Episode 2: Reviews of Djum's "Under Tangled Silence," Nazar's "Demilitarize," Steffi & Virginia's "Patterns of Vibration" and Sumac & Moor Mother's "The Film."

MusicWeek: A Roundtable Review of the Latest Electronic Music Albums

Monty Luke and critics Christa Walley, Inbal Gordon and Dom Bartmankowski discuss and give analysis of this week’s latest Electronic Music album releases available now in most formats.

Albums:

Djrum - Under Tangled Silence (Houndstooth)

Nazar - Demilitarize (Hyperdub)

Steffi & Virginia - Patterns of Vibration (Dekmantel)

Sumac x Moor Mother - The Film (Thrill Jockey)

Co-hosts: 

Christa Walley, DJ and cultural producer. @christabelle.club

Dominik Bartmański, cultural sociologist at Humboldt University Berlin and author of "Vinyl, The Analogue Record in the Digital Age." @analogdomain

 Inbal Gordon, Resident DJ at Refuge Worldwide. @madameshazzam

Genres: Drum & Bass, Experimental, Dubstep, Techno, House, Metal, Spoken Word

Monty Luke is a Berlin-based DJ, Electronic Music Producer, Radio Host and owner of record label Black Catalogue. He has remixed and released music on labels like Rekids, Hypercolour, Planet-E, Ostgut Ton and many more.

MusicWeek comes to you live and direct from Berlin, featuring reviews of the latest and best album releases from the spectrum of Electronic Music.

For more information on the MusicWeek podcast:

Monty Luke on Instagram: @monty_luke

Black Catalogue on Bandcamp.

Transcript

Inbal Gordon: 0:01

I don't know. I mean, I want to say something positive. So, like, I'll just say that I imagine, like, watching, like, an anima, you know, like a good anima film. Like, I would imagine, yeah. Sorry? Like, animation? Oh, anime. Oh, sorry. Yeah, I can't pronounce. So, anime. Anime? Wait, what does that mean? Actually, I don't know. Okay, sorry. Anime. I meant, like, animation.

Monty Luke: 0:26

Like... Welcome to Episode 2 of Music Week. I'm your host, Monty Luke. This week, joining me will be Dom Bartmanski. He's a cultural sociologist. Christa Walley, DJ and cultural producer. And Inbal Gordon, DJ and Refuge Worldwide resident. Our first release for discussion this week is Drum, the album entitled Undertangle silence that is on the Houndstooth label. Let's start with you, Dom.

Dom Bartmankowski: 1:06

Yeah, I very much appreciated the interweaving of piano sections and all the tangled electronics, rhythm patterns and stuff like that. This is something that I personally very much appreciate. I used to listen to a lot of drum and bass, breakbeat, all that kind of stuff. It's kind of my earliest exposure to electronic music, broadly speaking. So I guess that's my kind of a weak spot. I simply love those kinds of things. And it's great to hear that somebody is working with those structures and exhibits really a mastery of polyrhythmic arrangements. And also something that I have to say I very much appreciate, especially when you think about techno slash house music, that there's a lot of tempo changes, which is not to be taken for granted. Like oftentimes, the track just starts and ends exactly the same. There's not much variability in terms of rhythm. And for me, this music is very much about rhythm and the rhythmic textures. And here we have an exploration of a lot of rhythmic textures, changes of tempo, sudden summons here and there all of a sudden, unexpectedly. So it's like defies expectations. So I kind of like it because you cannot get bored. Like you just don't skip. You want to go through it as you listen. So like it engages you as an active listener. I loved it. And at the same time, it's like, you know, interspersed with all this poetic piano works. And if I'm not mistaken, he is actually a trained pianist. And you hear it. And this is just like... wonderful combination. So this is something that I liked.

Monty Luke: 3:05

He played piano, he played harp, he played the imbira, and of course he did all the percussion. There was some other instrumentation that he got from outside and vocals done from other people, but it's mostly his compositions. I

Dom Bartmankowski: 3:19

like the contrast, for example, between these piano passages that are kind of serene and at the same time you have a lot of this frenetic percussion. I like how he works with with that kind of contrast. So overall, I enjoyed the album. Krista?

Christa Walley: 3:38

Yeah, I think this is totally, you know, an original dubstep slash post-dubstep fans like dream album. And you can also see that in the way that it's being reviewed online by people like, you know, Will Lynch and Andrew Rice and other notable, you know, music journalists who really come from that scene. But as an album, it really transcends that as well. And, you know, defies categorization I love Drum for his little percussive workouts you know I find them so cute and I think cute is a funny descriptor to use in an album that generally is kind of like grandiose and really takes you on a journey but I find the sense of play I find the sense of humor in it and I think also there's been a lot of conversation in music production over the years of about things being, like, too on the grid and everybody wanting more of, like, a human feel when they approach drum machines. But I love how, like, for me coming from a background in music production, when I'm listening to, as I described it, one of Drum's little drum workouts, I can, like, see the grid. I can see the way that he's, like, painted it all together. You get the feeling of, like, a real, like, human drum machine interplay. And I think that's fantastic. And then when it does open up into the more cosmic piano passages or what have you, you know, it's nice to go in and out of these different modes that this artist has clearly developed over a long period of time of just honing his craft. So, yeah, I think it's stellar, stellar record.

Monty Luke: 5:22

Inbal.

Inbal Gordon: 5:24

Yeah, I have to agree with everyone that spoke. I think this one was my favorite release. by far this week. And to me, I mean, it just kind of like felt, you know, like a warm blanket wrapping around me on a cold winter morning or something. Like I was having a bit of a rough week and then I just press play and, you know, this warmth sounds of like strings and then the piano and just slowly unravel like to like the production of drum that we all know and love. But I really loved how surprised I was when it first started. I was like wait this is drum it's like hey like what happened to him like it was really like a rebirth or like I don't know like it was something very fresh very new and yeah I totally agree with all those like percussion elements that become like noticeable toward the middle of the album and I love how he played with the dynamics of the album how sometimes will be more calm and serene and you have the strings and they have the piano and then you have all of a sudden again like the not the usual drums because it's elevated but you have all this percussion elements that you know and love from drum and I think even before I finished listening to the whole album I already ordered it like on HHV and I think I like messaged you a voice message while I was still listening to it in the background and I've listened to it three times since I have to say or four I don't know how many times I just put it in the background at some point and just like you know went on my routine but I think it's by far my favorite drum release and I also really really love how the beginning of the album the composition in the beginning like that piano line and those strings like just unravel the whole journey are also appearing again at the very end of the album so it was a whole journey for me it was a full circle and I absolutely loved it production wise composition wise yeah just as a listener I don't know for me this is what music should be all about like if you release music do it like that or just don't do it you know i'm

Monty Luke: 7:36

sorry the name of the album uh the artist is drum the name of the album under tangled silence on the houndstooth label our next release nazar demilitarize on hyperdub krista

Christa Walley: 7:51

so this record uh i think deserves a little bit of backstory uh nazar released his debut record gorilla in 2020 and right before COVID hit and it came out and just really blew away I think heady experimental avant-garde and like again sort of dubstep post-dubstep producers for its stunning production and that album I see come up time and time again if you look at some like I was researching DJ Marcel recently who's this like beloved sort of like outsider niche super creative DJ known for really quite like strange and impactful sounds and like she cites it as one of her favorite records this is the kind of place where you see Nazar come up and I think I also discovered it around the same time as I was listening to Death Grips so I was like yes like I was really into this sort of heavy duty sound in this record Nazar started in this genre exploration of what he calls rough Kuduro and Kuduro is a really up-tempo celebratory style that comes from Angola that often is an expression of post-civil war Angola and so well that often celebrates yeah like yeah post-war reality like more of like a piece in that country Nazarian this record was exploring his father's memoirs that took place during the Angolan civil war and this Raph Kuduro was using this up-tempo style but not shying away from like the violent imagery that was present in the country's past and in his father's experience so where we find him now releasing this new record titled is it demilitarized or demilitarized Demilitarized. word I know that he struggled with his health during COVID after about with COVID and some other pre like conditions that he had previous and you know the guy has been through a lot and and what I really love about this new record is that it still has that rough kuduro sound that he's exploring and really kind of inventing in his work but it takes on a more sensitive approach where you really hear him it's like you're going into his mind it's almost somewhere between this rough Kuduro and like a bedroom pop record there's these like sparkling moments of R&B and I just think that I really love the tension in the record of the different sort of you know the intensity and the softness as they interplay and I just really love to hear this artist continue exploring and continue working because I think after his release he didn't have an easy go of it and but despite him not having an easy go of it it seems like Heads no. And people are really excited to continue hearing from him. And I would say that I'm one of those people too.

Monty Luke: 11:38

Inbal?

Inbal Gordon: 11:40

Yeah, I definitely felt a lot of early days James Blake vibes, especially when it comes to the vocals. A lot of vocoder elements. I like the layering and the production technique. I wasn't blown away, I'm not going to lie. But I see a lot of potential. And I am looking forward to seeing what this artist comes up in the future. I feel like he's still evolving. He's still figuring out his sound. And it was heading to a really interesting direction at some point of the album for me. And then it just kind of stayed flat for a little while. And that's the reason I wasn't blown away. But I do think that in the future, this artist will make a lot of interesting music. That's how I felt about it.

Monty Luke: 12:25

The name of the album is Demilitarized by Nazar on the Hyperdub label. Dom.

Dom Bartmankowski: 12:31

Yeah, I don't know if I can add so much after a beautiful lecture from Krista about all of that. And then a lot of also interesting, let's say, technical analysis and a genre description of how we could understand this music. And at the same time, a certain, I guess, aesthetic reservations that... you just expressed, right, which I also felt because, and maybe the way I would phrase it very briefly would be that I was quite amazed about the production and how it sounds, the layering, you know, and simply the complexity of all the sounds and how they interact with each other, the density, you know, all these sonic charts, that's how I would maybe describe it, like here, there's so much going on it is quite impressive and interesting at the same time sometimes you may feel disoriented and asking like where does it lead me and perhaps the artist doesn't want to lead you anywhere maybe that's precisely the point to disorient you at the same time and I would say fine but it is a pretty dark space right so you might not always be emotionally ready to enter and stay at least for a while and somehow feel with the artist. One other thing is that although production is stellar, it sounds great, these sonic layers are really quite impressive. Sometimes I had a feeling like they draw too much attention to themselves. I'm thinking too much of how amazing the production is and what a cool avant-garde piece or experimental piece it is, instead of simply naturally going with the flow and enjoying it with a certain abandon, almost like forgetting the medium. Sometimes I think good art is about forgetting a medium and being transported somewhere else. And here I was not transported, really. I would also lie if I said that I was transported. And another reflection that I had, I didn't know all these very interesting facts about the background of the artist. And I was again reminded of the 90s when I started listening to electronic music when it was very new. We were listening to Aphex Twin and Ninja Tune and War Producers and all that stuff. And at that time, I didn't know anything about those artists. I didn't know the background. I didn't know the gender. I didn't know anything. And honestly, it was quite difficult to find those information. Oftentimes, I was not even interested because I was so into the music, into to the sound, just enjoying where it transports me and what it does with me emotionally. And I'm wondering whether we have difficulty right now with that, because let's face it, we almost immediately Google all those things, right? We want to know immediately. There's a compulsion to know. And then inevitably, we start forming feelings and opinions about the music filtered through that information. And listen Listening to that album and now listening to the story, it triggers that reflection in me. It's something to talk about. How would we approach that experimental, dark, layered, complex, thicket of sounds without knowing everything about the trauma of the civil war, the trauma of that particular family, his bad experiences in Belgium, I think. where he grew up right and on all those things right so yeah this is something that um yeah that album made me made me think of

Inbal Gordon: 16:41

i will add to that yeah when i heard gorilla the debut i didn't know any of this information about the record and i basically just listened to it as a hardcore record and i felt it was incredibly catharsis and i loved it and this record um you know i i knew a bit more about the artist because i I'd seen Gorilla pass through the hands of many journalists over the years. So I was kind of primed for this one in a way that doesn't reflect the way that I experienced the first. And so I'm really interested because I heard it and I had all these things to kind of grab onto. So yeah, I'm interested to hear both of your perspectives, not having all of that sort of, you know, deep, rough Kuduro knowledge.

Monty Luke: 17:28

The name of the album is Demilitarized by Nazor. are, it is out now on the Hyperdub label. Our next release for review, Steffi and Virginia, Patterns of Vibration, their new album, on the Deck Mental label. Let's start with Inbal.

Inbal Gordon: 17:44

Yeah. So, I enjoyed it. I mean, it's a good house record, and if I'm not wrong, like Steffi and Virginia, kind of like Burghine regulars. Was I blown away? No. But production is really good, I did feel that the vocals at time felt a bit like glued on top of the production. I mean, I know that you in this kind of music, you always use overdub when you have to add vocals. But to me, they kind of like stood out more than I would like them to. I think it will be like fun music to listen to in the club. I could definitely hear it in some parties. I don't know if it will like last forever. you know, the test of time. I don't think it's like reaching to that level of like, oh, we will remember this release in five or 10 years. But is it fun for the next summer to hear it in some open airs or, you know, at some nice parties? Yeah, I mean, but that's how I felt about it. If I'm just being very like straight to the point without, you know, elaborating too much. Good production. I wasn't a big fan of the vocals, but yeah.

Monty Luke: 19:01

Krista.

Christa Walley: 19:04

Yeah, I, um, let me gather my thoughts here. How do I want to start? I have, I have thoughts. Let's say that. Um, I think it's, yeah, very fun. You know, when I was, when I was younger, I really loved music like Hercules and Love Affair and Jesse Ware. And I think it's been a long time since I've seen somebody enter that space that I've been excited about. And I more as sort of underground icons and in this record you know it's essentially pop with underground music underneath it right i would i it sounds more pop to me even than it does house and it takes me back to like i don't want to go as far as a new disco but really jesse where for sure came to mind and like i think that's really cool because of how accessible it is and come out on Deck Mantle I mean at this point Deck Mantle is kind of a major label right especially these days underground electronic music is rivaling you know other big label music because people are streaming music and you know when when this record might pop up next to a Beyonce record and a 15 year old somewhere is looking at both of them how do they know that one is like more underground than the other right so to get these names out they and and to see the potential of people maybe digging into these artists and finding more beneath that i think that it has sort of like a cultural way in that way that's cool um i think it's also just like music i would put on at a boat party and like go woo you know like it's not that deep but i think that actually what it does um in culture yeah is reflective of something that is deeper and and i think that's cool

Monty Luke: 21:00

did you like it

Christa Walley: 21:01

i did okay i think um i did also feel sometimes that I was really craving an instrumental rather than having the vocal. And that's like me having DJ brain rather than just like music, like pure music consumer brain. Like I sent it to my brother and he put it on the car and he had a blast and he wasn't thinking about how he has a gig coming up. And gosh, I wish I had a night flight instrumental for that. Do you know what I mean? So I have a little bit of bias in really gravitating towards the, you know, instrumental and rhythmic sections and the vocals are fab and some tracks it really works, but I sometimes wanted, you know, if they release an instrumental version, everybody will be happy. The

Monty Luke: 21:46

name of the album is Patterns of Vibration by Steffi and Virginia on the Deck Mantle label. Dom, your thoughts?

Dom Bartmankowski: 21:54

Interesting that everybody seems to be commenting on the vocals. Maybe one thing that I have to say about that, because it just occurred to me when I finished to listen to the album that if you have a vocalist there, if you have vocals as a structural part of almost every track, then I'd say it would be nice, again this is my bias, to have more changes of tempo so that you can actually insert vocals into those different segments. You can have like a break and then let the vocalist do something interesting. But that possibility is not really used. It is almost more like a thing sampled from some pop song and added to the beat structure, which is mostly unchanged. So I was kind of expecting a little bit more space for the vocalist to do more with the voice. Because when it comes to housing music my expectations are you know like i need some deeper hypnotic you know instrumental structure that i'm i guess i'm in this sense a typical audience uh you know what the view that you mentioned but that being said i wouldn't actually call the album house music right again that was maybe another expectation that you know i i had given that steffi and virginia are no from, you know, Berkheim and Virginia played over years fantastic sets in Panorama Bar that dug deep into, you know, amazing boxes with deep house, American house music. So that's not exactly what you get here. For me, it was much more of a pop record, as you said, that can work very well on a boat party indeed. And, you know, and I'm not meaning this in a disparaging way, you You know, I love boat parties.

Christa Walley: 24:05

Same, absolutely. Yeah, no disrespect to boat parties.

Dom Bartmankowski: 24:08

No, not at all.

Monty Luke: 24:10

Shout out to all the boat parties. All the boat party massive. Please listen to the podcast.

Dom Bartmankowski: 24:15

We don't necessarily have to also have the expectation of like this being a timeless piece of music, right, that will be remembered in 10 years and judge these records by those standards. Although I have to say, I also have this bias of like, at least when I buy music, right, if I consider, or should I have it on vinyl, should I, you know, buy it because I collect records, that, of course, this is always there. I want that this lasts, right? I would like to return to it in five or ten years. I also don't think that this is necessarily the case with this record, but it doesn't have to be, right? Like, it's a more of a, you know, a party record for today with this kind of a, you know, quite polished, you know, pop sound to it, right? There's, you know, we talked a little bit about, you know, how we were surprised about different elements in two previous albums, like a lot of surprises actually, maybe even too much in some cases, right? To the point of asking what's the point, right? Of surprising me constantly, not giving me any respite, right? This is how I felt sometimes about the Nazar record. I was like, okay, you know, it's like pretty dark for like quite some minutes right now. Like, could I have a little bit of a ray of light, right? Here it's like almost opposite, right? It's like a constant sunny, you know, I'm on the same level. It's just like, like a sunny, you know, like a pop feel good record that I would like to be, you know, like I would like to have a little bit of clouds, you know, I'm on this boat and it would be nice, you know, to have some clouds for the good picture of the boat party, right? Like, so if you transpose this image to music, this may be something that I was missing, you know, I was missing a little bit of a dark cloud here and there that could break that structure and make it maybe a little bit more, yeah, how to say? Dynamic? Maybe, maybe dynamic is is is the the word you know although this can be misleading because like it is this moving like this this this this music makes you makes you move like it is a dance record right so in this sense it's dynamic but it stays on the same level so it lacks a certain dynamism in that sense right like um yeah

Christa Walley: 26:25

yeah just a bit one note

Dom Bartmankowski: 26:27

yeah

Monty Luke: 26:29

the name of the album patterns of vibration by steffi and virginia out now on deck mental our final album this week for review sumac and more mother the film on the thrill jockey label let's start with dong

Dom Bartmankowski: 26:44

okay so i have to confess at the very beginning that i'm rather ignorant of metal music or anything related you know to that kind of sensibility and that genre of course as a high school student i was exposed to a few things like that uh but and never since, to be honest. So it's very difficult to say something about this kind of project from the place of relative ignorance. I also don't have, for this reason, an emotional entry to such a sonic palette and those modes of expression. So it's very difficult for me to say like, is it a great metal or post-metal album, right? Which is what maybe some people would like to know. But, you know, if I just approach it as a piece of music, you know, without being tempted to categorize it somehow, then I would say that it was, to use that word again, a little bit disorienting in a sense, right? Like it's difficult to... the kind of see how it works as a whole. I guess you need multiple listens to find your entry into the album. Yeah, of course, then another thing is that we have lyrics, right? So there's clearly a message there. And somehow I have the feeling like the music tries to match that, right? But overall, having finished listening to the album, I had the feeling... like music the way it is you know composed and created and performed is somehow geared to be performed on stage you know so for me as a listener at home i was like okay it sounds like it's done with the purpose of staging it it's almost like you know drama that is written and for the stage right it's supposed to well

Monty Luke: 29:05

supposedly it's uh the soundtrack to a some kind of film i was on able to actually find the film that it's supposed to actually soundtrack okay maybe it's going to come out at some point in the future but um it is supposed to be the soundtrack to some kind of like okay that's that that's very interesting you know i didn't know it the subtitle of the album is like original it's uh original picture soundtrack because you know

Dom Bartmankowski: 29:30

it's interesting because it really is like my my you know one of the first impressions i had despite being a and not having the easiest time trying to comprehend what is happening, right? And being also so not knowledgeable about the genre and all the references and signifiers that might be there for all those who can code them. I couldn't do that. But when I was trying to understand what I feel, one of the thoughts was like, okay, this is created for the stage. This is supposed to be staged. This is supposed to be a visual performance as well. But I was approaching this as an album, as a record, right? And I think that from this point of view, as a record, it's not really legible to me, right? I start thinking how it would look on stage as a certain kind of drama or maybe a soundtrack to a movie when it would make more sense. In this sense, it doesn't seem to be like an autonomous piece of music to me. It immediately demands that you know visual reference krista

Christa Walley: 30:45

yeah i mean the record's kind of like a bad trip you know um and i totally agree i think this is like sumac i believe our trio and

Monty Luke: 30:58

canadian american trio

Christa Walley: 31:00

represented so shout out to the canadian ones you know who you are uh no shout out everybody um yeah, I,

Speaker 03: 31:11

uh, uh, uh,

Christa Walley: 31:15

Yeah, I guess much like I was in the Nazar record, like I was saying with Gorilla, I kind of just let it wash over me as like a hardcore piece of art. And that's basically what I did for this one as well. I know a bit about Sumac. I've had the pleasure of seeing more Mother Live a couple times in my like, experimental avant-garde wanderings across Europe. And I really like respect all of their artistry. And yeah, this is like the opposite of easy listening, you know, it's kind of hard to imagine the comedy. context where you would throw this record on and I go back to times that I've seen more mother perform as a poet say at an experimental music festival in Austria or something with funding and I've really seen this kind of art shine and and I could see this being a really fantastic show or yeah a soundtrack that underscores yeah another piece of visual work I think the moments where it did kind of break out of the poetry that you know is doing a lot on sort of um the post-capitalist deterioration of the world uh when it goes from that into the more sumac-y uh metal breaks i was like really into it and um i think that if uh if an angry 14 year old heard this music it has the potential to change their life for the better and I think that is the mark of really good music. I also think as a poet, More Mother is incredible. And while it might be hard to listen to at times, I think about when I was like 14 and I was going into this music festival in Seattle and Saul Williams was performing on the first stage that I saw and he was singing List of Demands, which at this point is, you know, a really revered sort of political like rap poetry. track and and you know I'm so glad that people like more mother are around to kind of continue with that lineage sometimes I look at the political situations we're in and I wonder where those artists are and I think this is her really stepping up and doing something like that and again well it might not be like easy to listen to or or you know you you wonder when when it's going to hit you in the right way like that time might be the future

Monty Luke: 33:40

the name of the album is the film by sumac and more mother on on the Thrill Jockey label, Bimbal.

Inbal Gordon: 33:48

Yeah. So I had a very hard time listening to this one. I'm not going to lie. My favorite parts were actually the quiet parts of the album when there's like a little hi-hat and there's like a little piece of moment. Also, I couldn't listen to it too loud because there's like a kindergarten outside my house and I think the music scared the kids at some point. So I like had to turn it down. Yeah. And they were kind of like on the ground level. Anyway, I'm not a big fan. I'm not going to lie. This kind of music, I mean, I don't know, kind of bores me after like one or two tracks, even though it's like uneasy to listen to, I get bored and I'm forgetting that I'm supposed to be listening. And I think this was actually the only album I paused for a second to run to the toilet and come back because I literally forgot I had an assignment, you know, to just listen to the whole thing. Yeah, those riffs are nice. You know, those like classic bars they do on the guitar like but we all heard them before like this metal riff I don't know I mean I want to say something positive so like I'll just say that I imagine like watching like an anima you know like a good anima film like I would imagine yeah sorry like animation oh anime oh sorry yeah I can't pronounce so anime anime wait what does that mean actually I don't know okay sorry anime I meant like animation like okay I'll ask Monty later what I said so it's good to have one person that can't pronounce anything but yeah like I imagine like you know like animation film to this kind of music and then it would like make more sense in my head but I was never like a metal head growing up so I guess I'm also not like the best person to be like you know talking about this yeah I listen to I don't know Wolf Mother or whatever like Kiss or like things like that but I don't even think that's like the same category as this kind of metal um but i could understand how yeah like like krista said like some teenagers would enjoy this i'm just not a teenager anymore so

Speaker 02: 35:54

what was interesting is that you said that there's this political element which is not so common actually uh we could say it's rather uncommon right and here here we have that then the question is like whether this kind of music is actually the best vehicle for transporting that right because if many people feel like pausing or you lowering the volume, that's maybe not necessarily the good sign. Although, again, the question is how many people actually feel that way, right?

Monty Luke: 36:24

I would say fans of either of these individuals involved in this project probably are okay with being uncomfortable. They're also okay with politics. I don't know about Sunex politics, but More Mothers' material is mostly political and can be very uncomfortable and very Very experimental. She's done so many different things. I was actually personally a little bit surprised. I knew nothing about Sumat. So I saw More Mother and I was expecting, you know, I was expecting experimental. I was expecting uncomfortable. I was not expecting doom metal because I didn't know anything about the band. I just was expecting it to be more of a More Mother electronic, like distorted kind of crazy thing. But yeah.

Speaker 01: 37:14

Yeah.

Unknown: 37:15

I,

Christa Walley: 37:15

think why I also mentioned time as a factor in this music is that you know this group we previously talked about another record where I was like sometimes I just don't want politics shoved down my throat because like we all know that life is really challenging right now when the politics are all around us however if nobody makes this music right now that a lot of people kind of just have an aversion to then we're not going to have these musical records in the future so to me it almost strikes me as a bit of a public service to do that kind of work and that's one of the avenues through which I respect it.

Monty Luke: 37:54

Right on. I want to thank you three for joining me once again on Music Week. Be sure to tune in next time for four amazing and strange people and electronic albums to be discussed. Thank you very much.

Unknown: 38:15

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