Halo 24 - Year Zero - Capital G

[00:00:25] Speaker A: Step right up. Its a song by song. Journey through the world of year zero. I'm Blake. [00:00:30] Speaker B: I'm Jessica. Sorry, I was thinking about. Sorry, I was thinking about something. [00:00:37] Speaker A: What? [00:00:39] Speaker B: Well, I was thinking about the way that Trent says bomb in this song. And then about the way he says bomb in. Is it the good soldier? And the face goes bomb. Push the button and you drop the bomb. [00:00:54] Speaker A: Yeah, I actually never thought of that before. [00:00:56] Speaker B: Sorry. That was what I was thinking about when I've birthday. You did the announcement. Sorry, guys. [00:01:04] Speaker A: Yeah, I never thought about that. He likes to say bomb on this album. [00:01:07] Speaker B: Well, yeah, anyway. [00:01:09] Speaker A: Really low register. So anyway, it's capital G we're talking about. Clearly track seven on year zero. Do you like this one, Jess? [00:01:18] Speaker B: Yeah, who doesn't? [00:01:20] Speaker A: This is one of my favorites. This makes the top three, I think. [00:01:24] Speaker B: Okay. I don't think I have ranked top three. Sorry. [00:01:26] Speaker A: Well, you don't have to. I think from the first time I heard it, I was pretty much hooked on this one. This was one for me. Guess we'll get into why later probably this time. I don't think we have any 9 inch news. [00:01:46] Speaker B: How much longer until the Peel it Back tour starts? [00:01:48] Speaker A: I don't know. I think a week. [00:01:50] Speaker B: Holy moly. [00:01:51] Speaker A: Yeah, it's close. [00:01:53] Speaker B: Let's have the computer confirm this. June 15th. So yeah, seven days from now. Crazy. [00:02:04] Speaker A: Yep. So they're playing. Their first show is on Father's Day. [00:02:07] Speaker B: So that looks like in Dublin. [00:02:09] Speaker A: Yeah. The ultimate daddy is. Of course. He's starting the tour on Father's Day. [00:02:15] Speaker B: His kids are gonna be really sad that daddy's not with them on Father's Day because daddy has to work. [00:02:19] Speaker A: He's gonna get so many Father's Day. Imagine six, seven presents from the wife. [00:02:27] Speaker B: Seven hand turkeys. [00:02:29] Speaker A: That's Thanksgiving. [00:02:31] Speaker B: So kids love putting their handprints on. Shit. [00:02:34] Speaker A: Anyway, no actual nine inch news. I'm not even hitting the theme. [00:02:38] Speaker B: Oh, oh. I was thinking just about the Fairlight that maybe is confirmed for use on the tour, but that's. [00:02:44] Speaker A: No, that's sort of. Okay, that's news. Fine, whatever. Insert news drop. [00:02:49] Speaker C: So everything is in the news today. [00:02:52] Speaker A: Yes, Alessandro Cortini posted a picture. He's actually bringing the Fairlight. I think we thought he was joking about it. He was talking about it earlier, but he. It's in like packed in a road case and it's obscenely heavy, bulky. It looks like a little computer attached to a keyboard. No clue why he's doing that, but the Fairlight was. Was, you know, revolutionary state. Of the art at the time. Now it's like, well, a laptop could do everything this does and more. Why? Why are you hauling this around? So maybe we're in for something really different and strange. I don't know. Or maybe he just thinks it's fun to use. [00:03:36] Speaker B: Maybe. [00:03:37] Speaker A: But how could it be so inconvenient? Anyway, that's cool. Okay, so you want to do some background information on this song? [00:03:56] Speaker B: Yeah. [00:03:56] Speaker A: Let's talk about doesn't have its own Halo, but it's kind of a single. No music video, but it did have a non Halo single release, but that was for UK only. June 11, 2007. And it was one of those nine inch vinyl discs. I still want that. We don't have that one. But Rob Sheridan explained on the Spiral, if you were there at the time, he said, it will not be a Halo. It's a simple 9 inch vinyl release the record company really wanted to put out. Side A is capital G. Side B is the Dave Sitek Survivalism remix. It will be nice for the people who have the 9 inch collector box, but we kept a Halo number off of it because it doesn't warrant one and so regular collectors wouldn't feel any pressure to pick it up just for the sake of completeness. [00:04:50] Speaker B: I think there's some bad thinking in that, because I think that putting out a single that's a non Halo item will just make collectors want it more. [00:04:58] Speaker A: The people who want the more rare and weird stuff. Yes, they will. [00:05:02] Speaker B: I wrote that. It's. But she's got a new hat for collectors. But she doesn't have a Halo. [00:05:08] Speaker A: Yes. So even if you have. Yeah, you can have. And there's multiple versions to collect with a new hat, if you're into that sort of thing. What was I going to say? Oh, I want a 9 inch collector box? I don't remember what that looks like, but we should have one, I feel like. Anyway, so Trent Reznor was pissed off about labels overpricing record releases at the time, and I'm guessing that's another big reason why it wasn't a an official Halo release. Okay. So as mentioned on this promo disc, there also was Dave Sitek's remix of Survivalism. That one's not on Year Zero Remixed. So I figured we better talk about it now. [00:05:59] Speaker B: Okay. [00:05:59] Speaker A: Because I don't think we talked about it on the two Survivalism episodes. And who's Dave Citic again? [00:06:06] Speaker B: From TV on the Radio? [00:06:08] Speaker A: That's right. Great band. Should we listen to it now? [00:06:12] Speaker B: Yeah. I've never Listened to it. [00:06:13] Speaker A: I'm just gonna give a little, little taste of it. If I recall, it's close to the same thing but different drums. Maybe so far I'm right. Seems like the same thing but different drum situation going on. Does that sound right? Oh, lady gets to the chorus. It's kind of like the whole thing's kind of like half time maybe. [00:07:20] Speaker B: Chorus is crazy. [00:07:23] Speaker A: Yeah, the drums are so loud and busy. It's got perfect drug drum solo vibes. Anyway, this is not a survivalism episode. Maybe we'll listen to the rest of it sometime. Okay, at some point. Moving on with capital G though. They're also speaking of different versions. I believe Interscope put out a 12 inch promo release as well. This one has different remixes though, including the phones 666rpm remix. That's the project of Paul Epworth. That one is on YZ Remixed though. So we're going to talk about it on the next Halo. [00:08:16] Speaker B: Okay. [00:08:18] Speaker A: Then there is one by Dave Taylor called Switch Remix. That is the co founder of Major Laser, apparently. Did you ever listen to that band? [00:08:28] Speaker B: I know like one song. [00:08:29] Speaker A: I don't know if I ever heard them, but I probably did. [00:08:32] Speaker B: I think it was only because Eric Wareheim like directed the music video. [00:08:36] Speaker A: Yeah, he did a bunch of stuff. And that track is exclusive to the Year Zero remixed vinyl. So if you buy remixed, the official Halo like on CD version, you're not going to get this track. Only if you buy the vinyl, which has a slightly different track list. [00:08:54] Speaker B: Okay. [00:08:54] Speaker A: Do you want to listen to this one? [00:08:56] Speaker B: Nah, let's save it for Year Zero remix. [00:08:59] Speaker A: Okay, well, because we'll probably talk about exclusive tracks on that same one. Right? They also put this promo on a CD format. I think there's two promo CD versions. One of them has different artwork though. We'll talk about what that artwork is. And that one has just album version and edit version which is the radio version with motherfuckers and shit taken out. So it's radio friendly. [00:09:28] Speaker B: What do they say instead of motherfuckers? Is it just bleep? [00:09:30] Speaker A: It's probably just silence. It's not gonna be a bleep, but. [00:09:32] Speaker B: Yeah, probably not a bleep, but you know what I mean? Like a pause, a big pause. Or sometimes they would do things where they kind of like blipped it. I don't know how to describe it. [00:09:42] Speaker A: So how do we tell the difference between all those crazy artworks? Do you want to talk about the artwork? [00:09:49] Speaker B: I think this is just the artwork for the 9 inch single. I didn't actually look at any of their artwork, so. Sorry. [00:09:56] Speaker A: I think that's also Sheridan. It's just a different piece. Yeah, this is the. This is the alternate promo disc artwork. [00:10:05] Speaker B: Oh, so it kind of looks like YZ Remixed. [00:10:07] Speaker A: Yeah, it's like. It's almost like if you took the YZ Remixed art and made it, like, super pixelated and liney horizontally. It's the same. That same color scheme, in fact, that. That might be exactly what it is. [00:10:23] Speaker B: Okay, so there's the artwork that looks like Year Zero Remixed. Kind of just very glitchy. Is that landscape or something? [00:10:31] Speaker A: Yeah, I think it looks like a. [00:10:32] Speaker B: Desert landscape or something. [00:10:33] Speaker A: A Hellscape. [00:10:34] Speaker B: Exactly. But there's another one that is the Capital G vinyl cover, and that one is actually. You might think, hey, that design kind of looks familiar. That's because Sheridan modeled it off of the American Veterans of Foreign wars emblem or logo. That's right. The vfw. You. This design is also repurposed for the Bureau of Morality and also repurposed by a certain podcast. [00:11:02] Speaker A: Who. A certain podcast, you say? All right, I'll take your word for it. [00:11:08] Speaker B: Yeah. [00:11:08] Speaker A: Yeah. I'm looking at the Veterans of Foreign wars emblem. Yes, it is the same thing. It's just a little. It's more colorful, for one, and slightly different art in the middle of it, but it's an eagle. Although the capital G1 cover has just a big G in the middle, and it's more colorful than, like, the Bureau of Morality seal, which is black and white. So pretty unique. Interesting. Giant G. I want it just for that. [00:11:42] Speaker B: Yeah, that G on that, like, Maltese Crosser or whatever that is. [00:11:47] Speaker A: Looks like there's a hype sticker on it that says, includes Dave Sitek remix of Survivalism. [00:11:54] Speaker B: Nice. [00:11:54] Speaker A: And then in the Year 0 font below 9 inch nails, colon, capital G. Okay. Just saying. What's on it because we're on a podcast and I guess gotta describe it or they won't get it. [00:12:07] Speaker B: People want the hype sticker info. Well, never gotten that much into detail. [00:12:11] Speaker A: Some of us are hypeds and we like to see that. [00:12:14] Speaker B: Okay. [00:12:14] Speaker A: We care about that kind of thing. [00:12:17] Speaker B: So connection to the ARG for this song. Kind of. Sorta. So when physical copies of Year Zero were made available, a fan on ETS was burning a CD. I'm sorry. Or ripping it into MP3 format. And when he took it out, he noticed, hey, this looks weird. What is this? The CD was covered with, like, a thermochrome material, and that's A material that. That changes color in response to temperature changes. So this is used for a lot of things like mood rings, baby bottles to let you know if the water's like, if the milk or whatever is too hot when it cools down. It's also on those hyper color T shirts from the 90s that kids had. And I never got one. [00:13:04] Speaker A: I never had that either. I was deprived apparently. But what I did have was color changing spoons out of the cereal box. [00:13:12] Speaker B: Is that the same technology, I wonder. So if the glasses you currently use are considered the same kind of technology in a way. Although it's not really changing with temperature. But I know that they use them. [00:13:24] Speaker A: For smart windows because I have transition lenses. I don't think it's quite the same. It's un activated though. Okay, so we all noticed that when we played the disc that it goes from black to white. [00:13:36] Speaker B: Well, anyway, so when people were looking at it, they noticed that they were like, what the fuck is this? It was binary code. And so I believe someone translated it and it led to a website, exterminal.net. this website is a database of inmates who were kept in the extra judiciary federal detainment camp in Guam and was allegedly. This information was allegedly like hacked and posted maybe like WikiLeaks kind of style, maybe. And the detainees at this camp are all subversives who are of course all considered terrorists by the government. And this includes a classified inmate. Maybe Trent put himself in there. Of course, yes. And a wav file of capital G was used as evidence against this inmate, even though that inmate was maybe captured while performing survivalism, not capital G. I just want to point that out. [00:14:34] Speaker A: Yeah, true. I love that they were like, what are his crimes? Here's an example of one right here. [00:14:40] Speaker B: This song, this banger. So this wave. I didn't understand what this is. And maybe Blake can explain it in a second. Well, actually, let me go to something else real quick and then we'll come back and you can explain in a second. So all the sites for the year 0 are have text from various band materials. And the background text for this site was from Alan Moore's Watchman. And It's Rorschach's journal. October 12, 1985. [00:15:12] Speaker A: I love that book. I just read that recently reread. [00:15:15] Speaker B: October 12th. That's my sister's birthday. And my birthday's gonna come up later. Interesting. Interesting. [00:15:22] Speaker A: Very interesting. It was on purpose. [00:15:24] Speaker B: I bet it was. I bet. Dog carcass in the alley this morning. Tire tread on burst stomach. The City is afraid of me. I have seen its true face. The streets are extended gutters and the gutters are full of blood. And when the drains finally scab over, all the vermin will drown. Very light hearted. [00:15:41] Speaker A: They just thought that sounded cool as hell and had to put it on the background of their website. [00:15:46] Speaker B: That's right. [00:15:46] Speaker A: Even though they didn't. I wonder if they could get sued for that. Sued by DC Comics? [00:15:53] Speaker B: I don't know. Maybe they could say it was fair use. [00:15:58] Speaker A: Maybe. [00:15:59] Speaker B: I also think it's all like glitched up and shit, so I don't know how, isn't it? [00:16:04] Speaker A: Oh, yeah. Maybe they're like, no one will be able to read this. It's all pixely and shit. [00:16:08] Speaker B: Yeah. [00:16:09] Speaker A: Okay. Oh, should I describe What? The inverted WAV file? [00:16:14] Speaker B: Yeah, sorry, I didn't go over that. So the WAV file that was on this site was an inverted version of Capital G which when played with the album version of Capital G, produced an audio clip which led players to a page on the maelstrom. And we'll talk about what the maelstrom is some other time. Okay. [00:16:32] Speaker A: Yeah, that's a whole thing. But what they mean when they say an inverted version of the song. Nobody actually says that in audio. We say phase. You could say maybe phase inverted, phase flipped. It takes the waveform and like does a mirror image of it. The song will sound the same. Okay, but if you add them. Audio ends up just being math. But if you add them, they cancel out. [00:16:59] Speaker B: Okay. [00:17:00] Speaker A: So if you put the song and its face flipped version of the song on top of each other, they cancel out to silence. However, they included something in one of them that would, when combined, stand out. [00:17:14] Speaker B: Okay. [00:17:16] Speaker A: And that was apparently the way the URL. [00:17:20] Speaker B: Do you have a clip of it? [00:17:21] Speaker A: No. [00:17:22] Speaker B: Oh, I thought you were looking. [00:17:23] Speaker A: It's not really. Because if I played the phase flipped version of Capital G, it would just sound. [00:17:27] Speaker B: No, I just meant the sound of whatever was revealed. [00:17:30] Speaker A: No, I don't think that's. I think that's lost. Like, I don't think it's anywhere on the Internet. I'm probably wrong, but certainly couldn't find it. You know, it's tough out. [00:17:39] Speaker B: I didn't even look tough out there. [00:17:41] Speaker A: With the ARG shit. Most of it's gone. [00:17:45] Speaker B: People are trying to. [00:17:46] Speaker A: Yeah. [00:17:47] Speaker B: So some save what they can. [00:17:49] Speaker A: I should give a shout out. Someone just. I just followed someone on Blue sky who's doing a whole year zero, like reclamation project of some sort. [00:17:59] Speaker B: Well, there's already a site that's done that. [00:18:00] Speaker A: Yeah. Was that the Net Ninja? [00:18:02] Speaker B: Uh huh. Whoever that is. Thank you. Or tried to do it as best as they could anyway, but they managed to save a lot of it. [00:18:10] Speaker A: Hour of arrival on Blue sky at another version of the Truth xyz, a project attempting to bring back the websites of Year Zero. So check it out. Oh, if you go to another version of the Truth xyz, it'll take you to. So he's like reviving all the materials from the yz. [00:18:33] Speaker B: Yeah. I think you can actually play with that site and wipe away everything. [00:18:37] Speaker A: Yeah. [00:18:38] Speaker B: Like you would have been able to. It's kind of cool, right? [00:18:42] Speaker A: I will just add some basics. The length of the song is 3 minutes, 50 seconds. Good, respectable length. The tempo is another weird one, though. In fact, probably the weirdest one because it's listed at 109.0001 beats per minute, as if. [00:19:03] Speaker B: Where do people get that info? [00:19:06] Speaker A: It is in the, I believe, the multitrack files. When you download them, they all have a document that says what the tempo and key is. So I'm still kind of unsure why he would make it 109.0001. An absurdly small increment above just plain old 109. [00:19:29] Speaker B: I wonder why the site Ninwiki doesn't list the tempos that were found. [00:19:35] Speaker A: Like the weird tempo. Does it? Just round them? [00:19:37] Speaker B: Yeah, it says 106bpm. [00:19:39] Speaker A: Actually, that's not it at all. [00:19:41] Speaker B: Yeah. [00:19:42] Speaker A: Huh. Well, searching that number, I think this is nothing. But the only thing I found was the, like, catalog number for some old flight jacket in a University's World War II, like, museum collection. So I was like, flight jacket? Military, maybe something. It could be a reference to the 105th Airborne Crusaders. But I said probably not. That's the closest connection I could make. [00:20:19] Speaker B: Maybe. Sorry. I'm reading through it because there's information about the. The item. So I'm just kind of reading through the jacket. Yeah. Just talking about like the. The patches, what's on there. [00:20:30] Speaker A: Yeah, I looked at it too, but I already forgot. I. I deemed it not important enough. [00:20:35] Speaker B: Yeah, I mean, the only thing I can really make is probably the connection. Like you were saying to the 105th Airborne Crusaders or just to war in General, I guess. You know, he pushed a button and he dropped the bomb. [00:20:48] Speaker A: Yeah. Yep. And who, I guess who dropped the bombs in World War II? It was the U.S. air Force. And that's who this jacket is from. So. Yeah, we. We figured it out. Puzzle solved. Okay. Credits on the Song, this one actually has live drums. What? Well, overdubbed on top of the fake drums in, like, the latter part of the song, Josh Freese comes on and does some snare. Snare work. Some rolls on the snare that sound pretty cool. I'll play them later. And then we have to give credit to the horn section. You'll hear in the song pretty prominently. And they're not listed as this in the liner notes, but it's. The horn players are from the Dakar Hip Hop Orchestra. It's a group in LA led by Jeff Gallagos, who is credited with also doing the arrangement on the horn part for this song. Okay, so he's credited as Jeff Double G Gallegos, but it's with a J. I think they misspelled his name because then later. Later in the same liner notes, they call him Jeff with a G. And. [00:22:08] Speaker B: Since his nickname is Double G, I said, that seems correct. [00:22:12] Speaker A: Right? Double G, not jg. And it's weird that it's the song capital G, which made it a little more confusing. And I don't know if I wonder if he goes by that normally or if he just called himself that for this session because of the song. Double G is credited with baritone sax. Oh, you did bring up something that I also can't believe I didn't think of. But why didn't Trent play sax? [00:22:38] Speaker B: Because there's also a tenor sax player, Matt Demerit. [00:22:41] Speaker A: Yeah. [00:22:42] Speaker B: Yeah. [00:22:43] Speaker A: Well, okay, I'll go through the rest first. [00:22:45] Speaker B: Okay. [00:22:45] Speaker A: Tenor sax Matt Demerit. He's also in Daka. He's got credits on Eels, De La Soul, and even Macy Gray. Trombone credited to someone named Elizabeth Lee Lea. She's worked with people like Reggie Watts, Vampire Weekend, also in Dakar, and trumpet by William Artope Jr also worked with Macy Gray, and most interestingly has worked with Eve Toomer, who we saw open for Nine Inch Nails. So. Small world. I don't think he was there playing trumpet, though. At Eve Toomer? [00:23:24] Speaker B: No, probably not. [00:23:26] Speaker A: But yeah. Why didn't Trent. Trent plays the saxophone. God knows he loves it. Why didn't he just do it, do you think? [00:23:33] Speaker B: Hmm. [00:23:35] Speaker A: Maybe he just didn't feel like he was good enough. [00:23:38] Speaker B: Maybe he just wasn't in the mood. [00:23:41] Speaker A: Yeah, maybe he just wanted a whole section that played well together. Maybe people who didn't sound like him, maybe. But, yeah, you'd think so. Okay, is it time to listen to it yet? [00:23:53] Speaker B: Yeah, let's do it. [00:23:54] Speaker A: Okay. Zabi, is he rapping? [00:24:13] Speaker B: Kinda. [00:24:14] Speaker A: Not melodic. Kinda. Spokane and. Yeah. [00:24:19] Speaker B: Making Some love the vocals on this. [00:24:22] Speaker A: Yeah. Some choices on the way things are pronounced. The Trin accent is strong in this one. [00:24:44] Speaker C: Now I'm on my hands and knees. [00:24:48] Speaker A: Pause. I love that little tiny pause there. What sounds like a horn solo. In the post chorus, we'll get to that. Weirdest lyric in the left ear. There's, like, this noise just getting more and more urgent. I guess both ears. It reminds me of. I think it was in Wish sound like a. Noises like a plane taking off that just get more and more intense. This is a lot like that. All right, that's good. Also the shuffle beat. [00:25:52] Speaker B: Love it. [00:25:53] Speaker A: It really stands out. This song is different in that way. This quick, six, eight, shuffle type rhythm. I always loved it. That's why I love Enter the Void as well. But this super leans into it. I think it's really cool. [00:26:15] Speaker B: What do you think the video would have been like for this? [00:26:19] Speaker A: The video? [00:26:19] Speaker B: Yeah. He made a music video. [00:26:21] Speaker A: We'd have been a lot of George Bush stuff. Maybe a cartoon, political cartoon. [00:26:33] Speaker B: I always pictured, like, Nazi youth, like, Sig hailing and chanting G here. Honestly, for years, I didn't realize they were saying greed, but they were singing G, G. Oh. [00:26:43] Speaker A: I actually, until recently, I didn't know that they were chanting anything. I thought they were just kind of going like, hey. Just kind of shouting. We missed the kind of horn solo, but we'll get to that. [00:27:01] Speaker B: Sorry we talked over. [00:27:01] Speaker A: No, it's fine. A lot of harmonies coming up. Love those. Seeing over the gap front, which I really like. [00:27:17] Speaker B: On Hands and Knees Bombs. [00:27:19] Speaker A: He likes that. Well, that's on, like, every album. At least five songs an album. Talking about being on your hands and your knees. [00:27:26] Speaker B: Context is everything, Blake. Okay. [00:27:32] Speaker A: More horns, baby. Can't get enough on this song. Another. Another angry, angry mob marching imagery. And this one kind of like hyperpower. [00:27:52] Speaker B: Yeah. And it cuts off. It doesn't have, like, a huge, long, like, outro like a lot of the tracks do. [00:27:59] Speaker A: It's a pretty, like, brief pop song. [00:28:02] Speaker B: Yeah, it's a pop song. It's very traditionally structured. Yeah. [00:28:06] Speaker A: The structure is super. This is like Nin's version of bubblegum pop, if you could call it that. [00:28:14] Speaker B: Verse, chorus, verse, chorus, horns, big harmonies. [00:28:17] Speaker A: Chorus, noise, shuffled beat. But I love it. I always love the, like, most obvious pop songs of any album. That's always how I am. But people like this one, right? [00:28:31] Speaker B: Oh, yeah, I think so. [00:28:33] Speaker A: I think people do. [00:28:34] Speaker B: Yeah. [00:28:35] Speaker A: It's a single. Yeah. Let's talk about clips. [00:28:38] Speaker B: And it's got that beat, you know? We'll talk about it, I'm sure, and what it reminds people of or maybe where it was inspired from. [00:28:47] Speaker A: Yeah, we. We know lots of comparisons get made. Mostly one, but we'll get to it. Okay. I have a. Like, a lot of clips for this one, so I'm gonna go quick. [00:28:59] Speaker B: Okay. [00:29:00] Speaker A: I'm gonna play several drum loops. This is for the chorus. It gets a little bit louder, and it's a slightly different snare pattern. And then later, it gets all, like, degraded, like, eight bit version of it. That's cool. Yeah, it's pretty cool. You can barely tell that's even there with all the horn layers and shit. Now, this is on every single song, I think tambourine, of course. [00:29:39] Speaker B: Mm. See, he was like, hey, besties, you handle the horns. I got the tambo on this one. That's what was happening. [00:29:48] Speaker A: That's all he needs. I called this pew, pew. [00:29:55] Speaker B: Pew, pew, pew, pew. [00:29:58] Speaker A: Kind of marching. Marching type rhythm. Brings to mind military, maybe. Yeah. I don't know why. [00:30:06] Speaker B: Kind of a. Play it again. Kind of like that. Marching. Kind of very, like, uniform. [00:30:13] Speaker A: Pew, pew. Guns. [00:30:15] Speaker B: That too. Yeah. [00:30:16] Speaker A: Military. More percussion. [00:30:23] Speaker B: What even is that? [00:30:25] Speaker A: I don't know. On the right. Claps. Big clap. It's like an ice machine on the right. Honestly. Jiggling. [00:30:37] Speaker B: What's a glockenspiel? What sound does that make? [00:30:40] Speaker A: It's like a high bell. [00:30:42] Speaker B: Mm. Okay. That's not. What's the instrument that makes that kind of sound, though? [00:30:49] Speaker A: The. What? Like a little ratchet percussion thing? [00:30:52] Speaker B: Yeah. Wasn't there. [00:30:53] Speaker A: I don't remember what that's called. I know it's not the fish that you. That you roll a stick over. And then one of my favorite parts. This is where Josh plays an actual snare drum. [00:31:19] Speaker B: Cool. [00:31:23] Speaker A: Ooh, that's so crazy. When he. He does the 30 second notes or whatever they are at the end. [00:31:31] Speaker B: Yeah. You know what sucks is he was booted out of the foos. [00:31:34] Speaker A: Yeah. I don't know why they told him he was fired. Not from ninh. From Foo Fighters. [00:31:42] Speaker B: Yeah. Sorry. [00:31:44] Speaker A: Yeah. I didn't know that there was a live snare on that for the longest time. [00:31:48] Speaker B: I wouldn't have known until you told me. [00:31:50] Speaker A: Wait. I think I have just his role part. Isolated. It's crazy to do it in that rhythm too. Almost sounds like you're going against the. The beat, but not really bass. It's more distortion than it is bass. I don't think it's live bass. I think it's a synth. Extremely distorted in the bass. On the chorus, of course. Guitar. It's on the chorus too. [00:33:04] Speaker B: This makes me feel so full of dread. Which is weird because when it's combined with that beat and the chorus and you're singing, you don't have that feeling played again. [00:33:14] Speaker A: Anxiety as a guitar part or a few guitar parts. [00:33:23] Speaker B: Crazy. [00:33:25] Speaker A: Very cool. More guitar. Getting more intense there. Guitar on the bridge. I like that. Yeah. This song's got some of the coolest in it, for sure. This is labeled as dope fur the synth manufacturer that has been used in some other year zero songs as well. Oh, it's the. That is. The dope fur, like, modular synth is making that the wish type noise in the second verse. What? [00:34:44] Speaker B: Stop it. [00:34:45] Speaker A: Is it too loud? [00:34:47] Speaker B: It's just hitting my ears. Weird. I don't like it without. [00:34:49] Speaker A: Is it too loud? [00:34:50] Speaker B: No, it's just. It's annoying without all the other stuff around it. It's kind of like that scene in Dumb and Dumber when Jeff Daniels is like. Or is it Jim Carrey? I was like, you want to hear the most annoying sound in the world? And he's like, I can't even do it. [00:35:04] Speaker A: This doesn't bother me. You must have misophonia for this sound. [00:35:10] Speaker B: Play it again. [00:35:10] Speaker A: It doesn't bother me. I mean, it's intense and loud, but if your headphones are too hot, I'm gonna make a video edit where it's Jim Carrey saying, you want to hear the most annoying sound in the world. And he opens his mouth and that comes out. [00:35:31] Speaker B: I think that's perfect. [00:35:32] Speaker A: Okay. Note yourself to make that for later. [00:35:34] Speaker B: Okay. [00:35:35] Speaker A: It's gonna be a hit killer meme. It's gonna go viral. [00:35:39] Speaker B: Just give me credit. I'm not on social media anymore. [00:35:43] Speaker A: This is. This is labeled as dope for horn, which I then realized was a real horn was not being used for this post chorus part, but instead a synth that sounds shockingly like a distorted horn. That's at the very end of the song, I think. It doesn't sound like a real saxophone or anything when isolated. But in the context of the song, it's kind of hard to tell what's real and what isn't. And that's what Nine Inch Nails is. [00:36:31] Speaker B: It's true. It's what this whole album is. What's real, what's not. [00:36:34] Speaker A: More. More of the synth horn. Whoa. That's cool. I like that. Then there are live horns mixed in with the fake horns. That's the Daka hip hop orchestra. Do you like that? [00:37:14] Speaker B: Maybe Trent was like, look, I'm in my hip hop era. I'm working with Saul Williams, I'm working with lp. I dropped some crazy beats on this album. I need a hip hop orchestra. [00:37:27] Speaker A: I'd listen to an album of just him working with the hip hop orchestra. And because I guess that wasn't enough horns, he even added in some synth horn underneath it to kind of bulk it up, I guess. I love that they're almost believable as a real horn section until it goes this crazy octave and just sounds super fake. But it works, I think in the. Layered into the song. More synth horns on the chorus part. This one I think was labeled new guitar. So maybe it was recorded later. This is during the verse, I believe. God. It sounds like he's playing a wrong note. The low note. I don't. I think that might be a mistake. Or I'm just dumb. It's like one half step above where he should be. Or maybe that's just what my ear thinks. The new guitar. In the course, that guitar tone is ass. And that's something he never does. He never. He always gives you the coolest guitar tones you've ever heard. But this is ass. That's my misophonia clip. Unpleasant to listen to. New guitar. Should have stuck with the old guitar. Guitar solo. Sorry to keep interrupting. This one I was certain was a sax or trombone or something. Horn section solo. Try to listen and tell me if it sounds like it could be that, but it. Part of it. It's like uncanny. It could be like super distorted horn section, but it's guitar apparent. It's just in the context of the song with all the layers that I thought it was a horn section. It's mostly the part guitar drone. It's another not. Not pleasant one to listen to. You gotta play that chanting crowd though. [00:40:42] Speaker B: Go for it. [00:41:00] Speaker A: Remind you of an earlier song? [00:41:03] Speaker B: What, like hyperpower? [00:41:04] Speaker A: Yes, that's what I'm talking about. [00:41:07] Speaker B: Yeah. It's got all the. Almost the same thing like the screams of. [00:41:10] Speaker A: Yeah, Screams of agony in the background. [00:41:13] Speaker B: Yeah. [00:41:13] Speaker A: But then it sounds like. Just probably Trent's voice put through that same filter that was on Hyper Power. I think it's called Morph filter. Some Ableton plug in? Probably. [00:41:25] Speaker B: Yeah. I still like my version better where they're chanting G. Sounds more fashy. You know what I mean? [00:41:30] Speaker A: I thought they were chanting G. I just. I. I didn't think it was anything intelligible. But yeah, apparently it is. Greed. [00:41:40] Speaker B: But also I don't think that's in the lyric booklet. Right. [00:41:43] Speaker A: No, it's not. But he did say in an interview that it's supposed to be greed, but. [00:41:48] Speaker B: G stands for greed. [00:41:49] Speaker A: Yeah. [00:41:50] Speaker B: Okay. [00:41:51] Speaker A: I thought it stood for George. [00:41:52] Speaker B: Everyone does. [00:41:53] Speaker A: George W. Bush. Some white noise. I think it's on the. The upbeats. The snare hit. There it is. There it is. Existing in the context. [00:42:15] Speaker B: It's cool. [00:42:15] Speaker A: He loves to throw that white noise anywhere he can. Okay. Finally, the last part is vocals. [00:42:21] Speaker C: I pushed the button and elected him to office. And he pushed the button and it dropped the bomb. You push the button and can watch it on a television. Those motherfuckers didn't last too long. Sick of hearing about the haves and the have nots. Have some personal accountability. [00:42:47] Speaker B: Pull yourself up by your bootstraps. [00:42:48] Speaker C: This problem with the way that we've been doing things. This. The more we let you have, the less that I'll be keeping. For me. [00:42:58] Speaker A: I think my favorite part is. [00:43:00] Speaker B: I love it. [00:43:01] Speaker A: So I made a loop of it. Hang on. Version of the song. That's all that for the entire thing. [00:43:15] Speaker C: Well, I used to stand for something. Now I'm on my hands and knees. Traded in my God for this one. And he signs his name with the capital g. Right. [00:43:34] Speaker A: Verse 2. [00:43:34] Speaker B: Okay. [00:43:35] Speaker C: Don't give a shit about the temperature in Guatemala. Don't really see what all the fuss is about. Ain't gonna worry about no future generations. And I'm sure somebody gonna figure it out. Don't try to tell me how some power can corrupt a person. You haven't had enough to know what it's like. You're only angry cause you wish you were in my position. Now nod your head because you know that I'm right. All right. [00:44:11] Speaker A: He, like, blows out the mic in that last word. [00:44:15] Speaker B: Intense. There's a part there. Oh. Don't give a. About the temperature in Guatemala. Okay. [00:44:19] Speaker A: Yeah. [00:44:21] Speaker B: Ain't gonna worry about no future generations. And I always thought it was. Ain't gonna worry about how future generations end up. [00:44:29] Speaker A: Yeah. [00:44:29] Speaker B: Which I think works. [00:44:30] Speaker A: That might even be better, honestly. [00:44:32] Speaker B: Yeah. [00:44:32] Speaker A: Because. [00:44:33] Speaker B: Because that's basically what he's saying. Like, I don't give a fuck about the future. [00:44:37] Speaker A: Yeah. [00:44:37] Speaker B: Yeah. Someone will figure it out later. [00:44:40] Speaker A: It makes more sense than future generations and. Which is just kind of nonsense. But it works. It works in the rhythm, but so does the way you heard it in the mm. [00:44:54] Speaker B: You can do that. [00:44:55] Speaker A: Could be. We'll say it is. And then the second chorus actually switches up the lyrics a bit. [00:45:00] Speaker C: I used to stand for something but forgot what that could be. There's a lot of me inside you. Maybe you're afraid to see good lines. [00:45:20] Speaker A: There's also background vocals on this song. Well, first, some falsettos. Definitely a Beach Boys type song. [00:45:41] Speaker B: I was thinking the same thing. That's crazy. [00:45:43] Speaker A: He does a lot of that, though. I love these. These next harmony groups. [00:45:50] Speaker C: To stand for something My hands and knees. [00:45:59] Speaker A: Ma. [00:46:04] Speaker C: His name with the capital J. [00:46:09] Speaker A: Nice. I like that. My favorite's at the end, though. [00:46:13] Speaker C: To stand for something, yeah. To stand for something to stand for something, yeah to stand, yeah. [00:46:31] Speaker A: I don't think I realized he put that. Yeah. In there then. My favorite harmony is at the very end, actually. That's the best part of the song. Better than. Do you like that? I think he is having some help from tuning on the really high falsetto stuff. I believe that's all my clips. Well, I take that back. I have some comparison clips. Do you want to talk about that beat? What the beat has been compared to? A lot. [00:47:06] Speaker B: Yeah. [00:47:08] Speaker A: So why don't you. Do you know the song that people are constantly saying this beat reminds them of? [00:47:13] Speaker B: Yes. Well, the first one is Tears for Fears. Everybody wants to rule the world. [00:47:17] Speaker A: Oh, yeah. That's the one I hear more is not that one. [00:47:21] Speaker B: So the one. When I first heard this song, I thought of Michael Jackson, of Michael Jackson's song. [00:47:26] Speaker A: Mm. Okay. [00:47:28] Speaker B: And it's the way you make me feel. Is that the one you're thinking of? [00:47:31] Speaker A: Yes. And I have a comparison clip. Capital G is a little bit slower, so. Yeah. Very similar type of shuffled or quick six, eight beat. Not something lawsuit worthy though. No, I made a little loop of just that. Pretty fun. Then of course, the tears for Fears, Everybody wants to rule the world comparison. [00:48:16] Speaker B: God, I love this opening. [00:48:18] Speaker A: Great song. [00:48:20] Speaker B: Great album. [00:48:27] Speaker A: That whips similar. [00:48:38] Speaker B: If you don't own songs from the big chair, Go get it. Good album. [00:48:51] Speaker A: Again. Capital G is pretty slow compared to those. Okay, I think that's all my clips for now. Are we gonna interpret the song now? [00:49:00] Speaker B: I think it's pretty obvious. [00:49:02] Speaker A: Quickly. Obvious who it's about? [00:49:05] Speaker B: Well, there's two different perspectives. Right. The first verse in chorus is like a. I don't know, a voter. A normal citizen. [00:49:16] Speaker A: Yes. [00:49:16] Speaker B: Someone who watches a lot of Fox News. Someone who's been poison pilled. [00:49:22] Speaker A: Just kind of looking at like Iraqi civilians being killed and well being. Like, who gives a well? [00:49:29] Speaker B: I mean, just that. And like the personal accountability. Hearing about the haves and the have nots. [00:49:34] Speaker A: Yeah, that too. [00:49:35] Speaker B: And all I really care about is myself. And if we give all these People, things. What about me? [00:49:42] Speaker A: Right. The main generation, baby. [00:49:45] Speaker B: What about me? [00:49:46] Speaker A: Greed is good. Yeah, I actually. Well, then there's also G for God. I mean, that's trading in my God for this one. But this is the one with the capital G. God. Not just any old God. The official Christian God. [00:50:05] Speaker B: Yeah, but I think, like, the. The second verse seems more like it's a person who's in a position of power scolding people. But I don't know. Maybe it's the same voter. I don't know. Or maybe it's the same person from the first verse who has power of some type. [00:50:19] Speaker A: Yeah. One capital G. George W. Bush. Did you know Trent lovingly dedicated a live performance of this song to W. Who was bestie? [00:50:32] Speaker B: I've heard about that. [00:50:33] Speaker A: Did you know that? Okay. In osaka, Japan, in 2007. I'm gonna play the clip. That's how he begins it. [00:50:40] Speaker C: My friend George Bush. [00:50:50] Speaker A: He's doing some cool hand motions there. You can't see it. Look it up, though. He also said in an interview I had to translate from a German music website, I think, called Motor Music. That's where he is quoted as saying, the G stood for greed. And I said, once again, we have God money. The concept of God money from Head like a hole. He likes to talk about the issue of greed a lot. [00:51:18] Speaker B: Well, it's a big, big issue. Why do you think we're stuck in this hellscape? A lot of it is greed, and I can't think of anything that is more corrosive to a democracy than greed and God. I'm just gonna say it. Yeah, the two Ds. [00:51:35] Speaker A: Sure. And the God of greed and George Bush. He was fairly bad for democracy, both of them. Okay. Do we have any other lyrical interpretation you want to talk about? [00:51:48] Speaker B: No. I used to stand for something. You can all figure that out. [00:51:53] Speaker A: I used to stand for something. I was once younger and principled and had beliefs. [00:52:00] Speaker B: It is funny. Like, whenever you get older, people are like, you'll get more conservative. And I'm like, okay, we'll see if that happens. And instead, I just get worse and worse every year. [00:52:10] Speaker A: I get crazier and crazier because the world made me that way. It's not my fault. So do we want to talk about this song live? Yeah, I think it sounds pretty cool, especially the. The live drums on it. But it wasn't played enough. I'm gonna play. Listen to how they do the. That synth horn solo on the post chorus, though, because I thought it sounds awesome. [00:52:47] Speaker C: Now I'm on my. My hands with me. [00:53:10] Speaker A: The person recording this is zoomed in on where Alessandro was, but all you can see is fog. But pretty sure he's playing that. That could be the same synth, the dope fur. I just like how that sounds on there a little wilder. So the first time this was ever played live was on my birthday. [00:53:31] Speaker B: I was there Metro nightclub in Melbourne. I was there Australia. [00:53:35] Speaker A: Once again, what were you doing on May 13, 2007? [00:53:38] Speaker B: Ooh, probably at the Outland getting drunk. [00:53:41] Speaker A: I don't know the Outland local reference rip to it. Anyway, Australia gets everything first, all the good songs. So they went on to play capital G at most of the shows in Australia and Japan that leg of the Performance 2007 tour. But then it dropped off the set list after the first show of the European summer leg and has not been played live since. And I think that sucks. So I say let's bring it back on Peel It Back tour. What do you say? [00:54:15] Speaker B: Yeah, do it. [00:54:16] Speaker A: Take a break from playing just downward spiral songs and play some capital G again. It could happen. Well, I don't think I really have anything else. We've talked for a long time about capital G. Thank you for joining us on this journey. Don't forget to go to patreon.com nailedpod and you can get twice as many podcasts if you've run out of halos to listen to on our feed. And if you're waiting for us to record new ones and but dying for other podcast content, we've got many bonus episodes behind the paywall. Patreon, what's up next on do we know what's up next on the bonus feedback? [00:55:05] Speaker B: And we're just gonna start diving into the Year Zero world a little bit more. [00:55:09] Speaker A: Yeah. Arg. And all the world they created. Next on the main feed, of course, is track eight, My Violent Heart, the first track ever heard from Year Zero via USB stick. [00:55:22] Speaker B: Interesting choice. [00:55:24] Speaker A: Okay, so I'm gonna go out on a little thing I made for this episode, if that's okay. [00:55:30] Speaker B: Okay. [00:55:31] Speaker A: But before that. Hey, yeah, can we stop? [00:56:03] Speaker C: I pushed the button and I let it him to office and up. He pushed the button and dropped the bomb. You push the button and could watch it on the television. Those motherfuckers didn't last too long. I'm sick of hearing about the hands and have some personal accountability. The biggest problem with the way that we've been doing things is the more we let you have, the less that I'll be keeping for me. [00:56:42] Speaker A: The chorus doesn't really work on this, so I. I took it out and just did the greed chants instead. [00:56:49] Speaker C: It. [00:56:49] Speaker B: Okay. [00:56:50] Speaker A: Something about major and minor keys. It just did not sound good. But I thought this worked weirdly well. [00:57:06] Speaker C: You haven't had enough to know what it's like. You're only angry cause you wish you were in my bosom. Now nod your head because you know that I'm right. [00:57:18] Speaker A: All right. [00:57:23] Speaker B: Nice. [00:57:23] Speaker A: Had to stick the horn in. Okay, bye. [00:58:09] Speaker C: Hook, Hook, Hook, hook.