#and then edit that from my laptop… wow… this could be a game changer……………)

[mulders-too-large-shirt]

s2 episode 20 thoughts

oh man! i really loved this episode. no aliens, no overarching plot, just some silly shenanigans and yeah, some murder, but in a far more lighthearted fashion than in other cases. filler episodes i love you soooo much <3

from the beginning, i thought the prompt sounded really good... shoutout to people who work in sideshows and other touring entertainment industries, y’all are real for that 

we open with some kids laughing under a full moon… nothing could be scarier… except SOMEONE WATCHING THEM!

and whoever it is, they are approaching the pool with feet out. where are their parents to safeguard them from stranger danger, i ask into my screen!

OH he is the dad!! what was once scary has now turned heartwarming. he splashes about in the pool with them and says they need to get ready for bed. aww. 

BUT NOW SOMEONE IS WATCHING HIM IN THE POOL!! NOOO the heartwarming session HAS BEEN CANCELLED... is he being EATEN???

(as he is killed, the camera shows a van with the words “alligator man” on it... at first i'm thinking that the alligator man was the creature who just Ate this guy, but turns out the father WAS alligator man, so named for his skin condition. rest in peace mister alligator, the world is a worse place for ur loss)

and now the agents are looking into his murder :(

(also, in the opening credits, we see that one of the guest stars is named “the enigma”... I’ll have to look into their work)

mulder says there have been a lot of murders in this fashion over the last 28 years, and they have been going all over the country!!! it seems to involve some sort of round bite mark. must be time to go investigate.

they roll up the the alligator man's funeral. honestly it is sad! and we see that the widow slash mother of the kids is a bearded lady and she is absolutely serving but this is a very sorrow-filled moment for them all

and interrupting the moment in which his community remembers the warmth he brought to their town, his casket starts moving… and someone emerges from the ground… and stabs himself in the chest with a spike???? HUH???

so the deceased was an escape artist but was forced into the sideshow circuit because of his skin condition… scully says she didn’t know sideshows were still a thing… which is honestly fair because it is a very vintage sort of entertainment. and they have a Not So Great history.

BUT if the people who live in this town in the summer are all traveling performers.. and if they have been touring for years... and the murders go on for years… hmm, it seems things are starting to add up

mulder notices a drawing of a creature on the menu of the restaurant they are sitting in, and he asks who drew it. why, the sheriff says, it's the artist named hepcat, of course! cut to him tending to his freaky mermaid. he describes his scary maze business as “a tabernacle of terror” 

mulder asks what the drawing on the menu was, and i was thinking, hmm, looks like the fiji mermaid, and hepcat says it is the fiji mermaid, and mulder doesn't seem to recognize it?? i assume this is one of those situations where he acts like he doesn't know what is going on to get more information because i feel like that is Exactly the sort of thing he has read about at length. like i had him pegged as a guy who could write a dissertation on the subject at the drop of a hat. so i think he's lying but narrative wise it isn't fully revealed. 

scully: “what’s the fiji mermaid?” hepcat: “it’s the fiji mermaid!” <- thanks this clears up a lot <3

mulder is acting surprised to hear that the top half of the fiji mermaid was a monkey, which i again assume to be an act? but he says that the tracks at the murder look monkey-ish. so perhaps there is a correlation...? between the very active murder case and that time PT barnum sewed a monkey and a fish together? hey, the dots aren't connecting for me, but i don't work for the fbi so what do i know

they go to get a place to stay and the guy operating the rental place, a kind and verbose fellow with dwarfism named mr. nutt, gives them their keys. and mulder asks if had worked in the circus, (and since everyone they have met so far has in fact done so, i feel that this was a fair question, but maybe i also deserved what follows), and mr. nutt really lays into him about making judgements, and maybe some people with dwarfism want to manage hotels...

and as all of this goes down scully just observes. wow. she let him flounder. lmao.

the man carrying their bags is named lanny, and he has a conjoined twin sort of situation, it's not entirely clear- but he says mr. nutt got him to work there because he believed it was undignified to work in the circus. hmm.

back to hepcat at his studio… listening to some groovy music... and something crawls in his window… looking like the fiji mermaid. and it BITES him.

next morning. mulder going for a jog. in a sweatshirt and sweatpants in florida heat. what in the hell was he thinking??? let’s analyze that while a man chomping a fish emerges from the river. we receive no real clarification on what is going on in either of their minds.

scully in bed. alerted to a murder by lanny. still in a robe. we get a shot of her chest and also lanny's brother that felt mutually uncomfortable. SMH no rest for her!

okay, examining the scene of the murder. mulder notices some blood on a little window and WHY DID HE TOUCH THE BLOOD NASTY!!!! NASTY!!!

they deduce that to fit in the window, the suspect would have to be a contortionist…. and they walk out to see a contortionist. it’s the spike guy that so disrespectfully ruined the funeral!!

he puts a nail up his nose in front them. and mulder pulls the nail out. probably to get some blood. not an easy watch still.

we learn here that the guy with the puzzle tattoos who was eating the fish in the river earlier is called “The Conundrum”, and the spike guy slash contortionist is dr. blockhead

dr. blockhead gives the conundrum a bunch of crickets and he gulps them up; then he offers crickets to the agents and scully TAKES one, says thanks, eats it, and leaves LMAOOO????? never let them guess your next move....

mulder is staring at her trying to figure out if he is in love with a woman that just ate a cricket and if this is something she does regularly and JUST KIDDING!!! she didn't eat it silly!!! she "reveals" the lil cricket behind mulder’s ear awww... her uncle was a magician <3

(he also does a lil slight of hand trick and pulls out the bloody nail, saying "everyone's uncle was an amateur magician", which i am sure they can bond over at a later date)

scully goes to a museum that says "freaks free, everyone else leave a donation" and she puts in some money… publicly declared non-freak 

this guy at the museum is touching her. don’t care for that. but I like that he knows lots of random information. and he won’t show his whole face, we as the audience only see him through mirrors. very cool framing device.

he says he will take her back and show her something of barnum’s for another $5 and sworn secrecy. good luck bucko; last time she was told to keep a secret (affair baby) the SECOND she was reunited with mulder the tea had been spilled LMAOOO. he hands her a paper featuring jim jim the dog faced boy, who, dare i say it, seems to be a king.

he leads her into the back rooms… scary. but her trench coat is serving though

okay, deep in the back is a trunk. and it’s empty and opens an exit door. NOOO she was scammed! it’s all part of the hustle. 

(well, that is what i THOUGHT, at least, until she realizes it leads to the sheriff's house, and things are adding up...)

mulder sees something crawling about. it’s the guy who owns the rental space, mr. nutt, under scully's trailer! he asks why he is under there and mr. nutt says he is NOT being creepy. mulder flirts with the man and he runs away LMAO... weaponized bisexuality 

agents are in the trailer having a nerd off and it’s not clear who is winning and there is romantic tension. sheriff hamilton used to be jim jim the dog faced boy???? what a reveal!!!

we are watching them watch the sheriff dig a hole during a full moon. average agent bonding activities. he buried something in the ground and goes inside. 

they are in his yard digging up what he was just digging and mulder has taken his earlier roasting to heart and says “we’re being highly discriminatory here” and clarifies that’s no reason to suspect him of being a werewolf and it’s like well. i don’t know that we both thought he was a werewolf. they pause to consider the moral weight of their actions then keep going.

uh oh! sheriff catches them!!! not a good look being caught digging something up. “We’re exhuming… your potato” is the best line that usually quick-tongued mulder could come up with, which had me losing my MIND and i proceeded to write a very long keysmash to express my amusement

“may I ask why?” (she starts monologing about serial killers taking positions in law enforcement and needing to monitor him as as suspect, and it’s convincing) (he cuts in: “we found out you used to be a dog-faced boy” STOP THIS IS SOOOO FUNNY) and she looks soooooo guilty!!

he doesn’t deny it and says he started balding on his head which put him out of a job. fair enough, gotta pay the bills.

next genius dialogue exchange: “that doesn’t explain the potato” “I got some warts on my hand” “...that doesn’t quite explain the potato” 

(i kept having to pause in rapid succession to write these lines down because i was laughing SO hard)

has anyone thought that maybe a man wants to bury a potato in his yard in peace…. like that’s how we get more potatoes…

“to get rid of warts you rub a sliced potato on your hand and bury it under a full moon” <- new life hack just dropped!!

nooooooo the conundrum is chasing the dog… dog escaped. everyone is pleased. he brings a check to mr. nutt and it’s rent!! king of paying his bills on time. but dog is still barking... NOOOOO MERMAID ATTACK ON MR. NUTT!!!

someone with bloody hands bursts into scully’s room and she must have her gun right by her pillow, and she gets it so fast, but it’s just lanny, saying he found mr. nutt dead... they truly hate to see a hard working entrepreneur in the field of hospitality winning 

the pin at the scene looked like something from dr. blockhead, so they go to his house to investigate and he is full of hooks. i made a noise like whAUUUWAUUHWAUH and mulder is looking intensely at what's going on there. blockhead goes on some cultural appropriation bs. um sir this is weird timing bur you are under arrest.

he gets out of the handcuffs- contortionist and escape artist! but the sheriff catches him by the hooks. what a KING! shoutout to this sheriff, formerly jim jim the dog faced boy, can we add him to the team? skinner are you hiring?  

just as our agents apprehend their suspect, we see that the mermaid creature is in the room with lanny!!! but... he isn't hurt?

OMG the twin inside him IS THE MERMAID??

lanny confesses to this when he asks how it would be possible to turn his "brother" in without turning himself in...and he thinks the mermaid fellow hates him and is looking for another brother which is so SAD but he says he’ll come back

is anyone concerned about the twin crawling out of lanny? well, mulder knows he isn't the man in charge here: “scully, you’re the medical expert… I believe you” yessir it's good to remember that!

the mermaid brother appears to have run off into the "tabernacle of terror" and mulder trying to hold a little evil mermaid at gunpoint is SO comical

their asses are lost in the maze!!! scully pulls a gun on a rubber skeleton that fell from the ceiling!

she's trapped in a mirror room to serve infinite looks in all directions, and it looks like mermaid baby is caught... she fires.. but it hits the mirror!! baby mermaid brother escaped!!!

at this moment, mulder slides through a trapdoor... and it was SO funny pls tell me there's a gif set of that somewhere because i need it...

baby on the loose... bad news!!! conundrum is being eaten by the baby twin…. but what if he eats him FIRST, i ask myself, and received an answer in the form of baby being gone and conundrum rubbing his stomach!!!! yassss!!! diva down!!!

the next morning, while everyone is searching for mermaid brother, we learn lanny died that evening of a condition related to alcoholism. we learn this while dr. blockhead and the conundrum are getting ready to leave.

and dr. blockhead's going on about the future, and how nature needs freaks, and in the 21st century everyone will look perfect… "just like him" (points to Mulder majestically posing by a trailer) LMAOOOOOO “imagine going through your whole life looking like that!!!” <- yeah it must be really hard....... /s

at last, conundrum and blockhead are taking off into the great unknown... scully points out he doesn't look too good…. CONUNDRUM TALKS???? “probably something I ate", he says. LMAOOO his voice is sooo normal 😭😭😭

this episode had me laughing. we really had it all: exhuming a potato, scully's valiant attempts at lying, mulder hitting on a guy, lessons in ableism and judgement, a man who eats crickets and fish, flirting over case details, a dog, scully doing magic, mulder running in the florida heat dressed like it was a new england winter. truly i have nothing that could be added.

and did i have a secret evil mermaid twin on my list of probably monsters of the week? no, i cannot say that i did! was it the most compelling or scary of creatures? not really! but i was filled with whimsy. cannibalism saved the day. an excellent episode, and a perfect contrast to earlier in the season when scully was literally About To Die and i was crying a lot over the whole thing. ah, the duality of TV shows!

[akysi]

Always wanted to do one of these, and now I have. :D 8 years of improvement, wow! I’m also really bad at picking things so I don’t know if I picked the ones that best represent my progress, but eh. I did some edits, but the original base for this can still be found here. Extended thoughts about each year below, it’s a lot! Here’s to bigger and better things in 2019 (please ;_;)

2010: I started drawing digitally in 2006, though regrettably I didn’t save any of the art I did back then. 2010 was when I joined DeviantART, and thus when I started uploading art online. I had frequented DA well before that though (from about 2007 I think), and influence from the artists I followed are pretty evident. A few notable ones were ShaloneSK, Fourth-Star (now SeaSaltShrimp), and thazumi, all primarily dragon artists. Though none of my traditional art is showcased here, this was still a time when I did it often, usually via doodles in class when I was bored. The digital art you see here was made with my first tablet, a Wacom Graphire 3, and Photoshop Elements 3 that came with it. I had little knowledge of file quality, layering, colouring, and other mainstays in using Photoshop properly. Humble beginnings are these! My art education at this point was limited at best, but art was always something I did in my spare time. And like all of the art years leading up to 2010, I drew almost entirely dragons. Aside from practicing foxes for a story I had at the time, I wasn’t interested in drawing much else. I didn’t draw people at all until college, but we’ll get to that. 2011: Christmas 2010 / New Year’s 2011 marked the time I got Photoshop CS5, a version of PS I still use today. For a while I was obsessed with the idea of PS’s Pen Tool, as I saw it could give me much cleaner line art than what I could achieve on my own. I was finally able to test that when getting CS5, and while it worked well for the time, I soon learned the tenets of line weight and tapering, something I would have to practice myself. Up to this point all of my lines were either shaky or fabricated via the Pen Tool, and it shows. This was also a year of trying to mimic Fourth-Star’s dynamic perspective...without any knowledge of how it actually worked. Not a lot of improvement happened here outside of that. 2012: This was the year I bought my Bamboo Create tablet, something I still use with my laptop nowadays. I remember trying it out at my friend’s house before I bought my own, and really loving how I was able to do the line tapering without the pen tool. It still took a lot more practice, but looking back now it was easy to see I was on the way to making line art one of my art’s strongest qualities; something that stays true today. I find it ironic that line art used to be one of the weakest aspects of my digital art, but I suppose that speaks to how far I’ve come. I did more fanart this year, oddly enough. I’d always done it before but I guess I felt shy about sharing it. Notable fandoms were Danny Phantom and Sonic. I didn’t grow up with either, but ended up liking them both a lot, and would doodle them as much as my dragons. 2013: I graduated high school and started my first year of art college, specifically Art Fundamentals at Sheridan College. At this point, everyone I knew pointed to that school (and only that school) for anything related to what I wanted to do; if it wasn’t fine art, go to Sheridan. So I went into college with a bit of tunnel vision at first, but I knew from the start that I would be gunning for animation. Not to animate specifically, but to do character design / concept art for animation. I would learn later on what having this tunnel vision would mean for me, but we’ll get to that later too. This is about the point where more expansion of design and subject matter occurs, albeit slowly. The art featured here doesn’t include my schoolwork, but the much needed increase of anatomy, structure drawing and other college level art courses started me on a path to better things. I still had a long way to go though, and Fundies could only do so much. Unlike most people I actually got decent practice from it given my limited art background, but I still can’t say it was at peak efficiency. This was the first year I actually started drawing people, and it certainly didn’t come without its growing pains.

2014: Surprising no one, I didn’t get into Sheridan after my first year, though that didn’t stop me from being disappointed at the time. I took what was effectively the second year of Fundies, called Visual and Creative Arts (VCA). This was the year that sparked my interest in graphic / logo design, an interesting turn of events all things considered, and that would stick with me a lot more than I expected. This year also featured a few smatterings of character designs, or more specifically design sheets with multiple views, costumes, etc. Character design was a required segment of the animation portfolio, so this is likely what spurred my practice in it, aside from my pre-existing interest. That does not mean I knew how to rotate a character though, yikes! At this point I’d gotten pretty good at clean line art in Photoshop with my current tablet, as well as the merits of high quality imagery. There was a lot of purple in this year and 2015, though that’s nothing really new for me.

2015: This was easily the busiest (and most path altering) year. Second semester of VCA happened during this time, but also what would be new beginnings for me. If I didn’t get into Sheridan animation, I had a choice to make for a plan B: Either stay at Sheridan for VCA Year 3 and try again for animation, or try to get into animation at another school. My buddy Amelia then dropped Seneca’s name in one of my elective classes, and I had no idea how much of a fateful conversation that would be. She mentioned it was considered a second to or even better than Sheridan, and that at least provided a clearer answer for me. A lot of trepidation followed: I didn’t get into Sheridan animation for the third time, and thus applied to Seneca (and a few other places). I was pretty scared of being a first year again at a new school with new people, and while my art definitely reflected the time I spent at Sheridan, I had no confidence in it being good enough for a portfolio given my track record. But low and behold, I got in! I was on my way to a three year rollercoaster of all-nighters, amazing ride-or-die classmates, and relentless, rigorous training. The art from this year does reflect this, both in quantity and quality of uploads, though in more of a “transition period” kind of way. This was the year I really started to draw human characters, most notably with the creation of my first comic project: Starglass Zodiac. This was the first time I had a story idea with a primarily human cast, much less a comic idea, though the designs for them didn’t start appearing in my uploads until the following year. As you might expect I didn’t have a lot of confidence in drawing people. Ironically, my first year of animation taught me all the skills I initially needed for the portfolios!

2016: When I mentioned a path altering year for 2015, I was referring specifically to the path in my art education. 2016 was a path altering year for everything else, and a polarizing one at that. 2016 was a year that was kind to no one, and while the details of what happened to me are not really relevant to this post, there’s no denying what effect it had behind the scenes. This was the year that I fully realized I’d developed symptoms of depression, and with my increasing anxiety to match, this didn’t (and still doesn’t) go so well. I don’t think that’s really reflected in my art, however. Regardless of my mental state, the outside view of my art still features the colourful characters that they always had. By this point I was in my finishing first year / starting second year, and this was easily the best time for me. My time to shine, if you will, at least when it came to character design class. We had an overarching story project that was perfect for SGZ, so I used that time to develop the characters. The double-edged sword of troubled times is my escapism is cranked to 11, so this was probably the year that spurred the most story ideas out of me. This year (and part of the next) started both Id Pariah and Feather Knights. I got my iPad Pro for Christmas this year too, and that proved to be a game changer in the amount of art I could make. I was already used to the Cintiqs at my school, and I was lucky to finally have a screen tablet of my own. 2017: The end of my second year and the beginning of my third and final year of animation. Classes split, streams chosen and a world of missed opportunities began. I didn’t do a lot of art at the beginning of the year, aside from the beginning of my Feather Knights stuff. On top of that, my college had a 5-week long teacher’s strike that literally no one wanted to be a part of, effectively derailing all hope for a good semester. Attempting to do a short film project with this happening was a recipe for disaster. During this strike was the start of my first month long challenge though: Huevember. It was an uncertain time, and most of us were not compelled to get much school work done. Completing Huevember did feel like an accomplishment though, as I was actually able to keep up with it even when school started again. I’d say this art year focused a lot on colour for this reason. What art I was able to complete outside of my schoolwork saw a lot of expansion in that area. In all honesty 2016-2018 tends to blend together for me, for better or worse. 2018: My graduating year. The strike did its damage to my final semester too, but ultimately I survived. Despite completing 5 years of college, my path became the most unclear. Third year taught me a lot of things about myself and how I approach art, but most were not positive revelations. The expectations set out for me are ones that I cannot achieve. However, I have more time than ever to do art, making this year the most art I’ve made to date. I also participated in Inktober, which reminded me how far I’ve come as an artist, despite not doing traditional art for what felt like a century. My illustrative work for Inktober ended up being some of my best art this year, and the prompts made me get creative in more ways than one. The dark cloud hanging over my head has not disappeared since 2016 however, and the toll that has taken shows more everyday. As far as my art was concerned I did more of what I loved, mostly in the form of character sheets and designs. It’s all I can do, for now. 2019, I have one thing to say: Don’t you DARE.

[acehotel]

INTERVIEW: Bicep

BICEP are icons of the underground. Their pure, unadulterated passion for electronic music led them to the top of the DJ game, with stops as bloggers, producers, promoters, label-owners and live acts along the way. The Belfast-bred duo met as kids on the rugby field, but have since toured the world, with their ecstatic love of forgotten tracks their guiding torch. Justin Strauss, a legend in his own right and an old Ace friend, sat down in London with Matt and Andy for this month’s edition of JUST/TALK. 

Justin Strauss: So, let's go back to the beginning. When and how did you guys meet? What year was it?

Matt McBriar: We were like eight years old at mini rugby.

Justin: Where was this?

Matt: In Belfast. Also, the other guy that we produced with, Hammer, he played in rugby as well. We actually properly met when we both went to secondary school and we were 11. We were at the same school until university.

Justin: And you became good friends then?

Andy Ferguson: We kind of went different ways after that. I went to Manchester, Matt went to Newcastle. Did our degrees. But at the same time we were making music separately. It was kind of after university that we started making music together.

Justin: Musically, what was inspiring you back then?

Andy: I think I started off a bit minimal, quite minimal. Then just moved into more Italo stuff. We actually started producing together as an attempt at an Italo band.

Justin: What year was that?

Andy: 2008?

Matt: Yeah. 2008, maybe 2007.

Andy: 10 years ago.

Matt: About the same time we started the blog. It all started very loose. We just started the blog and it was just kind of a place just to really share.

Justin: What was the inspiration to start your blog?

Matt: We were liking a lot of Italo-disco songs and a lot of weird film soundtracks, more like, if you think of Optimo. Optimo would be a good example. We were going to a lot of Optimo shows.

Justin: So, you were sharing music and people were sharing stuff with you?

Matt: Yeah, and there were really no rules at all in terms of what we were putting out there. It was very, very, very broad. And it wasn't really set up to share with so much the public, but more a place where we could archive for ourselves. Just a cool place to share playlists or our digs and our finds. Obviously now everyone can do it on Spotify and YouTube.

Matt: But this was way before online playlisting was a thing.

Andy: We’d rip the records and upload them to their server and each post took maybe 20 minutes.

Matt: An hour. Sometimes an hour. By the time we wrote it and then we went and found the artwork and stuff. Like yeah, it's kind of crazy to think now someone logs on to an app and goes,"Share".

Justin: And you were starting to DJ as Bicep, then, or ...

Matt: The funny thing is with the name and all. The name was never really Bicep. All the blogs around about that time had stupid names. It was a thing to have a silly name for your blog. We thought we'd call it Feel My Bicep and it was going to be quite Italo, disco-y.

Andy: Like a reference to that whole imagery, the old kind of vibe.

Matt: Skatt Bros, "Walk the Night." You know, that sort of thing.

Andy: Well, we didn’t want to be called 'disco' something, but wanted to be like—

Matt: Sleazy sort of—

Matt: And then we started getting some gigs and getting booked. We originally were DJ'ing under Feel My Bicep and it just sounded...Well, I mean, it was funny in general, but we just cut off Feel My, and then just started doing it under Bicep but it was still very much a kind of joke. And then put out a couple records and then it started to become serious.

Justin: And as far as DJ'ing goes, was there a DJ that you guys were inspired by?

Matt: Weirdly it was a mad mix of people at the time. I used to like Optimo, obviously, but then I also loved Ricardo Villalobos and Omar-S, just his mixes  at the time. To be honest, there's quite a lot of DJs at that period including Maurice Fulton and Ewan Pearson.

Justin: Were you hanging out at Sub Club in Glasgow?

Matt: I was a lot because I was at university in Newcastle, so I was at the Sub Club like once a month for Optimo. Before that, in Belfast, we'd been into like super heavy techno and you'd go and see just a set of one style. Then going to university and seeing stuff like Optimo was definitely a game changer ... A chance to see people like mix a power ballad into techno, into Italo and Disco and just sort of go everywhere.

Andy: ... I was in Manchester and Optimo played there quite often. And then also he'd go to the Electric Chair, which is the Unabomber's night, and that was the kind of same thing but eclectic in a different way even.

Justin: I believe that's kind of how New York was, when I was DJ'ing in all these clubs and going to the Paradise Garage and all these amazing places where anything goes, then it just all makes sense and the people come with an open mind.

Andy:  People were just putting on nights because they enjoyed doing them. It wasn't like a business. You know what I mean? If you went there, it would always be the same people every week and it would be like five pounds in, cheap, just cheap beers and a kind of full on party.

Justin: So your blog started to get a lot of attention and good things and better opportunities started coming to you?

Matt: I really don't know.... We got in through ...

Justin: Persistence?

Andy: Yeah.

Matt: We were posting a lot. It was 80 posts a month at its peak, but sometimes you'd sit in for an evening and do like eight posts in one go and you'd be in all evening posting. ... But it would all be so varied. This was before SoundCloud, and before Facebook was around, but it was definitely very early.

Andy: We didn't have Facebook for the first three years of the blog. We didn't post on it.  We only posted on Twitter, I think. Twitter was there before Facebook ... And Hype Machine was really popular. People used to use Hype Machine all the time.

Matt: People probably find a lot of tunes from our blog through Hype Machine. At the time, it was a popular way to find to find a blog.

Andy: There was a lot less competition out there. Maybe that's the best was to describe it.

Justin: And It couldn’t happen like that now I suppose. Have that kind of impact?

Andy: Impossible to happen. You get these YouTube channels that do explode, but I suppose they don't have the same level of artwork and vibe.

Matt: Not the same type of interaction.

Andy: In YouTube's format, everything looks like YouTube. You go to all YouTube's recommended sites.... It's not intimate in the slightest, so it's definitely cool to do something that was like it was your little area of it. Your little corner. We got to choose the colors, backgrounds.

Matt: Yeah, we kept a zany kind of shittiness to it all. We kind of liked that. Didn't want to update it, you know, like the new software and like a jazzy website basically. We always wanted to feel like a stripped down magazine.

Andy: But we said no to all advertising because we always used to get requests. Nowadays, advertising on the Internet's just part of everything, but I remember feeling really, really against ever having any adverts on our site, just because it felt like it would ruin it.

Justin: How many people were subscribing or following the blog?

Matt: I think at the peak it was it like 130,000 a month, different people.

Andy: Hit wise it was a quarter million a month.

Matt: In terms of actual clicks, it would have been a few million a month.

Justin: So, at this time, as the blog’s happening, you're putting out a few 12 inches?

Andy: Yeah, we actually did the first one for Dennis Cane and his Ghost Town label.

Justin: Oh, wow.

Matt: Yeah, it was an edit of Brothers Johnson, Strawberry Letter 23. And it was mixed on laptop speakers. I mean, I made the edit on Abelton...I didn't understand anything. I just put it on MySpace and then he contacted me and was like, "Whoa, I want to put this out.”

Matt: I think they had a pretty tough time mastering it. It sounded pretty shitty. But, yeah, that was funny.

Justin: And that was your first release as Bicep?

Matt: I think the vinyl actually says Bicep B. The vinyl was Bicep B. I don't know how that ever happened. It never meant to say that. Then we did a couple of edits for Roy Dank’s Mystery Meat label, and then something for James Friedman’s Throne of Blood label.

Justin: So, your first releases were all New York based labels?

Andy: Yes. It was mad. It wasn't like we purposely set out to do that.

Matt: I just think that at the time those records made more sense in New York.  It just sort of picked up there. That sort of style we were going for. I think in the UK, it was more minimal techno and sort of quiet. At that time what we were doing was not popular at all.

Justin: I first met you, when  your Throne of Blood thing had just come out.

Andy: Yeah, we got gigs in New York before we got them in London.

Matt: Yeah, we couldn't get booked in the UK even after I moved to London, which had been five records deep and we'd been around for a good three or four years.  Couldn't really get booked in London.

Justin: When did you notice things change?

Andy: I think we just started playing really small gigs.

Justin: You didn't have like a residency at London  club?

Andy: No, no, no.

Matt: It was very gradual. It wasn't like one day we were like, boom.

Matt: Europe as well. Like Germany, for years, couldn't get booked there. It's funny looking back now because there was definitely a good three or four years of bubbling.  I think 2012, when was when started to do  a bit more House stuff. We did the “Stripper” EP, and then we did “You”, and then we did “Vision of Love”, that EP. Those three in a row, a couple of months apart.  Suddenly  we were able to get booked and things were working out a bit smoother for us.

Justin: Did you guys have day jobs?

Matt: We had jobs beforehand. I worked as a designer and Andy was working advertising, but we basically decided if we're going to do this, you have to spend all day working on music. You can't just do it the odd evening after a full time job. Because you've got to put out more than one record a year, and we were like, let's try and do something every month. Maybe not a record, but either like a mix or a record. We try to have something out every month.

Andy: Yeah, we were doing edits and stuff then.

Matt: And spending loads of times on mixes. We used to spend like three weeks, trial and error, trying to really create these tight sort of mix tapes. Like all the Disco ones and Italo ones.

Andy: A nightmare, those ones. Trying to do like really tight disco mixes. You'd spend fucking like a whole month trying to get that together.

Justin: And then “Vision of Love” comes out and I remember when I first heard it, I was like, “This is such a proper anthem.” There's just so many records now that don't translate to a lot of different places. But that record could play like in any club basically anywhere and it was the biggest record of the night. It sounded amazing on any system.

Andy: I think the thing is that after that, though, we suddenly quickly understood that once we musically got it together and mixed, it was still very much like kind of a starting block record. Do you know what I mean?

Matt: We were listening to a lot of 90s House records at that time.  Those drum sounds, the kind of feeling. But it didn't actually have much equipment then.

Justin: Did you have a studio?

Matt: No, we were producing at the end of my bed. With one monitor. It was a super basic set up still. But that record gave us a springboard to kind of tour more, get more money. So we started investing in a few bits of equipment but it was really when we did “Sacrifice”, the following year, with Simian Mobile Disco, and that was obviously a totally different type of record. It was all analog Synths and drum machines. Very heavy type of record. More of a Techno feel.

It was just proper and obviously Simian Mobile Disco are pros and really kind of led us around the studio for  the first time and that was like a light bulb moment for us, where it was like,"Whoa."

When we did Sacrifice, it was very much a case of four of us in a room jamming for four, five hours, not really getting anywhere, going for lunch, coming back, jamming more, taking little bits and pieces and then the next day, coming back and starting again and getting there and then I think  that was like a new ... like a totally new way of looking at how to make music. And basically we just devoted all our spare money buying synths and buying equipment. But still, it was in my bedroom, so it was like we had a couple of keyboard racks and a table and slowly everything was getting pushed away. It was just like keyboards had to be lined against the way because we could only plug in two at a time and we were just piecing things together bit by bit by bit.

Andy: Yeah, we only had certain cables and stuff and couldn't plug everything in at once.

Matt: Yeah, it was really basic. But it was cool. It was definitely sort of bedroom beginnings and at that stage, then we did the next release on our label “Satisfy” and “Snack Bar” there.

Andy: That was the first step into us kind of understanding what we're doing a little bit, recording wise.

Matt: It was a huge thing to learn, obviously, from doing stuff before when you're playing with samples a lot, to then actually recording stuff live in and obviously there was a whole new world of mixing stuff down, EQ'ing, compressing. You're not dealing with a beautifully recorded piano sample from the 70s. You got a little thin synth that you've got to then mix to make it sound good...So, we had a real transition period of sort of learning kind of the ropes of like that.

Andy: I would say it took at least two years. The first year we couldn't plug anything in. Some days we'd turn up and be like, "Okay, never mind. It's not running. Everything's out of sync. What do we do?" Then we'd look at manuals, do everything, and then it was literally the cables just were plugged in wrong. There were some days you just have to turn it off and just leave it and come back later and it's all in sync.

Justin: Yeah, I could tell you many stories about recording sessions before any computers and trying to make stuff work and sync.

Matt: Yeah, yeah. They just live and breathe, don't they?

Justin: Mind of their own. And then your focus was shifting more on productions and DJing rather than the blog?

Andy: Yes. I think also then suddenly, as much as we loved doing the blog, there was a real rapid transition towards instead of spending half the week typing up and digging for other people's music, it was more like we wanted to just spend the whole week working on our own music. Do you know what I mean?

Justin: Priorities shifted.

Andy: Yes, for sure.

Matt: And also as YouTube was getting bigger people could share music way easier, so it became less important.

Andy: It didn't feel like it had the same impact. You know what I mean? You noticed less people would be interacting with it.  

Justin: But you still do the blog or no?

Andy: Yeah, we do. For the blog, we were trying to think of the best way to have fresh new music up there without it taking up an entire week to put together and without having to change the blog into something that was basically sharing Spotify playlists. We tried lots of different ideas. We basically got more onto the idea of guest mixes, but instead of aiming at trying to get people from the RA Top 20 like every other mix website, we really aimed for lots of residents, lots of local DJs, lots of friends that have people who have maybe one record we've heard. And it's like, "Oh, this guy looks interesting."

Justin: So, it became a way to expose new talent.

Matt: Yeah, provide the blog as a platform for people just starting out and then...I think some of the most interesting mixes were ones you'd hear from people who spent several years in their bedroom with a bag of records that they haven't been playing out and they haven't been exposed to like 20 years of crowds that want build-ups. You know?

Justin: Well, it's like a band, their first album is usually always amazing because they worked their whole lives for it, and then following it up, that's not so easy.

Matt: Yeah, yeah. Exactly.

Justin: At this point were you feeling things were really starting to happen for you in your career?

Andy: It's hard because everything happened so slowly, but I think the thing is though, after we put out “Vision of Love,” there was this heavy stigma — we'd been pigeonholed as 90s house ripoff DJs, and we'd get booked on those types of bills. Even if we put out records and mixes that were more techno influenced.

Matt: Always in the second room and not being considered for the main event.

Andy: Yeah, which was cool, but we needed to really break out of that so we really focused the next few years on learning the the studio. 2013, 2014, we DJ'ed loads. We put out a couple records. Nothing ... It was good, but we were learning the studio and also really focusing on learning piano, getting way more into music theory, taking it very seriously, reading up about compression, mixing, really getting beyond the obvious just high stuff. You know what I mean?

Justin: Yes. Learning your craft.

Andy: Totally.

Justin: Did you ever work with an engineer?

Andy: Never. We'd done everything ourselves. There's some records that we really got into compressing and EQ'ing so much that the record just sounds too booming and too big. We were focusing so much on making things sound huge and then it was too big. So, we were like, "Shit," okay, right. We'd gone from a record sounding too quiet to sounding too light and too boomy and then it was like another gap and then we did “Just”.

Justin: I love that record.

Andy: And so that's the first one, the first one ever that we were happy with. And  the parts were played totally live. That was a jam where we were just hitting record, and the melody was a bassline originally that we had pitched up a couple of octaves and suddenly we had a bassline that suddenly became a riff, and we never considered writing it as a riff.

Andy: We'd been dabbling to bring a vocalist in because we were tired of using samples. We were obviously at this stage we were organized in terms of when we record vocals. We'd be like, okay, this session's in D minor. We'd have some D minor chords, she'd sing in D minor and then we'd save the file. We'd do lots of ad libs and then we'd save a file as D minor vocals. But then it would be a case of we didn't necessarily use those chords, but we'd have that vocal and then if we wrote a track in D minor, we could pull her vocals in and see if it was just a little something that worked. So, we had this library of vocals that were in different keys.

Matt:  We thought can we make it work as a full vocal?

Andy: Yeah. We tried to drop in some of her actual vocals. Nothing was really working, and then we were just moving across the loop, okay, and there'd been a period in between two recordings where I'd be like, "That was perfect, but can you just do that, loop it again?" And then she just replied ”Just the same?”, "Okay." And it was only as I was skipping through that that spoken part, just her calm speaking to us and then I heard it over part of the track that became “Just”.

Andy: It was like, "Whoa, this is weird."

Matt: We just left it. It was perfectly in the loop, as well, when it was playing.

Andy: Yeah, and it just didn't sound like something that you'd expect. We didn't sound like we were trying to create another record there. You know what I mean?

Justin: Yes, when I first heard it, it reminded me of something New York electro. I don't know what it is. It's a very modern and amazing tune. It was one of my favorite records to play out and I still love to play it.

Andy: There's loads of our records I can't hear again. I hear the record and I'm going, "Oh, right, next. Click. Get it off." But there's a few that we've done that you can still hear them and not basically want to turn it off. I think that was for us definitely the one that was like that. And then it changed everything in terms of how we were viewed. No longer just seen as sort of 90s house ripoffs. People thought, "Whoa, okay."

Matt: That one bubbled quite slowly as well.

Andy: I think the timing was right. Coming off the peak of the 90s house thing was killing people; it was too much at that time. It was definitely a grower in that sense of you could see it just rising in popularity, even until now it still keeps going up. It's not like it's flattened off. It's still rising, slowly rising.

Justin: It's a special record.

Andy: It definitely gave us a lot of confidence. We knew we were going to try to attempt an album, and I think we saw that record with “Celeste” as a pre-album tester of sorts.  Those records were made out of a few days jamming and we recorded it. We really weren't thinking , "We need to make a techno record today," or, "Let's do something ambient." They were really sort of mistakes. Not mistakes, but just  trial and error. And then once we had that and it was well-received, we finally felt kind of comfortable in our own ears.

Andy: It's the hardest ... It's like you can't really ... No matter how many people say your records are good or bad or how many good reviews, how many bad reviews, it doesn't really matter what other people say. If you never really have that feeling that you can just trust your own gut. And maybe even if 20 people tell you they don't like something, if you really like it, you're happy to release it. You believe in it. Then I think that's when we kind of got to that stage when it's comfortable.

Matt: That's why we had to do this full time. We were in there, we were coming in at 9:00 in the morning, staying there until we had to leave on Friday to another gig and DJ Friday, Saturday, come back Sunday, back in the studio Monday. We did that for two years ... We still do that pretty much.

Justin: Do you guys have separate roles in the studio?

Andy: We’re very much on our feet the whole day as opposed to sitting on a chair, on the computer. You know? I think that definitely means that we can kind of interchange quickly in roles and maybe one of us is going through a sample library, trying to dig old world music records, some jazz records, little bits and pieces that can sometimes add ... Because I still think having samples of music brings something new.

Justin: It's always an inspiration, even if at the end you never use it in the final mix.

Andy: A weird belly noise that's sort of slightly out of key was recorded on some sort of African instrument or those little things can trigger a whole wave of your own stuff. It can be one noise, it can be a little vocal, it can be just a drum ... Like two little taps of hand drum.

Matt: We had loops playing all day. We go through that PC and we’ve got hundreds of samples now as well. You change the clip. We go through around 50 clip. We'd be like, "Whoa stop," and go back and listen. That's how we work. It's kind of more listening rather than waiting. I think it's different when you're on a computer and you're like clicking through things. It's not the same as actually playing things.

Justin: When did you decide that you wanted to bring a live element into your shows?

Matt: 2015. We worked till April, just demos, and then in April we agreed that we'd do one month of building a live show and we'd do a couple of live shows that summer just to sort of test the waters.

This is more of our management who kind of knew if you finish an album and you've never done live shows, it's going to be very, very scary when you're tired to deal with all the pressure of having to do a live show, so we agreed that we'd do four that year. We did one test show at Corsica Studios, but then we ended up doing the closing set of Field Day. It was, I don't know, 10,000 people. That was our fourth ever live show, and dealing with that level of attention... And we kind of went in pretty much with the setup we've got now. We changed it a bit, but we spent a month really thinking about how we could make a live show that we wanted.

We cut up all of our tracks, the pieces, had them all on Abelton, but then we had some synths, a mixing desk, guitar pedals, reverbs, a little mixer. An actual mixing desk and the little MIDI mixer so we could mix some samples together. We brought  a little mini studio with us and from the beginning that was pretty much what it was. It was never more basic than that. We just did four and we got through them. They were good.

Justin: Do you also use a computer?

Matt: Yeah, we have a laptop with some samples and stuff because in terms of how our music is, there's so much going on, it would be impossible to realistically do stuff well completely live. I think you'd always end up being sort of a lot more techno-y. Like “Just” I can never imagine, but what we have is just the riff as a single file that we can manipulate and we can jam with and we can echo it and sort of put reverb and then we have another synth that we can jam over the top of that and then all the drums can come in live. So, they sound very heavily deconstructed. We have a laptop as well that triggers some samples and I think for us that works the right balance of stuff.

Justin: Dealing with vintage machines can be sometimes very frightening live.

Matt: Yes. The year of basically complete and utter fear.

Justin: How do you balance between the live shows and DJ sets?

Matt: We barely DJ'ed at all this year. Very, very little. We DJ'ed a weekend here and there. It's kind of hard because you really need to be DJ'ing every week and digging every week to peak form. But we've been trying to keep on top of it. We're preparing a few mixes, but yeah, it's definitely quite hard stepping back in to DJ'ing after you've been focusing all your energy on writing and live.

Justin: How do you feel playing in front of that many people? From going from a club situation to this massive sea of humanity at festivals? Do you still feel connected to the crowd?

Matt: It depends. It really depends. That's the weird thing about being connected, because I suppose a DJ set, any good DJ set, you won't have your track list pre-prepared, you're going to be interacting. And you're going to be taking off the crowd and giving back and answering, reacting to things and deciding to go down or up based on what you see, whereas obviously the live show we have to plan it. So it's very much a one hour performance so it's different.

Andy: Sometimes we can speed it up and go more techno. We've got songs we can make it way more loopy.

Matt: You can't let the crowd influence how you do it.

Yeah, this is our show, we're doing it, this is what we want to do, and that's it. It's hard. 10,000 people doesn't suit our show, we tend to do more that are a few thousand. We've been focusing a bit more on doing a lot of concert venues. Like we did the Ulster Hall in Belfast. The orchestra played there. Coldplay played there. But there's this huge like 40, 50 foot organ behind you. We do the lighting show. We weren't too far away from the crowd, and that one really felt like, you know, like we were part of the crowd. I think when you do get up to those 10,000, it's sort of like ... You feel like the quieter moments don't work.

Matt: The intimacy gets lost and I think that's where the sort of like EDM, pyrotechnic vibes, come in you know? That's why that stuff's popular and that's not really where we’re going to go. But I think at the same time, it's maybe a challenge to think about a live show that could work at that scale because obviously Chemical Brothers, the big electronic live shows  from the 90s , they obviously knew how to work on those stages, but I think for our current one, it's definitely suited to more intimate size crowds.

Justin: Well, I think you're an inspiration for a lot of young DJs and producers.

Matt: I think we're stuck in this period where it's just a lot of very similar sounding things. I mean, it's easy to say it wasn't like that back in the day, but I'm sure there's times in the 90s when you're sitting there and the one house record that was inspirational came out and then 40 replicants came out after it.

Justin: But not that many people would know about it, because it was a small group of people who cared and wasn't on the internet.

Matt: Yeah, exactly, and now it's quite sad and uninspiring to see these top 10s of ten of the exact same track with the same high hats, and for us it's definitely  wanting to try and develop our song and push things forward.

Justin: Keep pushing.

Matt: Yeah, but with this new album, we definitely moved away from probably exactly what people expected us to do.

Justin: That's great, because you're at a point where it would be easy to just keep it going and just churn out a few more banging House records.

Matt: But it was definitely a big step because beforehand, we really believed in what we'd done, but you can't help but have that creeping feeling of like ... You're just stepping out of your comfort zone and there's always going to be the sort of feelings associated with doing something different than people expect, especially when you're at a period when people were so heavily associating you with festival club tracks.

Justin: Absolutely, yeah.

Matt: So I think it's really good now to be even more comfortable going into the next one. To branch out further, you know. In fact, the next one we're going to really try and push it a lot more. I think this one was ... I would say it was a stepping stone.

Justin: What was the inspiration behind the new album ?

Matt: I think we did do 60 demos.

Justin: 60 is a lot. And how did you whittle it down to the final selection?

Andy: Just listened to them. Sometimes we'd come in on a Monday,  when you're not in a good mood, after a weekend of DJ'ing. We’d listen to the tracks and you can hear certain ones work together, or you know, there's like a vibe between a couple, and we just color them and you come back maybe a couple weeks later. We chip away at those tracks.

Matt: The coloring process was with green orange and red. Red was don't ever work on it again. Orange was this has got potential, but needs to be totally new direction whether its like remove all the drums and then rewrite them, and then green was like this is a demo that we think's pretty decent. Let's finish it. And so out of 60,  it became this big huge folder of like all these different colors.

Matt: The funny thing is, honestly,  we got to November of 2016, so that had been 11 months of working on the record and I think only two or there of what we thought was going to be the album got on the album.

Matt: We were so stressed out because we'd gone away on this tour. We'd done Africa, all around Asia, Tokyo, China, Australia as well, and we were jet lagged and tired and we had this pressure of trying to basically have the record finished by the start of the following year and we had only those demos. We didn't hate them, but they weren't working as songs on albums. It would have been very much a dance music producer's album. It was just not really up to the level that we wanted.

Andy: There were three tracks I think that we had but there was also one or what had ended up being “Aura”, although we didn't have a name for it at the time.

Justin: I love that you have such simple names for all the tracks.

Andy: Well, we deliberately just wanted to make it nice and simple, and “Glue” and “Aura” we'd done. So we knew we had two that we were happy with.

Andy: And we got back after this huge big long tour and we were and not really feeling that we had gotten anywhere with it,  and then we had a two week run in late November before Christmas and just got  nearly a demo done a day.

Matt: Our first week we got nothing I think.

Andy: Well, yeah, okay, we got nothing and then we had one week where we did almost half the album, and it was just a case that we'd been down every alley way and had dead end, dead end, dead end and suddenly you had like this week of clarity and it was like we just did loads in a row and then we just sort of like we were like free almost to sort of like just write stuff. We just got something. And then yeah, and then basically by halfway through January it was kind of done,  and we just started to mix it, and It was funny, it was just all those demos that came out at once at the end.

Justin: I know the artwork was something very important to you. What was the process with this one?

Matt: We found a design company that we really liked. They're pretty conceptual in terms of their approach to stuff and we knew we wanted an artwork to definitely reflect the album.We didn't want an image just slapped on the front cover.  So we contacted them and said we want you to listen to this album and just interpret the album as a piece of art and design.

Andy: Incorporate some organic elements, like textures. But still edit it digitally. Like we recorded the album. We used all this analog equipment but we edited it on a computer.

Matt: We wanted to feel like it was replicated in the design of the cover and we like sent them over lots of references we liked.

Matt: References like Gerhard Richter and some nice photography we'd seen, bits and pieces, some paintings we saw, some Turkish artwork we really liked to do, some printmaking and all these different ideas.

Andy: There's a piece that we've put up online on Facebook documenting the whole process.

Andy: They made a few different cover variations. We got through the final week and then they sent us five covers and it was just like we couldn't pick one out them. We just couldn't pick. And it was never meant to be five different covers. Then when I thought about it like those are five interpretations. They stopped and listened, laying out every cover and they were really trying to like interpret. So those were genuinely five different interpretations of the music and then we thought well ,why not have five covers. 

Matt: I mean, how many records I bought just on the cover alone. The designers were amazing. I think an album artwork project could take a week. This was three months. Very quickly sometimes when you're working with a load of people on a creative project that haven't worked together before, the relationship could break down halfway through where it's just too many dead ends, people have other things to work on and they just stayed at it 100% to the end. Kept going, going, going. And now we've become like friends. We met up with the in Portugal and we're going to work together in the future.

Justin: You have a team now.

Matt: Exactly.

Justin: It makes sense. I mean, you guys spend a lot of time with each other, are friends and have a great working partnership.

[myelectronicbananacollectio-blog]

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