Trent Resonator, Cali, Colin discussed on Switched On Pop

Switched On Pop
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What is the hook do for you in supporting the narrative? I think it's just a chance to like bring it back to the sort of Colin response nature of the thing that we were trying to have. If we had time to do that idea to get forty voices responding to the our member, it would have been that moment, but it's just it's that point in the party and also like it is, like you said, it's a rap song because we do so much that is in some ways challenging to how rap songs function. We generally structurally are not that challenging, right? So like the vast majority of our songs, are versa, versa versa? We're playing with that a little more these days, but that was intentional early on because we wanted to make sure everybody's still recognize these is rap songs. So we were doing things that rap songs do and then the this was the same thing. There reminds me of a similarly. Trent Resonator was always deliberate in trying to create really challenging industrial music to always. Us pop song formats. If it's unsurprising that nine inch nails makes it onto the pop charts, and you know, had overwhelming successes because underneath what are some challenging sounds is a nice little structure, although it's funny, you think of his most successful song closer has like a three minute instrumental out tro which is pretty unusual. Weird pop something. There's got to be a radio editor. I love that approaching clipping in general, and it seems especially effective for this time because it is like you're looking through a watery MIR at a society that like might in some way resemble our own. They have hooks and choruses and instruments that sound familiar, but you can't quite put your finger on then in that hard drive dipped in water is a perfect example. You're like, I think I know what this is, but I might also have no idea. It's also very similar to the Cali cheese with like this whole. I mean, it's a storm coming to sunshine where underwater coming to sunshine, all this pitch bendy stuff is always about like watery nece. It's like a metaphor for water. Yeah, this on a mount, I would have dropped the mic. Exactly. Connection? I'm sorry, did I do it too fast? That was just cut it that cut that and put it at the end. I want to ask just one more question about the deep and if you'd like we can cut it because sometimes you don't want to reveal too much. We're pretty transparent. Okay. There is an online debate about what happens in the end of the deep really haven't noticed, and I thought it would be nice. Maybe we could settle the debate or if you want open the debate even further at the end of the song, there is this giant tidal wave that supposedly takes over and smashes all of the humans right and ends that civilization. However, the very last line of the song says that we're going to let them breathe, and there's this sort of very powerful moment divide that you choose to make this connection where the underwater population sees the roots of their history in the above water population. And so some people online thought, well, if you're going to let them breathe, maybe you're actually saving them from the tidal wave. What's. Actually happening here. Well, I don't know if we decided if everyone dies or if it was just like a show of force, you know, tend to also the three of us tend to have different interpretations of what happens in our songs. But in my opinion, like it was it was a show of force and a lot of people died. Let them breathe to me was about drowning them essentially because they breathe water. Right, right. So, but it's also a reference to another clipping song to air amount. Yeah, it which was also why we through those ride on them over dubs in there because that's also from that song. And it was sort of a way of connecting our to right, like afro futurist works to one another. And like I do a lot of things sometimes to like leave ourselves open to maybe connecting things later if we wanted to not that we necessarily everwood. But this way like there was sort of a direct connection between those two worlds. So if we were to want to like make a story song that for some reason connected splendor and misery to. This world that this would be an opportunity to do that. Not that we would ever necessarily do that. I love thinking about our songs as this is sort of something we developed really while doing this blunder misery album as primary sources, right? As opposed to interpretations. So we all have different stories of the narrative of splendor and misery with the three of us all have different ideas about what happens to that character. I mean, it's a lot of overlap and a lot of similarities important to us that we actually kind of disagree on what happens, but also that those all three of those interpretations could be true, right? Given the primary source evidence that we have, which is the album we may. I write that like when you reconstruct then what actually happened that these all make sense that you could connect these lines the connecting lines. And I think the Dita's of readings is available, which in turn means that like they don't ask everybody else's reading on the internet is possible to, I mean, except the dumb ones. All interpretations are good, but the bad ones I liked it. This leaves you open to potentially be the asimov's of effort. Futurists have hop and decide that at some point in your career like, oh, no, everything was connected and just go back and sort of like, we've it all together over many generations and tens of thousands of years. It's possible. It's nice to have options. You'll have lots of projects going on right now. I was wanting to see what's going on for each of you and what's going on for Clinton. I actually don't think we can even. Is there anything we can even announce as clipping or we have a, we have a reissue of our very first release. It will have just come out. Our first untitled tape that we did for friends label def bomb arc in what year was that came out in twenty twelve, twenty twelve. So we did a vinyl reissue of that with some new remixes and great. Yeah, checkout blinds spotting if it's not out yet either when this comes out. So July twentieth or twenty seven depending on where you live. There's a movie that I've co wrote with a good friend of mine and clipping collaborator at times. Nice assume that you all are maybe working on some music on the side. We hope that you want to come and join us again when the next clipping work comes. We are, but we don't know when it's happening. And not only can we not announce it, but we can't announce it because we don't even know. Right on. Thank you gentlemen so much for joining us on the show. It's been a real pleasure. It's really fun. Yeah, thank you. Thank you. It's really exciting. Which dumb pop by Charlie Harding. Then me Nate Sloan. We are mixed and engineered by Bill. Lance designed by Lou Karras and we are a proud member of the panoply network. You can find more episodes switch on top dot com. Reach out to us their contact. It's switched on pop dot com. Twitter switched on pop, and we'll be back in again with another episode in two weeks and until then thanks for listening and thanks to you guys. It has been so much fun having you on the show and thank you again. Thank you scrape.

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