1 00:00:08,279 --> 00:00:13,960 Citizen Kane is the most important greatest American film as far as I'm concerned. 2 00:00:14,160 --> 00:00:17,600 This is the gold standard here. It's pretty hard to talk Citizen Kane. 3 00:00:18,079 --> 00:00:22,239 Citizen Kane is the greatest movie ever made. He's not pretty young idea how 4 00:00:22,280 --> 00:00:24,679 to run a newspaper. I don't know how to run a newspaper, mister 5 00:00:24,679 --> 00:00:27,280 Betcher. I just try everything I can think of. There's never been a 6 00:00:27,280 --> 00:00:30,800 film that I'm aware of, that if you watch it for the one hundred 7 00:00:30,800 --> 00:00:34,079 and thirty eighth time, you can still see something new that you hadn't noticed 8 00:00:34,119 --> 00:00:40,119 before. I made no campaign promises, because until a few weeks ago, 9 00:00:41,039 --> 00:00:46,600 I had no hope of being elected. Now, however, I have something 10 00:00:46,600 --> 00:00:53,000 more than a hope. Jim get In, Jim get His has something less 11 00:00:53,000 --> 00:01:00,159 than a chance. Every single not just every scene, but every shot has 12 00:01:00,159 --> 00:01:04,640 an idea. There's a concept and an idea of being executed. At every 13 00:01:06,040 --> 00:01:11,640 second of that film. There's this extraordinary performance which people seem to take for 14 00:01:11,719 --> 00:01:15,879 granted. I mean, Orson ages from twenty five to eighty five in this 15 00:01:15,959 --> 00:01:22,560 movie, and he's totally believable in every phase of it. Rosebud Orson Wells 16 00:01:22,680 --> 00:01:25,799 was brilliant. I mean, and that was like his first film and he 17 00:01:25,879 --> 00:01:30,920 was twenty six years old. It is just one of the great movies ever 18 00:01:30,959 --> 00:01:33,799 made, and I think many people are gonna agree it's just one of the 19 00:01:34,000 --> 00:01:57,959 great American experiences. For all that juggle, the Citizen Came will always be 20 00:01:59,040 --> 00:02:04,439 something that demands at ten respect and admiration for another way of looking at the 21 00:02:04,480 --> 00:02:21,400 world through cru cinematic eye. Come on down to the Hop Knot at one 22 00:02:21,439 --> 00:02:25,400 thousand Elm Street, Manchester's premiere Kraft Beer and War Made Pretzel Bar. Tell 23 00:02:25,479 --> 00:02:29,599 us more Trudy. We make our dough fresh every day. We make a 24 00:02:29,680 --> 00:02:34,599 variety of styles of pretzels and serve Kraft Beer, cocktails and a few bottles 25 00:02:34,639 --> 00:02:38,680 of wine. We do the traditional pretzel and we have multiple flavors for that. 26 00:02:38,759 --> 00:02:42,960 We also do stuffed pretzels, pretzel sandwiches, three dessert pretzels, and 27 00:02:43,080 --> 00:02:46,439 pretzel knots. The Hop Knot and the Brady Solivan Plaza at one thousand Elm 28 00:02:46,479 --> 00:02:52,520 Street. We'll bring your kitchen to life with Queen City Cabinetry, located at 29 00:02:52,560 --> 00:02:57,960 eighty seven Elm Street in the historic Sunbeam Mall in Manchester. Open Monday through 30 00:02:57,960 --> 00:03:02,800 Friday nine am to five thirty in Saturdays ten am to two pm. They 31 00:03:02,840 --> 00:03:08,319 can be reached at six oh three two two two to zero zero seven or 32 00:03:08,360 --> 00:03:15,800 on the web at Queen Citycabinatree NH dot com. Come see the possibilities Queen 33 00:03:15,879 --> 00:03:21,280 City Cabinet Tree, another Brown sponsor of w MNH. Business Cafe is the 34 00:03:21,360 --> 00:03:23,560 place to put a smile on your face. Judy and the crew will take 35 00:03:23,639 --> 00:03:28,960 care of you, bring your appetite and treat your taste. Buds run Business 36 00:03:28,960 --> 00:03:35,000 Cafe is always a winning choice. Breakfast, lunch or supper Dizne's Cafe at 37 00:03:35,039 --> 00:03:38,639 eight sixty Elm Street in downtown Manchester. Dine in, takeout or make a 38 00:03:38,680 --> 00:03:44,960 reservation call six oh three, six oh six two five three to two each, 39 00:03:45,360 --> 00:03:50,400 drink and be happy Dizzne's Cafe. When it comes to keeping WMNH on 40 00:03:50,439 --> 00:03:54,080 the air and your own personal or business computer needs, trust Groland Computers, 41 00:03:54,080 --> 00:03:59,879 located on Elm Street in Manchester. Groland handles computer repair, virus removal and 42 00:04:00,039 --> 00:04:02,680 custom built systems. Are you looking for budget friendly options, check out our 43 00:04:02,759 --> 00:04:09,319 selection of fully inspected used computers. We offer tailored on site solutions no unnecessary 44 00:04:09,360 --> 00:04:14,000 expenses here, visit Grollin dot com or call Grollin Computers at six zero three 45 00:04:14,159 --> 00:04:17,279 six four five zero one zero one. Your Tech, your Way, Trust 46 00:04:17,319 --> 00:04:26,120 groll In Computers. This hour on WMNH is sponsored by CGI Business Solutions located 47 00:04:26,160 --> 00:04:30,759 at five Dartmouth Drive in Auburn. They serve all your business needs including employee 48 00:04:30,759 --> 00:04:36,560 benefits, planning, corporate design and business administration, investments and wealth management and 49 00:04:36,680 --> 00:04:43,040 customized business insurance solutions. Their phone number is eight sixty six eight four one 50 00:04:43,399 --> 00:05:11,720 forty six hundred or on the web at CGI business Solutions dot com. Good 51 00:05:12,720 --> 00:05:25,759 my counter nations for modern homes to realiz were playing and safe. We're playing 52 00:05:25,839 --> 00:05:30,199 and write up on there every way and alur price. People didn't know about 53 00:05:30,399 --> 00:05:47,600 football fall and a ball my ball and die fall pleased to friends say used 54 00:05:47,600 --> 00:06:02,439 to stand the sucker speaking size, but I can't sustand make her still say 55 00:06:20,120 --> 00:06:27,040 all the points are missing nothing. It feels the same many a long shrine 56 00:06:27,279 --> 00:06:32,680 was out in my mind, a nonymous resolve grown from rooms and rooms were 57 00:06:32,839 --> 00:06:36,839 fun. I would spoil my tricks and branches on a dead tree, my 58 00:06:38,160 --> 00:06:46,079 victory or some fan so w for the points are missing. Nothing fails the 59 00:06:46,199 --> 00:06:57,480 same many more, but spots offense, but please do man sers to stay 60 00:06:58,040 --> 00:07:04,600 so content us speak, but sons do not you sustand not slandlord. So 61 00:07:04,920 --> 00:08:03,839 never as me somewhat show so much explorable popca. Some of mine gets I've 62 00:08:03,920 --> 00:08:11,560 made up wrong. It's to myself nos fucking fucking if I don't add, 63 00:08:11,839 --> 00:08:24,040 I'm tryna sec offense. I'm trying day most jo you mean so much time 64 00:08:24,199 --> 00:08:39,440 made sworn to that's red lane fenside can let's see so my use I'm made 65 00:08:39,679 --> 00:08:48,440 or rost to myself, unspoken, unbroken, unright off motion, think more 66 00:08:48,480 --> 00:08:54,000 about clad and then read glad. I say my blade, but I can't 67 00:08:54,600 --> 00:09:22,480 so much made I'll say that's what I'm not saying. Slay from all the 68 00:09:22,600 --> 00:09:28,679 points so missing nothing fails the same anymore. Don't sun when the smile leaves 69 00:09:28,879 --> 00:09:37,039 me when I raised, don't so that's to stand so because don must make 70 00:09:37,159 --> 00:09:48,600 it so when I chance to stand the from missol and summarized my fronda, 71 00:09:54,440 --> 00:10:11,080 that's wait, all these mistakes I can't pass disperse to fight talk world and 72 00:10:26,960 --> 00:10:46,080 strange alter scron oh that is good. That is Nebulizer is the song. 73 00:10:46,200 --> 00:10:50,440 The band is Conduit and they are here with us. We're going to introduce 74 00:10:50,440 --> 00:10:52,879 to them in just a moment. But this is Matt Connorton Unleashed. We 75 00:10:52,960 --> 00:10:58,120 are live from these studios of w M n H ninety five point three f 76 00:10:58,279 --> 00:11:03,320 M on this glorious Saturday morning. It is April sixth, twenty twenty four. 77 00:11:03,039 --> 00:11:07,000 Jenny is here with me as well, of course, present and accounted 78 00:11:07,039 --> 00:11:09,120 for. Yes, yes, and we also have joining us live in studio. 79 00:11:09,200 --> 00:11:13,759 Let me get those mics up here. We have the full band conduit 80 00:11:13,919 --> 00:11:16,559 is here. Hello, welcome, Hey, thank you for having me. 81 00:11:16,879 --> 00:11:18,360 Great to be here. And uh, let me make sure I can hear 82 00:11:18,399 --> 00:11:22,000 everybody. I just I want to make sure this mic is working because we 83 00:11:22,039 --> 00:11:26,159 don't usually use this one. Boy, that's quiet. Huh. We'll get 84 00:11:26,159 --> 00:11:30,960 you in there. You can turn them off. Oh boy, turn them 85 00:11:31,039 --> 00:11:37,639 off. We'll get you. Sorry, we have to switch to the other 86 00:11:37,679 --> 00:11:43,639 one. Talk a little more. They gave me a mic six years ago. 87 00:11:43,000 --> 00:11:52,000 Been regretting it ever since. They take you places. But just how 88 00:11:52,039 --> 00:11:54,679 come I can't hear? You can hear me? Oh there we go? 89 00:11:54,559 --> 00:11:58,399 Oh because I was, because you were, because I turned mid Okay, 90 00:11:58,679 --> 00:12:03,480 all right, I did it myself. Yeah, keep keep keep talking. 91 00:12:03,879 --> 00:12:07,919 Hello, Thank chick. Yeah, I think we got you called New England. 92 00:12:09,000 --> 00:12:13,480 Are wearing shorts? Mind you? I don't make good choices. Well, 93 00:12:16,360 --> 00:12:18,639 well here, let's start with you and we'll go around the room. 94 00:12:18,679 --> 00:12:20,279 Tell us who you are and what you do in the band. Bradley j 95 00:12:20,919 --> 00:12:28,039 vocalist, lyricist, all right, antagonizer, welcome, go ahead? Can 96 00:12:28,120 --> 00:12:31,639 you can you see me? How do I look? You look? You 97 00:12:31,679 --> 00:12:35,320 look? You look stunny? He's got Jeff. I'm Jeff. I played 98 00:12:35,360 --> 00:12:41,639 drums, all right, welcome, Berrel mcelravey. I'm the guitar guitarist. 99 00:12:41,039 --> 00:12:45,519 All right, I'm Julia. I play the bass all right, very good, 100 00:12:45,879 --> 00:12:48,559 Well, welcome everybody. Nice to have you here on this Saturday morning. 101 00:12:48,879 --> 00:12:52,799 And you've been around for a while. Huh. Conduit's been around since 102 00:12:54,000 --> 00:13:00,159 twenty sixteen, sixteen got together for the first time. It's magic. Uh 103 00:13:00,960 --> 00:13:03,039 were you all? Uh? You're all in other bands right before that from 104 00:13:03,080 --> 00:13:07,919 what I was reading, except for me, oh, except for you. 105 00:13:07,000 --> 00:13:11,559 You're the new guy. I worked with Julia at local music store in Manchester 106 00:13:11,840 --> 00:13:15,679 and she recruited me. I did, oh, okay, I like you 107 00:13:15,720 --> 00:13:18,720 played drums. I need you to come to Morgan Storage on this day. 108 00:13:18,840 --> 00:13:22,279 I just kind of bullied him into it. That's where where you were where 109 00:13:22,320 --> 00:13:26,799 you rehearse by the way, Yeah, Morgan Storage. Uh our new sponsor 110 00:13:26,879 --> 00:13:30,679 here on Matt Connorton unleased. Yes, Yes, they're great. We've been 111 00:13:30,720 --> 00:13:33,320 there for like ten years. Have you really yet been part of local music? 112 00:13:33,440 --> 00:13:39,480 Absolutely? Absolutely? So we played on Nebulizer. I'd like to go 113 00:13:39,480 --> 00:13:43,279 ahead and play another track, partly because I do want to switch out that 114 00:13:43,440 --> 00:13:45,919 mic because it's it's hard to hear you when it's driving me nuts, and 115 00:13:46,360 --> 00:13:52,639 we can we can fix that. What are we going? What got? 116 00:13:52,879 --> 00:13:56,639 What we got? We got let's see, we got constable, We've got 117 00:13:56,960 --> 00:14:00,679 sell So that's a pretty good one. You want to go with that one? 118 00:14:00,720 --> 00:14:03,159 That one's uh actually inspired by my fight with cancer when I was a 119 00:14:03,200 --> 00:14:07,600 teenager. Oh no kidding, yeah, Oh wow, okay, so uh 120 00:14:07,879 --> 00:14:11,159 I talked Brad about that before we wrote the lyrics, and uh he wrote 121 00:14:11,159 --> 00:14:13,080 the lyrics. Yeah. I kind of kept it inspired by that, and 122 00:14:13,559 --> 00:14:18,720 oh wow, okay, let's uh yeah, we'll play that one and we'll 123 00:14:18,759 --> 00:14:22,159 get that mike situation figured out because I hear that buzz and it's it's killing 124 00:14:22,279 --> 00:14:26,720 me. But uh yeah, this is I really I really like these songs 125 00:14:26,759 --> 00:14:28,720 a lot. We should mention too. These were were these all recorded with 126 00:14:28,879 --> 00:14:35,039 Eric Otter at Black Black Arts out Nebulizer was Nebulizer was Yeah, all right, 127 00:14:35,120 --> 00:14:37,159 let's give this a listen. This is called CEL. We've got conduit 128 00:14:37,240 --> 00:15:15,399 here with us live in studio. Check this out. My embrace from the 129 00:15:15,679 --> 00:15:31,559 summit when the last concern of Falid Don suspect and vulnerable strikes me down, 130 00:15:31,720 --> 00:15:45,080 When blind sister fad because I tried my hand and magic and I tried my 131 00:15:45,440 --> 00:15:58,840 hand at faith and I tried my hand, Simon stir faded will fails, 132 00:16:00,120 --> 00:16:37,559 soft okail, and I guess myself. Got some dale signs and pass the 133 00:16:37,919 --> 00:16:52,960 same on Hiday, Welcome and rest, So accept me as well. Just 134 00:16:52,320 --> 00:17:22,680 keep say go make is my faults of the young business. I'm just a 135 00:17:22,920 --> 00:17:40,079 fine by my misterous I scenarios dot com. Now I pray for resolution. 136 00:17:41,319 --> 00:17:52,079 I fifteen there's one and wait at the cells all a massive spinning one or 137 00:17:52,279 --> 00:18:30,720 a clean and eye gets so fine. So you know see that you day 138 00:18:32,519 --> 00:18:51,279 bad jo So a race speaks now it just Saint John wall Side and night. 139 00:19:42,279 --> 00:19:48,000 I'm taking notes I'm number my broom pass a day, Simon the Ring. 140 00:19:48,119 --> 00:19:53,680 By Simon the Ring, Simon say that said, I'm I'm taking notes 141 00:19:53,680 --> 00:19:59,480 about the cross Bob. That's a day Simon the Ring. Find Simon the 142 00:19:59,599 --> 00:20:15,880 right. I'm not saying fine so I said things I said like bye, 143 00:20:18,839 --> 00:20:29,519 So I said thing by saying, don't sound about that bossy so like the 144 00:20:29,640 --> 00:20:34,720 rat so like the ranks my mind and think about that. I'm not I'm 145 00:20:34,759 --> 00:20:40,400 taking dolts. I'm I'm just fine podcast I sup by the way, but 146 00:20:40,720 --> 00:21:41,559 Sun by the that's my last, so last, my fell I really like 147 00:21:41,680 --> 00:21:52,240 that one. That is cell. The band is condu It good stuff. 148 00:21:52,319 --> 00:21:55,599 We have the band condu It here with us live in studio. Bradley J. 149 00:21:55,839 --> 00:22:03,240 Talk for me. Let's see, uh doesn't sound like it. We 150 00:22:03,279 --> 00:22:04,359 turned them on in twenty sixteen. We can't turn them off. I think 151 00:22:04,559 --> 00:22:08,240 I think I think it solved the problem. Say something, oh hello, 152 00:22:08,359 --> 00:22:12,160 wow, hello man, Yes, yes, good to be here. Success. 153 00:22:12,799 --> 00:22:15,759 We got to use that mic from now on. Yeah. That other 154 00:22:15,799 --> 00:22:19,960 one is not hot. It looks sleeker too. It looked nice. Yeah, 155 00:22:21,279 --> 00:22:26,440 it looks like Mike. Yeah. Yeah, the simplest one. These 156 00:22:26,519 --> 00:22:30,960 guys with their red wind screens over here. That's right. Yeah, you 157 00:22:32,000 --> 00:22:36,480 don't need that fanciness. So we have the band here and now we can 158 00:22:36,519 --> 00:22:38,839 actually hear all four of them. Conduit is here with us live in studio 159 00:22:40,480 --> 00:22:45,200 and Perrel. You were talking about that song right before we played it. 160 00:22:45,279 --> 00:22:48,279 Can you tell us a little bit more about it, because that's a that's 161 00:22:48,319 --> 00:22:51,319 a personal song. Yeah. I knew I wanted to write a song about 162 00:22:51,920 --> 00:22:56,720 fighting cancer, and I I you know, when I was fighting cancer, 163 00:22:56,720 --> 00:22:59,559 I couldn't really find much music having to do with that topic. Yeah, 164 00:22:59,640 --> 00:23:02,680 especially heavy music. Yeah, so I kind of wanted to fill that void 165 00:23:03,640 --> 00:23:06,599 for me. I mean I would say, like tool in a perfect Circle 166 00:23:06,759 --> 00:23:10,799 really helped me through some of those struggles. So if I could write music 167 00:23:10,920 --> 00:23:14,240 to kind of do the same thing for somebody else, that would be just 168 00:23:14,319 --> 00:23:18,960 awesome. Yeah, and you were pretty young when you had cancer. I 169 00:23:18,079 --> 00:23:22,720 was eighteen, But yeah, it's all you know. Won't bore you with 170 00:23:22,799 --> 00:23:26,240 the story, but it's a long medical history of you know, I should 171 00:23:26,279 --> 00:23:29,640 be dead so many times. I should probably shouldn't have made it for six 172 00:23:29,720 --> 00:23:32,559 years old. But wow, no kidding here, I an Wow, Wow, 173 00:23:32,559 --> 00:23:34,319 we're glad you're here. We're glad you're here assaulting everybody's ears. Now, 174 00:23:36,599 --> 00:23:38,960 good morning everybody. No, I really like your sound. I like 175 00:23:40,039 --> 00:23:44,240 what you're doing. You have a big show coming up right on on four 176 00:23:44,279 --> 00:23:48,160 to twenty. Yeah, yeah, twenty at Shasky and Manchester. And who 177 00:23:48,200 --> 00:23:52,400 are you playing with? Playing with war Graves, Dust Profit and thunder Hawk. 178 00:23:52,079 --> 00:23:56,799 Oh yes, uh, Dust Profit is how we h Auto referre to 179 00:23:56,799 --> 00:24:00,519 you to us and referred us to you. Yeah, they're great. All 180 00:24:00,079 --> 00:24:03,119 yeah. Absolutely. I used to be in a band with Auto years ago 181 00:24:03,240 --> 00:24:07,240 called Chemical Distance. Yeah. Well Auto has been in like a million bands. 182 00:24:07,480 --> 00:24:11,279 Was he playing guitar in that band? Yes, yep, yep, 183 00:24:11,519 --> 00:24:15,920 cool Chemical Distance. Yeah. But the nice thing is with Dust Profit he 184 00:24:15,960 --> 00:24:18,359 seems to have found something, you know, because he'll be in a band 185 00:24:18,400 --> 00:24:19,960 for for a little bit and then he'll he'll kind of move on. He's 186 00:24:21,160 --> 00:24:23,319 kind of nomadic that way. But I think with Dust Profit he's found something 187 00:24:23,359 --> 00:24:26,359 that really, you know, he can kind of stick to. He's got 188 00:24:26,359 --> 00:24:30,599 a great presence on the mic. Oh absolutely, Oh he's he's amazing. 189 00:24:30,720 --> 00:24:33,559 He's amazing. No, we love Auto. Now, you so you've been 190 00:24:33,599 --> 00:24:37,880 around. We started to touch on this earlier since twenty sixteen. But it 191 00:24:37,920 --> 00:24:41,119 hasn't been this line up the entire time as it or as it has this 192 00:24:41,240 --> 00:24:45,039 line it has been this lineup. Okay, maybe I think we wrote a 193 00:24:45,039 --> 00:24:48,240 couple, maybe three songs instrumentally before we brought Brad on. Yeah, they 194 00:24:48,319 --> 00:24:52,000 had a few blueprints put together, all right, with one of those. 195 00:24:52,039 --> 00:24:55,839 Actually, it's unusual for a for a band that's been around for so that's 196 00:24:55,880 --> 00:24:59,319 eight years, to have a band around here at least have the same line 197 00:24:59,359 --> 00:25:02,799 up that entire time. Yeah, that's fantastic. Yeah, me and Ferrell 198 00:25:02,839 --> 00:25:06,359 have been writing together for even longer than that. And we tried a few 199 00:25:06,519 --> 00:25:08,680 projects, and this is the one that really stuck. Yeah. Yeah, 200 00:25:08,680 --> 00:25:11,000 I didn't really want to be a guitarist. I was trying to be a 201 00:25:11,039 --> 00:25:15,039 singer. I was the best singer in an omniverse. Was my first band 202 00:25:15,079 --> 00:25:18,119 I started, which was a ton of fun. Then we started another project, 203 00:25:18,200 --> 00:25:21,880 Conditioned One. I was singing in that band, but we were just 204 00:25:21,960 --> 00:25:26,720 having a hell of a time getting a guitarist keeping a guitarist really, and 205 00:25:26,720 --> 00:25:30,319 I started picking up the guitar and just writing songs, and one thing led 206 00:25:30,359 --> 00:25:33,519 to the next, and yeah, he learned guitar to be in this band 207 00:25:33,880 --> 00:25:37,039 really yeah, Yeah, which is funny because when we when we linked, 208 00:25:37,160 --> 00:25:41,480 I've known Ferrell and Julia for a year, like through various projects liked Omniverse 209 00:25:41,519 --> 00:25:45,920 and Condition One, and Ferrell was fronting those bands. Well, I was 210 00:25:45,960 --> 00:25:48,839 playing guitar in another band that I'm still in, his band called Potzy, 211 00:25:48,920 --> 00:25:52,240 and we had played a bunch of shows together too, so it was kind 212 00:25:52,279 --> 00:25:56,240 of like a swap of dynamics now for wanted to put the mic down. 213 00:25:56,279 --> 00:25:57,480 And I had written a lot of the music and a lot of the lyrics 214 00:25:57,559 --> 00:26:02,920 in Potsy, but I wasn't singing them. I was presenting them to the 215 00:26:02,960 --> 00:26:04,480 guy that we had. So this was kind of a good opportunity for me 216 00:26:04,599 --> 00:26:10,319 to got to test my vocal chops because I always had enough faith in my 217 00:26:10,400 --> 00:26:12,920 ability as a songwriter, but I wasn't really experienced on a mic. So 218 00:26:14,319 --> 00:26:15,960 yeah, he had put out a want ad saying like, hey, if 219 00:26:15,960 --> 00:26:19,799 anyone's looking, you know, you know, if anybody knows any decent frontman 220 00:26:19,880 --> 00:26:22,519 looking for a project or some you know, let me I know these guys 221 00:26:22,599 --> 00:26:26,319 well enough, let me sit in on something. And either way I always 222 00:26:26,319 --> 00:26:29,839 tell it is you know, if it comes out it sounded like bad karaoke, 223 00:26:30,000 --> 00:26:32,920 then it'll be a funny story to tell, right, Iah. The 224 00:26:32,960 --> 00:26:34,759 first time we got together, I put something down on paper and just kind 225 00:26:34,799 --> 00:26:41,119 of tried to make it fit over whatever musical blueprint they'd given me at the 226 00:26:41,160 --> 00:26:44,680 time. It was a song called Transcendence that we still play off and on 227 00:26:44,799 --> 00:26:47,319 to this day. Yeah, so yeah, maybe we have something here and 228 00:26:47,359 --> 00:26:51,720 we kept going with it. Yeah, Transcendence was the first song, Transcendence. 229 00:26:51,759 --> 00:26:53,480 I mean they had it written musically by the time I came on. 230 00:26:53,559 --> 00:26:57,559 I say, it's the first thing that we wrote collectively. Yeah. Yeah. 231 00:26:57,880 --> 00:27:02,839 Us three were playing for like maybe a year or so before Brad came 232 00:27:02,880 --> 00:27:04,960 in. We were writing a bunch of song like, man, we need 233 00:27:06,279 --> 00:27:11,599 a singer. Yeah, these songs are good, like we got That's actually 234 00:27:11,680 --> 00:27:17,200 interesting because I'm actually when I started playing, I had never really played metal 235 00:27:17,279 --> 00:27:22,720 drums either. I'm actually I'm actually a jazz bassist. He also teaches marching 236 00:27:22,720 --> 00:27:26,440 snare, Yeah, so I do. I was like, my experitise with 237 00:27:26,519 --> 00:27:30,759 drumming is is like marching percussion, drumline kind of stuff. So Julia was 238 00:27:30,799 --> 00:27:33,200 like, you play drums. I was like, kind of like the drums 239 00:27:33,240 --> 00:27:37,000 that you you know. I was like, no, it's fine, I 240 00:27:37,119 --> 00:27:41,440 own a drum set. My my uncle actually makes drums. So that's how 241 00:27:41,480 --> 00:27:44,680 I started drums. And then when I was in fifth grade or something, 242 00:27:44,720 --> 00:27:49,039 I switched a bass. Yeah that sounds a basic. Yeah, So I 243 00:27:51,200 --> 00:27:56,039 did like my entire career musically until I met Julia was on like jazz bass 244 00:27:56,119 --> 00:27:59,559 and marching percussion, and then she was like, hey, you should come. 245 00:27:59,839 --> 00:28:03,000 Just just jam the orus, no pressure, and then some kind of 246 00:28:03,160 --> 00:28:07,640 I really like it, and so then I kind of figured out how to 247 00:28:07,680 --> 00:28:11,480 play metal on a double bass pedal, and yeah, anytime you play some 248 00:28:11,559 --> 00:28:14,839 marching snare stuff in a song, I'm like, yes, yes, yeah, 249 00:28:15,519 --> 00:28:17,880 you know what, this marching game could use some good double kick. 250 00:28:19,079 --> 00:28:22,480 But to that point, we all kind of come from, you know, 251 00:28:22,559 --> 00:28:26,799 different backgrounds. I think that's that kind of element to us. Yeah, 252 00:28:27,000 --> 00:28:33,000 no doubt has the sound changed over the years because something that strikes me as 253 00:28:33,599 --> 00:28:37,839 and maybe this stands out to me in particular because I've never been in a 254 00:28:37,920 --> 00:28:41,039 band myself where I thought, you know, if I had to learn these 255 00:28:41,119 --> 00:28:45,599 songs, it would be really challenging because they're long and they're complex. The 256 00:28:45,759 --> 00:28:48,960 arrangements, and you don't necessarily you know, every band I've ever been in, 257 00:28:48,079 --> 00:28:49,720 it's, you know, kind of your standard. You know, you've 258 00:28:49,759 --> 00:28:52,839 got uh, you know, three verses and a chorus that just repeats in 259 00:28:52,920 --> 00:28:56,160 it. But what you're doing is is pretty sophisticated. I mean, has 260 00:28:56,200 --> 00:28:59,480 it been that way from the beginning the Well, let me just say I 261 00:28:59,720 --> 00:29:03,680 envy those simpler songs. If I could write that those I probably would. 262 00:29:03,880 --> 00:29:10,000 Yeah. I think the sound has evolved through the years. Certainly, I 263 00:29:10,119 --> 00:29:15,279 wouldn't say it's changed in the sense that there's a complete disconnect between the stuff 264 00:29:15,319 --> 00:29:18,279 that we're writing and the stuff that we're playing now versus the stuff that we 265 00:29:18,359 --> 00:29:21,640 were playing back then. Yeah, you know, I think we've all certainly 266 00:29:21,680 --> 00:29:25,720 gotten more of depth at our crafts over the years. But at the same 267 00:29:25,799 --> 00:29:27,920 time, that sound was honed very early on, and I think we've really 268 00:29:29,000 --> 00:29:32,119 tried to stay as faithful and as true to that as we can. You 269 00:29:32,200 --> 00:29:34,359 know, That's why a lot of those earlier songs are I think there's still 270 00:29:34,400 --> 00:29:38,559 a certain relevance in them to this day. Yeah. Absolutely, And we 271 00:29:40,000 --> 00:29:41,920 sometimes we take an old song and kind of rehash it and kind of bring 272 00:29:42,000 --> 00:29:45,480 it up to where we are now. Yeah, but you know, I 273 00:29:45,599 --> 00:29:48,599 love every song we've written. We really put the time into each one. 274 00:29:49,000 --> 00:29:52,839 Each one's its own kind of piece, its own movement. We must have 275 00:29:52,920 --> 00:29:56,839 a lot, right, So you've been around since twenty sixteen at still twenty 276 00:29:56,000 --> 00:30:00,359 Yeah, I mean are there are ones that are certainly more developed and more 277 00:30:00,440 --> 00:30:03,720 prominent than others. Like we have our our staples of our set list too, 278 00:30:03,759 --> 00:30:07,359 but every now and again, we haven't done this. There's a song 279 00:30:07,400 --> 00:30:11,240 that was actually one of the first ones that that we had done. I 280 00:30:11,279 --> 00:30:14,319 think it was like one of the first maybe three or four, and that 281 00:30:14,440 --> 00:30:18,160 one got kicked by the wayside for a long time, and we just recently 282 00:30:18,200 --> 00:30:22,319 started revisiting it and kind of modernizing it a little bit to make it a 283 00:30:22,359 --> 00:30:26,119 little more representative of where we're at right now and how we're playing right now. 284 00:30:26,279 --> 00:30:30,920 And I think we're probably gonna start working that back into our set was 285 00:30:30,960 --> 00:30:33,640 pretty soon. We actually we played it about a month ago. Yeah, 286 00:30:34,000 --> 00:30:37,759 Stone, Church Stone, we're going to play that critical acclaim. We're going 287 00:30:37,799 --> 00:30:44,640 to play this four twenty. You tell me you can't argue about the set 288 00:30:44,680 --> 00:30:51,559 list on air. I give a set right now. There's a running joke 289 00:30:51,680 --> 00:30:53,319 that every time we write a new song, we're always like, all right, 290 00:30:53,359 --> 00:30:56,319 guys, this is going to be the short one, for sure, 291 00:30:56,880 --> 00:31:00,640 every time the short one. Yeah, what is the shortest song? Like, 292 00:31:00,720 --> 00:31:06,079 do you have a legitimately short song? Transcendence? Yeah, Dusk is 293 00:31:06,160 --> 00:31:08,920 like four minutes? Oh okay that Yeah, Transcendences is like three and change 294 00:31:08,960 --> 00:31:14,039 though, really yeah, yeah, we were capable of it, right. 295 00:31:15,000 --> 00:31:18,000 Is there a lot of rehearsal? Do you rehearse a lot? Because again, 296 00:31:18,359 --> 00:31:22,799 and I'm asking this partly from the standpoint of someone who's never been in 297 00:31:22,880 --> 00:31:26,039 a band where the songs were long and complex, is there a lot of 298 00:31:26,119 --> 00:31:30,400 rehearsal to make sure that you've got these type? For many years we were 299 00:31:30,480 --> 00:31:36,079 meeting at least twice a week. We recently dropped down to once a week 300 00:31:36,160 --> 00:31:38,519 because we're old and tired and it's hard to be out to you know, 301 00:31:38,680 --> 00:31:41,160 ten thirty pm when you have to get up and go to work the next 302 00:31:41,240 --> 00:31:47,079 day. Right, we lived in Manchester. Yeah, but we do rehearse 303 00:31:47,880 --> 00:31:51,680 a lot, and we try and find time to just like even just jam 304 00:31:51,799 --> 00:31:55,880 ideas, like outside of regular rehearsal whenever we can. Yeah, I think 305 00:31:55,920 --> 00:31:59,240 we all kind of can agree that, like that's what I want to be 306 00:31:59,319 --> 00:32:01,359 doing all of the time, right, right, of course. Yeah, 307 00:32:04,160 --> 00:32:07,359 we want it to be our jobs without feeling like a job. But answer 308 00:32:07,400 --> 00:32:09,720 your question, like, it's it is really important that we rehearsed because there's 309 00:32:09,759 --> 00:32:14,000 so many changes, there's so many parts. Yeah, yes, and it's 310 00:32:14,079 --> 00:32:16,240 easy to forget some of those transitions. Oh I can imagine. Yeah, 311 00:32:16,440 --> 00:32:20,759 I can imagine, especially if you're pulling out older material that you haven't played 312 00:32:20,799 --> 00:32:23,079 in a while, I would imagine does that does that ever go wrong? 313 00:32:23,200 --> 00:32:28,599 Live? Oh? Yeah, jeffs up all the time, but uh, 314 00:32:30,039 --> 00:32:34,640 we actually keep a shot callar around him for scenarios just like that. Yeah, 315 00:32:34,839 --> 00:32:38,319 it's kind of like a fun like intimate thing between the four of us 316 00:32:38,440 --> 00:32:42,880 that like no one else knows about, you know, like Jeff will you 317 00:32:42,920 --> 00:32:45,359 know, I'll do something wrong and Jeff will catch my eye and we'll like 318 00:32:45,599 --> 00:32:51,359 make eye contact and just start dying laughing. Like it's so funny because it's 319 00:32:51,400 --> 00:32:53,759 like he gives me like a head nod like this I saw, don't. 320 00:32:54,000 --> 00:32:57,960 Yeah. But also also we're at the point where like a mistake is like 321 00:32:58,519 --> 00:33:00,359 it's you know, a million second and we're like, I know you did. 322 00:33:00,680 --> 00:33:06,160 Yeah, right. The on stage chemistry is such now that even if 323 00:33:06,200 --> 00:33:07,640 one of them does kind of or one of us does kind of go off 324 00:33:07,680 --> 00:33:12,240 the rails a little bit, we can almost anticipate how it's going to happen 325 00:33:12,319 --> 00:33:16,599 and then reconvene very soon, which is it's a blessing to have that kind 326 00:33:16,599 --> 00:33:21,559 of chemistry, especially these odd times signatures. Yeah, yeah, so it 327 00:33:21,680 --> 00:33:23,160 really is testament. I know it's going to go along, but I know 328 00:33:23,359 --> 00:33:27,720 how it's going to go wrong. Yeah, that's half the battle. Yeah, 329 00:33:28,079 --> 00:33:30,240 yeah, no doubt. And somebody seeing you live for the first time 330 00:33:30,319 --> 00:33:34,279 too, they don't know, yeah right, the only one that knows you 331 00:33:34,319 --> 00:33:38,359 messed up progressive rock. It all sounds intentional, right? Is that how 332 00:33:38,400 --> 00:33:42,240 you define yourselves in terms of your sound for somebody who's never heard you before, 333 00:33:42,279 --> 00:33:45,599 Do you say it's it's progressive or yeah, like prog rock, progressive 334 00:33:45,599 --> 00:33:51,799 alternative rock? Yeah? Yeah. Now how did you come to record with 335 00:33:52,319 --> 00:33:58,480 Eric Sotter at at Blackheart Sound? Oh? I knew Eric for a few 336 00:33:58,599 --> 00:34:01,240 years. We used to work together when I was working at Matchester Music Melt 337 00:34:02,079 --> 00:34:09,159 and he actually started his studio while we were like coworkers. Okay, you 338 00:34:09,239 --> 00:34:13,679 know, like I knew him from work, and then I started listening to 339 00:34:14,719 --> 00:34:16,719 what he was putting out and I was like, guys, my coworker's like 340 00:34:16,800 --> 00:34:22,559 really good at this. He was. We actually had He showed me his 341 00:34:22,679 --> 00:34:24,760 studio before it was even built, and he like showed me his whole vision 342 00:34:24,840 --> 00:34:28,840 of what it was going to be. Yeah. And then the next time 343 00:34:29,000 --> 00:34:31,360 we needed to record songs, his studio was up and running, and I 344 00:34:31,480 --> 00:34:34,639 was like, we should go with Eric, Like I love what that guy 345 00:34:34,679 --> 00:34:37,159 does. Yeah, yeah, and we played two uh in the first hour. 346 00:34:37,199 --> 00:34:40,760 We played a couple of Magnetar songs and which I had been aware of 347 00:34:40,880 --> 00:34:45,159 Magnetar, but I didn't realize Eric was in the band until Yeah. I 348 00:34:45,199 --> 00:34:49,039 think until yesterday I hadn't made the connection. And you know, kind of 349 00:34:49,400 --> 00:34:52,480 similar in the sense that I don't mean that Magnetar sounds like you guys, 350 00:34:52,519 --> 00:34:55,679 but in terms of the Prague approach where the songs are long and complex. 351 00:34:55,760 --> 00:34:59,119 I played a Magnetar song at the end of the first hour. I was 352 00:34:59,159 --> 00:35:00,639 like, this one's ain't now minutes, but it's my favorite Magnetar song, 353 00:35:00,679 --> 00:35:07,639 so I don't care. I'm gonna play it, But who who writes? 354 00:35:07,719 --> 00:35:13,679 I mean, do you all write together some of the material or it's definitely 355 00:35:13,880 --> 00:35:16,119 like a collective effort. I come up with a lot of the riffs on 356 00:35:16,199 --> 00:35:19,480 my own and bring them to the band, and then we kind of kind 357 00:35:19,519 --> 00:35:23,800 of take shape from there. Everything changes and figure amount yeah looks at me 358 00:35:23,800 --> 00:35:27,079 and goes, what is this end? And I go, I don't know, 359 00:35:28,800 --> 00:35:34,079 eleven and then it goes to twelve and then we'll argue if it's five 360 00:35:34,159 --> 00:35:37,960 or ten for a while, but yeah, but we get there. But 361 00:35:37,440 --> 00:35:39,760 really, that's that's the process. I like, Yeah, I would get 362 00:35:39,800 --> 00:35:44,440 really bored kind of writing by myself. Yeah, it's just not fun for 363 00:35:44,519 --> 00:35:46,320 me, and it's got to be fun if i'm I'm gonna make something interesting. 364 00:35:46,800 --> 00:35:50,639 So I would imagine again, with the songs being long and complex, 365 00:35:50,679 --> 00:35:54,679 they probably often end up in a place that isn't necessarily Yes, absolutely, 366 00:35:54,760 --> 00:35:58,440 I mean there's probably some surprise like, wow, I didn't expect this. 367 00:35:58,639 --> 00:36:00,920 That's a yeah. So I think I think we also gave you our song 368 00:36:00,960 --> 00:36:07,920 called the Phase, which has taken maybe maybe four different incantations really yeah, 369 00:36:08,480 --> 00:36:15,840 yeah, the Civil War and yeah, yeah, that's our process that we 370 00:36:15,920 --> 00:36:19,039 will have a piece. I mean, you know, that song could have 371 00:36:19,079 --> 00:36:22,280 taken us a year to write, I mean rewriting it, rewriting it. 372 00:36:22,480 --> 00:36:24,360 Yeah, but in the end, I think we're all really happy with it. 373 00:36:24,800 --> 00:36:29,400 I am. Yeah. I get the feeling too from listening to these 374 00:36:29,480 --> 00:36:35,000 that each song is uh. You know, we talked about what Cell is 375 00:36:35,280 --> 00:36:37,920 about, of course, but I mean they all sound like they have some 376 00:36:37,039 --> 00:36:39,559 sort of a theme, Like they don't sound like uh, I mean, 377 00:36:39,639 --> 00:36:45,119 are are they are? Are are all these songs? Are they about specific 378 00:36:45,480 --> 00:36:49,360 subjects or themes or I don't know, Brad, what are they about? 379 00:36:49,960 --> 00:36:55,519 I was weeding for that we sell. In particular was one that he had. 380 00:36:57,400 --> 00:37:01,440 Ferrell had approached me with the theme he wanted me to, you know, 381 00:37:01,599 --> 00:37:06,719 try to write something about his tribulations with cancer when he was a kid. 382 00:37:06,800 --> 00:37:09,599 So that's one in particular that I had to approach with a certain amount 383 00:37:09,679 --> 00:37:16,079 of delicacy, because when I write personally, I have an idea or I 384 00:37:16,119 --> 00:37:21,320 have a theme in my head usually when I start writing, and a lot 385 00:37:21,400 --> 00:37:23,440 of it will come from, you know, just a phrase or a melody 386 00:37:24,239 --> 00:37:28,280 that I've been kicking around with forever, and I'll try to integrate it into 387 00:37:28,360 --> 00:37:30,400 the song and then you know, lyrically or thematically. You know, maybe 388 00:37:30,400 --> 00:37:35,639 I'll rework it a little bit as I go. That's one that I had 389 00:37:35,760 --> 00:37:40,239 to be a little bit more on the nose with which I typically don't like 390 00:37:40,400 --> 00:37:45,639 doing. I like to kind of obfuscate things when I write, so that 391 00:37:45,719 --> 00:37:49,639 I can have an idea in my head. Somebody else listening to it might 392 00:37:49,760 --> 00:37:55,239 get something completely different, but just as personal to them. Yeah, nebulizer 393 00:37:55,280 --> 00:37:59,840 in the face, for instance, it deals with kind of a theme of 394 00:38:00,079 --> 00:38:04,320 of alienation because like I'm I'm a little bit I'm a few years older than 395 00:38:04,360 --> 00:38:08,400 these guys, like I grew up in the nineties, and so that was 396 00:38:08,480 --> 00:38:10,480 kind of something that I approached with. All right, Well, let me 397 00:38:12,440 --> 00:38:14,840 it's kind of like the world that I knew versus the world that I know. 398 00:38:15,199 --> 00:38:17,880 Oh okay, and how a lot of the technologies and the medias have 399 00:38:19,039 --> 00:38:21,599 changed from you know, what I was familiar with when I was younger, 400 00:38:21,679 --> 00:38:25,920 and yep, you know how I can keep that relevant in my day to 401 00:38:27,039 --> 00:38:30,079 day life. Yeah, yeah, but again, I try to obscure it 402 00:38:30,119 --> 00:38:32,159 as much as I can, so somebody listening might get something completely different out 403 00:38:32,159 --> 00:38:37,039 of it, right, right, that's interesting. But what it is about 404 00:38:37,480 --> 00:38:40,679 as you as you explained, it is quite relatable for many of us, 405 00:38:40,760 --> 00:38:43,800 I think, and I mean when you talk about it out loud, you 406 00:38:43,840 --> 00:38:46,079 know, it's it's it's hard to explain with I it sounding like the old 407 00:38:46,119 --> 00:38:49,320 guy, but it's something that I think everybody goes through at some point. 408 00:38:49,559 --> 00:38:52,920 Yeah, so there was a certain relatability to it. We talk about it 409 00:38:52,159 --> 00:38:57,039 a lot on the show. In terms of recording and releasing music, how 410 00:38:57,239 --> 00:39:00,719 how much it's changed with the technology, and especially the things you can do 411 00:39:00,840 --> 00:39:05,000 now with recording in terms of like you can record with people in other parts 412 00:39:05,039 --> 00:39:07,800 of the country or other parts of the world, and you know, email 413 00:39:07,880 --> 00:39:09,920 files back and forth and stuff you couldn't do when I was certainly when I 414 00:39:10,000 --> 00:39:13,400 was growing up, you know. So I think there's pros and cons to 415 00:39:13,480 --> 00:39:15,440 that too. Yeah, Whereas you know, saying the nineties, you could 416 00:39:15,480 --> 00:39:22,519 have like a DC sound, you know, you have a Seattle sound. 417 00:39:22,840 --> 00:39:24,519 Yep, you have different sounds all over the country, whereas now with the 418 00:39:24,559 --> 00:39:29,480 Internet, I feel like the sounds are all kind of coming together as one 419 00:39:29,559 --> 00:39:32,199 because we can share. I never thought it was kind of way just pros 420 00:39:32,199 --> 00:39:36,360 and cons to that. Yeah, yeah, I know, I know exactly 421 00:39:36,400 --> 00:39:37,440 what you mean though, because yeah, in the nineties with grunge, people 422 00:39:37,440 --> 00:39:42,599 would call that the Seattle sound, whereas if if that same sound were to 423 00:39:42,719 --> 00:39:45,000 emerge today, we would you you know, it's just yeah, you're right, 424 00:39:45,360 --> 00:39:50,159 it's it's uh because it's all so they really are pros to that, 425 00:39:50,400 --> 00:39:53,000 yeah, and there really are negative right right? Yeah, Yeah, that's 426 00:39:53,079 --> 00:40:00,480 interesting. Who are is there anyone who obviously, you know, you've with 427 00:40:00,599 --> 00:40:02,480 your backgrounds, you have a lot of different influences, I'm sure, But 428 00:40:02,800 --> 00:40:07,159 is there anyone who just in terms of a band overall, I mean I 429 00:40:07,239 --> 00:40:10,199 do hear some some Tool in there, but but also some other things too. 430 00:40:10,280 --> 00:40:14,920 I mean, you guys, are you know, certainly heavier than a 431 00:40:15,000 --> 00:40:16,960 band like Tool, But I mean, are there other bands that you try 432 00:40:17,000 --> 00:40:21,880 to not necessarily emulate, but they kind of influence you collectively as a band. 433 00:40:23,320 --> 00:40:25,199 Me personally, I'm all over the place. I grew up with a 434 00:40:25,239 --> 00:40:30,199 lot of like Celtic music, really, Kelly Wizard, I love the Moody 435 00:40:30,239 --> 00:40:34,880 Blues, yeah yeah, Floyd King Crimson, but yeah, also Tool, 436 00:40:34,960 --> 00:40:38,480 System of a Down, Yeahge Against the Machine and mud Veine and Nothing Face 437 00:40:38,559 --> 00:40:43,079 all these heavy bands, but yeah, yeah, Lana del Rey or the 438 00:40:43,159 --> 00:40:45,880 Kit. I'm all over the place really yeah yeah, yeah, like I 439 00:40:45,000 --> 00:40:49,320 have you know, I love I love heavy music, but like you know, 440 00:40:49,360 --> 00:40:52,199 I grew up listening to like Pink Floyd with my dad. But like 441 00:40:52,760 --> 00:40:57,840 my favorite band probably my Suga, But then I love bands like Lana del 442 00:40:57,880 --> 00:41:04,000 Rey or I love Metric. It's almost like for me, it's less about 443 00:41:04,519 --> 00:41:07,440 the kind of music and it's more like a vibe, you know, like 444 00:41:07,159 --> 00:41:10,239 is it a little bit weird, is it a little bit sad? Is 445 00:41:10,320 --> 00:41:16,000 it aggressive? I like the aggression, but sort of it's not necessarily genre 446 00:41:16,039 --> 00:41:21,280 specific. It's more like an ideology, you know, yeah, yeah, 447 00:41:21,559 --> 00:41:23,599 yeah, totally. How about about you guys. Oh, I mean, 448 00:41:24,000 --> 00:41:29,719 as far as as far as frontmen go, I don't necessarily like the term 449 00:41:30,599 --> 00:41:37,760 emulate because to me, that implies that there's like a certain almost choreographed aspect 450 00:41:37,840 --> 00:41:40,679 to it, and I don't like anything to be I like it to be 451 00:41:40,840 --> 00:41:45,159 very organic, you know, like when I'm on stage with these guys, 452 00:41:45,880 --> 00:41:52,039 whatever you're seeing, I think should be a very just organic, natural response 453 00:41:52,079 --> 00:41:55,599 to whatever is going on behind me. And so I did grow up admiring 454 00:41:55,639 --> 00:42:00,639 a lot of the more aggressive to use Juli's word, but also kind of 455 00:42:00,719 --> 00:42:06,719 antic frontman, like a Perry Ferrell from Jane's addiction Absolute Madman back in the 456 00:42:06,800 --> 00:42:08,679 day, Admire the hell out of him major James Keen. It is another 457 00:42:08,760 --> 00:42:15,559 great example too. You know there's there's you know, guys like rich Michael 458 00:42:15,599 --> 00:42:23,719 Jackson. Michael Jackson, I've seen MOK right now, how about you, 459 00:42:23,880 --> 00:42:29,239 Jeff uh Well. I I grew up really not listening to a lot of 460 00:42:29,320 --> 00:42:32,960 metal. I grew up listening to, like, you know, pop music. 461 00:42:34,519 --> 00:42:37,000 I really liked Lincoln Park when I was a kid, so they had 462 00:42:37,079 --> 00:42:40,320 like a really you know, they have that like digital hip hop kind of 463 00:42:40,480 --> 00:42:45,159 metal vibe to them. But when I started playing with Farrell and Julia, 464 00:42:45,239 --> 00:42:52,440 Farrell gave me a album. He gave me ten Thousand Days by Tool when 465 00:42:52,760 --> 00:42:55,960 like after one of our first girls, and he was like, listen to 466 00:42:57,039 --> 00:42:59,639 this. This is gonna blow your mind, you know, like and so 467 00:42:59,800 --> 00:43:01,599 I listened to ten Thousand Days, and you know, I heard Danny Handy 468 00:43:01,639 --> 00:43:05,440 Carey play for the first time, and I was like, Holy what what 469 00:43:05,599 --> 00:43:08,000 am I listening to right now? And I just got like completely. I 470 00:43:08,199 --> 00:43:13,199 was like me and Brad go back and forth because he grew up listening to 471 00:43:13,280 --> 00:43:17,039 Tool and so he loves all that early Tool stuff. And I the first 472 00:43:17,039 --> 00:43:20,960 album I listened to was ten Thousand Days and like Lateral, Yeah, I'm 473 00:43:21,039 --> 00:43:23,400 more like team undertow on if we're going to talk about the Tool, so 474 00:43:24,119 --> 00:43:27,960 time we have to set aside ten minutes at the beginning of every practice for 475 00:43:28,000 --> 00:43:31,039 Ferrel and Jeff to play the pot and then then we start getting down to 476 00:43:31,119 --> 00:43:35,599 brass tacks. Yeah, I mean, so then that kind of opened up 477 00:43:35,599 --> 00:43:38,960 a rabbit hole for like these odd time signature how do I make four sound 478 00:43:39,079 --> 00:43:43,679 like seven? Kind of how do I make eleven sound like four? Kind 479 00:43:43,760 --> 00:43:47,880 of time signature? Metric modulation things that Danny is just really good at. 480 00:43:47,960 --> 00:43:52,800 But yeah, and then he showed me masteredn and Carnival and all these other 481 00:43:53,320 --> 00:43:57,840 fantastic drummers, and so I kind of went down that because I really hadn't, 482 00:43:57,880 --> 00:44:00,559 Like I said, I really hadn't been into too much metal until recently. 483 00:44:00,639 --> 00:44:06,360 But it's just it's fascinating to hear the way they shift these time signatures. 484 00:44:06,480 --> 00:44:08,840 I think you with your jazz background in the marching snarre, it just 485 00:44:08,920 --> 00:44:12,800 really adds a cool element. Well that's the thing is it's very marching, 486 00:44:12,880 --> 00:44:15,719 is very regiment and it's oh okay, so I can see where that helps 487 00:44:15,760 --> 00:44:20,480 you. Yeah, but you know, it's always in time. If you're 488 00:44:20,480 --> 00:44:22,559 not out of time, you're wrong, you know kind of thing. But 489 00:44:22,679 --> 00:44:27,440 this is like completely the opposite is Yeah, anytime I mess up there like 490 00:44:27,480 --> 00:44:30,559 whoa, that was cool. That was so wrong, and they're like no, 491 00:44:30,639 --> 00:44:32,960 no, no, do that again, you know, kind of it 492 00:44:34,039 --> 00:44:37,400 took me a little while to kind of retrain my brain and be like, 493 00:44:37,559 --> 00:44:40,880 all right, you don't necessarily have to hit the downbeat every single right measure. 494 00:44:40,960 --> 00:44:44,400 You can go his left handed, so you can retrain his brain. 495 00:44:45,280 --> 00:44:46,639 Yeah, I'm left handed. By play righty drum sets, so I'm left 496 00:44:46,639 --> 00:44:52,079 handed guitar right unlocks a little bit of a weird dynamic that I can move 497 00:44:52,119 --> 00:44:55,760 around the kit in certain ways that most righties wouldn't be able to do. 498 00:44:55,920 --> 00:45:01,440 So oh okay, okay, who else is ringo ringo? Yeah? Yeah, 499 00:45:01,480 --> 00:45:05,119 yeah, he's the opposite though he's ready, but he would play left. 500 00:45:06,320 --> 00:45:08,599 Is that what it is with him? Oh? Wow? See I 501 00:45:08,639 --> 00:45:14,800 remember hearing that. I was like, weird. I know that because my 502 00:45:14,920 --> 00:45:19,400 uncle who makes drums is obsessed with ringo. Oh really yeah? Yeah, 503 00:45:20,960 --> 00:45:23,320 we the time goes go so quick. We are we are running out of 504 00:45:23,400 --> 00:45:27,719 time because we're gonna play one more song at the at the end of the 505 00:45:28,039 --> 00:45:32,559 segments Disorientation. Take your pick. Yeah you guys, I don't want to 506 00:45:32,599 --> 00:45:40,440 pick. You guys can pick. But okay, yeah phase phase was discussed, 507 00:45:40,480 --> 00:45:44,480 so we'll go with that one. But before we do that, let's 508 00:45:44,920 --> 00:45:46,920 I want to make sure. I want to remind everybody about the show coming 509 00:45:47,000 --> 00:45:50,639 up on four twenty, And I also want to make sure that our listeners 510 00:45:50,679 --> 00:45:52,519 know where to find you online. Where's the best place to go to keep 511 00:45:52,599 --> 00:45:54,760 up with everything that you're doing. Check out the music, the shows, 512 00:45:54,800 --> 00:46:01,239 et cetera. We do the we do the social We're on Instagram, We're 513 00:46:01,320 --> 00:46:07,639 on Facebook, and I mean, you guys have the ads at Conduit band 514 00:46:07,760 --> 00:46:12,119 Underscore official Instagram. Hey, where's the name come from? By the way 515 00:46:13,360 --> 00:46:16,519 it comes it comes from a crop circle called Conduit Closing. Yes, really, 516 00:46:16,599 --> 00:46:21,320 yeah, you can google that. There's obviously debate about it. It 517 00:46:21,440 --> 00:46:23,440 was like the tentative name of the band, like in the Yeah, so 518 00:46:23,480 --> 00:46:27,400 it's usually Conduit Closing just kind of shortened, but also we kind of we 519 00:46:27,480 --> 00:46:30,719 wanted to take the term conduit because this is our conduit of personal expression. 520 00:46:30,960 --> 00:46:34,599 Okay, so it kind of leaves it open ended enough where we can be 521 00:46:34,760 --> 00:46:37,119 what we're going to be regardless. Cool. Cool. And another thing too 522 00:46:37,199 --> 00:46:42,800 if at the live shows there is as it's more of like a mail order 523 00:46:42,920 --> 00:46:45,840 type thing, but it's something just to be a little more interactive with the 524 00:46:45,920 --> 00:46:50,079 fans. We do a fan club too where if you feel out your information, 525 00:46:50,159 --> 00:46:53,360 will send you like a press pack and just some tangible evidence in the 526 00:46:53,440 --> 00:46:58,480 mail as well. Yeah, excellent, get core twenty done, four twenty, 527 00:46:58,920 --> 00:47:01,400 just hang out with us. It's grand high holiday, Brad. You 528 00:47:01,519 --> 00:47:05,239 actually you had mentioned off air before we started, when you when you gave 529 00:47:05,239 --> 00:47:08,639 me the press kit that you know, trying to keep physical media alive, 530 00:47:09,519 --> 00:47:14,199 which is cool. It's it's an important aspect that I think it's overlooked a 531 00:47:14,280 --> 00:47:17,840 lot nowadays, just because it's to have something in your hands that you can 532 00:47:17,880 --> 00:47:22,400 look at and that you can't you know, necessarily delete or have deleted at 533 00:47:22,440 --> 00:47:24,599 the end of the day. That's very important. So we try to integrate 534 00:47:24,679 --> 00:47:28,320 that into the digital stuff as well, just so we can approach it from 535 00:47:28,400 --> 00:47:30,480 you know, a few different mediums it can only help. Yeah, yeah, 536 00:47:30,639 --> 00:47:34,079 exactly. Yeah. I think that's cool. I think that's very very 537 00:47:34,119 --> 00:47:40,480 cool. All right And did oh did we remind everybody about four twenty shasking 538 00:47:40,760 --> 00:47:46,559 with dust profit and and thunder Hot under thunder Hot. Yeah, dope, 539 00:47:47,480 --> 00:47:50,599 very good, very good, all right, con to it. Thank you 540 00:47:50,760 --> 00:47:53,519 so much, wonderful, too wonderful to meet the four of you. And 541 00:47:53,840 --> 00:47:55,840 uh, if you missed any part of today's show, it'll be up in 542 00:47:55,960 --> 00:47:59,960 just a little bit at w M and hradio dot org and in my way 543 00:48:00,000 --> 00:48:04,320 website Matt Connorton dot com. And uh, welcome again to our new sponsor, 544 00:48:04,400 --> 00:48:07,599 Morgan Self Storage. And yes, and Jenny, you want to plug 545 00:48:07,639 --> 00:48:12,679 your website absolutely you can come check me out at Jencoffee dot com. J 546 00:48:12,840 --> 00:48:15,119 E N n C O F f e y dot com and see all the 547 00:48:15,159 --> 00:48:19,800 trouble I'm making. Yes, yes, and thank you again to Warhog for 548 00:48:19,880 --> 00:48:22,360 skyping in earlier from Texas. And of course, uh, in the first 549 00:48:22,440 --> 00:48:28,719 hour we had Eric Sotter from Blackheart Sound and uh, manitar is that I 550 00:48:28,800 --> 00:48:31,760 said? No? Magnet magnetar, magnetar What am I thinking? It's like? 551 00:48:31,840 --> 00:48:37,360 I invented, invented some sort of character in my head. And of 552 00:48:37,440 --> 00:48:42,039 course Eric Pilter for his classic film review of his favorite film of all time, 553 00:48:42,280 --> 00:48:45,880 Citizen Kane. And we're gonna leave you with another track from Conduit. 554 00:48:45,360 --> 00:48:49,239 Uh. This is called the Phase. Thanks for having us, Matt, 555 00:48:49,360 --> 00:48:52,079 Yeah, thanks, thank you, thank you so much for coming in. 556 00:48:52,239 --> 00:48:54,159 We we enjoyed this very much, and we will talk to you a little 557 00:48:54,159 --> 00:49:08,039 bit later. By everybody, Bye bye, bye bye. Second, let's 558 00:49:08,079 --> 00:49:22,159 sick as a children, Let's sweet, tis true, it's sticking, that's 559 00:49:22,239 --> 00:50:22,079 tri meant t. Don't you watch? Three words to which shall not? 560 00:50:22,559 --> 00:50:32,239 Here? Have I made you by this shelter? And I've found I've found 561 00:50:32,320 --> 00:50:37,719 the fallen under the bed, and I found the garden. Unless you got 562 00:50:37,199 --> 00:51:28,639 rendering your dreams all that day, I don't now you do not kill key, 563 00:51:28,880 --> 00:51:38,159 reminding you my love is the Master's rich. And they the messages see 564 00:51:38,440 --> 00:51:45,599 this genius, the impression of men, that's te chings that feel the leastest, 565 00:51:45,679 --> 00:51:58,800 stay at Tosa sample give them something at shall What would that say about 566 00:51:58,920 --> 00:52:07,719 me? Did your slack and flag? Now heard that the scene? Tell 567 00:52:07,840 --> 00:52:16,199 me? When would the train to flee? Maybe? No, maybe I'll 568 00:52:16,280 --> 00:52:28,480 work for ages so that he doesn't something I don't want. That's so I 569 00:52:28,639 --> 00:53:24,679 say, my father, yes, since what I actually other dream last night 570 00:53:25,400 --> 00:53:30,039 where I was sitting in the field and there were a bunch of humming birds 571 00:53:30,159 --> 00:53:35,159 that just landed on men. And I later looked up what humming birds are 572 00:53:35,280 --> 00:53:40,000 prison and dreams, and apparently it's believed that whatming birds are massingers for lands 573 00:53:40,440 --> 00:53:45,960 and they Asian dreams doing the things of life are basically I guess we're getting 574 00:53:46,000 --> 00:53:51,840 tender and they would prison joined oppiness and all that is pure in the world. 575 00:53:52,280 --> 00:54:40,760 Because I'm showing fall down the yeah you do slid so still John to 576 00:54:42,320 --> 00:54:59,400 sound looking for something controversial. It's not saying about me the same and so 577 00:55:00,280 --> 00:56:15,760 well, what's your plea? Maybe some PASSI and some because I say my father h