Citizen Kane is the most important greatest American film as far as I'm concerned.
This is the gold standard here. It's pretty hard to talk Citizen Kane.
Citizen Kane is the greatest movie ever made. He's not pretty young idea how
to run a newspaper. I don't know how to run a newspaper, mister
Betcher. I just try everything I can think of. There's never been a
film that I'm aware of, that if you watch it for the one hundred
and thirty eighth time, you can still see something new that you hadn't noticed
before. I made no campaign promises, because until a few weeks ago,
I had no hope of being elected. Now, however, I have something
more than a hope. Jim get In, Jim get His has something less
than a chance. Every single not just every scene, but every shot has
an idea. There's a concept and an idea of being executed. At every
second of that film. There's this extraordinary performance which people seem to take for
granted. I mean, Orson ages from twenty five to eighty five in this
movie, and he's totally believable in every phase of it. Rosebud Orson Wells
was brilliant. I mean, and that was like his first film and he
was twenty six years old. It is just one of the great movies ever
made, and I think many people are gonna agree it's just one of the
great American experiences. For all that juggle, the Citizen Came will always be
something that demands at ten respect and admiration for another way of looking at the
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my counter nations for modern homes to realiz were playing and safe. We're playing
and write up on there every way and alur price. People didn't know about
football fall and a ball my ball and die fall pleased to friends say used
to stand the sucker speaking size, but I can't sustand make her still say
all the points are missing nothing. It feels the same many a long shrine
was out in my mind, a nonymous resolve grown from rooms and rooms were
fun. I would spoil my tricks and branches on a dead tree, my
victory or some fan so w for the points are missing. Nothing fails the
same many more, but spots offense, but please do man sers to stay
so content us speak, but sons do not you sustand not slandlord. So
never as me somewhat show so much explorable popca. Some of mine gets I've
made up wrong. It's to myself nos fucking fucking if I don't add,
I'm tryna sec offense. I'm trying day most jo you mean so much time
made sworn to that's red lane fenside can let's see so my use I'm made
or rost to myself, unspoken, unbroken, unright off motion, think more
about clad and then read glad. I say my blade, but I can't
so much made I'll say that's what I'm not saying. Slay from all the
points so missing nothing fails the same anymore. Don't sun when the smile leaves
me when I raised, don't so that's to stand so because don must make
it so when I chance to stand the from missol and summarized my fronda,
that's wait, all these mistakes I can't pass disperse to fight talk world and
strange alter scron oh that is good. That is Nebulizer is the song.
The band is Conduit and they are here with us. We're going to introduce
to them in just a moment. But this is Matt Connorton Unleashed. We
are live from these studios of w M n H ninety five point three f
M on this glorious Saturday morning. It is April sixth, twenty twenty four.
Jenny is here with me as well, of course, present and accounted
for. Yes, yes, and we also have joining us live in studio.
Let me get those mics up here. We have the full band conduit
is here. Hello, welcome, Hey, thank you for having me.
Great to be here. And uh, let me make sure I can hear
everybody. I just I want to make sure this mic is working because we
don't usually use this one. Boy, that's quiet. Huh. We'll get
you in there. You can turn them off. Oh boy, turn them
off. We'll get you. Sorry, we have to switch to the other
one. Talk a little more. They gave me a mic six years ago.
Been regretting it ever since. They take you places. But just how
come I can't hear? You can hear me? Oh there we go?
Oh because I was, because you were, because I turned mid Okay,
all right, I did it myself. Yeah, keep keep keep talking.
Hello, Thank chick. Yeah, I think we got you called New England.
Are wearing shorts? Mind you? I don't make good choices. Well,
well here, let's start with you and we'll go around the room.
Tell us who you are and what you do in the band. Bradley j
vocalist, lyricist, all right, antagonizer, welcome, go ahead? Can
you can you see me? How do I look? You look? You
look? You look stunny? He's got Jeff. I'm Jeff. I played
drums, all right, welcome, Berrel mcelravey. I'm the guitar guitarist.
All right, I'm Julia. I play the bass all right, very good,
Well, welcome everybody. Nice to have you here on this Saturday morning.
And you've been around for a while. Huh. Conduit's been around since
twenty sixteen, sixteen got together for the first time. It's magic. Uh
were you all? Uh? You're all in other bands right before that from
what I was reading, except for me, oh, except for you.
You're the new guy. I worked with Julia at local music store in Manchester
and she recruited me. I did, oh, okay, I like you
played drums. I need you to come to Morgan Storage on this day.
I just kind of bullied him into it. That's where where you were where
you rehearse by the way, Yeah, Morgan Storage. Uh our new sponsor
here on Matt Connorton unleased. Yes, Yes, they're great. We've been
there for like ten years. Have you really yet been part of local music?
Absolutely? Absolutely? So we played on Nebulizer. I'd like to go
ahead and play another track, partly because I do want to switch out that
mic because it's it's hard to hear you when it's driving me nuts, and
we can we can fix that. What are we going? What got?
What we got? We got let's see, we got constable, We've got
sell So that's a pretty good one. You want to go with that one?
That one's uh actually inspired by my fight with cancer when I was a
teenager. Oh no kidding, yeah, Oh wow, okay, so uh
I talked Brad about that before we wrote the lyrics, and uh he wrote
the lyrics. Yeah. I kind of kept it inspired by that, and
oh wow, okay, let's uh yeah, we'll play that one and we'll
get that mike situation figured out because I hear that buzz and it's it's killing
me. But uh yeah, this is I really I really like these songs
a lot. We should mention too. These were were these all recorded with
Eric Otter at Black Black Arts out Nebulizer was Nebulizer was Yeah, all right,
let's give this a listen. This is called CEL. We've got conduit
here with us live in studio. Check this out. My embrace from the
summit when the last concern of Falid Don suspect and vulnerable strikes me down,
When blind sister fad because I tried my hand and magic and I tried my
hand at faith and I tried my hand, Simon stir faded will fails,
soft okail, and I guess myself. Got some dale signs and pass the
same on Hiday, Welcome and rest, So accept me as well. Just
keep say go make is my faults of the young business. I'm just a
fine by my misterous I scenarios dot com. Now I pray for resolution.
I fifteen there's one and wait at the cells all a massive spinning one or
a clean and eye gets so fine. So you know see that you day
bad jo So a race speaks now it just Saint John wall Side and night.
I'm taking notes I'm number my broom pass a day, Simon the Ring.
By Simon the Ring, Simon say that said, I'm I'm taking notes
about the cross Bob. That's a day Simon the Ring. Find Simon the
right. I'm not saying fine so I said things I said like bye,
So I said thing by saying, don't sound about that bossy so like the
rat so like the ranks my mind and think about that. I'm not I'm
taking dolts. I'm I'm just fine podcast I sup by the way, but
Sun by the that's my last, so last, my fell I really like
that one. That is cell. The band is condu It good stuff.
We have the band condu It here with us live in studio. Bradley J.
Talk for me. Let's see, uh doesn't sound like it. We
turned them on in twenty sixteen. We can't turn them off. I think
I think I think it solved the problem. Say something, oh hello,
wow, hello man, Yes, yes, good to be here. Success.
We got to use that mic from now on. Yeah. That other
one is not hot. It looks sleeker too. It looked nice. Yeah,
it looks like Mike. Yeah. Yeah, the simplest one. These
guys with their red wind screens over here. That's right. Yeah, you
don't need that fanciness. So we have the band here and now we can
actually hear all four of them. Conduit is here with us live in studio
and Perrel. You were talking about that song right before we played it.
Can you tell us a little bit more about it, because that's a that's
a personal song. Yeah. I knew I wanted to write a song about
fighting cancer, and I I you know, when I was fighting cancer,
I couldn't really find much music having to do with that topic. Yeah,
especially heavy music. Yeah, so I kind of wanted to fill that void
for me. I mean I would say, like tool in a perfect Circle
really helped me through some of those struggles. So if I could write music
to kind of do the same thing for somebody else, that would be just
awesome. Yeah, and you were pretty young when you had cancer. I
was eighteen, But yeah, it's all you know. Won't bore you with
the story, but it's a long medical history of you know, I should
be dead so many times. I should probably shouldn't have made it for six
years old. But wow, no kidding here, I an Wow, Wow,
we're glad you're here. We're glad you're here assaulting everybody's ears. Now,
good morning everybody. No, I really like your sound. I like
what you're doing. You have a big show coming up right on on four
to twenty. Yeah, yeah, twenty at Shasky and Manchester. And who
are you playing with? Playing with war Graves, Dust Profit and thunder Hawk.
Oh yes, uh, Dust Profit is how we h Auto referre to
you to us and referred us to you. Yeah, they're great. All
yeah. Absolutely. I used to be in a band with Auto years ago
called Chemical Distance. Yeah. Well Auto has been in like a million bands.
Was he playing guitar in that band? Yes, yep, yep,
cool Chemical Distance. Yeah. But the nice thing is with Dust Profit he
seems to have found something, you know, because he'll be in a band
for for a little bit and then he'll he'll kind of move on. He's
kind of nomadic that way. But I think with Dust Profit he's found something
that really, you know, he can kind of stick to. He's got
a great presence on the mic. Oh absolutely, Oh he's he's amazing.
He's amazing. No, we love Auto. Now, you so you've been
around. We started to touch on this earlier since twenty sixteen. But it
hasn't been this line up the entire time as it or as it has this
line it has been this lineup. Okay, maybe I think we wrote a
couple, maybe three songs instrumentally before we brought Brad on. Yeah, they
had a few blueprints put together, all right, with one of those.
Actually, it's unusual for a for a band that's been around for so that's
eight years, to have a band around here at least have the same line
up that entire time. Yeah, that's fantastic. Yeah, me and Ferrell
have been writing together for even longer than that. And we tried a few
projects, and this is the one that really stuck. Yeah. Yeah,
I didn't really want to be a guitarist. I was trying to be a
singer. I was the best singer in an omniverse. Was my first band
I started, which was a ton of fun. Then we started another project,
Conditioned One. I was singing in that band, but we were just
having a hell of a time getting a guitarist keeping a guitarist really, and
I started picking up the guitar and just writing songs, and one thing led
to the next, and yeah, he learned guitar to be in this band
really yeah, Yeah, which is funny because when we when we linked,
I've known Ferrell and Julia for a year, like through various projects liked Omniverse
and Condition One, and Ferrell was fronting those bands. Well, I was
playing guitar in another band that I'm still in, his band called Potzy,
and we had played a bunch of shows together too, so it was kind
of like a swap of dynamics now for wanted to put the mic down.
And I had written a lot of the music and a lot of the lyrics
in Potsy, but I wasn't singing them. I was presenting them to the
guy that we had. So this was kind of a good opportunity for me
to got to test my vocal chops because I always had enough faith in my
ability as a songwriter, but I wasn't really experienced on a mic. So
yeah, he had put out a want ad saying like, hey, if
anyone's looking, you know, you know, if anybody knows any decent frontman
looking for a project or some you know, let me I know these guys
well enough, let me sit in on something. And either way I always
tell it is you know, if it comes out it sounded like bad karaoke,
then it'll be a funny story to tell, right, Iah. The
first time we got together, I put something down on paper and just kind
of tried to make it fit over whatever musical blueprint they'd given me at the
time. It was a song called Transcendence that we still play off and on
to this day. Yeah, so yeah, maybe we have something here and
we kept going with it. Yeah, Transcendence was the first song, Transcendence.
I mean they had it written musically by the time I came on.
I say, it's the first thing that we wrote collectively. Yeah. Yeah.
Us three were playing for like maybe a year or so before Brad came
in. We were writing a bunch of song like, man, we need
a singer. Yeah, these songs are good, like we got That's actually
interesting because I'm actually when I started playing, I had never really played metal
drums either. I'm actually I'm actually a jazz bassist. He also teaches marching
snare, Yeah, so I do. I was like, my experitise with
drumming is is like marching percussion, drumline kind of stuff. So Julia was
like, you play drums. I was like, kind of like the drums
that you you know. I was like, no, it's fine, I
own a drum set. My my uncle actually makes drums. So that's how
I started drums. And then when I was in fifth grade or something,
I switched a bass. Yeah that sounds a basic. Yeah, So I
did like my entire career musically until I met Julia was on like jazz bass
and marching percussion, and then she was like, hey, you should come.
Just just jam the orus, no pressure, and then some kind of
I really like it, and so then I kind of figured out how to
play metal on a double bass pedal, and yeah, anytime you play some
marching snare stuff in a song, I'm like, yes, yes, yeah,
you know what, this marching game could use some good double kick.
But to that point, we all kind of come from, you know,
different backgrounds. I think that's that kind of element to us. Yeah,
no doubt has the sound changed over the years because something that strikes me as
and maybe this stands out to me in particular because I've never been in a
band myself where I thought, you know, if I had to learn these
songs, it would be really challenging because they're long and they're complex. The
arrangements, and you don't necessarily you know, every band I've ever been in,
it's, you know, kind of your standard. You know, you've
got uh, you know, three verses and a chorus that just repeats in
it. But what you're doing is is pretty sophisticated. I mean, has
it been that way from the beginning the Well, let me just say I
envy those simpler songs. If I could write that those I probably would.
Yeah. I think the sound has evolved through the years. Certainly, I
wouldn't say it's changed in the sense that there's a complete disconnect between the stuff
that we're writing and the stuff that we're playing now versus the stuff that we
were playing back then. Yeah, you know, I think we've all certainly
gotten more of depth at our crafts over the years. But at the same
time, that sound was honed very early on, and I think we've really
tried to stay as faithful and as true to that as we can. You
know, That's why a lot of those earlier songs are I think there's still
a certain relevance in them to this day. Yeah. Absolutely, And we
sometimes we take an old song and kind of rehash it and kind of bring
it up to where we are now. Yeah, but you know, I
love every song we've written. We really put the time into each one.
Each one's its own kind of piece, its own movement. We must have
a lot, right, So you've been around since twenty sixteen at still twenty
Yeah, I mean are there are ones that are certainly more developed and more
prominent than others. Like we have our our staples of our set list too,
but every now and again, we haven't done this. There's a song
that was actually one of the first ones that that we had done. I
think it was like one of the first maybe three or four, and that
one got kicked by the wayside for a long time, and we just recently
started revisiting it and kind of modernizing it a little bit to make it a
little more representative of where we're at right now and how we're playing right now.
And I think we're probably gonna start working that back into our set was
pretty soon. We actually we played it about a month ago. Yeah,
Stone, Church Stone, we're going to play that critical acclaim. We're going
to play this four twenty. You tell me you can't argue about the set
list on air. I give a set right now. There's a running joke
that every time we write a new song, we're always like, all right,
guys, this is going to be the short one, for sure,
every time the short one. Yeah, what is the shortest song? Like,
do you have a legitimately short song? Transcendence? Yeah, Dusk is
like four minutes? Oh okay that Yeah, Transcendences is like three and change
though, really yeah, yeah, we were capable of it, right.
Is there a lot of rehearsal? Do you rehearse a lot? Because again,
and I'm asking this partly from the standpoint of someone who's never been in
a band where the songs were long and complex, is there a lot of
rehearsal to make sure that you've got these type? For many years we were
meeting at least twice a week. We recently dropped down to once a week
because we're old and tired and it's hard to be out to you know,
ten thirty pm when you have to get up and go to work the next
day. Right, we lived in Manchester. Yeah, but we do rehearse
a lot, and we try and find time to just like even just jam
ideas, like outside of regular rehearsal whenever we can. Yeah, I think
we all kind of can agree that, like that's what I want to be
doing all of the time, right, right, of course. Yeah,
we want it to be our jobs without feeling like a job. But answer
your question, like, it's it is really important that we rehearsed because there's
so many changes, there's so many parts. Yeah, yes, and it's
easy to forget some of those transitions. Oh I can imagine. Yeah,
I can imagine, especially if you're pulling out older material that you haven't played
in a while, I would imagine does that does that ever go wrong?
Live? Oh? Yeah, jeffs up all the time, but uh,
we actually keep a shot callar around him for scenarios just like that. Yeah,
it's kind of like a fun like intimate thing between the four of us
that like no one else knows about, you know, like Jeff will you
know, I'll do something wrong and Jeff will catch my eye and we'll like
make eye contact and just start dying laughing. Like it's so funny because it's
like he gives me like a head nod like this I saw, don't.
Yeah. But also also we're at the point where like a mistake is like
it's you know, a million second and we're like, I know you did.
Yeah, right. The on stage chemistry is such now that even if
one of them does kind of or one of us does kind of go off
the rails a little bit, we can almost anticipate how it's going to happen
and then reconvene very soon, which is it's a blessing to have that kind
of chemistry, especially these odd times signatures. Yeah, yeah, so it
really is testament. I know it's going to go along, but I know
how it's going to go wrong. Yeah, that's half the battle. Yeah,
yeah, no doubt. And somebody seeing you live for the first time
too, they don't know, yeah right, the only one that knows you
messed up progressive rock. It all sounds intentional, right? Is that how
you define yourselves in terms of your sound for somebody who's never heard you before,
Do you say it's it's progressive or yeah, like prog rock, progressive
alternative rock? Yeah? Yeah. Now how did you come to record with
Eric Sotter at at Blackheart Sound? Oh? I knew Eric for a few
years. We used to work together when I was working at Matchester Music Melt
and he actually started his studio while we were like coworkers. Okay, you
know, like I knew him from work, and then I started listening to
what he was putting out and I was like, guys, my coworker's like
really good at this. He was. We actually had He showed me his
studio before it was even built, and he like showed me his whole vision
of what it was going to be. Yeah. And then the next time
we needed to record songs, his studio was up and running, and I
was like, we should go with Eric, Like I love what that guy
does. Yeah, yeah, and we played two uh in the first hour.
We played a couple of Magnetar songs and which I had been aware of
Magnetar, but I didn't realize Eric was in the band until Yeah. I
think until yesterday I hadn't made the connection. And you know, kind of
similar in the sense that I don't mean that Magnetar sounds like you guys,
but in terms of the Prague approach where the songs are long and complex.
I played a Magnetar song at the end of the first hour. I was
like, this one's ain't now minutes, but it's my favorite Magnetar song,
so I don't care. I'm gonna play it, But who who writes?
I mean, do you all write together some of the material or it's definitely
like a collective effort. I come up with a lot of the riffs on
my own and bring them to the band, and then we kind of kind
of take shape from there. Everything changes and figure amount yeah looks at me
and goes, what is this end? And I go, I don't know,
eleven and then it goes to twelve and then we'll argue if it's five
or ten for a while, but yeah, but we get there. But
really, that's that's the process. I like, Yeah, I would get
really bored kind of writing by myself. Yeah, it's just not fun for
me, and it's got to be fun if i'm I'm gonna make something interesting.
So I would imagine again, with the songs being long and complex,
they probably often end up in a place that isn't necessarily Yes, absolutely,
I mean there's probably some surprise like, wow, I didn't expect this.
That's a yeah. So I think I think we also gave you our song
called the Phase, which has taken maybe maybe four different incantations really yeah,
yeah, the Civil War and yeah, yeah, that's our process that we
will have a piece. I mean, you know, that song could have
taken us a year to write, I mean rewriting it, rewriting it.
Yeah, but in the end, I think we're all really happy with it.
I am. Yeah. I get the feeling too from listening to these
that each song is uh. You know, we talked about what Cell is
about, of course, but I mean they all sound like they have some
sort of a theme, Like they don't sound like uh, I mean,
are are they are? Are are all these songs? Are they about specific
subjects or themes or I don't know, Brad, what are they about?
I was weeding for that we sell. In particular was one that he had.
Ferrell had approached me with the theme he wanted me to, you know,
try to write something about his tribulations with cancer when he was a kid.
So that's one in particular that I had to approach with a certain amount
of delicacy, because when I write personally, I have an idea or I
have a theme in my head usually when I start writing, and a lot
of it will come from, you know, just a phrase or a melody
that I've been kicking around with forever, and I'll try to integrate it into
the song and then you know, lyrically or thematically. You know, maybe
I'll rework it a little bit as I go. That's one that I had
to be a little bit more on the nose with which I typically don't like
doing. I like to kind of obfuscate things when I write, so that
I can have an idea in my head. Somebody else listening to it might
get something completely different, but just as personal to them. Yeah, nebulizer
in the face, for instance, it deals with kind of a theme of
of alienation because like I'm I'm a little bit I'm a few years older than
these guys, like I grew up in the nineties, and so that was
kind of something that I approached with. All right, Well, let me
it's kind of like the world that I knew versus the world that I know.
Oh okay, and how a lot of the technologies and the medias have
changed from you know, what I was familiar with when I was younger,
and yep, you know how I can keep that relevant in my day to
day life. Yeah, yeah, but again, I try to obscure it
as much as I can, so somebody listening might get something completely different out
of it, right, right, that's interesting. But what it is about
as you as you explained, it is quite relatable for many of us,
I think, and I mean when you talk about it out loud, you
know, it's it's it's hard to explain with I it sounding like the old
guy, but it's something that I think everybody goes through at some point.
Yeah, so there was a certain relatability to it. We talk about it
a lot on the show. In terms of recording and releasing music, how
how much it's changed with the technology, and especially the things you can do
now with recording in terms of like you can record with people in other parts
of the country or other parts of the world, and you know, email
files back and forth and stuff you couldn't do when I was certainly when I
was growing up, you know. So I think there's pros and cons to
that too. Yeah, Whereas you know, saying the nineties, you could
have like a DC sound, you know, you have a Seattle sound.
Yep, you have different sounds all over the country, whereas now with the
Internet, I feel like the sounds are all kind of coming together as one
because we can share. I never thought it was kind of way just pros
and cons to that. Yeah, yeah, I know, I know exactly
what you mean though, because yeah, in the nineties with grunge, people
would call that the Seattle sound, whereas if if that same sound were to
emerge today, we would you you know, it's just yeah, you're right,
it's it's uh because it's all so they really are pros to that,
yeah, and there really are negative right right? Yeah, Yeah, that's
interesting. Who are is there anyone who obviously, you know, you've with
your backgrounds, you have a lot of different influences, I'm sure, But
is there anyone who just in terms of a band overall, I mean I
do hear some some Tool in there, but but also some other things too.
I mean, you guys, are you know, certainly heavier than a
band like Tool, But I mean, are there other bands that you try
to not necessarily emulate, but they kind of influence you collectively as a band.
Me personally, I'm all over the place. I grew up with a
lot of like Celtic music, really, Kelly Wizard, I love the Moody
Blues, yeah yeah, Floyd King Crimson, but yeah, also Tool,
System of a Down, Yeahge Against the Machine and mud Veine and Nothing Face
all these heavy bands, but yeah, yeah, Lana del Rey or the
Kit. I'm all over the place really yeah yeah, yeah, like I
have you know, I love I love heavy music, but like you know,
I grew up listening to like Pink Floyd with my dad. But like
my favorite band probably my Suga, But then I love bands like Lana del
Rey or I love Metric. It's almost like for me, it's less about
the kind of music and it's more like a vibe, you know, like
is it a little bit weird, is it a little bit sad? Is
it aggressive? I like the aggression, but sort of it's not necessarily genre
specific. It's more like an ideology, you know, yeah, yeah,
yeah, totally. How about about you guys. Oh, I mean,
as far as as far as frontmen go, I don't necessarily like the term
emulate because to me, that implies that there's like a certain almost choreographed aspect
to it, and I don't like anything to be I like it to be
very organic, you know, like when I'm on stage with these guys,
whatever you're seeing, I think should be a very just organic, natural response
to whatever is going on behind me. And so I did grow up admiring
a lot of the more aggressive to use Juli's word, but also kind of
antic frontman, like a Perry Ferrell from Jane's addiction Absolute Madman back in the
day, Admire the hell out of him major James Keen. It is another
great example too. You know there's there's you know, guys like rich Michael
Jackson. Michael Jackson, I've seen MOK right now, how about you,
Jeff uh Well. I I grew up really not listening to a lot of
metal. I grew up listening to, like, you know, pop music.
I really liked Lincoln Park when I was a kid, so they had
like a really you know, they have that like digital hip hop kind of
metal vibe to them. But when I started playing with Farrell and Julia,
Farrell gave me a album. He gave me ten Thousand Days by Tool when
like after one of our first girls, and he was like, listen to
this. This is gonna blow your mind, you know, like and so
I listened to ten Thousand Days, and you know, I heard Danny Handy
Carey play for the first time, and I was like, Holy what what
am I listening to right now? And I just got like completely. I
was like me and Brad go back and forth because he grew up listening to
Tool and so he loves all that early Tool stuff. And I the first
album I listened to was ten Thousand Days and like Lateral, Yeah, I'm
more like team undertow on if we're going to talk about the Tool, so
time we have to set aside ten minutes at the beginning of every practice for
Ferrel and Jeff to play the pot and then then we start getting down to
brass tacks. Yeah, I mean, so then that kind of opened up
a rabbit hole for like these odd time signature how do I make four sound
like seven? Kind of how do I make eleven sound like four? Kind
of time signature? Metric modulation things that Danny is just really good at.
But yeah, and then he showed me masteredn and Carnival and all these other
fantastic drummers, and so I kind of went down that because I really hadn't,
Like I said, I really hadn't been into too much metal until recently.
But it's just it's fascinating to hear the way they shift these time signatures.
I think you with your jazz background in the marching snarre, it just
really adds a cool element. Well that's the thing is it's very marching,
is very regiment and it's oh okay, so I can see where that helps
you. Yeah, but you know, it's always in time. If you're
not out of time, you're wrong, you know kind of thing. But
this is like completely the opposite is Yeah, anytime I mess up there like
whoa, that was cool. That was so wrong, and they're like no,
no, no, do that again, you know, kind of it
took me a little while to kind of retrain my brain and be like,
all right, you don't necessarily have to hit the downbeat every single right measure.
You can go his left handed, so you can retrain his brain.
Yeah, I'm left handed. By play righty drum sets, so I'm left
handed guitar right unlocks a little bit of a weird dynamic that I can move
around the kit in certain ways that most righties wouldn't be able to do.
So oh okay, okay, who else is ringo ringo? Yeah? Yeah,
yeah, he's the opposite though he's ready, but he would play left.
Is that what it is with him? Oh? Wow? See I
remember hearing that. I was like, weird. I know that because my
uncle who makes drums is obsessed with ringo. Oh really yeah? Yeah,
we the time goes go so quick. We are we are running out of
time because we're gonna play one more song at the at the end of the
segments Disorientation. Take your pick. Yeah you guys, I don't want to
pick. You guys can pick. But okay, yeah phase phase was discussed,
so we'll go with that one. But before we do that, let's
I want to make sure. I want to remind everybody about the show coming
up on four twenty, And I also want to make sure that our listeners
know where to find you online. Where's the best place to go to keep
up with everything that you're doing. Check out the music, the shows,
et cetera. We do the we do the social We're on Instagram, We're
on Facebook, and I mean, you guys have the ads at Conduit band
Underscore official Instagram. Hey, where's the name come from? By the way
it comes it comes from a crop circle called Conduit Closing. Yes, really,
yeah, you can google that. There's obviously debate about it. It
was like the tentative name of the band, like in the Yeah, so
it's usually Conduit Closing just kind of shortened, but also we kind of we
wanted to take the term conduit because this is our conduit of personal expression.
Okay, so it kind of leaves it open ended enough where we can be
what we're going to be regardless. Cool. Cool. And another thing too
if at the live shows there is as it's more of like a mail order
type thing, but it's something just to be a little more interactive with the
fans. We do a fan club too where if you feel out your information,
will send you like a press pack and just some tangible evidence in the
mail as well. Yeah, excellent, get core twenty done, four twenty,
just hang out with us. It's grand high holiday, Brad. You
actually you had mentioned off air before we started, when you when you gave
me the press kit that you know, trying to keep physical media alive,
which is cool. It's it's an important aspect that I think it's overlooked a
lot nowadays, just because it's to have something in your hands that you can
look at and that you can't you know, necessarily delete or have deleted at
the end of the day. That's very important. So we try to integrate
that into the digital stuff as well, just so we can approach it from
you know, a few different mediums it can only help. Yeah, yeah,
exactly. Yeah. I think that's cool. I think that's very very
cool. All right And did oh did we remind everybody about four twenty shasking
with dust profit and and thunder Hot under thunder Hot. Yeah, dope,
very good, very good, all right, con to it. Thank you
so much, wonderful, too wonderful to meet the four of you. And
uh, if you missed any part of today's show, it'll be up in
just a little bit at w M and hradio dot org and in my way
website Matt Connorton dot com. And uh, welcome again to our new sponsor,
Morgan Self Storage. And yes, and Jenny, you want to plug
your website absolutely you can come check me out at Jencoffee dot com. J
E N n C O F f e y dot com and see all the
trouble I'm making. Yes, yes, and thank you again to Warhog for
skyping in earlier from Texas. And of course, uh, in the first
hour we had Eric Sotter from Blackheart Sound and uh, manitar is that I
said? No? Magnet magnetar, magnetar What am I thinking? It's like?
I invented, invented some sort of character in my head. And of
course Eric Pilter for his classic film review of his favorite film of all time,
Citizen Kane. And we're gonna leave you with another track from Conduit.
Uh. This is called the Phase. Thanks for having us, Matt,
Yeah, thanks, thank you, thank you so much for coming in.
We we enjoyed this very much, and we will talk to you a little
bit later. By everybody, Bye bye, bye bye. Second, let's
sick as a children, Let's sweet, tis true, it's sticking, that's
tri meant t. Don't you watch? Three words to which shall not?
Here? Have I made you by this shelter? And I've found I've found
the fallen under the bed, and I found the garden. Unless you got
rendering your dreams all that day, I don't now you do not kill key,
reminding you my love is the Master's rich. And they the messages see
this genius, the impression of men, that's te chings that feel the leastest,
stay at Tosa sample give them something at shall What would that say about
me? Did your slack and flag? Now heard that the scene? Tell
me? When would the train to flee? Maybe? No, maybe I'll
work for ages so that he doesn't something I don't want. That's so I
say, my father, yes, since what I actually other dream last night
where I was sitting in the field and there were a bunch of humming birds
that just landed on men. And I later looked up what humming birds are
prison and dreams, and apparently it's believed that whatming birds are massingers for lands
and they Asian dreams doing the things of life are basically I guess we're getting
tender and they would prison joined oppiness and all that is pure in the world.
Because I'm showing fall down the yeah you do slid so still John to
sound looking for something controversial. It's not saying about me the same and so
well, what's your plea? Maybe some PASSI and some because I say my father h