We wreck the joint with an acid rain of Adonis, Type-303, Paul Funk, Hunter Lombard, Lambrini Girls, Courtney Barnett, Logan Lynn and Makoto with a strangely serious podcast made of acid house bangers new and old, punk, pop, liquid dnb and indie rock. I let the music do the talking about climate change, corruption and the status quo (not Status Quo, although they are always welcome too).

Also new releases from B. Dolan, OMD and Duran Duran which are also in a similar global tip, and we talk about the 60th anniversary of Doctor Who and why the Doctor Woke bigots should get into the sea, and even play the odd mashup, including a new one from me using Dua Lipa’s latest.

Then we go into a Doctor Who inspired ‘we are star dust’ section, floating among the cosmos with Disasterpeace, Roger Eno, Elizabeth Parker, Mono and World’s End Girlfriend and oki bringing the deep ending widescreen space vibes.

WEBVTT

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Starting now.

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And let us begin.

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Hello, welcome to Radio Clash. This is 390, and it’s been a while.

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I’ve been off doing things. In fact, off wild camping the last couple of days, so I am exhausted, not tired, exhausted. There is a difference.

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One is one where sleep doesn’t really help, you just have to rest.

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And that was, I mean, Houdini is everywhere at the moment, literally everywhere. It’s very similar to everywhere by Fleetwood Mac, and who does Fleetwood Mac measure up to well? Me.

00:05:05.400 –> 00:05:17.200
That’s Captain Obvious with Houdini Everywhere, Dua Lipa, Houdini vs. Fleetwood Mac’s Everywhere, The PsycheMagik Edit, which is my favourite remix of that track.

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And then at start we had DJ Spud with AI Pop Revolution, a dig at UMG on this podcast.

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Whoever heard of such a thing?

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And the podcast is called Wreck The Joint after a track played later on.

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We have a kind of a, if I say it’s an existential acid electro banger with a few references to big TV events and also topics in the world that put you off.

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I don’t know. It’s a weird one. It’s very, it’s one of these ones where I put together without a message and then suddenly a message just formed.

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I don’t know how that happened. So we start singing, which doesn’t have a message, but it’s it’s a really beautiful song.

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This is Allegri by Thylacine and the composer is called Allegri and the tracks called Misere and it infamously was transcribed by Ia for the Vatican.

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And it was super secret and things like that were never allowed to out, never written down because, you know, they will do all the rights to it.

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You know, they want to do the copyrights like UMG Mozart heard it once and then scribed it from memory.

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That’s how much Mozart was a genius. So this is Thylacine with Allegri.

00:52:22.520 –> 00:52:35.800
that was Courtney Barnett with Dead Fox

00:52:35.800 –> 00:52:39.560
from 2015.

00:52:39.560 –> 00:52:44.360
Her album, Sometimes I Sit Think and Sometimes I Just Sit, classic.

00:52:44.520 –> 00:52:50.360
So I didn’t play that before, and it suited the ecology vibe, but the weird thing is,

00:52:50.360 –> 00:52:53.800
I did not put any of that mix together with that idea.

00:52:53.800 –> 00:53:00.200
It just happened, and I was listening to it and going, oh, that’s what this is about.

00:53:00.200 –> 00:53:05.800
Yeah, sometimes these things are in the back of my mind. I’ve been doing YouTube videos on my hiking channel.

00:53:05.800 –> 00:53:09.720
I am The Hard Up Hiker, which is at Hard Up Hiker on YouTube.

00:53:10.440 –> 00:53:16.920
And if you’re into hiking or camping or wild camping or stealth camping, she’s all, then check me out.

00:53:16.920 –> 00:53:21.480
But I’ll be doing stuff about greenwashing and green, and I think I’ll leak into that mix.

00:53:21.480 –> 00:53:24.360
Something that’s very close to my heart, climate change and all that lot.

00:53:24.360 –> 00:53:27.480
And I’ll let the music speak for myself, really.

00:53:27.480 –> 00:53:34.600
And then before that, we had kleptocracy from the new album Bauhaus Staircase from OMD.

00:53:34.600 –> 00:53:39.800
And yeah, it’s nice to have OMD back, and also a political OMD.

00:53:40.280 –> 00:53:43.320
Which is not something we have been for a very long time.

00:53:43.320 –> 00:53:46.440
I mean, it’s kind of sometimes been in there, but yeah, not until the early days,

00:53:46.440 –> 00:53:50.680
when they were that post-punk and fiery talking about, well, various people.

00:53:50.680 –> 00:53:52.120
I think Trump is one of them.

00:53:52.120 –> 00:53:55.880
And corruption that’s happening around the world.

00:53:55.880 –> 00:53:59.880
And even a bit about Khashoggi being chopped up at the embassy and stuff like that.

00:53:59.880 –> 00:54:03.560
Yeah, there’s lots of stuff in there. I need to look at the lyrics, decipher it all, actually.

00:54:03.560 –> 00:54:06.840
And Saudi money and all that sort of stuff.

00:54:07.480 –> 00:54:12.040
Yeah, it’s sort of all creeping into all of our lives. It’s disturbing.

00:54:12.040 –> 00:54:19.960
Then before that, we had Logan Lynn with Baby Britain from his album New Money from 2022.

00:54:19.960 –> 00:54:22.440
And that is on Kill Rock Stars.

00:54:22.440 –> 00:54:25.480
So I think he felt like he had to do an Elliot Smith cover.

00:54:25.480 –> 00:54:28.760
But you know, Electro Elliot Smith, that’s a brilliant idea.

00:54:28.760 –> 00:54:32.520
And also, it shows how much of a bouncy pop song it is,

00:54:32.520 –> 00:54:37.560
even though the lyrics are about the United States and how fucked up it is.

00:54:37.560 –> 00:54:39.480
That is what that song is about.

00:54:39.480 –> 00:54:42.680
But also, when I first heard it, I didn’t hear it as that.

00:54:42.680 –> 00:54:47.240
I heard it as kind of reflecting the small-minded attitudes in Britain,

00:54:47.240 –> 00:54:49.000
you know, the little Britain thing.

00:54:49.000 –> 00:54:52.840
So it’s kind of got two things I know it’s supposed to be about.

00:54:52.840 –> 00:54:57.160
To me, it’s also about that almost like tries to be the United States part of Britain,

00:54:57.160 –> 00:54:59.400
the pharages and all those people.

00:54:59.400 –> 00:55:03.720
And then before that, we had that sort of acid sections weaving in and out.

00:55:03.720 –> 00:55:06.440
That’s Paul Funk with Don’t Make Me Wait for Acid,

00:55:06.440 –> 00:55:08.440
which we never want to wait for acid.

00:55:08.440 –> 00:55:12.760
That’s 2016’s album Aci 88, which is like a compilation.

00:55:12.760 –> 00:55:14.360
I’m not sure when it actually came out.

00:55:14.360 –> 00:55:17.960
Then before that, of course, I’m going to have a few curveballs in there.

00:55:17.960 –> 00:55:21.720
That’s My Blue Vird, Rendez-vous from 1977.

00:55:21.720 –> 00:55:26.040
And that’s one of the random cosmic dudes tracks.

00:55:26.040 –> 00:55:31.080
I’ve already talked a lot of times about the amazing massive directory of

00:55:31.080 –> 00:55:36.040
“cosmic” sort of electro, prog, disco, weirdness.

00:55:36.040 –> 00:55:40.520
I think it was a Russian compilation because there’s Russian things in there,

00:55:40.520 –> 00:55:42.280
but don’t put that against it.

00:55:42.280 –> 00:55:44.120
That’s well before all the invasions.

00:55:44.120 –> 00:55:45.960
And I’ve been mining that for years.

00:55:45.960 –> 00:55:50.200
It’s just a wonderful, soul-seek directory,

00:55:50.200 –> 00:55:54.360
which is full of real stuff you would not have found in a million years.

00:55:54.360 –> 00:55:58.040
And that is kind of proto acid, that verbally synth line,

00:55:58.040 –> 00:56:00.840
disco arpeggiation, but it has quite acid.

00:56:00.840 –> 00:56:03.800
Then it goes into that sort of cheesy funk sections,

00:56:03.800 –> 00:56:05.160
but they’re wonderfully cheesy.

00:56:05.160 –> 00:56:07.080
And then sort of the whole cheesy disco thing,

00:56:07.080 –> 00:56:09.000
nothing wrong with cheesy.

00:56:09.000 –> 00:56:10.280
We love cheesy disco.

00:56:10.280 –> 00:56:12.760
And yeah, and it goes very expansive and it goes back to that.

00:56:12.760 –> 00:56:14.440
I like that.

00:56:14.440 –> 00:56:15.000
I like that.

00:56:15.000 –> 00:56:19.160
Then before that, we had not acid,

00:56:19.160 –> 00:56:23.160
but certainly disco was Giac with his mashup,

00:56:23.160 –> 00:56:26.520
Lost In Too Much Music, Sister Sledge versus Jake Shears.

00:56:26.520 –> 00:56:27.960
I don’t know the Jake Shears track.

00:56:27.960 –> 00:56:29.160
I know it’s a new track.

00:56:29.160 –> 00:56:30.760
I think it’s called Too Much Music.

00:56:30.760 –> 00:56:32.200
I think I’ve seen the video even,

00:56:32.200 –> 00:56:34.760
but I need to properly listen to it.

00:56:34.760 –> 00:56:38.680
I’ve kind of lost track with Jake Shears post Scissor Sisters, I have to say.

00:56:38.680 –> 00:56:43.400
And then before that, we had the song on which name this podcast,

00:56:43.400 –> 00:56:45.400
although spelt rather differently,

00:56:45.400 –> 00:56:47.240
Reck The Joint by Adonis.

00:56:47.240 –> 00:56:50.600
That is a classic from the compilation is 89,

00:56:50.600 –> 00:56:51.800
but I think it’s a bit early than that.

00:56:51.800 –> 00:56:54.600
I think I think it’s 88 or 87.

00:56:54.600 –> 00:56:56.520
It’s that sort of peak period of acid house.

00:56:56.520 –> 00:57:00.440
Then before that some modern asset house from Type-303.

00:57:00.440 –> 00:57:03.320
I haven’t played Type-303 for a long while.

00:57:03.320 –> 00:57:07.720
That smile from a new EP called Take Off.

00:57:07.720 –> 00:57:10.280
There are certain people who I keep tabs on

00:57:10.280 –> 00:57:12.120
and Type-303 is one of those.

00:57:12.120 –> 00:57:16.200
I really like what they do with the modern acid sound.

00:57:16.200 –> 00:57:20.040
Then before that from also from acid,

00:57:20.040 –> 00:57:23.400
88 I think although there might be two albums called Acid 88.

00:57:23.400 –> 00:57:25.640
I say, oh, that’s really bizarre.

00:57:25.640 –> 00:57:27.640
So there’s a 2016 Acid 88 album,

00:57:27.640 –> 00:57:31.000
but there’s DJ Pierre presents Acid 88, Vol three.

00:57:31.000 –> 00:57:32.760
Oh, I see it’s a third in the series.

00:57:32.760 –> 00:57:33.800
Yeah, as you were.

00:57:33.800 –> 00:57:36.760
That’s Hunter Lombard with Unlocked.

00:57:36.760 –> 00:57:39.400
I like the sort of breaks acid feel of that.

00:57:39.400 –> 00:57:42.200
Then another track from the OMD album.

00:57:42.200 –> 00:57:43.560
That’s Anthropocene.

00:57:43.560 –> 00:57:45.640
And that reminds me of minimal by Pet Shop Boys,

00:57:45.640 –> 00:57:46.680
which is where I like it.

00:57:46.680 –> 00:57:49.880
But I like the use of AI.

00:57:49.880 –> 00:57:51.160
It’s not really AI voices.

00:57:51.160 –> 00:57:54.040
It’s TTS voices getting very geeky.

00:57:54.040 –> 00:57:54.840
Those are the TTS.

00:57:54.840 –> 00:57:56.840
I think it’s called Charles, I think it is.

00:57:56.840 –> 00:57:59.240
I’m showing my geekiness.

00:57:59.240 –> 00:58:03.720
I’ve been looking into text to speech for a long time

00:58:03.720 –> 00:58:05.320
and playing with it for a long time.

00:58:05.320 –> 00:58:07.160
I have not much just come out with it,

00:58:07.160 –> 00:58:09.240
but I’m waiting for that time

00:58:09.240 –> 00:58:12.040
where I can just type the podcast and I have to say it.

00:58:12.040 –> 00:58:14.600
We’re almost there.

00:58:14.600 –> 00:58:15.240
Almost there.

00:58:15.800 –> 00:58:17.320
You know, I mean, I’ll probably still say it anyway.

00:58:17.320 –> 00:58:18.520
It’s very quicker than typing it.

00:58:18.520 –> 00:58:20.360
Things like corrections or just, you know,

00:58:20.360 –> 00:58:21.560
being able to, you know,

00:58:21.560 –> 00:58:23.400
back to the Amiga days I was playing with stuff.

00:58:23.400 –> 00:58:27.240
Yeah, I think that’s a TTS voice rather than AI voice.

00:58:27.240 –> 00:58:29.560
It sounds a bit more robotic.

00:58:29.560 –> 00:58:31.880
Talking about, well, it’s interesting

00:58:31.880 –> 00:58:34.280
because I’ve been doing during this walk

00:58:34.280 –> 00:58:37.160
sort of three days, two nights of wild camping.

00:58:37.160 –> 00:58:40.280
It was all through Neolithic landscapes

00:58:40.280 –> 00:58:41.880
on the South Downs Way.

00:58:41.880 –> 00:58:43.400
I went to Chanctonbury Ring.

00:58:43.400 –> 00:58:45.000
I was going past so many.

00:58:45.000 –> 00:58:47.480
I slept next to Tumuli.

00:58:47.480 –> 00:58:48.520
Tumulus, Tumuli.

00:58:48.520 –> 00:58:50.200
Tumulus, I think it was Tumulus rather than Tumuli

00:58:50.200 –> 00:58:50.680
because it was one of them,

00:58:50.680 –> 00:58:51.320
but there was actually, I think,

00:58:51.320 –> 00:58:52.120
another one over there.

00:58:52.120 –> 00:58:52.520
Over there.

00:58:52.520 –> 00:58:53.640
So I got up on Tumuli.

00:58:53.640 –> 00:58:55.160
Tumuli.

00:58:55.160 –> 00:58:57.320
So much Neolithic chiseled.

00:58:57.320 –> 00:58:58.920
That’s kind of pointing out how, you know,

00:58:58.920 –> 00:59:00.360
walking over all these things

00:59:00.360 –> 00:59:01.640
which are changed by human hands

00:59:01.640 –> 00:59:03.800
and how that is at risk

00:59:03.800 –> 00:59:05.320
and the current scheme of things.

00:59:05.320 –> 00:59:06.920
I’m amazed that I put all these songs together.

00:59:06.920 –> 00:59:08.520
You know, and I put it next to Supernature,

00:59:08.520 –> 00:59:10.440
which is the only reason I’ve got Supernature in

00:59:10.440 –> 00:59:11.720
is because Duran Duran covered it

00:59:11.720 –> 00:59:13.480
on the latest album which came out

00:59:13.480 –> 00:59:14.920
at the end of October.

00:59:14.920 –> 00:59:17.720
Danse Macabre, that in quotes goth album.

00:59:17.720 –> 00:59:19.560
Then some more disco, I would say.

00:59:19.560 –> 00:59:23.240
Disco goth, Black Disco, I don’t know, Dark Disco.

00:59:23.240 –> 00:59:24.440
So it has a few goth bits,

00:59:24.440 –> 00:59:25.720
but you know, it’s not that goth.

00:59:25.720 –> 00:59:29.160
Black Moonlight’s very good.

00:59:29.160 –> 00:59:31.160
And that one, I really like their cover of

00:59:31.160 –> 00:59:32.920
Cerrone’s Supernature,

00:59:32.920 –> 00:59:33.640
but I forgot.

00:59:33.640 –> 00:59:34.920
I was not listening to the lyrics.

00:59:34.920 –> 00:59:37.160
It’s a song I love dearly,

00:59:37.160 –> 00:59:39.240
but it is about people

00:59:39.240 –> 00:59:40.520
screwing up the environment

00:59:40.520 –> 00:59:42.840
and trying to accelerate the growth of things

00:59:42.840 –> 00:59:45.160
and then creating monsters through messing with,

00:59:45.160 –> 00:59:47.960
you know, I mean, Cerrone was ahead of his time,

00:59:47.960 –> 00:59:50.040
GM crops and stuff, you know, so, yes.

00:59:50.040 –> 00:59:52.360
And then before that, a cover, another cover,

00:59:52.360 –> 00:59:55.880
by Taggy Matcher, which I heard on Dandelion Radio

00:59:55.880 –> 00:59:58.280
very recently and was like,

00:59:58.280 –> 00:59:59.640
“Oh, I’ve got Supernature.

00:59:59.640 –> 01:00:00.520
Oh, Supernature.”

01:00:00.520 –> 01:00:04.440
You know, so that’s Supernature featuring Phoebe Killdeer

01:00:04.440 –> 01:00:05.560
I think it’s Kildeer.

01:00:05.560 –> 01:00:08.040
I mean, it’s not a very fortunate name for,

01:00:09.080 –> 01:00:09.960
I think it was a single,

01:00:09.960 –> 01:00:12.920
but it’s also from Disco Reggae Vol 5.

01:00:12.920 –> 01:00:15.800
I’ve played quite a few of the Disco Reggae things in the past.

01:00:15.800 –> 01:00:21.240
I like Taggy Matcher’s style, covers and originals,

01:00:21.240 –> 01:00:23.240
but sort of like Disco meets Reggae thing,

01:00:23.240 –> 01:00:25.160
which I really like a lot.

01:00:25.160 –> 01:00:28.920
And the start section, we had Allegri’s Miserere,

01:00:28.920 –> 01:00:33.160
as covered by French trans producer Thylacine

01:00:33.160 –> 01:00:35.320
on 2020’s Timeless,

01:00:35.320 –> 01:00:37.880
doing the whole William Orbit thing, really.

01:00:38.520 –> 01:00:40.040
It’s very much in the William Orbit

01:00:40.040 –> 01:00:42.840
as remixed by Ferry Corsten’s sort of vibe.

01:00:42.840 –> 01:00:45.320
A few people have done that classic, you know,

01:00:45.320 –> 01:00:48.280
I mean, obviously, you’re all back to Wendy Carlos.

01:00:48.280 –> 01:00:51.000
I always like to shoe on some classical stuff in here,

01:00:51.000 –> 01:00:54.520
because we like to pretend we’re a little bit more refined

01:00:54.520 –> 01:00:55.400
than we really are.

01:00:55.400 –> 01:01:02.280
So yeah, I wasn’t really expecting that accidental rumination

01:01:02.280 –> 01:01:05.160
on corruption and the state of the world.

01:01:05.160 –> 01:01:06.840
It’s a bit of a heavy mix.

01:01:06.840 –> 01:01:09.000
During that, I found out about Logan Lynn

01:01:09.000 –> 01:01:14.040
and off the 30 years of Kill Rock Stars album,

01:01:14.040 –> 01:01:15.480
looking for something else.

01:01:15.480 –> 01:01:20.280
I checked out the whole album and then found this song.

01:01:20.280 –> 01:01:21.960
It has a brilliant video.

01:01:21.960 –> 01:01:24.600
Found the cover, the Elliot Smith cover off of that.

01:01:24.600 –> 01:01:26.120
It doesn’t mix that well,

01:01:26.120 –> 01:01:29.240
but it does kind of follow on from the previous bit.

01:01:29.240 –> 01:01:33.880
There’s a few more message tracks, a few more,

01:01:33.880 –> 01:01:35.800
and then we’ll swerve into something else.

01:01:35.800 –> 01:01:38.840
So this is Rich and Beautiful by Logan Lynn.

01:35:33.720 –> 01:35:54.920
That was a new single by B. Dolan. I can’t wait for a new album. I helped fund it. I want the

01:35:54.920 –> 01:36:02.120
people to pledge for the new album. It’s all done off Pledges and that is The Rock Cried Out.

01:36:02.120 –> 01:36:08.200
Great video because we went way over the pledges massively so as to be able to afford

01:36:08.200 –> 01:36:16.440
videos and tours and samples, which is unusual for a B. Dolan album. Usually they can’t afford

01:36:16.440 –> 01:36:24.680
samples. That’s good. Before that, we had Hannah Williams and the Affirmations with Tablecloth.

01:36:25.640 –> 01:36:29.880
A bit like the Hitchhiker’s, the most elegant use of the word fuck. That’s the most

01:36:29.880 –> 01:36:36.040
divine use of the song fuck ever. Impactful as well. That’s from 2019’s 50 Foot Woman. I don’t

01:36:36.040 –> 01:36:41.960
know why. I didn’t know until many years later she was on The Voice, but I really don’t know why.

01:36:41.960 –> 01:36:47.480
Sampled by Jay-Z, Hannah Williams and the Affirmations should have been, she and the group

01:36:47.480 –> 01:36:54.360
should have been household names. I don’t know why not. Before that, I’ve been tracking down for

01:36:55.160 –> 01:37:01.320
two, three plus years. I had it in a really low quality rip off vinyl and it’s one of these

01:37:01.320 –> 01:37:06.920
annoying things where people are like, “Oh, we released the vinyl. We were not going to release

01:37:06.920 –> 01:37:13.480
it on any of the format and it drives me mad when people do that.” That was Bob and Gene and the

01:37:13.480 –> 01:37:19.480
Inversions with It’s Not What You Know, It’s Who You Know. Victor Axelrod did the reggae version of

01:37:19.480 –> 01:37:27.000
that and Daptone have just released a compilation. It’s now out in decent quality on digital formats

01:37:27.000 –> 01:37:33.160
and things. If you ask me to, Victor Axelrod covers for Daptone Records. I heard him being

01:37:33.160 –> 01:37:39.880
interviewed on David Rodigan’s show and it was good to hear, but the best thing was to hear that

01:37:39.880 –> 01:37:46.120
I actually get that track. It’s not some limited edition vinyl as it was before. I don’t have a

01:37:46.120 –> 01:37:51.480
vinyl deck so I can’t. It’s useless to me. I have to say a sentiment of that is very true, sadly.

01:37:51.480 –> 01:37:59.320
And if you happen to be neurodiverse and don’t really… I know people say Tim, “Don’t blame

01:37:59.320 –> 01:38:04.760
your behavior on your autism or whatever I am on the spectrum.” But it’s a bit more than that.

01:38:04.760 –> 01:38:10.840
Burnout and people pick up on the weirdness and ableist bullying and yeah, there’s all kinds of

01:38:10.840 –> 01:38:15.240
stuff that people don’t see behind the scenes. But all they see is you having a freak out. They

01:38:15.240 –> 01:38:20.360
don’t see all the shit that’s been going on behind the scenes and people trying to gaslight you and

01:38:20.360 –> 01:38:25.880
wind you up, which does happen, sadly. I’m now very aware of it so I just don’t. I just shut that

01:38:25.880 –> 01:38:33.000
shit down very quickly. I don’t even play those games. But in my 20s and 30s, yeah, it was more

01:38:33.000 –> 01:38:41.000
difficult. And then before that we had Instamatic again, me, with While My Flowers Gently Weep

01:38:41.000 –> 01:38:45.960
Miley Cyrus vs The Beatles and we’re playing that because it’s a mashup I haven’t played and

01:38:45.960 –> 01:38:55.480
also The Beatles Now and Then in the news and a fairly drudgy, dreadful song. I don’t know. I can

01:38:55.480 –> 01:39:02.760
see why John Lennon left it. And I was hoping it would be a proper AI related release of Grow Old

01:39:02.760 –> 01:39:08.920
With Me which would make much more sense and is a better song. It was sort of released as a demo

01:39:08.920 –> 01:39:14.840
on the posthumous Lennon album and I think it would have made more sense than now and then,

01:39:14.840 –> 01:39:19.160
which is just, you can kind of see why he never actually made it into a bigger thing.

01:39:19.160 –> 01:39:24.040
It’s not that good a song. George Harrison was right. Hence, there’s a George Harrison there.

01:39:24.040 –> 01:39:29.480
And also weirdly, it links into how you got inverted and the inversions. It’s like, yeah,

01:39:29.480 –> 01:39:33.400
that’s probably not accidental. It’s just by the way my brain works. It’s really odd.

01:39:33.400 –> 01:39:40.680
Then The Unusuals with Summer is Over and that is a probably best known Dustie Springfield

01:39:40.680 –> 01:39:46.680
track which I didn’t know about which is weird because I thought I knew I heard a lot of early

01:39:46.680 –> 01:39:54.120
Dustie Springfield but is a B-side and she recorded her brother’s track. The brother was a co-writer

01:39:54.120 –> 01:40:00.760
of that track and it originally oddly went to Frank Ifield in 964 and then she did a cover

01:40:00.760 –> 01:40:08.280
later on and that’s from 1966. A very wonderful psych garage version and the singer is probably

01:40:08.280 –> 01:40:14.840
better known, Kathi MacDonald in the sort of garage-y world. And then before that, we had

01:40:14.840 –> 01:40:21.320
more stealth classical. It’s a continuum by Disasterpeace but really, really, it’s actually

01:40:21.320 –> 01:40:27.240
Chopin’s Prelude Op 28 number four. But you know, I didn’t know that was actually a classical

01:40:27.240 –> 01:40:34.760
theme but I liked the way he’s done that. And Fez is an important game to me. I did another mash-up

01:40:34.760 –> 01:40:40.440
with another Fez track so I mean I’ve done three Fez mash-ups. You can find that on my remix.audio

01:40:40.440 –> 01:40:45.560
page. Just look for Instamatic or Captain Obvious you’ll find it. That was kind of a link

01:40:45.560 –> 01:40:51.720
because of the return of Doctor Who in the 60th year of “Doctor Who” to Danny Macabre’s

01:40:51.720 –> 01:40:57.640
Knights of Who Muse versus Doctor Who theme. And yeah, I haven’t watched it yet. I was a choice

01:40:57.640 –> 01:41:02.760
between either record this podcast or watch it. I’ll watch it probably after I record this podcast

01:41:02.760 –> 01:41:08.200
or tomorrow but yeah, I haven’t watched it yet. I’m really looking forward to it. And the track

01:41:08.200 –> 01:41:14.760
before Terf Wars by Lamarini Girls from 2023’s You’re Welcome which is a brilliant name for the

01:41:14.760 –> 01:41:20.520
album is a response those people who have a problem with all the trans representation,

01:41:20.520 –> 01:41:25.560
and all the queer representation in the new Doctor Who I’m sure there’ll be lots of whining

01:41:25.560 –> 01:41:34.280
about “Oh woke PC, lefty PC, it’s gone terrible, oh all this woke PC crap” and yeah, Russell T. Davis

01:41:34.280 –> 01:41:39.800
is basically told them to get in the sea. They’re not the exact words but you know something along

01:41:39.800 –> 01:41:43.720
those lines. Basically they’ll have to live with their sad lonely lives I think that’s what he said.

01:41:43.720 –> 01:41:50.360
And good on them. And I think actually what it will be is because it’s RTD it will be a great

01:41:50.360 –> 01:41:54.920
story and it’ll be great Doctor Who so these people are going to have to suck it up. Whenever

01:41:54.920 –> 01:41:59.960
it’s it just happens to have some representation but it doesn’t work as well. Say Discovery I

01:41:59.960 –> 01:42:05.720
think Discovery had its moments which I loved but it seemed to kind of struggle from pretty much to

01:42:05.720 –> 01:42:12.200
the first series actually. Star Trek and all it got was “Oh no” and it’s not the fault the characters

01:42:12.200 –> 01:42:17.400
it’s the writers and it’s got nothing to do with whether there’s a trans or non-binary character

01:42:17.400 –> 01:42:23.240
or even a real person playing another character who is those things. No it’s to do with writers and

01:42:23.240 –> 01:42:28.280
lots of other things and it’s always really depressing when you hear this “Oh oh it’s

01:42:28.280 –> 01:42:34.520
all it’s because this woke him and it’s like yeah because Doctor Who was never about social justice”

01:42:34.520 –> 01:42:42.440
I’ve said this so many times this one character that is about social justice from day one.

01:42:42.440 –> 01:42:47.080
You know I mean I think there was reading someone was criticising some of the early stuff like

01:42:47.080 –> 01:42:53.080
Talons of Weng Chiang and kind of get it but it you know it’s not exactly blackface it’s a bit

01:42:53.080 –> 01:42:58.680
you know yellowface yeah kind of the whole stereotype but that’s kind of going off those

01:42:58.680 –> 01:43:06.280
kind of stories there’s Victorian stories and so I don’t know if it was as bad as you know some of

01:43:06.280 –> 01:43:12.520
the say blackface stuff or whatever it’s of its time but I don’t think especially with the stories

01:43:12.520 –> 01:43:18.760
about Doctor Who you know fighting oppression and fighting against you know literal Nazis the

01:43:18.760 –> 01:43:23.960
Daleks and stuff like that who were based off of the Nazis and stuff like fighting for the little

01:43:23.960 –> 01:43:28.360
guy fighting oppression that’s Doctor Who you know never once he went yeah you know what I

01:43:28.360 –> 01:43:33.000
wouldn’t know what I really should support is those Christian right wing corporations yeah I

01:43:33.000 –> 01:43:38.360
think they’re getting victimised and I think we should prop up capitalism and I think it all’s

01:43:38.360 –> 01:43:43.960
gonna all go really well there’s never been a story we’ve done that so or she so yeah that is

01:43:43.960 –> 01:43:51.080
you know weird so I hope they all have yeah I hope they all have sad lonely lives with their old

01:43:51.080 –> 01:43:59.000
reruns leave all us to enjoy new Doctor Who and then before that we had a bit of Drum and Bass

01:43:59.000 –> 01:44:04.840
with Osiris by Makoto and Danny Wheeler that’s from 2021’s What You Need I always like to

01:44:04.840 –> 01:44:10.120
drop in a little bit Makoto or liquid drum and bass because that’s that’s kind of where my heart

01:44:10.120 –> 01:44:15.080
is quite often then at the start of the section we had Logan Lynn with Rich And beautiful from

01:44:15.080 –> 01:44:21.000
2021’s 30 years of Kill Rock Starss which is a great compilation by the way starts out a bit very

01:44:21.000 –> 01:44:25.400
indian tonal sort of stuff but then there’s a little bit stuff like one of the early Gossip singles

01:44:25.400 –> 01:44:31.080
that came out a year or two before Standing the Way of Control hit one or two years before it was

01:44:31.080 –> 01:44:35.400
a big hit and no one was interested and then it suddenly just took off I think it was bit of a

01:44:35.400 –> 01:44:39.960
sleeper it went crept up the charts and crept up crept up it got into the you know the highest

01:44:39.960 –> 01:44:44.840
charts and then it just you know skyrocketed one of the singles before that was a track about called

01:44:44.840 –> 01:44:51.480
Listen Up! and that is really good and it’s a bit of a forgotten classic of theirs so we’re gonna

01:44:51.480 –> 01:44:59.400
play more into the star theme because of Doctor Who I’ve been really loving and I’d say shout out to

01:44:59.400 –> 01:45:06.120
Ian Fondue for posting about this Paradise Marsh I’m not even played the game but Disasterpeace

01:45:06.120 –> 01:45:12.200
again has done I don’t know it’s a bit like if you imagine Campfire Headphase by BoC meets Disasterpeace

01:45:12.200 –> 01:45:17.720
and 8-bit and the sort of stuff he’s been doing in piano music and that’s what it feels like

01:45:17.720 –> 01:45:24.600
and it’s about a frog in a marsh but this is a track called The Celestial Fields and it is beautiful

02:15:13.000 –> 02:15:27.000
that was oki with Call Me Comfortably Numb Lil Nas X versus Pink Floyd that was three

02:15:27.000 –> 02:15:32.840
years old and I only heard that so playing that iWillBattle on his twitch stream and

02:15:32.840 –> 02:15:38.760
yeah I hadn’t heard that before and I joked and it’s only part joking though I don’t have the

02:15:38.760 –> 02:15:42.680
time to organize at the moment that me and oki should get together and do a Pink Floyd album

02:15:42.680 –> 02:15:49.960
that is a good idea the problem is I’m so busy doing the youtube shizzle hence why this podcast

02:15:49.960 –> 02:15:55.960
is late hence why I’ve sorted out Christmas podcast but from then I can’t guarantee when I’m

02:15:55.960 –> 02:16:01.080
going I do want to podcast I do want to get the podcast going this out the blog and the mashups

02:16:01.080 –> 02:16:08.280
they’ve all kind of fallen by the bike you really have to commit 100% to youtube given I have an

02:16:08.280 –> 02:16:15.720
audience there it’s just under 300 subscribers at the moment and one of my videos went not exactly

02:16:15.720 –> 02:16:20.840
viral but you know I mean for something that was just me talking to have like well last time I looked

02:16:20.840 –> 02:16:27.000
it was 15 000 but it’s probably more views now yeah I’ve been shooting all these wild camping

02:16:27.000 –> 02:16:32.920
hiking gear videos and people always said to me oh you should go where your audience is and I never

02:16:32.920 –> 02:16:39.960
really did it until now and so I feel bad for my other audiences and my other things but that’s

02:16:39.960 –> 02:16:45.560
where things are taking off at the moment and that’s where I could actually earn some money so

02:16:46.200 –> 02:16:51.400
money being a real problem at the moment podcasts and mashups do not earn money partly because they’re

02:16:51.400 –> 02:16:57.480
other people’s content so it’s kind of interesting doing something that’s completely original my stuff

02:16:57.480 –> 02:17:04.920
my video my scripts me talking my ugly face all of that and that people actually want to watch

02:17:04.920 –> 02:17:12.760
which is I find amazing really I’ve got a great face for audio so yes then before oki we had

02:17:13.480 –> 02:17:21.240
Mono and World’s End Girlfriend with trailer 3 from 2006 palmless prayer mass murder refrain

02:17:21.240 –> 02:17:28.520
and that is one of the most beautiful pieces of music ever that’s just astoundingly beautiful I mean

02:17:28.520 –> 02:17:34.440
the name you describe it is I don’t know shoe gaze or post rock it’s only very different from what

02:17:34.440 –> 02:17:41.960
World’s End Girlfriend does but Mono have to that’s Mogwai the out Mogwai Mogwai quite often and yeah

02:17:41.960 –> 02:17:47.400
that that is really beautiful and there are several other tracks like that on that album very long

02:17:47.400 –> 02:17:51.880
incredibly long and I played all of it pretty much 6music wouldn’t do that they have to

02:17:51.880 –> 02:17:55.640
cut open sections I don’t know why because it’s like it’s a music station you should be able to

02:17:55.640 –> 02:18:01.240
play long tracks people just don’t play long tracks we do hear everyone’s ever like something I will

02:18:01.240 –> 02:18:05.800
play it all in full I know I mix in the mix things but some things I’m like nope I’m playing

02:18:05.800 –> 02:18:11.080
all that and that’s one of them then before that we had Roger Eno Dust Of Stars is

02:18:11.720 –> 02:18:19.240
from his 2018 album that’s working with youth the sample in there is Jean-Michel Basquiat

02:18:19.240 –> 02:18:27.960
from a very strange release in his band Gray I mean the idea of it as being a pop band and then

02:18:27.960 –> 02:18:33.880
it starts with a spoken word intro of him calling up a suicide hotline what gets kind of muffled

02:18:33.880 –> 02:18:39.240
sadly in that is he’s saying the city is killing me which is a brilliant brilliant line and then

02:18:39.240 –> 02:18:43.880
it goes completely mad it’s sample collage it goes to be a very Tomorrow Never Knows

02:18:43.880 –> 02:18:50.120
after that but that intro has been sampled quite a lot and then before that we had Elizabeth Parker

02:18:50.120 –> 02:18:56.280
with the Dying of the Light from the recent compilation Future Perfect now the funny thing

02:18:56.280 –> 02:19:01.320
is is that you listen to that obviously it’s not a new track it’s an old track and then listen to

02:19:01.320 –> 02:19:07.320
Disasterpeace which which is mixed in between it sort of goes between it and that’s Celestial Fields

02:19:07.320 –> 02:19:13.080
and from Paradise Marsh I’m not exactly sure when that Dying of the Light track was created but it

02:19:13.080 –> 02:19:18.840
would probably be several decades ago it probably would be 80s or 90s there’s so much similarity

02:19:18.840 –> 02:19:25.720
there it’s it’s crazy and so we’ve reached the end of the podcast I hope you enjoyed this it’s

02:19:25.720 –> 02:19:29.560
it’s not been so much mashups it’s one of these things where it’s really depends on your mood

02:19:29.560 –> 02:19:34.360
thing and sometimes I just want to focus on original music a bit like I’m focusing on original

02:19:34.360 –> 02:19:43.640
content mashups can be a little bit too sweet I’m probably bad for you a little bit concentrated

02:19:43.640 –> 02:19:48.440
a little bit too too too saccharine a little bit too sweet sometimes there’s like a plus b plus c

02:19:48.440 –> 02:19:56.440
or you know it’s like it gets a bit hyper and sometimes you want to go back to the meat and veg

02:19:56.440 –> 02:20:04.040
rather than the chocolate on that sundae with you know lots of cream and cherry on top which

02:20:04.040 –> 02:20:09.080
mashups tend to be I don’t know if someone makes them but you know I’m always very aware of trying

02:20:09.080 –> 02:20:12.840
to get things in patica we’re not trying to add more and more and more until you get this

02:20:12.840 –> 02:20:20.200
multi-mash monstrosity and it’s just too much and I was very much like that with my 72 segment

02:20:20.200 –> 02:20:28.040
which which hasn’t come out yet it’s soon soon the 72 part 6 will come out and I’m part of that

02:20:28.040 –> 02:20:33.560
and my section was very much like I listened to the previous sections and went okay

02:20:33.560 –> 02:20:39.080
you know let’s let’s do something my way do something that hasn’t been done by anyone else

02:20:39.080 –> 02:20:46.840
on this 72 and there’s a longer version of one of the combos I used some people like 20 parts 20

02:20:46.840 –> 02:20:51.720
things 10 things they seem to be throwing everything in and I don’t think that necessarily works

02:20:51.720 –> 02:20:56.760
especially in such a short section I think it’s better to have a couple of a plus b’s that really

02:20:56.760 –> 02:21:03.720
work rather than two or three that do and then 10 that don’t you know so I don’t know how successful

02:21:03.720 –> 02:21:09.960
it was I mean yeah I struggled with some of the keys hey wonderful Beatles again whatever the key

02:21:09.960 –> 02:21:17.320
that Warren ever knows is in and also something where actually I did know but I forgot to actually

02:21:17.320 –> 02:21:21.720
raise the key which is you know it’s all kind of thing of part of like doing something to

02:21:21.720 –> 02:21:28.040
in terms of 72 hours which is you know a rush I mean nowadays I can do that years ago I struggled

02:21:28.040 –> 02:21:33.560
with anything that quick because it took me ages to do anything and about six months to listen to

02:21:33.560 –> 02:21:37.880
it and then release and then find someone else has beat me by with three weeks yeah that quite

02:21:37.880 –> 02:21:43.640
often happened so we’re going to play out with the track from Bugsy Malone but this is a cover and

02:21:43.640 –> 02:21:48.440
again there’s just something I had spent ages trying to track down a high quality version

02:21:48.440 –> 02:21:55.000
because I heard it on 6Music. Steve Lamac played this cover of You Give a Little Love and

02:21:55.000 –> 02:22:01.400
it’s one of my favourite songs from Bugsy Malone but it took me ages to find a non sort of 128

02:22:01.400 –> 02:22:06.440
Kbps MP3 version you know something that was a bit better than that and so this is Silvery

02:22:06.440 –> 02:22:12.280
and it’s from 2010’s Railway Architecture and I hope you’re all well and I’ll speak to you well

02:22:12.280 –> 02:22:17.160
for the Xmas show I’m actually already put it together a whole bunch of things to play so not

02:22:17.160 –> 02:22:22.280
like previous years they’re like two they’ll only be one and after that I don’t know when I mean

02:22:22.280 –> 02:22:28.920
it’s you know I’ll try and stick to one podcast a month but I don’t know because it’s finding the

02:22:28.920 –> 02:22:35.560
time between filming videos and editing them and so anyway enough of my plans for YouTube

02:22:35.560 –> 02:22:38.840
Domination here’s You Give a Little Love by Silvery.