Episode 3: High Pass Filter, Koolism and Hope D

This episode we deep dive into avant-garde turntablism, early Australian Hip-Hop groups and talk how the gay marriage plebescite will be remembered

Koolism  - Hau Lātūkefu & Danielsan (found nuddah),
Hope D 
High Pass Filter

Transcript

FugaziThe Beastie BoysJon Spencer Blues Explosion Tortoise Lee Scratch Perry The Boredoms Legends of Motorsport Kelly Ryall Mad Professor Mike Patton Ben Green One Watt Sun Cool KeithSnout The Lizard TrainBeam Up Black Cab We Are Now Flying At 10,000 Feet Cruel But Stupid The Red Eyes Damien Charles John Coltrane Snuff Puppets Nina Simone Ice Cube Words from the City doc Elf Tranzporter  DJ Wasabi Jay Red Elefant TraksHilltop Hoods Urthboy
Australian Plebecite
Midsumma Festival is a festival held in January - February in Melbourne which hosts   Pride March @midsummafestival
Hope D’s Toxic
Information on the Environmental Disaster that is the Aral Sea which is in Uzbekistan
Chloe sings in a choir called La La La Chorale, we are based in Northcote which has been running for 26 years @lalalachorale

G-Flip @gflip

Aidan Hogg @aidanhogg
 Medusa mythology  

(0:06 - 29:59)
Welcome everybody to the Sound Quality Podcast. This is episode three. Welcome back to our long-time fans and welcome to the new listeners. 

For the new listeners, the aim of the game for all of us is to choose an Australian song, an Australian artist, and talk about these songs that have influenced us. This is your boy Jackie Bigtones aka Jack Hewitt. I'm here sitting with Mr Neale Lawrence and Chloe Violet aka Douzey and we are the Sound Quality Podcast. 

And just a reminder for everyone out there that there is a Sound Quality playlist and for those who want to play along with the game, when we introduce our songs... I'll just say... For those that aren't aware there's a Sound Quality playlist on Spotify and SoundCloud and where you can get all your greatest playlists from and you can check out the songs that we mention on the podcast on these playlists. Links will be available on every release so please click on those links and enjoy the great Australian music. Hi, thanks for introducing us there Jackie Bigtones. 

This is Neale Lawrence. This week I'll be talking about the song Skint by the band High Pass Filter off the Audio Forensic album that was released in 1997. This is Jackie Bigtones aka Jack Hewitt and for today's episode I've chosen The Season by Koolism which is another classic Australian hip-hop track off the 2002 Koolism Part 1 album. 

It's a great summer anthem and considering it is still summertime here, get your barbecues out and enjoy this one because it's nice and sweaty. This is Chloe and I am bringing to you today Hope D's debut single Swim which was released in 2019 and she hails from Queensland. All right g'day everybody, this is Neale and very shortly we're going to be listening to Skint by the mighty High Pass Filter off Audio Forensic. 

The link for this song is in the Spotify playlist below in the description. We very much encourage you to listen to it before listening to us hacks talk about it. See you in about four minutes. 

Okay so hopefully you enjoyed Skint by High Pass Filter which is the first track off Audio Forensic which is the first album released in 1997. I'm actually holding in my hand my CD copy that I bought in 1997 and it is so beaten to shit. It's unbelievable because I played this record to death and then transferred it to cassette and then eventually bought it on vinyl so that I've got all three formats as well as then having it in a YouTube playlist and now on Spotify. 

This band is for me one of, I saw these guys open for Fugazi in what would have been probably 96 or 97, must have been 97 actually and for people who don't know who Fugazi are, well shame on you, but Fugazi are one of the great American post-punk bands. I mean one of the all-time greatest and I was going to the show to go watch Fugazi who are like a two guitar screaming vocals you know post-punk band right and then these guys walked on stage with turntables, loop machines, weird toys, trombones, bass guitar and drums and laid out about an hour's worth of that kind of shit and it just rewired my brain in terms of what music could possibly be right. It really was just and I actually don't even remember the Fugazi show because and I'm a huge Fugazi fan right. 

If Fugazi were Australian they'd be on this fucking podcast right. I don't even remember that show because what High Pass Filter did to me was just absolutely open up every possibility in music. I was just like oh right it doesn't have to be loud guitars and it doesn't have to be you know all these things that I think it has to be. 

First time I ever saw live turntables on stage man that's awesome right and not being used to DJ but being used for sound for like expressive you know kind of kind of music and yeah I was just instantly a fan like I was just instantly like right that's that's the band that's my fucking band now and later on people have gone on to call them you know things like electro dub and all of that and I think some of those titles are too simplistic. I think that what they were doing was just so out of the box original that there isn't really anything you can call them. You can certainly hear elements of dub reggae in there absolutely you can hear it and as someone who has played in like dub reggae bands and shit like you know I kind of know a little bit about that subject so you can absolutely hear some of the influences but it'd be wrong to call them that I think and I think just the utter kind of level of experimentation that these guys got into but also then how absolutely cool they made it sound. 

It wasn't avant-garde experimentation that went nowhere like all you need is that break that opening break right and you're off to the races. So yeah so Highpass Filter Audio Forensic they always think of them as a band that kind of never quite got their due or never quite got the respect they deserved but having a quick look at their wikipedia they supported The Beastie Boys, John Spencer Blues Explosion, Tortoise, Fugazi, the show that I was at, Lee Scratch Perry, The Boredoms and Mad Professor. So somebody took notice of how good they were. 

That's a diverse lineup of all sorts of different artists from different genres. Totally man if you get to support The Beasties, Fugazi and Lee Scratch Perry like you're obviously crossing a lot of boundaries you know what I mean. So yeah and like a lot of these a lot of as you'd expect with I mean you can just kind of hear the talent in the band so as you'd expect with that kind of thing a lot of these people have gone on to do other really amazing stuff. 

So a big one for me was that Ben Green who is Turntables and Vocals, he's the guy doing all that insane stream of consciousness vocal bullshit in that song as well as all the turntablers and all the cuts and he would do it at the same time right like cut and fucking sing and he can actually sing like he's got a good voice but he's kind of doing this Mike Patton weirdness type of idea. He also then plays guitar in the Legends of Motorsport who are another great band but they were real down-tuned low dirty like rock band concurrent to being in this band right so he's doing turntables and weird vocals over here and then down-tuned go fuck yourself garage rock like over here right in the same weekend. I really like the guitar player in this band Kelly Royale I thought always every time I saw them I saw them a number of times every time I saw them I just thought he had something really delicate and cool just dead cool going on like just everything he did was cool man. 

But something else to mention before I open up the floor a little bit is that Ben Green also had a production crew called One What Son who went on to do production for Cool Keith. Wow that's crazy. Yeah and I think it's the Dr Octagon 2 record. 

Oh yeah yeah yeah I've got Dr Octagon 1. Yeah yeah I could be wrong about that but it is something along those lines right? Yeah. So you're talking about like serious people. Yeah worse. 

Serious people and they also played people from this band also played Snout who were quite big back in the day Snuff Puppets, Hide Guns, Beam Up and yeah like I said One What Son and Black Cab who went on to win Australian Music Prize in 2019. So they're all cats who are still around today you know doing various bits and pieces and I was one of those people that just went and bought every single high pass filter record and not only that every single like if there was ever a compilation that they had one track on like I would go and get it. So there's like just off the top of my head there's a thing there was a fucking compilation of all called We Are Now Flying At 10,000 Feet which had a live version of Cruel But Stupid on it and Cruel But Stupid just has this amazing chromatic riff I fucking love it but I was one of those people man that just had had to get every single thing like demos and all the rest of it. 

So that's my High Pass Filter story about how they just rewired my brain musically. That's the first time I've ever heard of these guys and heard this like their music and actually for 97 it sounds like I can you know still compete with the stuff that's out today kind of thing. You talk about it being totally diverse like musically but it all meshes together like not many bands can actually pull that all from all those different kind of influences and make it sound cohesive like they like they have. 

I'm super impressed man and like I'm definitely going to check out more of their stuff like in 1997 I was only in prep but man I'll tell you I tell you what they man they were they were on some shit that is that is dope yeah um and the fact that they were doing yeah turntablism with the that funky bass line as well man that that funky bass line is killer and like that that break they had yeah it's hip hop but then there's also like this yeah it's not and then they've got this like rocky kind of like mid like mid section or whatever it's like man how do you mesh all these different genres together but make it sound so dope at the same time it's fucking it's awesome. And you notice as well the horns the the trombone that comes in a little bit later is purposely detuned by a delay yeah it's actually not in key. Is it sampled or do they play? No they had a horn they had a trombone player yeah and they would do like the reason I kind of made mention of the dub thing was that like like I said 
I mean first of all I kind of played in bands that did that but then if anybody's ever seen like the Red Eyes or anything that kind of Damien Charles has done that is strictly speaking dub right so Damien Charles from the Red Eyes will go on stage with a full console a full mixing board run the band through that and then pump that through his front of house he's mixing on stage he's mixing on stage and the reason you do that is so that he can do dub mixing which is like wiping out a lot of sections doing a lot of echoes and delays and stuff like that yeah there's a lot of echo and there's a lot of delay and bits and pieces in high pass filter but to my mind they weren't strictly using it in a traditional dub kind of way I would guarantee I would put a million dollars on the table that these guys all have a collection of fucking dub records like absolutely but they were just there everything they did was it's like you said with the hip-hop break everything they did just had this fucking twist on it yeah you're like oh yeah that's a hip-hop break but it's not a hip-hop and they're dub horns there's like the two snares yeah yeah yeah yeah it's just got this kind of just such an abstract imagination to it and even again things like you know taking like weird squeaky toys and shit on stage which usually I'm not a fan of that kind of stuff I think it's kind of kitschy and cheap and all the rest of it but the way they would kind of use it they'd like build these demonic soundscapes out of squeaky teddy bears and shit it's like man 
I want to see these guys well you can't anymore but um and they were great live musicians I mean that's just absolutely killer absolutely killers yeah um and yeah I'm in front of my one of all some of my all-time favorite gigs man High Pass Filter and I used to literally just go follow them around from venue to venue they just did my head in so much your proper fangirl yeah it was man and there's other bands that went on like to do similar things like there's a band sec who incorporated turntablism into like a more what you might think of as a more traditional rock kind of sound uh who I was a fan of sec as well 
I thought that was really good um and then later on bands like music versus physics uh and there's another band whose name I'm going to forget the name of so I won't mention it um kind of took that same idea of you know of doing kind of weird stuff but the other thing to remember maybe with this is that all of this is pre-computers it's pre-animal yeah right so all of that on stage effects all of the soundscaping all the weirdness and the loops and stuff it all came off hardware right so they would have to drag hardware fucking samples on stage yeah and 
I remember Ben Green setting up at the SB one night and basically having like his turntables and a mixer and then some tray full of pedals to process both the decks and his voice and he couldn't get them to work so he's kind of on stage with like 50,000 pedals he's trying to patch while people are waiting for the show to start you know what I mean so it's a real like wild west shit like he didn't just go up there with a copy of Ableton and hey presto everything's cool like they were doing it for real you know yeah and just super impressive awesome 

my initial thought at first I didn't love it but 
I think it was me I'm trying to put it in a genre and literally you say what genre is this like I literally wrote is it post-punk is it hip-hop nope I can't tell and I think maybe that's why I was like oh I don't love this at first but then it kind of came together a bit at the end then I was like okay yeah I can get behind this but it's confusing me and it gave me a bit of anxiety like the feeling because I was like I don't I don't know how I feel about this song right now um also what is he saying at the beginning or is that it's not your your guess is as good as mine the um the it's just to me like I totally appreciate what you say with that like it's not an it's not an easy list no it's not designed to be a pop song no and then I realized maybe that's my thought I want to put it in a box so therefore it's and then you said avant-garde and I was like okay yeah I wrote avant-garde because you can't figure out yeah yeah what what it's doing no yeah and that's that's the thing that's why it was so kind of mind-blowing for me because it was like you know I got obsessed with concepts of like you know quote-unquote heaviness for a while and like what what does heavy actually mean in music and I started from a position well heavy obviously means massively distorted fast guitars right that's what it means but that's not what heavy means because John Coltrane is heavy right Nina Simone is heavy yeah you know what 
I mean and so when and and Fugazi the band I went to see are heavy right from a two guitar kind of position but also from like how from a lot of other positions this shit is heavy this shit is heavy right you know and it's heavy because it has that effect on you that like you're just like sorry what the fuck is how am I supposed to put all this together right now what does this mean and so when you're like what are the lyrics it's like man figure it out yeah read your own thing into it I don't care like you know uh it definitely feels like a song that's literally just about music like it's just about making sounds come together that's probably actually a really good way to put it yeah 

G'day this is Jack uh my track is The Season by Coolism uh just a reminder that it's on the Spotify playlist so we're about to go and listen to this so check out the Spotify playlist and listen along if you feel cheers All right and that was The Season by Coolism I hope you enjoyed and that was released in 2002 off the Koolism part one album which is actually their debut album that featured a few of their other previously released I think it was um Seven Inches a few other things but this this song in particular was the song that kind of blew them up and in my opinion it is the kind of like Australian version of Ice Cubes It Was A Good Day you know what I mean it's like the summer version you know what 
I mean it's the summer anthem for Australia in my opinion um and Coolism is just one of those seminal hip-hop duos that really put Australian hip-hop on the map as far as I'm concerned it's Hal and DJ Daniel-san and uh you know amazing amazing stuff and The Season I think just amplifies everything that they they represented they're from Canberra I originally thought they were from Sydney but there you go they're from the capital of Australia representing not many not many hip-hop groups are from that way so mega props uh from for them getting out but for getting out there but um yeah I would have been maybe I don't know 15 when I first heard this song so I bought the part part one album um back in the day and yeah it just just blew my mind again hearing that Australians can can make this kind of music um and I tried my best to try and find the sample for this track as well because the sample is so dope I reckon it's got to be one of Daniel-san's you know secret herbs and spices he's not giving away the sample or whatever we're gonna we're gonna hit him up on social media or something and be like yo man what's the sample to that track because it's obviously some jazziness like jazzy fire like you know summer kind of vibes but um but yeah and you know I just think it's dope that they can re-release this stuff as a as a whole album and it still kind of blow up and be part of the kind of Aussie hip-hop like template of how to do things um and and just a just a quick story on like my you know um upbringing on coolism 
I remember back in the day watching the uh Words from the City documentary um so that was way back in the day even before I met like Elf Transporter who for those who don't know was like my mentor into the whole rap game back in the day so Elf Transporter was a part of this documentary as well um and I think it was on yeah ABC at the time um and yeah Coolism and Daniel-san were in that too um and that's probably would have been the first time that I heard those guys as well and I'm literally probably like the week of seeing that documentary I bought that part part one album I think they have uh three parts look it's a three-part series um they've released I don't think they've released an album since 2010 or so so it's been quite a long time but that's because Howe for those who don't know is like the full-time host of the Triple J hip-hop show now so he's you know he's big time breaking other artists like we're trying to do on the sound quality podcast um but you know he's he's a legend you know in the Australian hip-hop hip-hop scene regardless he doesn't have to write another rap or release another record he's what he's put down um you know for the Australian hip-hop scene and the the Canberra hip-hop scene you know is is unmatched um and the season you know it's just one of those you know jazzy summer vibes you know he makes makes you feel good you know and as a kid I need to hear more songs and just make it feel good and it's you know Ice Cube it was a good day and this it was like my summer jams man you're totally totally on point with the good day stuff right because as I'm listening to it I'm just like right this is just the most lazy summer day g-funk right it's just so nice um and while we're recording this it's about a 35 degree day outside yeah man it's hot it's hot so we've got all the blinds closed to try and keep cool and all the rest of it but I just went for a walk outside while we were listening to this and it was absolutely perfect it just took the temperature down by about 10 degrees right just by virtue of that the two things for me uh yeah you mentioned Daniel Sun right absolute you know for people who love turntablism and if you've been listening to this podcast long you know you'll realize that that both Jack and I are big adherents to it um big fans of it uh Daniel Sun is an absolute legend in that regard yeah like absolute legend he's up there with you know Wasabi and J Red and all those Wasabi's in that documentary as well the Words on the Street documentary 
well I was gonna mention like for two things like first props to that tune for not only having two scratch breaks but the second break second scratch break being an extended f****** b-boy rhythm yeah right 11 out of 10 points I think there's there's two versions as well so there's the album version which is just the season but the video version has that crazy break stuff which is which is awesome too man like do that for another 10 minutes yeah yeah because I'm pretty I'm pretty sure because I've heard the song a million times since I was a kid or whatever the the video version is slightly different it's like a re-recorded version yeah which is which is interesting because I only discovered the actual video the video version's only been online for something like what eight years or something yeah and I would have heard like that when I was like way younger so it's definitely two different versions but 
I really like the yeah the break part as well and man that that should be on the album you know do do like a 20 year anniversary release coolism of part one and put that on the 20 year anniversary minutes of that and I'd be happy yeah man the just a very quick story sorry I know you're probably ready to go but I just want to get this out that 
I went and saw Aussie Battler on the Wild Colonial Tour right man and Aussie Battler's amazing obviously from The Herd and stuff like that but again the Turntablism thing and I was at that gig with a very dear and now unfortunately passed away a friend of mine guy named Oliver Butterfield OEMC and we were watching Aussie Battler and his DJ who oh my goodness his name's just escaped me I do apologize for that we'll shout him out in the comments but he's amazing like absolutely amazing Turntablist he featured really heavily on that song Putting It On Wax so have a listen to that and I'm sorry dude I forgot your name like I've got to remember a lot of shit for this um but what happened at the just before the last song in that gig they had this shootout with all the Turntablists who are in the room right so it was Aussie Battler's dude up against Wasabi up against Daniel Sun up against Jay Redd just all going that's like all the legends from the early 2000s like man like going eight bars eight bars eight bars eight bars eight bars man I would have loved to have seen that and it went on like I couldn't believe what I was watching and I was like ah okay they'll just do like you know a couple of bars each and then that'll be it this thing went on yeah for so long and it kind of started off fun but then they all started getting real fucking competitive about it like trying to just out scratch each other and Ollie and I were just sitting in the crowd just being like like do people know what they're fucking watching here like do you understand the fucking magnitude of what you're looking at it's just like the AFL grand final of DJ Turntablism I know

 Neale won't like that but so um yeah and then uh I don't think it was Melody I'll while you have a word I'll see if I can find it um because I do apologize for the oversight um because he uh DJ Bones my apologies oh yeah from hijacking hijacking torture yeah yeah yeah yeah yeah man absolute fucking monster and he released a great solo album too yeah yeah which was right yeah monster absolute monster so like just imagine all those dudes yeah yeah ripping it like man um it was it was one of my favorite turntable memories ever yeah what year do you reckon that was like it's gotta be 11 12 13 somewhere around there yeah yeah man I would have I could have gone but yeah it was at the true man I can't believe I missed that what's going on sounds right I also wrote down summer vibes like and I love that all three of us came to that like decision of what kind of feeling that song creates but yeah just looking up um is it how yeah how yeah and he's seems pinnacle in the hip-hop scene yeah yeah because like 
I've never for context I've never heard of Koolism um but then looking up it like what they've worked on with hilltop hoods earth boy so they seem very like yeah yeah they've set the ground for Aussie hip-hop to be what it is today totally and then and then to go on and have a platform like a national radio platform oh yeah to work with the abc yeah yeah they're just constantly breaking you artists and get behind and even how it was on hilltop hoods um left foot right foot I think it was so that's the album just before the calling which is the album that blew them blew them out of the water but yeah so he was working with hilltop hoods before they were yeah I love when you like find like a big world recognized artist and then you go back to all their beginnings and like who they worked with and stuff like that because then you can really say like they've been working at it and they've been part of their scene for such a long time so I kind of like that um yeah there's element of finding artists the how the how that we know now from triple j and you know this massive with respect to was not the how that made that tune no that tune's over 20 years old you know what I mean yeah so him and his crew are just a bunch of and i'm sitting here going fucking daniel son this guy's a legend but those guys didn't know they were legends back then they were just making dope people yeah oh yeah the break in the middle oh my god it's so good it got me by surprise i was like oh okay yeah yeah that's awesome man yeah that's so awesome and some proper like b-boy steez you know what i mean like so good so good jackie bigtones man you win this episode awesome awesome tune we all we all win we all we actually haven't heard chloe i feel like i we i win every episode because i get to learn more and more about these artists and also there's not a lot of information on the season so like when i was just looking up while we were listening there's not a lot of information so i love that we have this you know song that's like kind of not unheard of but very
(0:00) Trackers are so niche. So I guess this is what the podcast is about. It's findiing and displaying (0:06) our niche songs.
Yeah. I actually wonder if there's an argument to be made that like (0:12) the like the hip-hop summer jam, right, is actually now such a well-worn cliche in Australian (0:20) hip-hop, right? Seems like fucking every year somebody puts an acoustic, it's a sweet acoustic (0:26) guitar behind a break and has a like, yeah, me and the boys hanging at the barbecue kind of tune. (0:32) Do you reckon that this tune is possibly the beginning of all that? Yeah, yeah, yeah.
Actually, (0:38) it's funny that you mentioned the summer jam stuff or whatever. Yeah. I was listening to the (0:41) radio the other day just driving and I heard someone because I was listening to the sports (0:45) ball radio or whatever.
And they were talking about the cricket having the cricket Australian (0:50) cricket team having a summer jam. And I was I had to laugh because it's such a hip-hop term, (0:54) but they're not using it in a hip-hop context. It's just like summer jammers and jam your balls (1:00) like get you know what I mean? Like jam your balls.
For context, I'm swinging like a cricket (1:10) bat here. You can't see it in the podcast anyway. We're not advocating for the jamming of testicles.
(1:20) 

Hey, so we are now going to be listening to Hope D's song Swim, which you can listen to (1:32) via the Spotify playlist or we've also made a SoundCloud version of the playlist too. (1:44) Just checking my levels. We're good.
So that's Hope D's Swim, their debut single that came out (1:53) in 2019. So Hope D is very young and very new to the music scene, but has won many awards and (2:04) acknowledgments with each of her releases. I really love this song.
This isn't the first song (2:11) that I heard by her, but it was one I found when I when I find like an artist that I like their (2:18) songs. I put their all their music into a playlist and that's then from that playlist I like put it (2:24) into my like favorites playlist from there. And this song I always come back to like I love the (2:30) guitar.
She performs with lots of loops, which is what I do with a lot of my music as well. That's (2:37) how I write some of my songs as well is just practicing a bunch of loops and figuring out (2:42) the lyrics from there. I love the story.
You know it's a coming out story because I kind of was (2:47) thinking about it like it was released in 2019 and I'm wondering if it was written around the (2:54) time of the plebiscite, which was the end of 2017. And I wonder if this is a product of that really (3:02) big discussion that happened because I guess LGBTQIA plus rights were really (3:10) thrown into the popular discussion I guess around Australia. And so I think it's a really good (3:17) reflection of the time before that and then the time after it where I guess Australia did vote yes (3:24) for the equality of same-sex marriage.

And I think it's a good song to listen to maybe in 10 years (3:33) time. It's like what did these people feel or even now today because obviously we aren't (3:39) I guess what's we're not fully accepting of LGBT communities I think still we have a long way to go. (3:49) So I think this song is like a good (3:53) I guess historical song to capture this feeling in Australia about LGBT rights and stuff like (4:00) that and also it's midsummer at the moment so I was like oh I should choose someone from that (4:05) community.
Researching her made me just love her even more. Actually the thing that made me (4:12) notice her was her cover of Britney Spears Toxic which she did for Like A Version which I need to (4:19) stop finding my songs through that but also it's my fave. Which Toxic is like the greatest song (4:25) to ever come out of I guess Britney Spears but the world I think Toxic is timeless and I could (4:34) do a whole hour rant about how it is the most defining song of the decade.
When did it come out? (4:40) You don't you don't find the video at all problematic. Look I'm talking about the song this is a (4:49) oral historical record this is not fair enough. I'm surprised Neil can remember the video.
(4:57) I remember it man. I watched it many times with the volume off don't you? (5:03) But what I also love is that the the imagery that this concocts I love the like feet don't (5:10) touch the ground and you kind of it's very Australian because I mean she is from Queensland (5:15) most likely from the coast because the majority of Queenslanders live on the coast like swimming (5:20) out to where it's a bit deeper when especially when I've gone surfing and stuff when you can't (5:24) quite touch the ground and you're moving with the waves like it really brings like a very visceral (5:29) image in my mind when I listen to this song. But then it also makes me think about (5:36) especially when she says the word until my head will rust and it made me think about the (5:42) Aral Sea.
Do you know about the Aral Sea? It's like one of the worst environmental disasters but (5:47) it's in Uzbekistan and basically the Soviet Union made them do cotton farming so they drained this (5:55) ocean it's huge and there's all these boats now that you can go and walk around and they're all (6:01) rusty and just there and I think it's like very beautiful and very kind of spooky looking of like (6:10) the industrial times during the Soviet Union and so yeah this song made me think of that (6:17) and those images like definitely look it up it's they're really really cool of like if she (6:24) were to stay there and rust into a statue like she'll be this representation also like thinking (6:31) another thing I was thinking about was Medusa's cave like you know when warriors go into Medusa's (6:35) cave and there's all these stone men who have seen her face so it's creating this kind of world (6:44) I don't know my mind always goes into this like storytelling and where I can link it into folklore (6:49) and stuff like that so I really like this idea that this song can be like a historical record (6:54) of the feeling of that LGBT plus communities were feeling at this time and then yeah if she were to (7:01) rust in the ocean and we find her standing there we have this example of the feeling and of that (7:08) time yeah that's beautiful yeah yeah yeah I like that yeah so I really love this song I love the (7:14) acoustic guitar I'm always a sucker for acoustic guitar and I'm a sucker for overlapping songs (7:19) at the end I've literally just finished writing my EP and at the end one of my songs does this (7:24) I love it maybe it's the theatrical kid in me but I froth that element in music it makes it (7:35) super dramatic at the end and then I was um looking up sorry what do you mean by so at the end (7:42) there's a bit that's like I'll swim my feet won't hit the ground I will I'll swim and then there's (7:48) more lyrics over the top and they're singing two different parts because then she's like and I will (7:55) over that it's almost like rounds yeah exactly like a round um which yeah I'm a sucker for it (8:03) which I do in my choir all the time um which shout out to my choir um we called la la la um (8:14) on first listen of that song like without you telling me I wouldn't have picked up on (8:19) the fact that it is like an lgbtqi like anthem and stuff but it's like a yeah interesting kind (8:24) of perspective on that kind of stuff and I ever remember like a friend of mine who is (8:30) lgbtqi plus um talking about like that time and they actually wrote a poem called drowning (8:38) it's not like similar to like the swimming thing but it's just that interesting thing of like (8:42) their feelings of that time was that they were they felt like they were drowning in all the kind (8:47) of negativity around yeah the plebiscite stuff and how they felt that their life I mean it was (8:54) their lives were literally put in the microscope microscope yeah and literally you know examined (9:01) um by people that don't even that it shouldn't have even happened yeah I mean um suddenly people (9:08) had opinions about something that actually doesn't affect them exactly well and then I mean even more (9:14) cynically than that there were people's lives were used as political collateral (9:21) like to you know so that people like fucking george brandis could carry on with their ignorant (9:27) bullshit and get their heads in the paper you know when you're just some lgbt person (9:32) trying to go about your fucking day and have a job and you know you know hopefully you know I mean (9:38) you know most of us get one or two shots at any kind of happiness or love over the course of a (9:44) you had these pricks basically trying to deny you that based on the most spurious rubbish like (9:51) oh well if you know gay people can get married then what's to stop people marrying bridges and (9:56) it's like well I've never looked at a bridge and thought what are you doing after this do you want (10:01) to get a drink it's like so such ridiculous shit but I remember it too man because you know we had (10:08) members of it wasn't that long ago in the grand scheme of things like what seven seven years ago (10:12) yeah 2017 yeah 2017 yeah yeah so and oh my god how long ago was that seven years seven years ago (10:19) oh that is disgusting just remember that we lost three years to cope yeah in the yeah yeah but I (10:27) mean I played I was playing in a band that had lgbt members in it and remember like the the toll (10:32) it took on them you know what I mean and just needing to support right and you're not talking (10:36) about weak people you're not talking about you know people who would fall over at the (10:41) yeah but when you put people through months of that bullshit like it takes its toll (10:46) um I really like the guitar line the melody line I thought you would yeah it's just such a beautiful (10:55) jangly indie pop it's like it um it sounds like something that would actually be like a little (11:01) bit sophisticated to play as well like it's not super simple um but just really nice the tone of (11:07) like all the layering it's got quite a full sound in it the whole thing um so you like the (11:11) acoustic but there's also like layers of electric in there beefing it up her voice is great yeah (11:17) she's got a great voice and a lot of her songs have that in between talking and singing which (11:22) I'm a sucker for um I actually thought that when she started I was like I can see what you like (11:27) yeah yeah that's true yeah she's amazing and I was I'm just doing a bit of research with like (11:33) people she's worked with so um Happy Hangover which was one of another big hits uh was actually (11:38) written by G Flip and yeah and Aiden Hogg who's like a big collaborator with G Flip so I was like (11:44) this is funny because also they have letters in their names I was like is this a trend (11:50) or a little bit of cultural appropriation from hip-hop but anyway oh okay no it's not (11:57) yes and then she also was um in an interview she was talking about artists that she loves (12:01) and then she mentioned Jess Day and I was like yes like we're all getting behind Jess Day (12:09) yeah awesome pick loved it yep good stuff all right right how long was that (12:18) all right so thanks everybody to listening to episode three of the sound quality podcast we (12:22) hope you enjoyed uh not only all the music we played for you but the discussion on the music (12:27) we had you were listening to myself Neil Lawrence, the mighty Jack of Big Tones aka Jack Hewitt and (12:33) of course the lovely Chloe Paul talking about music be sure and check out the playlists if (12:40) you haven't already they can be found at both Spotify and SoundCloud if you look for sound (12:47) quality podcasts you'll find us also be sure to follow us on socials Facebook Insta all the usual (12:53) things the links will be in the description of this podcast feel free to chuck us a like and (12:59) certainly feel free to add commentary or email us at soundquality at gmail if you have any questions (13:07) suggestions uh if you have any criticism you can probably keep that to yourself unless it's (13:12) constructive uh otherwise we hope you have a cracking weekend and we'll catch you for episode (13:18) four peace out peace out