Meditations on the Analog Synthesiser from the Cuck Chair of a Carlow Hotel

A history of analog synths and mass produced hotel art and how they intersect with inteligence agency espionage Hosted on Acast. See acast.com/privacy https://acast.com/privacy for more information.

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:00Speaker 00

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• 0:27Speaker 01

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• 1:00Blindboy Boatclub?

  Suspend the Brendan from the end of his legs, you squelchy pendergasts. Welcome to the Blind Boy Podcast. If this is your first episode, consider going back to an earlier podcast to familiarise yourself with the lore of this podcast. And if you're a regular listener, a pin-pricked Vincent, or a sleepless chasing quiver, then you know the crack. Welcome back. I'm unsure if you can hear it because it's quite, it's quite faint. But we'd be joined by the pitter-patter of rain on my tin roof again this week. It's just a trade-off I've had to do.

• 1:41Blindboy Boatclub?

  I moved into this new recording space, this new office, about nine months ago because the previous place where I was recording, it was just getting really busy with people slamming doors and talking. So I moved to a quieter floor in the building up at the top where there's hardly fucking anyone. But I didn't factor in the fact that I've got a tin roof. So sometimes we're disturbed by the sound of birds. But mostly, it's what you're hearing now. It's rain. And at the start, this was really frustrating. I was like, fuck. Am I gonna have to wait until it's not raining before I press record? Because that's really difficult in, in Ireland where it rains a lot.

• 2:24Blindboy Boatclub?

  So what I do instead is when it starts raining... I put a microphone up to the roof and I record the sound of the rain and I bring it on as a guest, I embrace it. And it's quite nice, although, right now it's a status yellow, wind and rain warning, which may become profoundly aggressive. On my window pane, I'm looking out at shimmering sheets of silver sideways rain, slashing through Limerick City, like a carryman's bread knife.

• 3:02Blindboy Boatclub?

  But I have to cycle home in that, I have to cycle home in this, in a boat, in a couple of hours, but I'm looking forward to it, because I've got my full Gore-Tex and I'm gonna pretend that I'm Cookholland, dying, tying himself to the stone, fighting the armies of Connacht that come towards him in waves, except it'll just be me on a bicycle, outside Tesco, in full Gore-Tex, with that, that eggy smell, that eggy smell of dry city dog shit, when it's awoken by rain and gets blown by the wind. If you've been following me on Instagram, at Blind by Boat Club, you'll know that over

• 3:44Blindboy Boatclub?

  the past week, I've got my hands on some analog synthesizers and I've been posting videos of me playing these analog synthesizers, every fucking night, I'm obsessed, I feel like a child, I have in my possession, pieces of musical equipment that I've quite literally been dreaming about since I was a child. But first off, I never thought it'd be possible for me to own an analog synthesizer, because they're so unbelievably expensive, incredibly expensive.

• 4:18Blindboy Boatclub?

  A real deal, original analog synthesizer, even the cheapest ones, start at about five or 6,000 euro. Now, obviously, I didn't do that. And I'll explain how I got these analog synthesizers shortly, but an original analog synthesizer, most of them, they're prohibitively expensive, even today. Because a lot of them were made in the 1970s, the 1980s, by small boutique companies. Synthesizers in the 1950s and 1960s, electronic musical instruments, they weren't intended for like pop music on the radio. They were being pitched towards classical music composers,

• 5:04Blindboy Boatclub?

  specifically modernist classical music composers. Early electronic music and synthesizers was being used for abstract art, very intellectual, highbrow abstract art. It was for composers like Karlheinz Stockhausen, who was trying to push the boundaries of what classical music could be by embracing these brand new electronic instruments. And modernism, modernism in art. And I'm going to keep this incredibly simple, so I don't go down rabbit holes. A late 19th century, mostly 20th century movement where artists across genres

• 5:50Blindboy Boatclub?

  deliberately broke with traditions and started to embrace science and technology to move forward to radically change art. So, modernism in writing, let's go over an obvious one, James Joyce. I've done an entire podcast on this, I can't remember what it's fucking called. What made Joyce's work modernist? He was looking towards the theory of the unconscious mind from Sigmund Freud. So when Joyce would write from the first person, like in Ulysses, he's not just writing.

• 6:25Blindboy Boatclub?

  The words that come out of his characters' mouths. He's trying to write the, the free associative way that words form in the character's mind before they become words that leave their mouths. And that's why some of Ulysses can be difficult to read. Also, what Joyce was doing, and I did a full podcast on this, specifically his short story, The Dead.

• 6:49Blindboy Boatclub?

  Joyce opened the first ever cinema in Dublin in nineteen, nineteen oh nine. So when Joyce was writing fiction, he was doing so with the awareness of this, this new technology called the film camera. And in a story like The Dead in particular, it's quite cinematic. Like, that's a tough one for us to understand because we know nothing but moving images. We're bombarded with video. Before the advent of cinema, moving images, people just had the, the internality of their own minds or paintings. And Joyce's writing, The Dead in particular, feels like him imagining what cinema could be. So that's modernism.

• 7:30Blindboy Boatclub?

  In painting, you had the Impressionists in the late eighteen hundreds, all right? They would have been proto-modernism. They're painting with a, an awareness and a literacy in the emerging science of optics. How the human eye perceives light. Then you have the Cubists, who are almost responding to that, that threat of photography. A new emerging technology where you have a box that can take a photograph of reality and represent it. And then painters are going, well, what's the fucking point of us anymore? So with Cubism, they go, can a camera do this? And they completely reject perspective and representation and start to paint abstractions.

• 8:13Blindboy Boatclub?

  And then all this presents a challenge to classical music. So in the late eighteen hundreds, you had a Russian fella called Igor Stravinsky, who completely rejects.

• 8:25Blindboy Boatclub?

  Established forms in classical music and then starts making mad shit. In 1913, he had an orchestral piece called The Rite of Spring and it caused riots. So anyway, the first analog synthesizers.

• 8:39Blindboy Boatclub?

  Let's say the 1960s. They were being marketed towards universities. Classical composers like Caroline Stockhausen making abstract art. Who wanted to push classical music forward by using machines, using electric, electronic musical instruments. They were being bought by universities and places like the BBC Radiophonic Workshop. They were unbelievably expensive in the 60s. You're talking between 80,000 and 200,000 euro in today's money. But then by the mid to late 60s, you see the emergence of pop music as a huge industry.

• 9:23Blindboy Boatclub?

  And pop musicians start to become quite wealthy. So there was a synthesizer called the Moog Modular. Massive thing made in the mid 60s, about the size of a wardrobe with loads of knobs on it. And little wires coming out of it all over them, crazy looking thing. And Mick Jagger purchased one of them in 1967. Cause Mick Jagger had 80 grand. Mick Jagger was in the Rolling Stones, they were at the height of their success. He had 80 grand to purchase a giant synthesizer that was intended for universities. It was used on the Rolling Stones album, Their Satanic Majesty's Request, which was a late 67 album.

• 10:07Blindboy Boatclub?

  It's not their greatest piece of work, but fair play to them. The competition had suddenly got very psychedelic and very strange and very weird. And the Rolling Stones were like, well, fuck it, we gotta keep up. So Mick Jagger bought himself a huge big Moog Modular synth. Because in 66 and 67, the Beatles and the Beach Boys.

• 10:31Blindboy Boatclub?

  Introduced modernism to pop music by treating the recording studio itself as, as an instrument, as a creative tool. I'm being very broad about this stuff because this is an area of obsession for me and I'm trying to avoid very detailed rabbit holes. So I'd argue the first big mainstream use of an analog synthesizer in a pop song is the song Good Vibrations by The Beach Boys. So you know Good Vibrations, it's a fucking banger. But in the song Good Vibrations, there's a little instrument and it sounds like this.

• 11:20Blindboy Boatclub?

  So you know that from the song Good Vibrations, The Beach Boys. That's the first time most people would have heard an analog synthesizer. And that's the theremin. And the modernism there is, it's psychedelic. It's Brian Wilson dropping acid for the first time and going, I heard some sounds on my trip. Now, he tried to do it in 1965 with a Beach Boys song called California Girls. I wish I could play these songs for you as I'm speaking about them, but California Girls, 1965. The song opens up and an organ comes in and there's a reverb on the organ and that was Brian Wilson's first attempt at making music sound like an acid trip.

• 12:05Blindboy Boatclub?

  And that predates The Beatles and it kicked The Beatles up the arse to go psychedelic. But in 67, Brian Wilson is like, look, I just had an acid trip and I heard some sounds and instruments don't exist that can recreate these sounds. It was vibrations, good vibrations, and we need to figure out how the fuck to make whatever sound that was that I heard while I was on acid. And one of his session musicians whips out a theremin. I know there's music nerds listening, okay? I know that's not the first ever analog synthesizer in a song. I'm not speaking about the contributions of someone like Delia Derbyshire. I'm not going down any Wendy Carlos rabbit holes because I wanna do those as separate podcasts. I'm keeping this broad.

• 12:46Blindboy Boatclub?

  I could also point to a 1961 song called Runaway by Del Shannon, another fucking banger. But which appears to have an analog synthesizer in it, but it's not an analog synthesizer. It's a vacuum tube oscillator. I'm keeping this simple. Also regarding Good Vibrations, I know it's not technically a theremin. It's a modified theremin with a keyboard. We're not getting into that. I wanna keep this broad and understandable for an audience who mightn't have a clue about any of this stuff. But it's fair to say that that that's the first time that most people would have heard an analog synthesizer on the fucking radio. And that changed the game completely. And then Mick Jagger is like, what the fuck was that? A synthesizer? What's that?

• 13:30Blindboy Boatclub?

  So he goes and spends 80 grand on a Moog modular synth. So I've got my hands on a couple of analog synthesizers and I've been playing with them all week and posting videos to Instagram. I wanna explain what an analog synthesizer is and why it's so special. So a couple of minutes ago, I said I was gonna cycle home in the rain. Well, I've just done that. Several hours have passed since I spoke that sentence. And now I'm no longer in my my office studio. I'm in my home studio.

• 14:04Blindboy Boatclub?

  And I know you're thinking, but Blind Boy, I can still hear the rain in your office. But for continuity purposes, I'm now playing a recording of the rain in my office earlier. So you don't notice a transition. I keep saying this podcast is it's a piece of writing. It's a gigantic novel. It is because technology allows me to edit my words with the precision that I cut at a word processor. If you read a novel on a page, or read an article that's written on a page, it's one continuous body of text. But when the author was writing that piece of text, they could have been in multiple different locations, different times, and you don't notice it because it's a full body of text.

• 14:48Blindboy Boatclub?

  That's what this podcast is. I write with my mouth for you to read with your ears. I have two separate studios and I make sure that the sound is identical in each one, so that it's seamless, like a body of text. So the first bit of this podcast was recorded about four hours ago. In that time, I cycled home and ate my dinner. But while I was cycling home in the rain, I was thinking to myself, how do I explain what an analogue synthesizer is, especially to people who might not be musicians? And I know in your head, you're thinking of, it's a keyboard, like a piano, with lots of buttons and knobs on it, and it makes electronic noises. That's correct.

• 15:31Blindboy Boatclub?

  But what makes an analogue synthesizer unique is how it generates sound. So as I was cycling home, and the rain was battering off me, and it was windy, it was a fucking storm. Now I'm loving it because I'm covered in Gore-Tex, so I'm not getting wet, I'm wearing gloves. The only bit of exposed skin that I had was on my face. Storms are very beautiful things when you're dry and warm, and when you can exist in the storm and just observe it. But as I came to the end of my journey, the rain subsided, and it became calm, and there was a light little drizzle, and I stopped and listened to the silence of it. Where the rain isn't falling anymore,

• 16:16Blindboy Boatclub?

  but what you can hear are the drops of water coming from the leaves of trees.

• 16:22Blindboy Boatclub?

  And then I heard a buzzing sound, a hum. And I looked up and it was electrical pylons. You know, when it's really light and drizzly and electrical pylons start buzzing and humming? And you get kinda scared because you're wondering, that's not right. I can, I can hear the fucking electricity. Is this safe? And that phenomenon, it's called Corona discharge. And it's what happens when the high voltage from electrical pylons leaks into the wet air. And that makes the air vibrate. And then you hear it as a buzzing sound. And then it hit me. That's an analog synthesizer. That's a fucking analog synthesizer.

• 17:06Blindboy Boatclub?

  The buzz and hum of a wet pylon in a calm drizzle is an analog synthesizer. Except it's uncontrolled buzzing. An analog synthesizer is a box that contains analog circuitry. And it turns electricity into sound. So with a pylon, the, the elec- it's electrical voltage, right? But nature is controlling the conditions. So it's the rain, humidity, the wind. Nature is, determines what that sound is. But with an analog synthesizer, it's the same electricity, but it's not exciting air and, and moisture.

• 17:51Blindboy Boatclub?

  It's exciting analog circuitry, which I then have a huge amount of control over using lots and lots of little knobs. An analog synth, you're, you're taming a force of nature like gravity. Electromagnetism is a force of nature. Electricity is a manifestation of that force. So electricity exists in the fucking wild. Lightning is electricity. I'm using electricity right now to speak. You're using electricity to, to listen to me, to think. When our muscles move, it's electrical signals in our nerves that cause muscles to move. So electricity, it's a manifestation of a force of nature.

• 18:36Blindboy Boatclub?

  And analog circuitry allow you to harness that force, but then to put great amounts of control over it, then hook that up to an amplifier, a speaker, and generate controlled sound. Electrical pylons are an analog synthesizer, just nature is controlling what you're hearing. Now, what makes that special as a musical instrument? I've been a music producer for over 20 years. I've been playing synthesizers for 20 fucking years to make electronic music. But these were digital synthesizers, virtual synthesizers that are on my computer screen. They're like video games about synthesizers. We call them VSTs, Virtual Studio Technology.

• 19:20Blindboy Boatclub?

  Just like a word processor, a word processor is a virtual typewriter. Photoshop, if you edit images now on Photoshop or even on an image editor on your phone, the words that we use, such as barn and dodge, crop, filter, layer, these are all things that people had to do with their hands at one point, and now we do them digitally. Similarly, could I have made this podcast 30 years ago? Absolutely not. Why not? Because I'd have been recording onto tape. The past 18 minutes that I've been speaking, there's been several hundred tiny little edits. And you know how I edit?

• 19:58Blindboy Boatclub?

  I can see my words up on screen and I click on a little razor blade and I cut the words. 30 years ago, that would have literally had to have been a piece of tape, an actual razor blade and some glue. It would have been impossible. Remember the modernist classical composer Karl Heinz Stockhausen that I mentioned a couple of minutes ago? Do you know what he was doing with classical music before he started using synthesizers? He was cutting tape. He was recording classical instruments onto tape and then cutting them with razor blades to create sounds that had never been created before. Frank Zappa then went on and did that, and the Beatles did that on fucking Sergeant Pepper.

• 20:42Blindboy Boatclub?

  That's my critique of, of radio and television. I work in radio and television. And when you're on radio and, and you have a professional, a trained broadcaster interviewing you, even if it's a pre-recorded interview, they have a sheet of questions and they keep bringing you back to that sheet of questions and they, they don't let you deviate or ramble and go on tangents. Because a lot of the rules of radio broadcasting are stuck in a pre-digital mindset where if, if, if a guest goes on a tangent, it would mean cutting pieces of tape and it would take hours and loads and loads of money. That's gone. The great modernist Samuel Beckett has a play from the nineteen, nineteen fifty-five called

• 21:23Blindboy Boatclub?

  Crap's Last Tape, and it's just a play about a man on stage who every day of his life, he pressed record on a tape and did a personal diary. And now he's at the end of his life, listening back to all the days of his life. Beckett made that play as something surreal, something absurd. Now it's just a podcast. So if I was making this podcast in the seventies, what would I be doing? I would be physically writing the podcast out with my hands as a sheet of text and then I'd read the entire thing out. And if I fucked up, then it's razor blades and glue and multiple hours of hard work. But you see, that wouldn't be this podcast, because I write with my mouth

• 22:07Blindboy Boatclub?

  for you to read with your ears. And aural writing is very different to physical writing. Aural writing is a bit more automatic. It's closer to what Joyce was looking for. I couldn't have made this podcast in, in twenty ten, because in twenty ten, the computer technology that I've been able to afford, it just wouldn't have been able to handle the size of the audio files that I can give it now. So virtual synthesizers are like that, digital on screen. But digital is numerical. It's a programming language. It's ones and zeros. Digital is exact. So when I'm using a virtual synthesizer, which I've been doing for twenty fucking years, it sounds a bit like an analog synthesizer, but everything is exact.

• 22:52Blindboy Boatclub?

  Every time I go back to it, the sounds are exactly the same. And if you have the same virtual synthesizer as me on the other side of the world, and they're both digital synthesizers, we're getting the exact same sound, exactly the same. No two analog synthesizers are the exact same. You're controlling a force of nature. Electricity, each time it's slightly unpredictable. It's not digital, it's not ones and zeros. It can go out of tune. If you leave it plugged in for too long, it gets hot and the sound changes slightly. It's much more sensitive to touch, like a guitar.

• 23:31Blindboy Boatclub?

  An analog synthesizer allows the individual artist and musician's personality to come through in the sounds that are being made. If you and I are on different sides of the world, and we both have two separate analog synthesizers, no matter how hard we try to be the exact same, there's gonna be slight differences, slight variations, slight expressions of our personalities. A proper old-school analog synths, they don't have presets. And a preset is basically a button you press and it takes you to a sound, like a button. Think of the old keyboards you would have had as a kid. Press the piano button and now you hear a piano. An analog synthesizer isn't like that.

• 24:11Blindboy Boatclub?

  You have to build the sounds from scratch, using 60 different knobs. An analog synthesizer forces you to mix your own colors, rather than using paint straight out of the tube. And that's a more expressive and skilled way for an individual artist to create. I'm trying to get you to give a shit about something that you mightn't give a fuck about, but... I've been dreaming about this since I'm seven years of age, I'm not joking you, alright? I used to listen to The Prodigy, I used to listen to Dr Dre with my shitty Casio keyboard, and I could never get the sounds. And even when I moved onto a computer and started using these virtual synthesizers, virtual recreations of classic synths, I still couldn't get it.

• 24:56Blindboy Boatclub?

  And now finally, I have my own analog synthesizers, and I'm in heaven. So I got two analog synthesizers. Did I spend thousands of euros? No, I didn't. I bought them incredibly cheap, around a hundred euros each. So as I mentioned, analog synthesizers used to be made in small batches for a very small market of people who could afford them. When digital synths became a thing in the late seventies and the eighties, a lot of companies just stopped making analog synthesizers. So the ones that were left became very rare, very expensive and very difficult to to maintain and repair.

• 25:40Blindboy Boatclub?

  And that pushed the price up further. But since the, around the pandemic, this German music company called Behringer

• 25:51Blindboy Boatclub?

  started to mass produce analog synthesizers at scale in a huge big factory in China. So for the first time ever, actual legitimate analog synthesizers became affordable for anybody to buy. However,

• 26:11Blindboy Boatclub?

  this company Behringer receive a huge amount of criticism in the music community because some people feel what they're doing isn't ethical. Some online critics accuse them of copying and cloning other companies' designs and potentially putting small boutique music companies out of business. And I'm being very careful with my language there so I don't get fucking sued. But it's a fact that they've had lawsuits brought against them for copyright infringement. But I want to point out for that ethical reason, the two synthesizers that I bought, I bought them second hand from a person online who was selling them used. And I want to point that out too, so I'm not.

• 26:56Blindboy Boatclub?

  Inadvertently doing an advertisement for this massive, massive company, where a lot of musicians have ethical issues with what they're doing. But what this company do, they make exact clones of classic analog synthesizers. So I got my hands on a Mini Moog clone and a Prophet clone for just over 200 euro. If I was to buy an actual Prophet and an actual Mini Moog, how much would I pay today? Between 12,000 and 15,000 for originals from the 1970s. And that could end up in a bidding war because there's only so many of them available.

• 27:35Blindboy Boatclub?

  So actual analog synthesizers are, they're out of the price bracket of 99% of people. And to be honest, even if I won the lottery, I'm just not buying a synthesizer for seven or eight grand. I couldn't justify it. I'd go without it. And even companies like Moog, if you want to buy an analog synth from them that they've made this year, it's still five grand. So Behringer stepped in and said, okay, we're gonna, we're gonna make these available for 300 quid, brand new. They're making literal physical analog synthesizers that are the same price as the VSTs, as the virtual instruments that I've been playing for 20 years on my computer.

• 28:17Blindboy Boatclub?

  And they're fucking identical. And it's tearing the music world apart. Because a lot of musicians can't say no. And like me, both of these synthesizers, I know I'm like the back of my hand because I've been playing them digitally, VSTs, for 20 fucking years. So when I finally got them in my hands physically, there's no learning curve. I just went straight at it. And it's brought intense joy into my fucking week. It's really made me fall in love with making music again. Anyone who makes music on a computer using virtual instruments, you can get completely overwhelmed by choice, by all of the presets. That's not the case with analog synths.

• 29:01Blindboy Boatclub?

  You're building the sounds yourself and you have to commit. Really commit to a sound and then record it. So the process becomes more tactile, more personalised, easier to enter a state of flow, playfulness, a better sound and better music as a result. I've just been making music for the sake of making music, playing for the joy of playing. And the past week has been, it's been therapy for my neurodivergent burnout, which I'm consistently in and out of. I was able to give my brain a rest this week because when I'm in flow states, in musical flow states, I'm not thinking, I'm doing.

• 29:44Blindboy Boatclub?

  Now, I do have some hot takes this week around the history of synthesizers and how they intersect with intelligence agencies and espionage. So I'm gonna do an Ocarina pause now. But instead of an Ocarina, I'm gonna play ye a track, a track that I made during the week with my analog synthesizers. I'm not making music with any specific goal to release it. I'm making music for the joy of making music, but I'm recording it too. Cause you know, I score my own documentaries. When I make documentaries, I do the soundtrack myself. And when I release audiobooks, I also make a soundtrack for the audiobooks because I can and I love doing it.

• 30:30Blindboy Boatclub?

  So I'll play you an instrumental track now. This track is called Saint Finbar's Nudes. Saint Finbar was the patron saint of Cork. He existed in the fifth century. And suppose I was thinking, if you had a time machine and you could give Saint Finbar an iPhone,

• 30:50Blindboy Boatclub?

  you know, what photographs would he take? And then I thought, how long before he starts taking photographs of his own dick? So that's why this instrumental piece is called Saint Finbar's Nudes. And this song showcases my two wonderful analog synthesizers.

• 31:06Blindboy Boatclub?

  The bassline is played on my Mini Moog. The chords are played on the Prophet. Beautiful gorgeous sound of the Prophet. That's my favourite, one of the synths. That's a polyphonic synth, which means you can play chords on it. Whereas the Mini Moog, that's monophonic. So you can only play one note at a time. And all you really need is one polyphonic synth and one monophonic synth and you're sorted. I'm never using a VST again, not after this. This has changed everything for me. I'm so happy. Also, I was recently gifted another piece of Dreamkit. A compressor called an Elisis 3630 compressor.

• 31:48Blindboy Boatclub?

  This was gifted to me by a podcast listener called John, who he saw me talking about this Elisis 3630 compressor and how I've wanted one my whole life. And he just mailed me and said, I have one of these lying around and I don't use it. Do you want it? And I said, fucking yes, please. And it's not particularly fancy. It's, it's, it's actually known as a piece of shit compressor from the mid 90s. But the reason I'm obsessing about this compressor is it's what Daft Punk used. So Daft Punk have a very specific sound, especially on their album Discovery. And that's because of their use of compression. Compression is, it's an effect that makes the quiet parts loud and the loud parts quiet.

• 32:33Blindboy Boatclub?

  But I put it on the master of this track. And it makes the drums, the snares in particular, have got that lovely, pumpy Daft Punk feel. So this is a quick track, St Finnbar's Nodes, that I, I made the other night with my analog synths. And we're going to have that instead of the Ocarina Pos.

• 33:26Blindboy Boatclub?

  That track was Saint Finbar's Nudes. I fucking loved making that. Even though it's 30 seconds long, or whatever the fuck it is. The gorgeous, warm sounds of those analog synths. And making decisions, making musical decisions that I simply wouldn't make with a virtual synthesizer, it just wouldn't happen. Because I have my, my hands are touching all these knobs and the synth itself was roasting hot because I'd been at it for fucking hours. And it's just subtly going out of tune. But not so much that it's discordant, just the right amount that it gives it a bit of personality. Okay, here's an advert for some bullshit.

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• 37:23Speaker 04

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• 37:41Speaker 04

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• 37:58Blindboy Boatclub?

  This podcast is sponsored by you, the listener, via the Patreon page, patreon.com/theblindbypodcast. If you enjoy this podcast, if it brings you mirth, merriment, distraction, even this week where I'm being a selfish fucker and talking about analog synths, and I don't know whether or not you're interested in that, but you know my fucking rule. I gotta speak about whatever I'm legitimately passionate about. I've been obsessing about this all week. I don't think I've thought about anything else. I can't show up here and bullshit ye and speak about something else. What I need to do is be congruent, be emotionally congruent, speak about what I'm actually interested in.

• 38:43Blindboy Boatclub?

  And hopefully, if I'm passionate and authentic with it, then that translates into a listenable experience for you. And I'm able to do that because this is, this is an independent podcast. I'm not beholden to advertisers. This is listener funded. This is funded by you. It's my full-time job. This is how I pay my bills. It's how I pay my wages. It's how I purchase my equipment for my studio. It's how I bought those synthesizers, which they're not just for crack. I make music as part of my job. And one of the reasons I, I score my own documentaries is because music rights is one of the biggest pains in the whole when it comes to television.

• 39:28Blindboy Boatclub?

  If you make a piece of television and it gets broadcast on a TV network like RTE or BBC, you're using their blanket music license so you can use any song you want. But then, when that piece of television leaves that network and it goes on to a streaming service or it's shown on a different network, you have to renegotiate the, the music rights, which is often so expensive that you just can't, you can't do it. So by, by writing and scoring my own music for the documentaries, it means I have complete ownership of it. And because of that,

• 40:06Blindboy Boatclub?

  My last documentary, Slaves and Scholars, that now, that's shown on all of the Aer Lingus flights and all of United Airlines flights, which is hundreds of thousands of people now seeing that documentary. And that becomes, that becomes a streamlined process when you're like, yeah, I own all the footage and I own all the music. Walk away. So that's the practical reason there of why I make the music for my documentaries, aside from it being tremendously enjoyable. But anyway, if you like this podcast and you want to support it directly, please consider becoming a patron. All right. All I'm looking for is the price of a pint or a cup of coffee, once a month, that's it. And if you can't afford it, don't worry about

• 40:51Blindboy Boatclub?

  it. Listen to the podcast for free. Okay. Because the person who is paying is paying for you to listen for free. Everybody gets the exact same podcast. I get to earn a living and I'm not beholden to advertisers. They don't get to come in and tell me what to say. Upcoming gigs, this Thursday, I'm in Cork, the home of St Finnbar, St Finnbar's nodes. I'm in Cork in the Opera House as part of the Cork Podcast Festival. There's literally like 20 tickets left for this gig. Thank you to the people of Cork. If you're thinking of coming along, get the tickets now. I have a fucking wonderful guest. I have a world renowned expert on biotechnology, specifically plants. So the conversation

• 41:36Blindboy Boatclub?

  will be about food security, using plants for medicine, responses to climate change. It's going to be really interesting. Then 4th of April, I'm up in Castle Blaney in Monaghan, really looking forward to that. That's a nice little small gig, really tiny little gig. That'd be nice and intimate. Couple of tickets left for that. And then I'm in Limerick. I'm in Limerick for the homecoming gig on the 9th of April at the University Concert Hall. That's almost sold out. And then I'm back in Vicar Street, up in Dublin, on the twentieth of April. You know my Vicar Street gigs. I love Vicar Street. And that one is on, a Monday night. Lovely, quiet Monday night gig, be like going to the theatre.

• 42:21Blindboy Boatclub?

  Then I'm in Galway for that gig that was cancelled and rescheduled on the twenty fifth in Leisure Land. Two nights in Berlin in June. Very few tickets left for the second night of Berlin. Um, Sheffield then in July, I'm trying to keep quiet for the summer. I don't want to do too many summer gigs so I can, ah, fuck it. I have two little toddlers and it's hard to explain to them when I disappear after a gig for a night and don't come back until the next day. They've been having unbelievable crack with the synthesizers too. Sure it's fucking perfect. I play the notes on the keyboard and then all they have to do is twiddle, twiddle the knobs and make sounds. Amazing for them.

• 43:05Blindboy Boatclub?

  But I'm in Sheffield in July on the, the seventh of, no, the fifth of July at the Crossed Wires Festival, that's in Sheffield City Hall. And then my big tour of England, Scotland and Wales, which is very nearly sold out. Glasgow, London and Guildford. You're down to the single digits there for the tickets. So, yeah, October twenty six. Brighton, Wales, Coventry, Bristol, Guildford, London, Glasgow, Gateshead, Nottingham. So I have some synthesizer hot takes. I was gigging in Carlow there about a week ago.

• 43:48Blindboy Boatclub?

  And when I finished the gig, I went to my hotel. I'm very familiar with hotels because of my job, my tour. So I stay in a lot of hotels. And I'm always fascinated in, in the hotel room by what's called the cock chair. So in a hotel room, you have the bed. Sometimes you have a desk. And then often you just have this one lonely armchair that pints at the bed and it doesn't appear to serve a purpose.

• 44:24Blindboy Boatclub?

  You can sit on it, maybe if you wanna put your shoes on while you're sitting down.

• 44:31Blindboy Boatclub?

  Usually I'd throw clothes on it. But it's just this chair pointing at the bed. And it's referred to as the cock chair. Some people have a theory that what it's actually for is it's for couples who are swinging. Now, it's plausible, I stay in a lot of hotels. And certain hotels do have architecture that's geared towards debauchery. The obvious one, of course, a lot of hotels have full-length, big mirror beside the bed. That's for people having sex so that they can look at themselves having sex. That is what that is for. That's what that is for.

• 45:17Blindboy Boatclub?

  And it's in a lot of hotels. And we all know what that's about. Cause who the fuck wants to look at themselves sleeping? That one's quite vanilla. That's in lots of hotels, that's in family hotels. Then another one you see, which is quite rare. You'll see this in hotels in big cities, cities that might have a bit of a party culture. And this is disappearing. This is more of a Celtic Tiger twenty tens type of thing. You get into the hotel room and the coffee table is a mirror. Okay? A mirrored surface somewhere, that's for cocaine. That's what that is for. If the coffee table is a fucking mirror, that's for people to do cocaine.

• 45:59Blindboy Boatclub?

  You see that in hotels that are very close to a live venue, very close to a nightclub. That's a cocaine hotel. But then the cock chair, that's in all hotels. It's just an itinerant chair on its own that doesn't appear to serve a purpose, but it's pointed at the bed. And people reckon this is for a husband, usually a husband who likes his wife to have sex with other men. And while the wife is having sex with another man on the bed, the husband is sitting in this chair, watching and enjoying himself. Now, the history of the term cock chair. The cock is cockhold, a cockhold.

• 46:43Blindboy Boatclub?

  And a cockhold is somebody. Somebody who's in a marriage, but they invite a third person in. Or I don't know what the word cuckold is, it's consensual or not. But the the modern understanding of cuckoldry is that it's fully consensual. And this is what this is what the couple are into. It's a form of swinging, but one person likes to be voyeuristic. But the phrase cocking chair, cocking stool, that goes back to medieval times. It was a chair used for public humiliation, often to punish women, women in particular in medieval times. It was like you'd think of it with the the witch trials.

• 47:28Blindboy Boatclub?

  It was they would dunk, a woman would sit on a chair, she'd be tied to a chair and they'd dunk her into a river. And then parade her around the town in this cocking chair as a form of public humiliation. Often for people who were accused of the crime of being a scold. A scold used to be a crime in medieval times. It meant being a public nuisance and but it was it was misogynistic. It tended to be women who were accused of the crime of being a scold. And they were then put in the cocking chair and either dunked in the river or paraded throughout the town. But when I get to a hotel, I always have a good old sit in the cocked chair.

• 48:12Blindboy Boatclub?

  To make use of the room. Now, I have to say, if there's a desk or if there's anything beside the cocked chair, then it ceases to be a cocked chair. Now it's simply a chair beside a table and it serves a purpose. It's only a cocked chair when it's a weird uncomfortable chair where you're going, why the fuck would I want to sit there? What's the point of doing that? Do I just have, do I just think? Because it's not pointed at the TV, that's the thing. Every hotel room has a television.

• 48:43Blindboy Boatclub?

  But if you're to watch TV in a hotel room, you sit on the fucking bed. Why is the cock chair not pointed at the TV? Why is it pointed at the bed? That's the thing. But when I sit in the cock chair in every hotel, what I do is I look at the terrible artwork. Hotels have awful, awful art. And it doesn't matter whether the hotel is fancy or shit. All hotels have really shit art. And it's deliberately shit art because they don't want people nicking it. And it's art that has to, it's decorative. It has to blend into the background. And I'm always fascinated by hotel art. Cause it's all equally shit.

• 49:28Blindboy Boatclub?

  They are paintings that are inspired by abstract expressionism. But there's no, no one has had to think about the colors or the composition. It's often just splatters of paint on a canvas. In the cheaper hotels, the hotel art is, it's on canvas, but it's printed. In the better hotels, it's still somewhat printed on the canvas, but you can tell a human hand splashed a brush mark on the canvas. So I always sit in the cock chair and look at the bad art. And when I see an actual brush stroke, cause you gotta remember, I went to fucking art college for years.

• 50:11Blindboy Boatclub?

  And I actually, I was a painting tutor in my early twenties. I was at, I used to teach adults how to oil paint for about two years in my early twenties. So I know my way around the painting. And I'm always fascinated by the ones that clearly a human hand is involved. And I can tell that the paint that's used is often, it's not the type of paint that you'd use for art. It's often house paint. It's house paint and it's applied not with an artist's brush, but with a house painting brush, the type of brush that you'd use to paint a wall. And usually these paintings, it's mostly printed on canvas.

• 50:55Blindboy Boatclub?

  And then a person comes along with bright red or bright pink. And they just splatter onto it with a fucking house painting brush.

• 51:06Blindboy Boatclub?

  And for years, I've thought to myself, who are the humans that do this? Where do these hotel paintings come from? Because they're in every single hotel that I go to, regardless of where the fuck I am around the world. There's this generic hotel art. So it has to be made and purchased somewhere. And humans are painting these things. So while I was sitting in the cup chair in Carlo at the weekend, I finally said to myself, why don't I just try and find out? I've been wondering about this for years. Why don't I just try and find out where the fuck does generic hotel art come from? But also, I kind of wanted to be back in Limerick playing with my fucking synthesizers.

• 51:51Blindboy Boatclub?

  So I also couldn't stop thinking about synthesizers. And I felt that lovely little autistic tingle.

• 51:59Blindboy Boatclub?

  That little challenge where my hot takes come from, where I said to myself,

• 52:06Blindboy Boatclub?

  I can't stop thinking about the origins of generic hotel art. And I also can't stop thinking about my synthesizers. I wonder, are these things connected in any way? Or can I weave them together in some way so that they are connected? And I can, because the common thread is espionage. So in 1945,

• 52:27Blindboy Boatclub?

  World War II was ending. And for a very brief period, Russia and the United States are kind of on the same side because they've both defeated the Nazis. So the Cold War hadn't, it wasn't in full effect. They were kind of diplomatically, diplomatically okay with each other. And the United States had an ambassador, a US ambassador in Moscow. And Russia was so friendly with the United States that they gave the US ambassador in Moscow a gift. And it was a piece of artwork that the ambassador was to hang on his wall.

• 53:12Blindboy Boatclub?

  It was a handcrafted.

• 53:16Blindboy Boatclub?

  Hand carved wooden seal of the great seal of the US. So that the United States eagle, I think it's what you have on, on, on US coins. Now, this is 1945, remember, okay? So the US ambassador is like, thank you so much, Russia. And he hangs this hand carved eagle on the wall of his office in Moscow. Now, it's 1945, so he's not thinking, it's a piece of art. How could a piece of art be dangerous in any way? It's handcrafted, it's a piece of wood. It, it, it's just a gift, a gift from some boy scouts. It's just hanging on the wall, it's fine.

• 53:58Blindboy Boatclub?

  So he, he's not even thinking that this thing might be a threat. So do you remember earlier I mentioned the instrument that was used in that Beach Boys song? Good Vibrations, I said the instrument was called a Theremin. The Theremin could be argued with the world's first analog synthesizer, invented in the 1920s by a Russian called Leon Theremin. Also, the Theremin would have been the, the world's first mass-produced, affordable analog synthesizer, because when people didn't have 80 grand to buy a big Moog synthesizer in the 60s, most people who started off with electronic instruments,

• 54:41Blindboy Boatclub?

  they would buy a Theremin kit that were purchased from catalogs and it would arrive in your gaff and you'd have to build it yourself and you'd have to solder it. This was difficult and this was an electronic instrument that you put together yourself. But that was the only way that it could be affordable for people. But Leon Theremin invented the Theremin in the 1920s in America. And this fella was a genius, a proper genius, a pioneer of electronics. And the Theremin as an instrument, it's mad looking. It doesn't even look like a musical instrument, it's...

• 55:22Blindboy Boatclub?

  It's like a little wooden box with a single metal antenna coming out of it. And to play the theremin, there's no keyboard, there's no buttons, there's nothing. You move your body. And when you move your body around the theremin, it generates a sine wave, that that whistling sound. So people who could play the theremin had to be particularly skilled because there's no fretboard, there's no keys. You had to use the movement of your hands and body. And the theremin was very good at generating a sound that sounded a bit like an operatic singer. So in the 1920s, 30s, in America, the inventor Leon Theremin became quite famous because

• 56:06Blindboy Boatclub?

  he would tour his electronic musical instrument to concert halls and he would demonstrate it. And people were like, look at this amazing inventor with his amazing electronic instrument. What the fuck is this? Because it's the 20s, it's the 30s. And that's that instrument that I played you at the start on the Beach Boys song, which is the first analog synthesizer. But what a lot of people don't know is... So Leon Theremin was living in America. And then he disappeared. He disappeared. It's likely that he was kidnapped by Russians and made to go back home. We do know he spent some time in a Gulag in Russia in the 40s.

• 56:51Blindboy Boatclub?

  It looks like the Russians were just going, what the fuck are you doing over there in America? What is this theremin thing that you have? You're a genius, an electronic genius. We're going to kidnap you and bring you back to Russia. And then after Gulag, he ended up working with the KGB, the Soviet Intelligence Service, probably under Joris. And while working for the KGB...

• 57:18Blindboy Boatclub?

  He invented an ingenious listening device that didn't require any power. It was like an opposite of the Theremin instrument. So with the Theremin instrument, your hands and body disturb an electromagnetic field and that changes and creates a sound. But then with this microphone that he invented, it was like the opposite. Sound disturbs the electromagnetic field around the microphone and that sends out a radio signal. Now, how it operated without a battery, I don't fully understand. But I think

• 57:59Blindboy Boatclub?

  if this microphone was in a room, there could be a van outside the building and they would direct radio waves at the microphone in the building. That would cause it to vibrate, pick up sounds in the room and then distribute it back to the van using radio waves, almost like a mirror, but a mirror with sound.

• 58:23Blindboy Boatclub?

  Anyway, you know where the fuck I'm going with this. That wooden seal in the office of the US ambassador in Moscow in 1945, that contained, hidden in it, Leon Theremin's microphone. And it was picking up all the conversations that were happening in the US ambassador's office in Moscow. The Russians were able to listen in. It was the world's first espionage listening device. And it was so advanced that the Yanks hadn't even imagined that it could be there. The microphone was called the Thing. The reason it was called the Thing is

• 59:08Blindboy Boatclub?

  in 1951, which is six years after the Russians had given the gift of this wooden seal to the Yanks.

• 59:18Blindboy Boatclub?

  They opened up the wooden seal and was like, what the fuck is this thing? They found an electronic device, but they didn't know what the fuck it was. So they called it the thing. And then they had to analyze this, they sent it to MI5. They had to reverse engineer this thing to figure out that holy fuck, this is a microphone that doesn't have a battery, my god. And then when they figured that out, it became top secret.

• 59:46Blindboy Boatclub?

  The US didn't come out and say, hey, the Russians have been bugging us with this fucking thing that we don't understand what it is. It was so embarrassing, they, they kept it as a top secret. They could not announce this. And they only announced it in 1960. So this widespread spying that went on between the Soviet Union and the US in the Cold War, this was kept secret, this spying was secret. Like now, we, we know it's all, it's all out in the open. It's generally accepted that intelligence agencies exist and everyone spies on each other. But in 1960, the Americans had a U2 spy plane, which was a plane that could fly really,

• 1:00:30Blindboy Boatclub?

  really, really high, almost in space and take photographs. And this was a secret. And the Russians shot down a US plane, a spy plane, and captured it and went to the media and said, look, the Yanks are spying on us. And then the international community was like, oh my god, the Yanks are spying? So then what the Yanks had to do is they had to go, well, we're only spying because they were spying on us. And then they unveiled the thing and said, look at this, look what they put in, in the, the Moscow ambassador's office in 1945, a fucking microphone with no battery. So that's, that's the analog synth connection there. That's, you know, the fucking theremin.

• 1:01:11Blindboy Boatclub?

  He did a reverse theremin and created the world's first espionage listening device. And I suppose I was thinking that way, sitting in that cock chair in the Carlo Hotel.

• 1:01:25Blindboy Boatclub?

  You know, thinking about like in 1945, the Yanks wouldn't even imagine that a piece of art could be listening to you or watching you. That was nuts. But now, like, I don't really think this way when I go to hotels. When you go to a hotel, you're fairly safe that there's not going to be hidden cameras there. But all of us now, when we go to Airbnbs, which are run by private individuals, most people are paranoid about hidden cameras because that shit happens. So what a lot of people do, women in particular, you get into an Airbnb and the first thing you do is you turn off the lights and then you flash

• 1:02:06Blindboy Boatclub?

  the torch of your phone all around the room and see if you see a tiny little reflection somewhere, the reflection of a camera lens. Then another thing you do is you connect to the wifi and you scan. And if you see a wifi that you don't know, that looks a bit strange, then that could be the wifi of a hidden camera. And then the final trick that sometimes can work is if someone has a hidden camera in an Airbnb, a little pinhole of one, if that has night vision, like infrared, it should give off a little infrared signal. So what you do is you turn the lights off and then you take out the the front facing

• 1:02:49Blindboy Boatclub?

  camera on your iPhone, the one that reads your face. And if you scan that around the room, if there is a hidden camera that has night vision, it will give this little flash, an infrared flash, and then you can detect it. And that's fairly standard behaviour. That's standard behaviour for now that we live in a surveillance society. A lot of people will do that when they go into an Airbnb in particular. But I still hadn't answered my question of where does all this bad art come from? This terrible generic art that's on the walls of every single hotel, no matter where you go, where does it come from? And who are the human hands that are definitely painting some of them? So they

• 1:03:33Blindboy Boatclub?

  come from one region in China?

• 1:03:37Blindboy Boatclub?

  A place called Dafun Village in the city of Shenzhen. And it's called Dafun Painting Village.

• 1:03:46Blindboy Boatclub?

  And you say village, it's probably the size of Limerick. And it contains tens of thousands of very skilled artists. And they churn out paintings for the international market. Now, some of them are really, really high quality. So museums who don't want to display original paintings, they'll go to Dafun Village in China. And someone will hand paint a perfect clone, a perfect replica of a Monet or of a fucking Leonardo, and that goes up in the museum. So there's serious high quality copies and clones going on that are painted by very skilled human beings in Dafun Village.

• 1:04:31Blindboy Boatclub?

  A bit like Behringer, a bit like Behringer, who are making these perfect clones of classic analog synthesizers for cheap. They've got a factory in China, it's so big. It's called Music Tribe City. Like Dafun Painting Village, this is a fucking city. And this is where Behringer make all their synths, all their pedals. It's so big and so streamlined that you can buy yourself a fucking, a mini Moog for 300 quid. These perfect copies, these perfect clones. But in Dafun Painting Village in Shenzhen,

• 1:05:09Blindboy Boatclub?

  yes, they make incredibly high quality, perfect copies of paintings. But also they churn out a lot of shit. And that's where hotel art comes from. All the generic hotel art that you see around the world, it comes from Dafun Village in Sh- in Shenzhen in China, where you have thousands of artists just painting these generic abstract paintings. And then selling them in bulk really cheaply to hotels and hotels buy them up. So I'd gotten to the bottom of that. But then as I researched more,

• 1:05:46Blindboy Boatclub?

  an espionage thread starts to emerge.

• 1:05:52Blindboy Boatclub?

  So the people who purchase from Daphon Village, it could be museums who want perfect copies. It could be you. You can go online. You can go online. I've looked them up. There's websites. That has lists of thousands of classic paintings and for a very cheap price, like a hundred and fifty quid. You can have a very skilled artist paint you an oil painting, a proper oil painting. That's a decent approximation of a Manet and have it sent to your house. But also who buys these artworks are scammers. If you're in a major tourist city, Paris or London.

• 1:06:34Blindboy Boatclub?

  You could have an artist at the side of the street and they have all of their oil paintings there. Really highly skilled work and they're selling this. But they didn't paint that. They bought it from Daphon Village. And now they're putting a huge markup on it and selling these high quality paintings by pretending that they're their own. Sometimes galleries will do it. Galleries will just buy a bunch of cheap. Real oil painted landscapes from China and then sell them in their gallery at a markup and pretend that it's local artists. And that bit I find fucking strange because it's, it's kind of racist. So Daphon Village.

• 1:07:19Blindboy Boatclub?

  I've looked into it. It's, it's not a sweatshop. It's not. People being exploited, churning out art. A lot of it is really skilled, proper painters getting paid for their work. Often working in little cottage industries. They just happen to be producing a high volume of paintings or producing multiples of the same paintings. But it's still a skilled human being, artist.

• 1:07:52Blindboy Boatclub?

  Doing a decent oil painting, like a fucking, a good landscape that you'd be happy to purchase in a gallery or want to hang in your own house because it's a good painting. But the value, the value of that painting goes down when a person in the West finds out that it came from this painting village in China. That's why the gallery owners scam and say, no, this is a local artist. And as soon as it's a local person doing this painting, the value goes up. So I don't understand that. A good oil painting is a good oil painting and it shouldn't matter if it came from Dafun Village in China. So the only answer I can come up with there is it's, it's a racism of sorts.

• 1:08:35Blindboy Boatclub?

  But one story started to, while I was doing my research on this, a story started to pop up from January 2001. So the US Drug Enforcement Agency, the DEA, in 2001, had to put out like a security notification to all the other branches because a pattern was starting to emerge. So for the first six months of 2001, in more than 40 cities in the US, anyone who was working in the, the US government, whether that's the Drug Enforcement Agency, the ATF,

• 1:09:16Blindboy Boatclub?

  the Air Force, the Secret Service, the FBI, all of them reported art students knocking on their doors, selling paintings and claiming, look, I'm a, I'm a down and out, poor art student. These are my paintings. Would you like to purchase them? And then the art students started to knock at the doors of federal agencies in offices and buildings that weren't publicly listed. So like a DEA office and, and this, this is undercover. Why are the art students coming knocking at the door, selling their paintings? And they all had the same story. They were Israeli, Israeli art students selling these oil paintings. And this was happening like in

• 1:10:02Blindboy Boatclub?

  More than forty American cities at the same fucking time in federating federal buildings and at the private addresses of federal employees. All of these Israeli art students with the same story and the same artwork, the same oil paintings. Some of them were arrested because they were trespassing. When they started to arrive at buildings where it's like, how the fuck do you know what this building is? Because this is undercover. How do you know what this is? They would arrest them. And when they did arrest them, they found that they had counterfeit work visas and fake green cards. So that was in March 2001 that they put out, that the federal agencies put out this internal bulletin saying, look, everyone has been approached by Israeli art students selling

• 1:10:46Blindboy Boatclub?

  these paintings. This is starting to look strange. So after that bulletin, then they started to arrest and detain the Israelis. So they started to come down hard on them and a hundred and forty of these Israeli art students were arrested. Now, the thing is, this is six months before nine eleven. So this particular story is very much, it's tied up in nine eleven conspiracy theories and particular conspiracy theories that believe that Israel knew in advance about the nine eleven attacks or that Israel was tracking Al Qaeda operatives in the US but wasn't sharing that intelligence with the US.

• 1:11:30Blindboy Boatclub?

  But that, that Israeli art scam from 2001, they were most likely sourcing those paintings. They were the Dafon Village paintings, those generic but high quality oil paintings. And then they were using this to pretend to be art students, poor art students. And it's reckoned the reason they did that is they couldn't, they couldn't work in the United States. So if you're, if you're a Mossad agent and you're in the United States trying to gather intelligence, but you can't work, being a down and out art student selling your paintings is a perfect cover. And just so I'm not accused of peddling conspiracy theories, US agencies dis-

• 1:12:12Blindboy Boatclub?

  The pattern as quote potential organized intelligence gathering. Now, where am I pulling my information for this? Like, I'm not going through Reddit threads. There's an article in Salon Magazine, which is a legitimate source for journalism. This article is from 2002. It's there online. A massive article that investigates this exact situation using evidence and quotes from US federal agencies. And the name of the article is "The Israeli Art Student Mystery" by Christopher Ketcham, and that's in salon.com. And it's written in 2002. So those were the connections that I made in that cock chair.

• 1:12:56Blindboy Boatclub?

  I stared at the shitty art, found a definite synthesizer fucking connection. Leon Theremin, the inventor of the analog synthesizer, also invented the world's first listening device that was hidden inside a piece of art that was hung on a wall. And then when I'm trying to find the origins of shitty hotel art, I then trace that to Dafan Painting Village in China and find a near identical espionage campaign where pieces of art that might have listening devices in them that might, I don't know what they were doing, there was no mention of, there's no mention of any of the art itself being confiscated. So I don't think that they were trying to put listening devices in that art and hang

• 1:13:41Blindboy Boatclub?

  it on the wall. I think it was simply possibly Israeli spies just trying to get close to federal agents in order to get information of any description. And I'm pulling that quote because in the Salon article, one of the DEA agents, so this, this is Drug Enforcement Federal Agency, so they know how to, they know about intelligence, they know about interrogation, they know how to get information from people. So one of the DEA agents said to Salon Magazine.

• 1:14:17Blindboy Boatclub?

  They were very attractive, blondes in tight shorts or jeans, real lookers. They were flirty, flipping the hair, looking at you, smiling. "Hey, how are you? Let me show you this." Everything a woman would do if she wanted to get something out of you. So those are federal agents going, "I know what's happening here, because I've trained in this shit myself, so I know what that is." And then another DEA agent said, "After the students called to his personal address, he looked out the window and noticed that they didn't call to any of his neighbours." So they were deliberately targeting federal agents to just try and get close to him. So there's my hot take. These are my cuck chair observations that I'm giving you,

• 1:15:01Blindboy Boatclub?

  so that I didn't subject you entirely to an autistic rant about how much I'm obsessed with analogue synthesizers at the moment, okay? Before I sign off, I'm gonna leave you with a final piece of music that I composed the other day.

• 1:15:20Blindboy Boatclub?

  This one doesn't have a fucking name. What do we call it? Paul Meskell is alive and well. What I enjoyed about making this track is I didn't just use my analogue synths. I got to whip out my Hoffner bass and play a palm muted bass guitar style, which would be a Beach Boys-y type of bass guitar style, specifically the bass player, Carol Kay, she's an incredible fucking bass player. She played on, she played on Pet Sounds. Then I got my Moog, my mini Moog to sound a bit like an organ, which I was doing because in David Bowie's song, "The Man Who Sold The World", Tony Visconti, the producer,

• 1:16:05Blindboy Boatclub?

  he got the Moog to sound like an organ. And then at the end, on the lead of the Moog, I got it to sound like Barney Warel, one of my favourite synthesizer players. He was in Parliament Funkadelic, and then later, he was in Tom Tom Club. But before I, before I play this track, Paul Meskell is alive and well. Um, nothing against Paul Meskell, just why can't I write a song called Paul Meskell is Alive and Well? It's a fact. I'm glad that he's alive and well. If I was to recommend an album where you can bathe entirely in the beauty and splendor of analog synths,

• 1:16:46Blindboy Boatclub?

  the Blade Runner soundtrack by Vangelis, who was a Greek classical composer. If I was Elon Musk, instead of being a giant fucking fascist transphobe who buys Twitter, I would instead spend my money on a Yamaha CS80 analog synthesizer.

• 1:17:13Blindboy Boatclub?

  They cost about 150,000 euros. There's only maybe five or 600 of them in existence. Most of them aren't in good working order. It's a synth from the late 70s. It was incredibly expensive at the time. It's something like 150 kilograms in weight. One of the most beautiful analog synthesizers ever made. I got to touch one once in a studio in London, a Yamaha CS80. That's what I'd buy myself if I was Elon Musk. The Blade Runner soundtrack by Vangelis is composed entirely on the Yamaha CS80 analog synthesizer.

• 1:17:57Blindboy Boatclub?

  And it was Vangelis trying to imagine. He would have composed that in 1982 for the film Blade Runner, which was set in 2019. And it was him trying to imagine what would music sound like in 2019 in the fucking future? So he used the Yamaha CS80 to do that. Mostly I'm not going to give a fuck about any of that information, but I really needed to get that off my chest. So here's a track called "Paul Meskel is Alive and Well". I'll catch you next week. Rub a dog, wink at a swan, genuflect to a shrew. Dog bless.

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