. Turns out they are fast guitar strumming clips later. [00:33:58] Speaker C: I really don't want them to come around. Oh, no. [00:34:06] Speaker A: Big old tambo. [00:34:09] Speaker C: Exactly. [00:34:10] Speaker A: Prominent tambo song. Again, I like the little Dave Grohl drum fills that lead into the choruses. [00:34:19] Speaker C: There is no love here and there is no pain. [00:34:27] Speaker A: You like that really bendy guitar on the chorus. One bendy note. I like how it fades there, too. Into the next verse. [00:34:38] Speaker B: Yeah, it goes out. [00:34:39] Speaker C: Lose myself again. Sometimes I think I'm happy here. [00:34:52] Speaker A: I like that. Sometimes the echo happens before the actual. Before he actually says it. A pre echo, pre delay. [00:35:05] Speaker C: But I can tell you exactly how it will. Exactly. [00:35:19] Speaker A: Where's the piano line? You over the chorus. It's really just piano, guitar, some live drum, little bit of fake drum. Big tambo. [00:35:39] Speaker C: Writing on a little piece of paper. [00:35:42] Speaker A: She's making writing motions. I'm hoping someday he's only in the right speaker whispering at us. [00:35:52] Speaker C: I'll hide it behind something. [00:35:58] Speaker A: He'S writing. [00:35:59] Speaker B: They will grocery list. [00:36:04] Speaker A: My favorite part. [00:36:06] Speaker C: I still. [00:36:12] Speaker A: Piano line of the vocal melody. I just like it. These drums never. They really never stop doing that part. [00:36:19] Speaker C: I wish this could have been straight. [00:36:22] Speaker A: Through. [00:36:25] Speaker C: But I just don't know. [00:36:29] Speaker A: Well, here, what else I can show. Repetitive, on purpose, vocal or lyric. But I do like this the third time. There's no love here and there's no pain. Really like that backup vocal that comes in. My favorite vocals are at the end right there. [00:37:08] Speaker B: That little part. [00:37:09] Speaker A: Lots of oohs and oz. Lots of layered trends. Like ten trends here. [00:37:19] Speaker B: Yeah, there's so many trends. [00:37:20] Speaker A: Like that final yell. The best. And then it ends fading out on that drum loop. It never stops. I usually don't like a fade out. That one I'm cool with could have. [00:37:47] Speaker B: Just ended after the yell, and I would have been fine either way, honestly. [00:37:50] Speaker A: Like an abrupt ending. [00:37:52] Speaker B: Yeah. Like just every day. Yeah, it could have cut right there. I mean, it's fine. [00:37:56] Speaker A: But I'm cool with this too, though. [00:37:59] Speaker B: Yeah, I just said I was good with either way. I think I just said that. [00:38:05] Speaker A: I'm just agreeing. Okay. A fine song. [00:38:13] Speaker B: Can we do some clips? [00:38:15] Speaker A: Yes, I have some clips. First clip is that swell of noise in the introduction. Pretty cool, man. That's cinematic. Guitar part in the verse. And that's actually two guitar parts. One in the left speaker, one in the right. So the first one sounds like this. [00:39:09] Speaker C: Close. [00:39:22] Speaker A: And then a very different tone in the right way. Dirtier. I don't know if you noticed. There is an echo on. Used to have a voice in that verse. I don't know if I even knew this, but I think I used to have a voice. It's in one of the surround speakers when they put it in the five one mix. So that's how I was able to emphasize it there. But, yeah, it's not that noticeable. It's not as noticeable as the. Sometimes in the second verse, I have an isolated clip of it. [00:40:14] Speaker C: I think I used to have a. [00:40:17] Speaker A: Voice kind of low passed, kind of pillow filtered a little bit. One annoying thing about the vocals in the center speaker of the surround mix is that they are mixed in with the sampled Tom and other things, including a really loud tambourine. So I don't have a clean vocal track in this one. But what they did was the Dave Grohl drum part is in the main left and right where he's drumming. A pretty simple beat. But also this sequenced fake Tom is like on a bunch of upbeats in the center speaker. So the beat is a mixture of real and sequenced. But that's the weird tom hits you're going to hear. When I play some of these vocals. [00:41:13] Speaker C: I believe I can see the future. Yeah, sorry. [00:41:18] Speaker B: It sounds like someone's banging on the door while he's trying to record his vocals. [00:41:26] Speaker C: I think I used to have a purpose. Then again, that might have been a dream. [00:41:38] Speaker A: It'd be funny if, like, Atticus was standing behind him with a big tom as he was recording vocals. I was just banging along. Then after that, a guitar also gets into that channel. This is the guitar that some people thought was strings. Like cellos and violas being played. But it's. It's kind of a quick little strum. [00:42:06] Speaker C: I think I used to have a voice. Now I never make a sound. I just do what I. [00:42:21] Speaker B: People thought this was strings. [00:42:27] Speaker A: Including me. You didn't get that at all? [00:42:34] Speaker B: No. [00:42:35] Speaker A: In the full mix, you don't hear the detail of the picking or fingerstrumming, whatever's going on there. To me, it really did sound almost like a high cello or a viola being. Playing this harmony part. [00:42:52] Speaker B: I'll have to go back and re listen to it, but I've never thought that. [00:42:58] Speaker A: Yeah. Okay, then. Oh, in the chorus with the vocal, you hear the tambourine come in every day I'm still there. [00:43:08] Speaker C: Exactly the same every day is exactly the same there is no love here and there is no pain every day. [00:43:27] Speaker A: Is exactly the same listen to the vocal tuning on the first time, he says same. [00:43:36] Speaker C: Every day is exactly the same does. [00:43:42] Speaker A: It stand out to you? [00:43:44] Speaker B: Not really. [00:43:45] Speaker A: Okay, well, we all hear different things, so maybe I'm wrong. It doesn't stand out to me at all. And then the mix only when isolated, which I think is done well across this whole album. [00:43:57] Speaker B: I don't have, like, an engineer's ears. [00:44:00] Speaker A: And mine are quickly fading anyway. Okay, there's cool, Bendy guitars on the chorus. Oh, and you get piano, too. Dangs. You can hear those guitars fading out here, too. [00:44:51] Speaker C: I can feel watching in case I lose myself again sometimes I think I'm happy here sometimes, yeah I still pretend I can't remember how this got started, but I tells you exactly how it will. [00:45:31] Speaker A: Okay. The bridge jump scare vocals I'm writing. [00:45:36] Speaker C: On a little piece of paper I'm hoping someday you might find well, I'll hide it behind something they won't look behind I am still inside you a little bit comes bleeding through I wish this could have been any other way but I just don't know I can. [00:46:28] Speaker A: Go I looped just that piano from the bridge. The final chorus has a noisy part that the others don't. Okay. The. The vocals at the end that I like. [00:47:08] Speaker C: Every day exactly the same there is no love here and there is no pain every day exactly the same. [00:47:28] Speaker B: Love those Oz and ooze. [00:47:30] Speaker A: Yeah. I liked them so much, I wanted that percussion out of there, so I cheated and tried to do the AI separation for just that part. I don't know if it turned out that well, though. [00:47:44] Speaker C: Every day is exactly the same there is no love here and there is every day exactly the same. [00:48:04] Speaker A: I do like that decay on the end. What? [00:48:07] Speaker B: Nothing. I was just picturing, like, boys to men singing that. [00:48:13] Speaker A: It'S not end of the road. [00:48:15] Speaker B: What a banger. Am I right? End of the road, maybe. Controversial opinion, but best boys to men song? [00:48:24] Speaker A: No, it's Motown Philly. [00:48:26] Speaker B: It's end of the road. Well, that's all I had, boomerang soundtrack fans. My sister had that soundtrack and would play it all the time anyway. [00:48:39] Speaker A: I didn't have it. [00:48:39] Speaker B: Well, you didn't have an older sister who. [00:48:41] Speaker A: Nope. [00:48:42] Speaker B: Had the boomerang soundtrack. It's really good. There was a really good TLC song on there. I think it was. A lot of leface artists actually bit boys to men, too. [00:48:55] Speaker A: Okay, so what do you have about this one? [00:48:58] Speaker B: Live version made its live debut on May 4, 2005. It was a rarity throughout that year, but it appeared regularly on the spring arena tour and then was not performed again until the 2022 tour. [00:49:16] Speaker A: That's crazy. And that was, like, one of the longest breaks for a song, maybe at. [00:49:23] Speaker B: Least from with teeth. [00:49:23] Speaker A: Yeah, I read something along those lines. Just an inordinately long break, other than. [00:49:28] Speaker B: Sunspots, which had never been. [00:49:30] Speaker A: Yeah, I'd never even been played. [00:49:31] Speaker B: Never even been played. [00:49:32] Speaker A: We were lucky enough to hear both. And, yeah, when we saw the e diets live, it was noteworthy that he was doing this long pause at the end of the bridge in the. Just don't know. Maybe I can. I have a clips, like a video clip that I took. Maybe I can insert it where it's just trent all by himself singing and shaking a tambourine and slowing way, way down. Just Trenton. A tambourine. I loved it. [00:50:05] Speaker C: Well, I wish this could have been any other way. I wish this could have been any other way. I just don't. I just don't know. I just don't know what else I can do. [00:50:46] Speaker B: Turns into Tambo the way it should be. There were extra lines on the song, extra lyrics. Sorry, those are. And I've rehearsed my lines and I know what's coming next. [00:51:00] Speaker A: Okay. [00:51:00] Speaker B: Because he can see the future. [00:51:02] Speaker A: He's rehearsing his lines. [00:51:04] Speaker B: Rehearsing the lines. The same routine. Do you want to talk any more about the content of this song or what you think it means? I mean, there's a lot of ways you can go with this. It could be about addiction. It could just be about the fucking drudgery and soul suckingness of everyday life. [00:51:23] Speaker A: Could it be about being in rehab? [00:51:25] Speaker B: Could be about being in rehab. [00:51:27] Speaker A: It kind of took on a new life during the pandemic. And they even made a shirt to that effect. [00:51:33] Speaker B: I have one. [00:51:34] Speaker A: Yeah. There was a few months there where I wasn't working, where every day was exactly the same, where I at least would wake up, play Animal Crossing. [00:51:49] Speaker B: You must have had a great life because I was working. Well, you were sometimes working late because I work for a software company and we had to write emergency policies and things to that effect. Dealing with a new financial regulations because of the pandemic anyway, but stressful for me. [00:52:13] Speaker A: Yeah, I know, but there was some sameness in what we did. [00:52:18] Speaker B: Honestly, though, here's the thing is, there's so much sameness to every day. [00:52:22] Speaker A: True. [00:52:23] Speaker B: It doesn't matter. Like, I'll look down and realize a month has passed and everything has been just a routine that is just blurred together. And I can't even believe it's been a month or a week or whatever. Sometimes I'm like, how the hell am I 41? Like, how did that happen? My life has just been one long, boring routine. [00:52:46] Speaker A: And it's like, how is it already? The holidays again? It was just the holidays, and that's depressing. But the time when we were drinking Trentinis every night, before we even knew what the Trentini was. This was before we started the podcast Animal Crossing and Trentinis every night. That era where I was off work for two months, felt like two weeks. [00:53:11] Speaker B: Probably because two years for me. And also, I was not Trentini every night because I had to work. But on the weekends, I would trentini it up. [00:53:20] Speaker A: Maybe I'm exaggerating there. Yeah, but it felt like it. [00:53:24] Speaker B: You were probably Trentini, maybe. Yeah, but I mean, there's a lot of ways that you could look at this song and interpret it for yourself, or you can interpret it as Reznor might have written it, maybe. [00:53:41] Speaker A: I think he was smart to write it. He knew his audience that he was writing it for, because especially people with dealing with depression. Not to paint the nin fan base with a broad brush, but I'm not totally wrong here. Many of us are in that or have been there. Many of us were like, yeah, I feel that. I know what that's like. [00:54:07] Speaker B: I honestly feel like it's a millennial Zoomer gen Xer condition, because we kind of inherited a world full of shit. Yeah, sorry. I'm not going to get doomery. You know what? It's too early for me to get the doomies, but shit looking bleak all the time. [00:54:25] Speaker A: No, we're going to be. We're going to become a positive podcast from now on. [00:54:30] Speaker B: It'll be hard of shit. Change my mind. [00:54:33] Speaker A: Yeah. Talking about this band, it might be impossible to. [00:54:36] Speaker B: Can't wait to get into year zero. [00:54:37] Speaker A: Oh, boy. Things will get real positive. Okay, so there is this so called Ep. There is no with teeth remix album, but this is the closest thing we got, maybe. [00:54:49] Speaker B: Closest thing, probably. Yeah. I mean, like I said, it kind of pulled highlights from the various mixes. Pitchfork called it an ep, and they actually did review it, if any. [00:54:59] Speaker A: Very strange. Interested what they give it. Did they give it a rating? [00:55:03] Speaker B: Yes. 6.4. [00:55:06] Speaker A: Not wonderful, but it's not a two. [00:55:08] Speaker B: Not the worst. [00:55:09] Speaker A: Not as bad as the fragile got. Why is this so much better than the entire fucking. [00:55:13] Speaker B: I'll tell you why. Because Pitchfork has their head up fucking DFA's ass so much at this point in time. Still do, by the way, James Murphy's ass. Don't people love them? I don't know. I feel like I'm very mixed on lcd sound system. [00:55:29] Speaker A: I think he's not universally beloved. [00:55:32] Speaker B: He is at the Pitchfork offices. [00:55:34] Speaker A: Yeah, but that's a very specific place. [00:55:36] Speaker B: Yeah. So I was not able to find much about the remix, to be honest, I couldn't find any quotes from the people who made it, what their thoughts were on it, nothing. So real quick, let's just talk about who made it, and then we'll move into the Pitchfork review. So this was made by Sam Fatherino and Carlos D. Better known as the rhythm section for Interpol. Right. Also, fog played the drums. [00:56:03] Speaker A: Fog was short for a longer name. [00:56:05] Speaker B: Yeah, and Carlos is the bassist. I want to confess that this and the LP remix of only are probably my two favorite remixes of the era. But I am coming at this from a very biased perspective because I like both LP and Interpol a lot. [00:56:21] Speaker A: I like the Richard X, though. Don't leave. [00:56:23] Speaker B: I like Richard X. I didn't say I didn't like. [00:56:24] Speaker A: Yeah, yeah. [00:56:25] Speaker B: I'm just saying that for me, the LP and the Interpol remixes are my favorite for this era. [00:56:30] Speaker A: I think I like Richard X remix better than both of those. [00:56:34] Speaker B: Someone's the Richard X head over here. [00:56:36] Speaker A: And I love lp's production. [00:56:38] Speaker B: Soon he's going to be listening to the Sugar Babes. And when that happens, it is divorce over here. [00:56:45] Speaker A: Some of our across the pond friends telling me not to sleep on sugar babes. I don't know that I'm going to become a stan anytime soon, though. [00:56:55] Speaker B: So, yeah. Two of the sartorially fabulous members of Interpol did the remixes here. [00:57:05] Speaker A: And it's funny that on the promo, the promo CD version, there's a shortened version of that called Interpol Edit mix. [00:57:17] Speaker B: I think it confused Blake because he was like, it really confused me. Blake is not, as far as I know, an Interpol fan. [00:57:23] Speaker A: Not really. [00:57:24] Speaker B: And so he was like, okay, I don't know what these Interpol mixes are. All I can find is this Sam Fogg and Carlos D mix. And I was like, blake? [00:57:30] Speaker A: Well, I don't know. [00:57:31] Speaker B: They're my brother in Christ. [00:57:33] Speaker A: They're not the main guy, what's his name? Travis something. [00:57:36] Speaker B: Paul Banks. [00:57:36] Speaker A: Travis Bickle. Who's Travis? Who's the main Interpol guy? [00:57:42] Speaker B: Isn't it Paul Banks? Is that who you're thinking of? The vocalist? [00:57:46] Speaker A: Who am I thinking of? That's a Travis. [00:57:49] Speaker B: There's a band called Travis that was popular around the same time. [00:57:53] Speaker A: Yeah, it's Paul Banks. Sorry, I don't know who I'm thinking of. [00:57:57] Speaker B: I don't know who you're thinking of either. But now I want to know who you're thinking of. [00:58:01] Speaker A: It doesn't matter. [00:58:04] Speaker B: Well, we might as well mention Daniel Kessler, the only member of Interpol that we have not mentioned yet. [00:58:10] Speaker A: Oh, I was thinking of Travis Morrison, the guy from the dismemberment plan. [00:58:16] Speaker B: Interesting. Why? [00:58:18] Speaker A: Maybe, I really don't know. [00:58:22] Speaker B: Anyway, I want to say that turn on the bright lights is a fucking great album. And Pitchfork used to agree. Hold on, I got to look this up now because it's going to bother me. Remember when they re reviewed bands for their 25th anniversary of their publication of their site? Sorry. They did like, if we could change reviews, here's what we would change. And they changed, like a chairlift album moth from like, I don't know, 7.2 to 7.7, like something stupid. But they also did it for Interpol and they knocked them down their debut album, and it pissed people off. [00:59:02] Speaker A: They were a little too caught up in the hype. [00:59:05] Speaker B: Excuse me. Turn on the bright lights is fucking great. [00:59:08] Speaker A: But there was hype. [00:59:09] Speaker B: There was hype. It doesn't matter, though, because it was worth the hype. In my opinion, out of all those New York bands, the best albums that. [00:59:17] Speaker A: Have stood the test, I'm not saying they're not good. [00:59:20] Speaker B: It's going to be Interpol's turn on the bright lights and the yeah yeahs fever to tell and. [00:59:27] Speaker A: Okay, we can't talk about anyway the scene that long. [00:59:30] Speaker B: I'm not going to talk about the scene that long, but I'm just saying this album actually is probably my favorite from that whole era. Out of all the bands, including the strokes. Is this it? I think it's better than that. I can't find the re review. Maybe I'm not looking. Right. Okay, well, it was just bothering me. They gave it a 9.5 originally, and then they knocked it down. So it almost had a perfect. Anyway, fucking pitchfork. [00:59:54] Speaker A: Can I talk about the title? [00:59:56] Speaker B: Of what? [00:59:57] Speaker A: Well, as I was saying, they called the Interpol mix on this promo CD, but they used their names on the official thing. I think maybe Paul Banks was like, I don't sign off on this. Why is this called Interpol mix? It's just the two of you guys. So then they just had to maybe. Yeah, that's what I'm thinking. [01:00:21] Speaker B: Yeah, Paul Banks is like, you didn't include me, you asshole. [01:00:23] Speaker A: Right? This is not Interpol. It's just two dudes. [01:00:28] Speaker B: Okay, so here's what they had to say about the everyday remix. The new remix is cold and ordinary with Interpol rhythm section, Sam Faggerino and Carlos D. Doing for every day what you two's Adam Clayton and Larry Mullen, Jr. Did for the mission. Impossible theme a few years back. They remix it out are most of the vocals, excepting some shouts, some cooing and the chorus, you know, in case you forget what song you're listening to. Lots of traditional remix flourishes flaunt over the course of the track's five minute lengths, none doing much of anything to enhance or treat the song. And then it's over. It's a disappointing way for a record to end. Just click back a few tracks and forget it ever happened. Their favorite was the DFA remix, if I remember correctly. [01:01:09] Speaker A: Yeah, nine minutes of that incessant drum and bass loop. [01:01:15] Speaker B: Sorry. [01:01:16] Speaker A: And that's the short one. If you want to hear us talk about the DFA mix for way, way too long, go back to previous episodes. [01:01:27] Speaker B: I made Blake listen to like four minutes of it on the way to our family Christmas thing last night, and I was like, you can skip it because I could tell it was torture for you to have to sit through that DFA remix. [01:01:38] Speaker A: It'd be torture to listen to, like, the 14 minutes one again, or however long it was. [01:01:43] Speaker B: Do you want to hear what they said about DFA? Since it's on here, we might as well. They said. The DFA do what they do best, starting with some Pacman verbals before their requisite four four disco pulse infiltrates the song's angst ridden heart, replacing the pro forma nin Ruckus and plumping the track up to nine minutes. They also slow down Reznor's vocals just enough to put them in step with this new slinkier beat. It's disorienting at first if you're familiar with the original, and it accentuates the lesser qualities of Reznor's lyrical bent, but the treatment works beautifully. By contrast, Votec's straight mix of hand is as advertised. He does nothing more to the tune than pat it with starch, some drum machines from coming up synths, and an extended strobe light outro. [01:02:27] Speaker A: Strobe light, eh? I don't disagree with that terminology for what it sounds like. [01:02:34] Speaker B: LP's version is claustrophobic. He takes Reznor's speak sung narrative and uses the downtrodden backing to accentuate the paranoia inherent within the babbling. Lonely horn blasts in what sounds like a warbling robot turkey splattered the turgid soundscape. Okay, what a sentence. Turning a seemingly flighty, self castigating jaunt into a harrowing and somewhat cloying experience. [01:02:57] Speaker A: It's your standard pitchfork gibberish. [01:03:00] Speaker B: Here's your man, Richard X turns that psychosis upside down, ignoring any possible subtext within the lyric. Richard treats the song the way he does tracks by Annie and the stricka babes speed the tempo up, add some glitter and percussion and get people dancing. Yeah, they like Richard X more than LP, too. They're just like you, for real, anyway. [01:03:19] Speaker A: More exciting, I guess. [01:03:22] Speaker B: I think it's more exciting to do something very. [01:03:24] Speaker A: Maybe if I took some downers I'd be into the LP more, but I think I've only listened to it sober thus far. I don't drink much anymore. [01:03:34] Speaker B: All right, so why don't we play the Interpol remix? Because I think it's great. [01:03:39] Speaker A: Okay. [01:03:39] Speaker B: Sorry, Carlos D. And yeah, don't call it Interpol. [01:03:42] Speaker A: Paul Banks didn't sign off, but Travis Bickle, whatever his name is. [01:03:46] Speaker B: Travis Bickley up. [01:04:03] Speaker C: Ooh. [01:04:06] Speaker A: One thing I did notice, there's almost no new sounds. Almost none. [01:04:18] Speaker B: That's our cat. [01:04:20] Speaker A: Yeah, that's not in there. Some of the percussion, but a lot of it is just the existing sounds moved around, sped up, obviously. That's that screeching swell from the intro, that guitar. [01:04:50] Speaker B: I think it's really good. [01:04:53] Speaker A: I do enjoy it. [01:04:55] Speaker B: I don't know why I pitchforcated it so much. [01:04:59] Speaker A: Yeah, I don't know. [01:05:05] Speaker B: I think it sounds very interpoly, but also very nine inchy. Do you not think so? [01:05:11] Speaker A: Maybe without, like, the actual drum, bass and guitar of Interpol. It's hard to. For them to sound like that. [01:05:24] Speaker C: Ramay. [01:05:50] Speaker A: I do like the atmospheric ooze and Oz just by themselves there. Yeah. The song. Song lyrical structure is taken out, but we get just kind of a moody, vibey, atmospheric piece that I think that's pretty good way to do it. [01:06:10] Speaker B: I like to focus on the ooze and Oz here. [01:06:13] Speaker A: You like the vibes. I wonder how they got tapped to. That's a weird. [01:06:25] Speaker B: How they got tapped to do weird. [01:06:26] Speaker A: Little chopped and screwed bit there. [01:06:28] Speaker B: Yeah, because they were. It rockster like it seamsters at the time, and they had at this point, released two very, very good albums. And I'm guessing Reznor was a fan of them. They are very joy division y. They're very. [01:06:51] Speaker A: It's weird that the hot scenesters, BFA, Interpol people were getting asked to do stuff at this time. [01:07:06] Speaker B: Lp. [01:07:08] Speaker A: Yeah. He's usually not that interested in whoever the hot thing is of the day, but he knows what's good. [01:07:27] Speaker B: Well, he's a big fan of all the DFA stuff, so that totally makes sense. [01:07:31] Speaker A: Yeah. [01:07:31] Speaker B: And he was getting really into post punk. [01:07:35] Speaker A: Yeah. Which Interpol is definitely derived from. Yeah. [01:07:41] Speaker C: Exactly the same. Exact. [01:07:49] Speaker A: You're having a lot of repetitiveness I think is appropriate for this song, for the mood. [01:07:58] Speaker C: And there is a. [01:08:05] Speaker A: But we don't get the verses at all. Of course. I do kind of miss the bridge though. [01:08:16] Speaker B: It's fine. [01:08:19] Speaker C: There is only days acceleration. [01:08:29] Speaker A: Gonna go out on the drums again, but with tambourine this time. [01:08:35] Speaker C: Every day is the same. Every day is the same. [01:08:50] Speaker A: You're right. It works without a fade out. [01:08:52] Speaker B: It really does. [01:08:53] Speaker A: See that decay of that big shout sounds. I like it. [01:08:58] Speaker B: Yeah. I don't understand the hate for that remix from. I figured it would be right up their alley since they loved all that stuff at the time. [01:09:07] Speaker A: But I don't think it actually sounds like Interpol though. But it's just one stupid reviewer. It doesn't matter. [01:09:14] Speaker B: I think it's got Interpol vibes. But that's me. [01:09:16] Speaker A: Some vibes. [01:09:19] Speaker B: I think there's enough of them in there that it adds a little bit of something to it. [01:09:24] Speaker A: No, I agree. [01:09:27] Speaker B: Okay, that's it. Dude. That's the end of Halo 21. [01:09:35] Speaker A: Yes. The closest thing we got to with teeth remix album. We got what some consider an ep. It is on Spotify if you. [01:09:48] Speaker B: I think it's listed under singles though. [01:09:50] Speaker A: Yeah, it is. It's like a maxi single from the days of your. [01:09:54] Speaker B: The old days. [01:09:55] Speaker A: I miss Maxi singles. We sometimes get them in weird streaming formats still, but they don't feel all that maxi. You don't get a cool package. [01:10:08] Speaker B: So we're not going to be doing inch ratings anymore because we don't like doing them. [01:10:14] Speaker A: The fans spoke and they don't like them either. No, the fans said do whatever you want. We don't care that much about the inch ratings. The numbers are not what's important, clearly, it's the actual content of the podcast. [01:10:28] Speaker B: So what I thought we would do is read some fan reviews. [01:10:33] Speaker A: But I give this one a seven. [01:10:38] Speaker B: Maybe around the same. I'm going to say 7.5 because I. [01:10:44] Speaker A: Really like everything we ever do gets a seven or 7.5 or if we really like it, a 14, the coveted 14. [01:10:52] Speaker B: So what I thought we would do, since we're not doing official in tradings anymore, is I would look through Amazon and see what the fans thought. What the fans are posting on Amazon reviews. By the way, if you want to buy this audio CD new for some reason it's $106 on Amazon. [01:11:12] Speaker A: That'd be a cool little artifact to have. [01:11:14] Speaker B: You can also get it used starting at $4. [01:11:18] Speaker A: It's funny that it's still new. Copies are floating around, but I guess they are of a lot of with tea stuff. [01:11:25] Speaker B: Yeah, there's a used very good for $12.32. So you can get almost new. [01:11:30] Speaker A: You can get new beside you in time dvds and such for not that much money. [01:11:35] Speaker B: Okay, so it has 53 ratings, an average of 4.5 stars on Amazon. [01:11:42] Speaker A: That's pretty good. [01:11:43] Speaker B: That's pretty good. I wonder what's bringing it down. Let's see. Do me to start with the one stars or do you want to go with the five stars? [01:11:52] Speaker A: Just do like one of each. We don't need that much. [01:11:54] Speaker B: Okay, so five star on December 18, 2014. Andrew K. Said the songs on this CD shook the house till the sun came up. Totally worth having in your collection. [01:12:07] Speaker A: I guess you could do kind of a dance party just to this ep. [01:12:10] Speaker B: Honestly, Joe wrote in 2013. Well, I am collecting all the halos. This one did not disappoint me. I have eight more words to type. My favorite review ever. Let's try to find a five star from the time period. [01:12:27] Speaker A: Did they go back that far? [01:12:30] Speaker B: Yes, there are some from 2006 2007. They're just not really not good. Listen to this one. I don't even know what this is. This is September 10, 2009. A great song and Karen delivers it beautifully. I could listen to her sing all day. What are they talking about? [01:12:49] Speaker A: Talking about Karen o or Karen Carpenter. Amazon switched them up or the person was accidentally commented on the wrong one. [01:12:59] Speaker B: Maybe. [01:13:01] Speaker A: I think they're talking about immigrant song by Trent Reznor. Maybe Karen O. [01:13:08] Speaker B: Maybe someone just wrote great five stars. Great. [01:13:12] Speaker A: That was me. [01:13:13] Speaker C: Sorry. [01:13:16] Speaker A: This person wrote seven inches. What? [01:13:19] Speaker B: Wow, that's weird. Blake on December 17, 2023. Seven inches. Now for the one stars. Here we go. These are the fun ones. Here's a good one. I bought every day's exactly the same ep, but the CD is with teeth. I want my money back. And they have a picture of like a used single. When you open it, it has the with teeth CD in it instead of the single. [01:13:45] Speaker A: I hate this album, but I love the ep. [01:13:48] Speaker B: I wanted that someone wrote. Leah in 2021 wrote it, said it was the CD in good shape for $11 for a six song single in used condition, though. But it said good shape. Three of the six songs skip. Very annoyingly. I understand the case would probably be in rough shape, but the CD shouldn't skip if it's good for usable shape. I would rate it at poor condition. One star. There was no punctuation at all in that review. So sorry, I'm not going to read the Dillman review. We can save that for a different time. If anyone wants to know, it's a teaser. Yeah, the Dillman review. [01:14:21] Speaker A: We'll do that later. [01:14:22] Speaker B: Those are the only one star reviews, so basically it was wrong. CD sent and CD skips. [01:14:32] Speaker A: Should we replace inch ratings with funny Amazon reviews? Just do a few. We don't have to in the future. I mean, it might be a fun thing to do. Definitely more fun than deciding inch numbers. If you want to hear all the halos, most of the halos rated in inches, check out previous nine Inch Nails podcasts. Who did that before we did it, I think called underneath it all. [01:15:03] Speaker B: I don't know. I didn't. [01:15:03] Speaker A: Underneath it all, I think is the one that did that. [01:15:06] Speaker B: Here's a review from Tony Tats three star so we're going to go for a three star review they wrote in 2006. I have been a devoted nin fan since 90 when I first heard sin at a college party during my freshman year. [01:15:16] Speaker A: Whoa. [01:15:17] Speaker B: And they will always be my number one band. But seriously, this ep does not deserve a halo number. Come on, Trent, you can do better than this. And three people found that helpful. Thank you, Tony. [01:15:28] Speaker A: This doesn't deserve a halo number, but stuff like down in it had like a whole. Well, he's obviously biased toward the pretty hate machine era. Clearly. Anyway. What? [01:15:44] Speaker B: Nothing. I'm just ready to wrap this. [01:15:46] Speaker A: Okay. Yeah, we should wrap it up just like we're wrapping up these Christmas presents. [01:15:51] Speaker B: I got a lot of shit. I got a lot of wrapping to do. Too dang busy. Too dang busy this time of year. Speaking of busy time of year, holidays. We are taking a little break for the holidays just to keep our sanity. [01:16:03] Speaker A: And we have warned you, we now take holiday breaks, not long breaks, but we don't work on holidays. [01:16:12] Speaker B: That's right. So we will be coming back in January with new episodes and finishing up this era. We're going to be focusing more on the live era of with teeth. So we're going to be talking about Halo 22 with teeth tours and Halo. [01:16:29] Speaker A: 22, which is beside you in time. And Jess and I, just as a reminder, we haven't seen it before and I held off. We both did because we thought it would be more fun for you to get a first time reaction like they do on the YouTubes. We're going to do live reactions. [01:16:52] Speaker B: We're just going to be just like those YouTube people that are like, what's a nine inch nail? I don't know. We'll have funny little. [01:16:58] Speaker A: I want a green. [01:16:59] Speaker B: What? [01:16:59] Speaker A: You like a what? [01:17:02] Speaker B: Excuse me. [01:17:04] Speaker A: Middle aged drummer reacts with a big open mouth, pointing at picture of buff Trent. [01:17:16] Speaker B: Sounds good. I won't be in that screen cap for the YouTube video display. [01:17:21] Speaker A: Yeah, that's me debasing myself. [01:17:24] Speaker B: It's okay. [01:17:25] Speaker A: All for the thumbnail. We did it all for the thumbnail. [01:17:28] Speaker B: So we'll be back January eigth with a new episode. And that will be for our patrons. That'll be a bonus up and we might drop something. Well, hold on. What we're thinking about doing this is just a thought. I'm putting it out there for the patrons if they're interested. And get back with us on the discord if you are. If you're in there. What we're thinking about doing is we're going to watch it for the first time, just us. And we thought maybe during the holiday break we could have a watch along with all of you, our patrons. We thought we could figure out a way to set it up so we could all watch together via discord. So thought that might be kind of fun to do. Let us know if you're interested in that since we're not going to have any content out during that time period. It might be fun to just kind of get together, but I know the holidays are really busy, so it might be a bad idea just because of that. [01:18:20] Speaker A: Yeah, we did one thing like that where we did a watch along live for when they played the veteran benefit, the Joe waltz show. We all watched. Well, some of us in the discord watched that together and that was fun. And some of us in the discord were actually there. [01:18:42] Speaker B: That's right. So on the 9th, we'll come back with the bonus episode. That'll probably be about some of the live with teeth stuff that we have not discussed yet. And then we'll be back the following. [01:18:58] Speaker A: Week with Halo 22. [01:19:01] Speaker B: Well, the following week on the 15th, that'll be still for patrons. Okay, that'll be the Halo 22. And then on the 22nd we'll be back in the main feed for. [01:19:19] Speaker A: So if you want. Sorry to talk about all this paywall stuff, but if you want episodes a week early, and if you want twice the amount of episodes, you get more than 50 bonus episodes and counting. Patreon.com nailed Pod now's a good time. [01:19:39] Speaker B: You can listen and catch up on all those bonus eps while you're traveling to your favorite aunt's house for Christmas dinner. [01:19:47] Speaker A: If you got to drive. Great drive, great commute. [01:19:51] Speaker B: Podcast if you got to fly. [01:19:54] Speaker A: It's a great thing to do when we take our little breaks to catch up on those. Bonus. Yeah, I've been told. [01:20:01] Speaker B: So, Blake, do we have any new patrons to give a shout? [01:20:08] Speaker A: Only, I think we only have one new patron since last I read these. But shout out to Robin Utani. Thank you for joining up. [01:20:19] Speaker B: Hi, Robin. Oscar said hi, too. [01:20:22] Speaker A: Yeah, all of our stuff [email protected]. Of course. And that's our handle on the socials, too, especially instagram. Okay, well, everybody, have a good end of year holiday season to those who celebrate. And if you hate this time of year, I feel you. [01:20:43] Speaker B: And if you hate this time of year, I hope you make it through. Yeah, you'll be okay. [01:20:49] Speaker A: Anything else to say, Jess? [01:20:51] Speaker B: I don't think so. Just stay safe. [01:20:53] Speaker A: Stay safe. Thanks for listening, everyone. See you on Fortnite. And didn't that make you feel better?