1 00:00:04,320 --> 00:00:07,960 Disney's Cafe is the place to put us. Smile on your face. Judy 2 00:00:08,039 --> 00:00:11,839 and the crew will take care of you, bring your appetite and treat your 3 00:00:11,919 --> 00:00:17,679 taste buzz Ruy Disney's Cafe is always a winning choice breakfast, lunch or supper. 4 00:00:18,120 --> 00:00:23,280 Dizzne's Cafe at eight sixty Elm Street in downtown Manchester. Dine in, 5 00:00:23,440 --> 00:00:28,079 takeout or make a reservation. Call six oh three, six oh six two 6 00:00:28,120 --> 00:00:36,079 five three two, Eat, drink and be happy Dizney's Cafe. You are 7 00:00:36,159 --> 00:00:43,560 listening to WMNHLP ninety five point three FM, broadcasting from the top of one 8 00:00:43,600 --> 00:00:49,240 thousand Elm Streets. Our studios are located at one nineteen Canal Street and license 9 00:00:49,320 --> 00:00:54,920 to Manchester Public Television Service in Manchester, New Hampshire. Contact us by email 10 00:00:55,159 --> 00:01:00,000 at wm NH nine five three at gmail dot com, or through our website 11 00:01:00,200 --> 00:01:04,959 at w m n H radio dot org. This is Radio Manchester. It's 12 00:01:06,159 --> 00:01:32,120 nine o'clock black out. You've been using your minds out answer number four before 13 00:01:32,200 --> 00:01:36,959 to week. It's what say you your time? No ration number four ring 14 00:01:37,040 --> 00:01:41,760 out, A no working your ants out, A rant A number four small 15 00:01:41,879 --> 00:01:46,359 out. It's I know in a minute and now sam raising number four morning 16 00:01:46,599 --> 00:01:53,319 April nothing anything or roasine for seizure and rubbing the Cordnor's post build up buns 17 00:01:53,359 --> 00:02:00,280 and comer. You got a ranswer and it's building of saster nor sis. 18 00:02:00,359 --> 00:02:05,640 There's still no one to do. Then it's the sad or so sellius a 19 00:02:05,799 --> 00:02:13,840 successor saying a low disaster child, you've been loosen your nide, I say 20 00:02:13,840 --> 00:02:16,159 as to number four or your towing. It's what's a going your tide? 21 00:02:16,719 --> 00:02:23,039 No, no more my house. But no what Cagnor is ill said, 22 00:02:23,080 --> 00:02:25,759 I'm as to number four, it's all wow, it's not a prison plays 23 00:02:27,360 --> 00:02:51,319 No say as to number four. Queen Crusoe raps as they were answer ay 24 00:02:51,319 --> 00:02:53,479 your Crusa saints and no place. I said, what racing's talking so loud? 25 00:02:53,520 --> 00:02:57,199 I thought you were getting sick. I tell my grandys, you're killing 26 00:02:57,240 --> 00:03:09,800 a whole will at now so we have disaster sucker for some master. That's 27 00:03:09,800 --> 00:03:13,719 like a day s I guess that's saying a race in three years a second. 28 00:03:13,759 --> 00:03:16,039 So that's a waistcin never love, but was it's a never say a 29 00:03:16,159 --> 00:03:42,280 jat morning nineteen eighty six, or routine perceivesor slowing the coursor sps build up 30 00:03:42,319 --> 00:03:49,560 with thousand dollar us A ray answer, it's building a sasser. Will you 31 00:03:49,680 --> 00:03:53,280 sister s don't know what to do? Then it's the sator some sillion it's 32 00:03:53,719 --> 00:04:00,919 a raiartic faster saying at disaster yell you're say you're nine. I said, 33 00:04:01,199 --> 00:04:09,240 ranto number four a week guess what say no hide? I said my out 34 00:04:09,439 --> 00:04:14,080 a no locking yours. I said it's a number four. It's aloud, 35 00:04:14,199 --> 00:04:19,279 it's not no end of this, I say it's a number four. W 36 00:04:19,720 --> 00:04:25,680 m n H rip the novel side you're listening to do w m n H 37 00:04:25,879 --> 00:05:08,920 ninety four and forty three Command God, don't get supprilea Maxill coming, Good 38 00:05:09,040 --> 00:05:11,519 morning, everybody, Welcome, Here we go. It is that time again, 39 00:05:11,639 --> 00:05:15,680 Matt Connorton Unleashed and we are live from the studios of w m n 40 00:05:15,920 --> 00:05:21,000 H ninety five point three FM in Glorious Manchester, New Hampshire. Of course, 41 00:05:21,199 --> 00:05:25,000 you can also stream the show from anywhere. I go to Matt connorton 42 00:05:25,040 --> 00:05:28,959 dot com slash live for all of your live streaming options, social media links, 43 00:05:29,000 --> 00:05:31,160 contact and fosh archives, et cetera, et cetera. I'm going to 44 00:05:31,199 --> 00:05:34,240 tell you about the song we just heard in just a moment, and then 45 00:05:34,240 --> 00:05:38,519 we'll tell you what we've got coming up today. But today is Saturday May 46 00:05:38,639 --> 00:05:53,360 eleven, twenty twenty four, and I am not alone, Jenny, Jenny 47 00:05:53,480 --> 00:05:57,160 is here at the news table. I am present. Yes, Yes, 48 00:05:58,079 --> 00:06:01,439 awesome, yeng I love that. Yeah. So that's that's our friend Dylan 49 00:06:01,480 --> 00:06:08,079 Reynolds. That is called Reactor number four and he's actually in the chat room. 50 00:06:08,639 --> 00:06:11,079 Ye, the full EP's going to be available. Oh no, he's 51 00:06:11,120 --> 00:06:12,920 not. I thought I'm sorry, I thought he was. Yeah, that's 52 00:06:13,000 --> 00:06:16,279 me. Oh that's you. He told me he was going to be in 53 00:06:16,360 --> 00:06:23,160 there, So all right, Oh, full his full EP, the Full 54 00:06:23,279 --> 00:06:28,800 Radiation Sickness EP, is going to be available on June fourth, and definitely 55 00:06:29,000 --> 00:06:34,160 follow him on the utube. Yes, and I dropped a link to his 56 00:06:34,319 --> 00:06:39,800 YouTube channel into the chat room if you'd like to follow along with Dylan's work. 57 00:06:39,879 --> 00:06:43,680 He is an incredible artist, let me tell you us absolutely. I'll 58 00:06:43,720 --> 00:06:46,439 just share something with you too from the ePK that he sent me that explains 59 00:06:46,439 --> 00:06:49,399 a little bit about the track and about the project. It says, the 60 00:06:49,439 --> 00:06:55,079 first multi track release from Dylan Reynolds since twenty eighteen, and the first EP 61 00:06:55,279 --> 00:06:59,639 since twenty sixteen's The Living Dead. Dylan comes back hard and fast with a 62 00:06:59,680 --> 00:07:05,399 five track released titled Radiation Sickness, depicting an alternate timeline of the post apocalyptic 63 00:07:05,480 --> 00:07:11,399 anguish of Chernobyl's nuclear disaster, A concept DP given an account of the disaster 64 00:07:11,560 --> 00:07:16,839 and the subsequent failed containment procedures in true sequence of events. Each track proceeds 65 00:07:17,600 --> 00:07:21,639 uh the last to build a story of loss, anguish, and the ultimate 66 00:07:21,720 --> 00:07:30,560 horrors befallen the people of the uh Pripiat exclusion Zone. I'm not sure Pripepiat. 67 00:07:30,639 --> 00:07:32,199 I'm not sure if I'm saying that correctly. I know what the exclusion 68 00:07:32,319 --> 00:07:36,160 zone is, but that's where you're not allowed to go because there's still radiation. 69 00:07:36,279 --> 00:07:40,000 There's there's you're you're still not allowed to go in there to this day. 70 00:07:40,120 --> 00:07:44,240 Oh, I'm sure. Radiation Sickness is slated to release on Tuesday, 71 00:07:44,360 --> 00:07:49,079 June fourth, worldwide on all major digital distributors. So, but Dylan was 72 00:07:49,160 --> 00:07:53,199 kind enough to give us the world radio premiere, So we got that. 73 00:07:53,519 --> 00:07:57,240 UH got that a few weeks in advance, So very excited about that coming 74 00:07:57,279 --> 00:07:59,720 up in just a few minutes. We have and I'm not sure how to 75 00:07:59,759 --> 00:08:01,800 speak of not being sure how to pronounce things. I'm not sure how to 76 00:08:01,839 --> 00:08:07,319 say the band's name if it's Haitian. We'll get the correct pronunciation from them 77 00:08:07,319 --> 00:08:11,519 when they when they call us in a few minutes. I'm really looking forward 78 00:08:11,560 --> 00:08:15,600 to talking to these guys. Fantastic sound, and we're going to in just 79 00:08:15,720 --> 00:08:18,600 a moment, we're gonna play one of their tracks and then we'll get them 80 00:08:18,680 --> 00:08:22,480 on the phone. And then second hour we have the return of Bees Deluxe. 81 00:08:22,759 --> 00:08:26,360 Yeah, Conrad War was on with us maybe a year ago, really 82 00:08:26,439 --> 00:08:28,680 really fascinating conversation. Looking forward to that. And then in the third hour 83 00:08:28,759 --> 00:08:33,039 we have Casey Darren of the band Soda s O T A H. I 84 00:08:33,039 --> 00:08:35,159 always like to spell it for people so they don't think I'm saying soda. 85 00:08:35,440 --> 00:08:41,679 Yeah, like like like the beverage. But he's gonna be back another world 86 00:08:41,759 --> 00:08:45,879 radio premiere, the new single Division Line. Yeah, it's a fol day 87 00:08:46,080 --> 00:08:50,240 of brand new music. Absolutely love it. Absolutely, We've got uh, 88 00:08:50,679 --> 00:08:52,320 We've got plenty coming up. So I think what we'll do is let's go 89 00:08:52,360 --> 00:08:56,879 ahead and play something from and again, I don't know if I'm saying it 90 00:08:56,879 --> 00:09:00,480 correctly. Heishen Haitian. We'll we'll find out from these guys. But a 91 00:09:00,600 --> 00:09:03,279 great band from Rochester, New York, and they're going to be playing a 92 00:09:03,320 --> 00:09:09,960 big show tonight at Terminus in Nashua. So I think we'll play this song. 93 00:09:11,200 --> 00:09:16,159 I think we should give Crimson Sun a spin. I like all of 94 00:09:16,240 --> 00:09:22,399 these, but the album is called Awaken the Endless Deep, and this is 95 00:09:22,480 --> 00:09:24,720 really good stuff. This is the kind of thing you can kind of get 96 00:09:24,759 --> 00:09:28,279 lost in. So yeah, we'll start with this. We'll play a bunch 97 00:09:28,320 --> 00:09:33,279 of these today. But this is called Crimson Sun. The bandit Haitian from 98 00:09:33,360 --> 00:10:33,440 the album Awaken the Endless Deep. Check it out, gone ways over the 99 00:10:33,639 --> 00:10:46,000 short spreading its like the class medi ancient lands. Substans for to see the 100 00:10:46,399 --> 00:10:58,320 easton search of last last testa define free circuits time, don't wake up with 101 00:11:00,200 --> 00:11:07,879 fine set so far from We're all alone, Steal your whissongs of course for 102 00:11:09,320 --> 00:11:33,960 the yonder way down, keep so the soundway down to the charny corners of 103 00:11:33,320 --> 00:11:41,679 the sail along fund away sound like we carry out the will, but we 104 00:11:43,000 --> 00:11:50,000 have we're less like for it. See the time as ever stayed to their 105 00:11:50,159 --> 00:11:56,159 restaurant all about or the browns up a bike shap, cutting a bad shot. 106 00:11:56,279 --> 00:14:11,840 It's like for a Parson song they thought of that. Why oh who 107 00:14:18,720 --> 00:15:07,639 s oh? That is so good? That is Crimson Sun is the name 108 00:15:07,679 --> 00:15:09,840 of the track. The band is Haitian or Heishen. We'll see what the 109 00:15:09,879 --> 00:15:16,039 correct pronunciation is when they join us. And that is from the album Awake 110 00:15:16,080 --> 00:15:18,120 in the Endless Steep. These guys are going to be playing a show tonight 111 00:15:18,200 --> 00:15:24,200 at Terminus in Nashua, and they're going to be joining us by phone at 112 00:15:24,399 --> 00:15:28,320 any moment. So by the way, Hans Smith from the band Sepsis is 113 00:15:28,360 --> 00:15:31,320 in the Facebook live chat liking what he's hearing. He said, I'm really 114 00:15:31,399 --> 00:15:35,360 digging those beats. Yeah, the drums are are pretty sophisticated on that, 115 00:15:35,600 --> 00:15:37,440 and they've got a big sound. You know, it's only three of them. 116 00:15:37,480 --> 00:15:41,879 It's a trio. You might even use the term power trio. But 117 00:15:43,320 --> 00:15:46,879 yeah, there's only three of them, but they sound like a full band. 118 00:15:46,279 --> 00:15:48,840 And let's see who's on the line here. Hi, welcome to Matt 119 00:15:48,960 --> 00:15:54,000 Connorton Unleashed. Who we have? Oh you got Randy and Justin here? 120 00:15:54,320 --> 00:16:00,519 Randy and Justin Okay, Hey, shn that's how you say it. Hi 121 00:16:00,799 --> 00:16:03,879 Hi shen, yeh hi shen. Gotcha, gotcha. Okay, I've been 122 00:16:03,919 --> 00:16:08,679 saying it wrong. I thought I might be welcome guys. Welcome guys. 123 00:16:08,879 --> 00:16:15,320 So tell us what each of you does in the band. Please. I'm 124 00:16:15,399 --> 00:16:19,159 the drum This is Randy. I'm the drummer and the primary backup singer, 125 00:16:19,279 --> 00:16:26,480 and I also do some symps and samples. Okay, I'm justin. I 126 00:16:26,600 --> 00:16:32,399 played bass and do a bit of backing vocals, and I do kind of 127 00:16:32,440 --> 00:16:37,320 a lot of our our technical and kind of managing and booking work. And 128 00:16:37,399 --> 00:16:41,480 then Chris is I think he's still kind of packing some gear upstairs. I'm 129 00:16:41,519 --> 00:16:47,840 hoping he'll be down momentarily. But he is our lead guitarist, lead vocalist, 130 00:16:48,120 --> 00:16:53,159 and like main songwriter. There he is here. I'll scoot over for 131 00:16:53,320 --> 00:16:57,519 you here, Chris, you want to if you want to do your own 132 00:16:57,559 --> 00:17:04,519 introduction, because I started to do years I've gone I'm sure. I play 133 00:17:06,160 --> 00:17:10,079 guitar and I sing. Okay, well, welcome guys. It's nice to 134 00:17:10,119 --> 00:17:12,359 have you all with us. And I was listening, you know, I 135 00:17:12,480 --> 00:17:18,559 listened to the full album, and I made the comment coming out from coming 136 00:17:18,599 --> 00:17:23,200 out of the song Crimson Sun that it's the kind of music you can kind 137 00:17:23,200 --> 00:17:26,079 of get lost in. You know, some of your songs are very long 138 00:17:26,160 --> 00:17:30,119 and they seem to be story driven, and you know, it's the type 139 00:17:30,160 --> 00:17:33,000 of thing you can just put on the headphones and just sort of just sort 140 00:17:33,039 --> 00:17:36,519 of go with it, just get lost in what you're doing. And I 141 00:17:36,599 --> 00:17:40,799 think that's really cool. It kind of takes you on a journey and really 142 00:17:40,880 --> 00:17:45,480 sophisticated stuff. How long have you guys been around? How long has haishen't 143 00:17:45,480 --> 00:17:53,680 been a band? So in this configuration about August of twenty nineteen. Ris 144 00:17:53,799 --> 00:18:00,039 and Justin had a few configurations before that, different music styles, but this 145 00:18:00,200 --> 00:18:04,160 current configuration about five years. Yeah, okay, has it always been a 146 00:18:04,240 --> 00:18:12,119 trio? Not precisely in the current iteration that is known as Hyshen. Yes. 147 00:18:12,960 --> 00:18:18,200 Chris and I are initially started this project attempting to write more of like 148 00:18:18,359 --> 00:18:26,119 atmospheric post rap kind of stuff. We peaked at six members and quickly quickly 149 00:18:26,240 --> 00:18:30,640 realized that trying to coordinate that many people for one band practice and trying to 150 00:18:30,720 --> 00:18:37,400 write with that many people was a huge pain. Yeah, and then a 151 00:18:37,480 --> 00:18:41,960 few people quit to go play in a different band and that was the chance 152 00:18:42,039 --> 00:18:45,839 that we got to kind of retool. And actually one of the guitar players 153 00:18:45,880 --> 00:18:49,559 from that original iteration of the project is the one who recommended Randy to us, 154 00:18:49,839 --> 00:18:55,440 and he's kind of the drummer that unlocked the ability for us to write 155 00:18:55,440 --> 00:19:00,880 progressive music instead of like simpler stuff, because we hadn't had a drummer that 156 00:19:00,920 --> 00:19:04,400 could play that before, right, right, Yeah, I was mentioning, 157 00:19:04,480 --> 00:19:08,960 you know, Randy hans Smith from Sepsis in the chat room was was commenting 158 00:19:10,000 --> 00:19:14,680 how much he likes the drums and yeah, very some pretty sophisticated drum patterns 159 00:19:14,759 --> 00:19:18,480 there, and yeah, yeah, absolutely, really really good. Yeah, 160 00:19:18,519 --> 00:19:22,680 I tend to and you know, when somebody plays like you do. For 161 00:19:22,720 --> 00:19:26,440 example, I was thinking about this last night. If I hear a song 162 00:19:26,559 --> 00:19:29,640 by Rush, I tend to be very drawn to the drums, even though 163 00:19:29,640 --> 00:19:33,480 I'm a bass player, and you know, obviously Getty Lee's an amazing bass 164 00:19:33,480 --> 00:19:34,960 player, but when it's a when it's a band like Rush, you know, 165 00:19:36,119 --> 00:19:37,920 the drums are the thing that I'm drawn to the most, just because 166 00:19:38,200 --> 00:19:44,640 Neil Peart's drumming was so sophisticated, or are some of the early Black Sabbath 167 00:19:44,720 --> 00:19:47,400 stuff too, like War Pigs. You know, I tend to focus in 168 00:19:47,480 --> 00:19:52,680 on the drums because the drumming that bill Ward did was was so interesting and 169 00:19:53,440 --> 00:19:56,640 really kind of different than anything else you would hear from that period. But 170 00:19:56,839 --> 00:20:02,799 uh, absolutely yeah. I mean for me, that version would be Mike 171 00:20:02,880 --> 00:20:07,640 Portnoy from Dream Theater. Yeah, you know, hear me indirectly be compared 172 00:20:07,680 --> 00:20:11,119 to Neil Peart. That's a real honor. But I also you know, 173 00:20:11,799 --> 00:20:15,880 nobody comes close to him, right right right? Well, I mean you've 174 00:20:15,960 --> 00:20:18,640 got, like I said, this is very sophisticated the music that you're making. 175 00:20:18,960 --> 00:20:23,839 Is it a challenge to do this live? Because like I said, 176 00:20:23,880 --> 00:20:27,440 it's it's three of you? But I mean, or maybe I don't know, 177 00:20:27,559 --> 00:20:32,359 do you have anyone additionally with you live who's not an official member, 178 00:20:32,400 --> 00:20:36,519 who contributes live? Or do you actually pull this off just as a trio? 179 00:20:37,799 --> 00:20:40,720 No, we do everything to the three piece wow. And one of 180 00:20:40,839 --> 00:20:45,799 the goals that was on this album that we tried to stick with for the 181 00:20:45,880 --> 00:20:52,559 most part was that we would write things and do things. If we couldn't 182 00:20:52,599 --> 00:20:56,160 do them live, we wouldn't it wouldn't wind up on the record. Okay, 183 00:20:57,119 --> 00:21:02,640 for the most part, that's true in terms of the arrangements. So 184 00:21:03,519 --> 00:21:08,640 everybody in this band pulls what I like to call double triple duty on things 185 00:21:08,759 --> 00:21:12,039 like not only your primary Instagram guitar, vis, drums, but also you 186 00:21:12,119 --> 00:21:18,880 have vocals. Everyone sings has vocal parts in this band, whether it be 187 00:21:18,920 --> 00:21:26,359 harmonies or like background vocals or things like that. Lead vocals. I specifically 188 00:21:26,599 --> 00:21:30,039 do a lot of looping with a loop with a loop pedal. I was 189 00:21:30,079 --> 00:21:36,160 going to say, our fourth band member is Chris's loop pedal. Yeah, 190 00:21:36,240 --> 00:21:41,039 so just like the loop pedal. A lot of that is is live guitars, 191 00:21:41,400 --> 00:21:45,160 is me playing, playing guitar and then trying to loop something over it. 192 00:21:45,440 --> 00:21:52,519 Brandy also does synths and keyboards, which we started to use a trigger 193 00:21:52,599 --> 00:21:56,359 pad for and we kind of along the way we use the trigger pad. 194 00:21:56,440 --> 00:22:02,119 You could just activate it by hitting a paddle with the drums, and then 195 00:22:02,519 --> 00:22:08,640 now very recently we've gone to the professionals, with the professionals using in your 196 00:22:08,759 --> 00:22:14,160 monitor or i e. M. Rec and we have kind of like, 197 00:22:14,880 --> 00:22:18,720 uh, we use we use click tracks, and some people think it's lame, 198 00:22:18,880 --> 00:22:22,960 but for our degree, for our degree of complexity in this music, 199 00:22:22,039 --> 00:22:26,119 it's necessary we have click tracks, and then I also like to use we 200 00:22:26,240 --> 00:22:33,079 actually have everything synced out now, so uh my my pedal board with the 201 00:22:33,119 --> 00:22:37,240 loop pedal, and everything takes uh takes MIDI MIDI commands, so I can 202 00:22:37,319 --> 00:22:45,000 actually it can actually switch uh switch things like channels or pedals or the loop 203 00:22:45,039 --> 00:22:49,519 pedal on and off for certain sections of the song. So it's actually made 204 00:22:49,599 --> 00:22:52,319 things a lot more. We've automated a little bit of it, but at 205 00:22:52,359 --> 00:22:56,319 the core, it's still three guys, same same big films. And the 206 00:22:56,920 --> 00:23:02,039 obvious answer to all how do we do it live? Is we practice a 207 00:23:02,079 --> 00:23:07,240 lot. Yeah. Well, yeah, you know, it's interesting because as 208 00:23:07,279 --> 00:23:11,319 you're describing that and how it all works, I was, you know, 209 00:23:11,839 --> 00:23:14,920 I don't currently play, but I've played in a lot of bands, and 210 00:23:15,279 --> 00:23:18,119 I've never played in a band that's doing anything on the level that you're doing, 211 00:23:18,720 --> 00:23:21,359 you know, with the added technology and whatnot. And I was thinking, 212 00:23:21,440 --> 00:23:25,599 you know, it's it's so far beyond anything I ever did, because 213 00:23:26,000 --> 00:23:27,440 any of the bands I was in, you know, we would show up, 214 00:23:27,519 --> 00:23:30,720 we would play you know usually you know, drums, bass, guitar, 215 00:23:30,839 --> 00:23:33,160 vocals, you know, and it's just you almost take it for granted 216 00:23:33,240 --> 00:23:37,640 when you think about what goes into what you guys are doing. And again 217 00:23:37,839 --> 00:23:41,160 I was thinking too. I was reflecting on for example, Rush, not 218 00:23:41,279 --> 00:23:42,720 to go back to Rush, but a great example of you know, Geddy 219 00:23:42,799 --> 00:23:47,480 Lee live. He would be playing bass, but he also had to figure 220 00:23:47,480 --> 00:23:49,119 out a way to work some keyboard in there, you know, especially with 221 00:23:49,200 --> 00:23:53,119 some of the stuff they did in the eighties. And and it's it's interesting 222 00:23:53,200 --> 00:23:59,079 to me that, I mean, is it stressful to have sort of, 223 00:23:59,440 --> 00:24:02,720 I don't know how else to put it, sort of an additional responsibility on 224 00:24:02,839 --> 00:24:04,559 top of playing your instrument. You're not just playing your instrument, but you've 225 00:24:04,599 --> 00:24:08,039 got a few other things you got to work in there. Is that Is 226 00:24:08,160 --> 00:24:11,960 that difficult? Or is it just something that you know, you get it 227 00:24:12,039 --> 00:24:15,759 down during rehearsal and then it just becomes second nature and it's no different than 228 00:24:17,119 --> 00:24:21,519 if you were just you know, playing normal relax. I think it depends 229 00:24:21,599 --> 00:24:26,480 on the member. I would say the main stressor for us is just making 230 00:24:26,519 --> 00:24:33,519 sure all this newly added technology is working, you know, within the confines 231 00:24:33,559 --> 00:24:37,039 of you have fifteen minutes to set up before your show, and that's of 232 00:24:37,119 --> 00:24:44,119 course stressful because technology sometimes doesn't work. Yeah, it was expected and yeah, 233 00:24:44,319 --> 00:24:47,759 yeah, I was gonna say, for me, I'm effectively playing bass 234 00:24:47,839 --> 00:24:52,920 player and monitor tech, right, and that can be a bit of a 235 00:24:52,000 --> 00:24:59,119 hassle, especially as like I've done my fair share of live sound, I've 236 00:24:59,160 --> 00:25:03,000 done my fair share of as a musician. I have done maybe four shows 237 00:25:03,079 --> 00:25:08,319 now where I'm doing both at the same time, and so that's definitely like 238 00:25:08,799 --> 00:25:11,640 that added technology is definitely a bit of a stressor. And I know, 239 00:25:11,799 --> 00:25:18,519 like making sure that the media is working to Chris's board has been a whole 240 00:25:18,640 --> 00:25:22,079 process. At our release show last night, we actually had an issue where 241 00:25:22,119 --> 00:25:32,200 the USB was not seeing our audio or the USB from the computer to the 242 00:25:33,640 --> 00:25:38,440 audio device was not picking up, so our click track wasn't working. And 243 00:25:38,559 --> 00:25:42,119 we have some like synth pads on like backing tracks and stuff now yeah, 244 00:25:42,680 --> 00:25:48,160 and so none of that was working, and it took rebooting things a bunch 245 00:25:48,160 --> 00:25:51,240 of times, and actually updated all of our equipment last night so that hopefully 246 00:25:51,319 --> 00:25:57,119 we will have no issues for the next couple of days. And then I'm 247 00:25:57,160 --> 00:26:02,000 sure, like you know, Chris can probably speak a bit more to the 248 00:26:02,079 --> 00:26:07,880 mental load of like being the lead singer and playing the lead guitar over some 249 00:26:07,000 --> 00:26:11,720 of the music that we work on. But that's kind of the technology aspect, 250 00:26:11,759 --> 00:26:17,119 and I will say it definitely it's great when it works, and when 251 00:26:17,200 --> 00:26:22,240 it doesn't, it is certainly stressful. The technology. The technology is certainly 252 00:26:23,039 --> 00:26:26,920 the way Justin describes, it gives us a lot with new headaches and things, 253 00:26:27,160 --> 00:26:30,160 but at the end of the day, it does streamline what it does 254 00:26:30,279 --> 00:26:37,000 work. It does streamline a lot of things. We tend to with all 255 00:26:37,160 --> 00:26:41,640 these things, adding like another layer or something like that. A lot of 256 00:26:41,720 --> 00:26:45,440 it is a muscle memory thing and as we say as Renny, so we 257 00:26:45,559 --> 00:26:48,880 practice a lot and it's one of those things that you just get better over 258 00:26:49,000 --> 00:26:52,920 time at doing it. And to us now these things are second nature. 259 00:26:55,319 --> 00:26:57,920 We've had sony songs for a long time, and if something breaks down, 260 00:26:59,000 --> 00:27:02,839 it's not I mean, it's like, I know, we've made it sound 261 00:27:02,880 --> 00:27:04,960 like we're so heavily dependent on the stuff, but it's not the end of 262 00:27:04,960 --> 00:27:08,079 the world, because we can still at the heart of it, a lobby 263 00:27:08,200 --> 00:27:15,279 songs the way they were written were the kind of these extra switches and things 264 00:27:15,359 --> 00:27:18,799 were like kind of baked in. They're necessitated. Sure, so we've all 265 00:27:18,200 --> 00:27:22,839 you can trust that we've all had practice doing this kind of stuff manually, 266 00:27:25,039 --> 00:27:30,200 and so it's and so that's very it's no problem to go back to go 267 00:27:30,319 --> 00:27:33,759 back to it. Yeah, we had to show about a month ago where 268 00:27:33,880 --> 00:27:40,200 we were having an issue where the vibration of the stage kept triggering the stop 269 00:27:40,279 --> 00:27:42,319 command on our click tracks. Like, yeah, we can still play a 270 00:27:42,400 --> 00:27:48,160 perfectly tight set without them. Yeah, we just don't have some like specific 271 00:27:48,319 --> 00:27:52,680 like we're missing the sub drop in this song, we're missing the pretty synthpad, 272 00:27:52,759 --> 00:27:56,839 but like is it great to have the click? Yes? Are we 273 00:27:56,000 --> 00:28:00,319 still the same band we were before we started playing to a click live? 274 00:28:00,640 --> 00:28:04,200 Absolutely? Yeah. Yeah, Well that's interesting. So the vibration of the 275 00:28:04,279 --> 00:28:11,839 stage was causing that. This was when we're using a trigger pad to trigger 276 00:28:11,680 --> 00:28:15,960 the click instead of just pressing the space bar and a laptop. So yeah, 277 00:28:17,200 --> 00:28:19,599 it's a process that there's a lot of trial and error when you're kind 278 00:28:19,640 --> 00:28:23,759 of you're a band and you're three people figuring this out. A lot of 279 00:28:23,799 --> 00:28:26,880 these things we like kind of had to grow into. Basically, we had 280 00:28:26,920 --> 00:28:32,079 to grow into this band, grow into our roles, like the down to 281 00:28:32,240 --> 00:28:36,599 like the pedal board I was making, like I soldered every single cable by 282 00:28:36,680 --> 00:28:38,480 hand, I didn't know how to solder before that. Yeah, you know, 283 00:28:38,640 --> 00:28:42,440 and then so stuff would break on stage. We have footage and it's 284 00:28:42,559 --> 00:28:48,160 it's it's it's rough. You know, We've had footage, like earlier footage 285 00:28:48,279 --> 00:28:53,640 of you know, we'll rush through a loop section, something will break on 286 00:28:53,839 --> 00:28:59,799 stage. These are problems that were in the past. Uh. And do 287 00:28:59,839 --> 00:29:06,079 you to lots of practice and or automation. We've actually streamlined a lot of 288 00:29:06,160 --> 00:29:10,839 stuff into so where the you know, the great live act you've seen here 289 00:29:10,920 --> 00:29:15,400 today. Yeah, no, I I really admire that your your level of 290 00:29:15,480 --> 00:29:19,799 commitment to to this and and all that goes into it with the technology and 291 00:29:19,960 --> 00:29:23,720 uh, Chris, I think it was someone had made reference earlier to to 292 00:29:25,200 --> 00:29:29,799 you know, your your role is unusual and that you're both the lead singer 293 00:29:29,920 --> 00:29:33,359 and the guitar player have Is that a lot of uh? Is that a 294 00:29:33,440 --> 00:29:36,200 lot of pressure? You don't see that in most bands. I mean I've 295 00:29:36,279 --> 00:29:38,200 you know, I've seen a few along the way, but usually usually the 296 00:29:38,240 --> 00:29:44,079 guitar player, the lead guitar player, and the singer are our roles assigned 297 00:29:44,160 --> 00:29:48,079 to two different people. Well, it's just it's just kind of muscle memory. 298 00:29:48,359 --> 00:29:53,079 Yeah, it's I I've done it so long, I don't you know, 299 00:29:53,200 --> 00:29:56,400 I like some people say it's amazing, you know, it's at the 300 00:29:56,519 --> 00:30:00,279 end of the day, it's just kind of muscle memory. Yeah, it's 301 00:30:00,359 --> 00:30:03,839 I think it's attainable. It's also something he had to grow into. Yeah, 302 00:30:04,079 --> 00:30:10,279 as you'd say, because he's improved a lot on both fronts. And 303 00:30:10,599 --> 00:30:15,400 as we joke, early on, he started singing because at the time he 304 00:30:15,519 --> 00:30:18,279 was the only one who knew how to coordinate doing both, gotcha. Yeah, 305 00:30:18,279 --> 00:30:22,319 I think. Yeah, it's like it's it's you could you could argue, 306 00:30:23,920 --> 00:30:26,559 you could. You could argue that we were just like we had we 307 00:30:26,680 --> 00:30:30,400 had too much ego, or we wanted to stay as a three piece. 308 00:30:30,440 --> 00:30:33,880 So we're just being like, okay, we'll play We'll play all I'll play 309 00:30:33,920 --> 00:30:37,359 all the guitar parts, ants sing you know. Yeah, Well, as 310 00:30:37,400 --> 00:30:40,680 you guys were alluding to earlier, though, it's you know, as a 311 00:30:40,720 --> 00:30:45,200 three piece, obviously everybody has to do more in terms of creating this music, 312 00:30:45,319 --> 00:30:49,440 especially replicating it live. But but you don't have as many scheduling issues. 313 00:30:49,480 --> 00:30:52,359 And you know, I mean I've been in bands where you know, 314 00:30:52,440 --> 00:30:55,839 it's three other guys or four other guys, and you know, it can 315 00:30:55,920 --> 00:31:02,839 become really difficult with everyone's schedule to know, schedule rehearsals and and trying to 316 00:31:02,880 --> 00:31:07,039 schedule live shows and so so I think keeping it to a tight three piece 317 00:31:07,079 --> 00:31:11,039 it does make sense. And obviously it makes things a little more challenging technologically, 318 00:31:11,119 --> 00:31:15,319 but you know, you've figured it out obviously and it's it's working for 319 00:31:15,440 --> 00:31:18,559 you. So kudos to you, guys. I think it's great time breakers. 320 00:31:18,640 --> 00:31:25,799 You know, if people are the third person swoops in and gets the 321 00:31:25,880 --> 00:31:29,240 final stay almost that's true. Yeah, there you go, There you go. 322 00:31:30,000 --> 00:31:32,799 And can you, guys tell me a little bit about the album Awaken 323 00:31:32,880 --> 00:31:37,240 the Endless Deep what the theme is here? Because just in listening to it, 324 00:31:37,400 --> 00:31:41,680 and I listened to it first before I read the bio, and the 325 00:31:41,720 --> 00:31:44,680 bio kind of clued me in, But but I noticed, you know, 326 00:31:44,799 --> 00:31:47,799 like I said, it seems to be story songs kind of takes you on 327 00:31:47,920 --> 00:31:51,839 a journey, and that journey is clearly on the sea. Uh, but 328 00:31:52,279 --> 00:31:55,160 can you kind of tell us a little bit about what the concept is here? 329 00:31:55,400 --> 00:31:59,200 And I'm also curious to know is this the concept of the band or 330 00:31:59,319 --> 00:32:02,279 is it supposed to be the concept of Justice album specifically, and are there 331 00:32:02,319 --> 00:32:06,920 other concepts other music that you might be working on or in the future. 332 00:32:09,759 --> 00:32:14,039 It's a kind of a it's kind of a long winded answer, but it's 333 00:32:14,359 --> 00:32:19,880 basically the story of Awaken the Endless Steep. This album is drawn from Chinese 334 00:32:19,960 --> 00:32:25,279 creation mythology, and we kind of built a story around that concept album basically. 335 00:32:25,759 --> 00:32:31,759 Okay, you can notice probably that there are little to no breaks on 336 00:32:31,880 --> 00:32:35,400 the album, so that might kind of clue you in. Every song just 337 00:32:35,480 --> 00:32:38,160 kind of flows in, like one after one after the next. Yes, 338 00:32:39,599 --> 00:32:47,839 So that's based on it's reflective of our kind of desire to write a write 339 00:32:47,960 --> 00:32:53,880 a story a concept album just kind of around Chinese creation mythology. We're not 340 00:32:55,119 --> 00:32:59,400 now, we don't. We don't do much in our way of like publishing 341 00:32:59,440 --> 00:33:04,880 a story doing what like Coheat and Cambria do with like publishing like like they 342 00:33:04,960 --> 00:33:08,759 write like music based on like claud comic books and things like that. We 343 00:33:08,839 --> 00:33:12,720 don't. We don't really have that. We don't really have that much like 344 00:33:12,799 --> 00:33:15,880 published material and by way of that, but we kind of we definitely follow, 345 00:33:16,279 --> 00:33:21,720 We definitely have like kind of a storyboard and kind of a lore written 346 00:33:21,960 --> 00:33:28,160 you know, if you listen closely, there are references to the Chinese, 347 00:33:28,400 --> 00:33:34,000 the Chinese creator god Pungu. He was he's kind of the he's kind of 348 00:33:34,079 --> 00:33:37,920 the creator of like kind of the whole universe. And then you have a 349 00:33:38,200 --> 00:33:44,559 Nuwa who is the kind of mother goddess who creates and looks over mankind. 350 00:33:45,200 --> 00:33:54,640 And your primary antagonist in this story is Gong, which is the h is 351 00:33:54,880 --> 00:34:02,319 the god of water, who is has a taste for engines because he had 352 00:34:02,559 --> 00:34:08,360 a shall i say, a thwarted bid for supremacy over the world. He 353 00:34:08,440 --> 00:34:15,079 wanted to control over the world. He was denied it and he was badly 354 00:34:15,280 --> 00:34:20,679 injured, and now he has kind of returned to try to reassert this kind 355 00:34:20,719 --> 00:34:25,840 of supremacy or said dominance or whatever. And then kind of this human protagonist, 356 00:34:27,800 --> 00:34:30,800 his story is kind of set in like with kind of like ancient China 357 00:34:30,960 --> 00:34:34,880 as a backdrop, but just kind of like that that see with the all 358 00:34:34,920 --> 00:34:37,800 these these gods and things like that. And then the hero you kind of 359 00:34:37,880 --> 00:34:44,400 have like a hero main protagonist who falls under the ocean, uh, and 360 00:34:44,559 --> 00:34:47,960 then he's like he learns of this world and learns that the earth is in 361 00:34:49,079 --> 00:34:52,599 great danger and he has to go forth and save it pretty much. And 362 00:34:52,760 --> 00:34:57,320 to answer to the second half of your question, you know, we have 363 00:34:57,400 --> 00:35:04,679 ourselves titled EP, which is certainly inspired by the ocean, but it's not 364 00:35:04,920 --> 00:35:12,760 related to the album concept. And we do have early stage plans for our 365 00:35:12,880 --> 00:35:20,039 next album to be a continuation of the first album story. So it's pretty 366 00:35:20,079 --> 00:35:24,360 early on to say our albums are all based around one idea, but you 367 00:35:24,440 --> 00:35:28,639 know, we're forging ahead as we go. They we're pretty locked in. 368 00:35:28,920 --> 00:35:34,760 I am certainly drawing the name Heishin is a Chinese raised meaning see god or 369 00:35:34,880 --> 00:35:42,400 sea deity, and that's intentional on my part because I am of Chinese descent, 370 00:35:42,519 --> 00:35:46,840 and I thought this would be also like a great vehicle to explore that 371 00:35:47,079 --> 00:35:55,440 whole world of deities and monsters, but also kind of understanding that whole understanding 372 00:35:55,559 --> 00:36:00,960 the whole culture, understanding the whole world view, because there's a great tradition 373 00:36:01,159 --> 00:36:07,599 there, but it's not many people know about it, and it's just it 374 00:36:07,760 --> 00:36:12,920 was something that I was really interested in discovering for myself. And if you 375 00:36:13,039 --> 00:36:16,519 listen close, and if you know, if you kind of pay attention to 376 00:36:16,840 --> 00:36:22,679 Chinese folk music, you'll hear you'll hear bits and pieces. You'll hear some 377 00:36:22,840 --> 00:36:27,880 kind of famous songs where we've been inspired by some melodies. Especially Goddess in 378 00:36:27,920 --> 00:36:35,480 the Machine has a pretty strong second half where if you're familiar with Chinese folk 379 00:36:35,559 --> 00:36:38,440 music, you're gonna hear melodies, you're gonna hear inspiration. And that was 380 00:36:38,599 --> 00:36:44,360 very, very much purposeful. It's been really really cool to kind of like 381 00:36:44,480 --> 00:36:46,519 learn a lot of this cultural stuff from Chris as we go as well, 382 00:36:47,719 --> 00:36:53,440 and Randy and I have really enjoyed kind of exploring some ways of combining our 383 00:36:53,559 --> 00:37:02,000 musical backgrounds with that inspiration from Chinese traditional music mythology. Yeah. Now, 384 00:37:02,480 --> 00:37:07,480 and and in terms of writing these songs, is is the story kind of 385 00:37:07,639 --> 00:37:14,320 all laid out before or or or do the do the songs kind of come? 386 00:37:14,559 --> 00:37:15,679 I mean, do you already know? In other words, when you 387 00:37:15,800 --> 00:37:21,239 go to write these do you already know? Okay, we're going to focus 388 00:37:21,320 --> 00:37:24,000 on with this song, We're going to focus on this part of the story. 389 00:37:24,320 --> 00:37:28,360 Is it is it really sort of regimented that way? Or is it 390 00:37:28,800 --> 00:37:31,440 is it looser? Or how does how does that process work? Yeah? 391 00:37:31,599 --> 00:37:37,239 We generally we generally write, we generally storyboard first, Okay, And then 392 00:37:37,679 --> 00:37:44,239 it's kind of but in the tradition of many ancient legends, you know, 393 00:37:44,639 --> 00:37:47,159 some of the finer details are a little kind of murky, and you kind 394 00:37:47,199 --> 00:37:53,079 of you kind of add you kind of like fill the holes with your imagination 395 00:37:53,239 --> 00:37:59,920 as you go. Yeah, but we generally storyboards first and then we'll write 396 00:38:00,159 --> 00:38:04,159 song and so we'll have a general idea of like where we want to go, 397 00:38:04,400 --> 00:38:06,920 like what mood we want to capture. In a way, it makes 398 00:38:07,000 --> 00:38:08,400 things easy for us, but at the same time, it's a it's a 399 00:38:08,519 --> 00:38:13,599 very difficult thing to kind of be like, oh, where do we go 400 00:38:13,760 --> 00:38:15,960 next? Right, so we kind of do. We didn't write this album 401 00:38:16,239 --> 00:38:22,280 in order, mind you, We just kind of ticked like we laid it 402 00:38:22,360 --> 00:38:29,639 out into eight major events and we just kind of kind of wrote eight songs 403 00:38:29,719 --> 00:38:32,880 to capture each each point on the way, and we had to find out 404 00:38:32,920 --> 00:38:37,800 how to fit, how to you know, connect it all together. I 405 00:38:37,880 --> 00:38:40,239 will say, to Chris's point, as well as far as not writing them 406 00:38:40,280 --> 00:38:46,440 in order, it didn't really necessarily start out storyboarded, but we very quickly 407 00:38:46,559 --> 00:38:52,880 realized that we needed to. And then if you hear there's a lot of 408 00:38:52,880 --> 00:38:55,119 different influences and a lot of different sounds on this album, and that is 409 00:38:55,519 --> 00:39:00,880 absolutely one percent to the point of this is a section of the story that 410 00:39:00,960 --> 00:39:05,480 we need the song to feel like that section of the story. And that's 411 00:39:05,559 --> 00:39:09,599 why you get there's a huge shift between Crimson Sun and Leviathan, and there's 412 00:39:09,639 --> 00:39:14,840 a big shift between Leviathan and Goddess in the Machine and so on, because 413 00:39:15,639 --> 00:39:22,920 these different sonic landscapes on different songs are directly attached to the way that we 414 00:39:22,039 --> 00:39:27,039 wanted that part of the story to feel. Musically. Yeah, we'll say 415 00:39:27,079 --> 00:39:30,960 the next album might be the process might be a little different. Now that 416 00:39:30,000 --> 00:39:34,159 we're kind of locked in on what we want to we've learned a lot. 417 00:39:34,599 --> 00:39:37,920 Yeah, so it's definitely the next album, you know, who knows the 418 00:39:37,960 --> 00:39:42,320 process could change? Sure? Sure? And where do you record, by 419 00:39:42,360 --> 00:39:46,599 the way, because the songs sound amazing and for what you're doing, obviously 420 00:39:46,639 --> 00:39:51,840 it's important that you know and that like if you're you know, if you're 421 00:39:51,840 --> 00:39:52,840 in a punk band or something, you can kind of get away with, 422 00:39:53,320 --> 00:39:55,960 you know, things sounding a little a little rough, but for what you're 423 00:39:57,039 --> 00:40:00,519 doing, everything has to sound pristine and clear, so you can he everything 424 00:40:00,599 --> 00:40:05,599 and it sounds amazing. Where do you guys record. We recorded at Capture 425 00:40:05,679 --> 00:40:12,639 Studio in Syracuse. It's owned and run by Jason Randall or nicknamed Jocko by 426 00:40:12,679 --> 00:40:17,039 his friends. And yeah, he's got an incredible space that he's pretty much 427 00:40:17,159 --> 00:40:22,679 custom built himself, and he knows the inside and out of it. He 428 00:40:22,800 --> 00:40:30,199 got us a really high degree of isolation between I mean within instruments, I 429 00:40:30,280 --> 00:40:35,800 mean isolation within just my drum set, for example, and that sort allows 430 00:40:36,000 --> 00:40:39,360 all that detail to be brought out. I mean, I think my drum 431 00:40:39,440 --> 00:40:45,960 set has like probably fourteen symbols on it and here at each and everyone you 432 00:40:45,000 --> 00:40:52,639 know. Yeah, and we took extra time to I mean, every guitar 433 00:40:52,920 --> 00:40:57,400 take you here is stereo, so it's double tracked. Every vocal take is 434 00:40:57,480 --> 00:41:00,039 in stereo, so double track. Some of the guitars are quad track, 435 00:41:00,159 --> 00:41:06,960 which means there are four layered takes left and right across the stereo field. 436 00:41:07,280 --> 00:41:13,440 And that's not including like harmony parts and like layers. That's just like an 437 00:41:13,519 --> 00:41:19,920 individual rhythm guitar track is going to be up to four different takes of the 438 00:41:19,960 --> 00:41:22,840 same exact part before the solo gets laid on top of it kind of thing. 439 00:41:23,559 --> 00:41:29,280 And just to brag for Chris a little bit. The guitar solo, 440 00:41:29,519 --> 00:41:31,000 the big guitar solo in the middle of the Flesh of the Earth, Child 441 00:41:31,079 --> 00:41:38,400 of the Sea. He double tracked that solo, like not not two mics, 442 00:41:39,000 --> 00:41:44,440 not a doubler effect, double tracked, played the solo twice and it's 443 00:41:44,559 --> 00:41:47,119 laid on top of each other, and like if you listen, you hear 444 00:41:47,199 --> 00:41:51,440 it, and it's kind of it was. We were all going kind of 445 00:41:51,480 --> 00:41:55,840 crazy watching him do it. Yeah, yeah, I mean, Jocko just 446 00:41:57,079 --> 00:42:00,760 he has the years of experience to know, you know, he's getting into 447 00:42:00,880 --> 00:42:06,079 this kind of project, this is what this kind of project requires. Yeah, 448 00:42:06,360 --> 00:42:08,559 and that's partly why we went with him, because we knew he had 449 00:42:08,599 --> 00:42:15,280 that experience and the space to do so. Yeah, he's recorded all four 450 00:42:15,400 --> 00:42:21,360 Wilder Run albums if you're familiar, yep, and I believe he I believe 451 00:42:21,400 --> 00:42:24,880 he mixed and mastered the first two. So that was kind of where we 452 00:42:25,000 --> 00:42:28,440 heard of him and we're just blown away working them. There was a time 453 00:42:28,480 --> 00:42:30,519 where we tracked all of our demos in the basement, but hey, these 454 00:42:30,599 --> 00:42:34,880 came out pretty good for a basement. Maybe we'll just do this. And 455 00:42:35,000 --> 00:42:37,119 then the more we thought about it the more we figured that was a bad 456 00:42:37,199 --> 00:42:40,719 idea, and then we heard just the rough mixes from like the first day 457 00:42:40,760 --> 00:42:45,119 of drum tracking, and we're like, oh, yeah, this is going 458 00:42:45,199 --> 00:42:49,639 to be way right right, Yeah, no doubt. Does he is he 459 00:42:50,280 --> 00:42:54,000 engineering when he's recording or does he also become like a de facto producer? 460 00:42:54,159 --> 00:42:58,800 And I know sometimes that happens organically, you know, somebody starts out as 461 00:42:58,840 --> 00:43:01,440 an engineer and sort of he comes heart a facto producer. But does he 462 00:43:01,519 --> 00:43:05,840 have a kind of a producer role in what you're doing? Yeah, it 463 00:43:05,960 --> 00:43:09,760 all depends how you want to hire him. Essentially, he's all about making 464 00:43:09,840 --> 00:43:15,440 his studio accessible, so he has like you can just rent the studio and 465 00:43:15,039 --> 00:43:21,800 run the tracking yourself. But we hired him to be both engineer and producer. 466 00:43:22,599 --> 00:43:27,320 He also mixed and mastered the record. Luckily for us, we got 467 00:43:27,360 --> 00:43:32,880 along really well. And we also happen to use the same or like software, 468 00:43:32,960 --> 00:43:38,800 so just familiar with the program. So sometimes he could take a backseat 469 00:43:39,039 --> 00:43:44,880 while we would just press play, and that allowed him to focus on just 470 00:43:45,599 --> 00:43:49,599 hearing the music and getting into that producer role. Yeah. Yeah, for 471 00:43:49,639 --> 00:43:54,000 the most part, our stuff was our material was pretty much cut and dry 472 00:43:54,119 --> 00:44:00,400 and just ready to go when we went into the studio. He did comparatively 473 00:44:00,559 --> 00:44:07,320 little, but in terms of creative direction sometimes he would be Sometimes is our 474 00:44:07,400 --> 00:44:10,519 kind of first time as a band in like a professional studio. We did 475 00:44:10,599 --> 00:44:14,679 the EP. We did the EP in a professional studio as well. We 476 00:44:14,760 --> 00:44:17,599 could squid in Rochester, but that was largely without a click and live and 477 00:44:17,679 --> 00:44:21,559 we kind of just booked that studio time. It just did in three hours. 478 00:44:21,599 --> 00:44:24,599 But this one, this album took something like to the order of nine 479 00:44:24,760 --> 00:44:30,320 to ten days, I think twelve days because we had to add more time 480 00:44:30,400 --> 00:44:32,079 to finish vocal tree, right, we had to add that time what they 481 00:44:32,159 --> 00:44:37,119 said, But I think it was nine days for the bulk of the instrumentals. 482 00:44:37,159 --> 00:44:44,719 And we were like like justin and Randy said, you know he was 483 00:44:44,800 --> 00:44:47,760 he was really he was hands on when he needed to be. Sometimes we 484 00:44:47,920 --> 00:44:54,719 had some we had some sort of agonizing over a certain a certain part. 485 00:44:54,880 --> 00:45:00,519 He would offer his offer in his years of wisdom, and we would you 486 00:45:00,599 --> 00:45:04,719 know, get that done and it would sound great. But you know, 487 00:45:04,840 --> 00:45:09,239 oftentimes we would be up till as time went on, I think we started 488 00:45:09,280 --> 00:45:13,199 staying up later and later to just get this stuff done, so we would 489 00:45:13,320 --> 00:45:19,519 leave at about midnight. And because Justin and Randy are more familiar with his 490 00:45:20,320 --> 00:45:23,480 his daw he uses Reaper and they use Reaper, it was easy for them 491 00:45:23,519 --> 00:45:27,880 to also helm the session so we could just get in an extra three four 492 00:45:27,960 --> 00:45:30,480 hours of work done. Yeah, yeah, that makes sense. When you 493 00:45:30,599 --> 00:45:36,559 play live, do you play the full album. That's what we've been doing. 494 00:45:37,000 --> 00:45:39,599 We did that last night at our release show, or two nights ago 495 00:45:39,719 --> 00:45:45,719 rather, and we're gonna I think the plan is to do that on tour. 496 00:45:45,360 --> 00:45:50,039 Excellent, excellent, for the best of our ability. Yeah, Normally 497 00:45:50,119 --> 00:45:52,960 we don't get a chance with some of these local shows just because it's like 498 00:45:53,079 --> 00:45:57,719 usually they do thirty five to forty five minutes, so our album runs just 499 00:45:57,840 --> 00:46:00,360 over fifty five, so we have to cut maybe just a little bit, 500 00:46:00,840 --> 00:46:04,599 but well, whenever we can. It's always great to try to play the 501 00:46:04,639 --> 00:46:06,800 whole thing because it you know, as I said, it's all it's all 502 00:46:06,840 --> 00:46:09,360 connected, it's one big story. So when when did this come out? 503 00:46:09,400 --> 00:46:13,519 Because obviously you just mentioned the release show was last night, so this is 504 00:46:13,639 --> 00:46:16,280 pretty new, right, Well, the really show was May ninth, and 505 00:46:16,440 --> 00:46:21,360 the album came out maya so Thursday, came out, came out. Oh 506 00:46:21,400 --> 00:46:28,000 wait two Saturday time. I mentioned last night earlier, and I'm realizing that 507 00:46:28,079 --> 00:46:31,000 there was an entire day in between. But it's been such a blur of 508 00:46:31,079 --> 00:46:37,039 prepping for tour and everything that I forgot that Friday happened. That can happen. 509 00:46:37,159 --> 00:46:39,760 Yeah, yeah, and then we should make sure we plug too. 510 00:46:39,800 --> 00:46:45,440 Tonight. You guys are playing at Terminus in Nashua, New Hampshire. Yes, 511 00:46:46,079 --> 00:46:51,159 very good for that, Ye, excellent. Yeah, we've had both 512 00:46:51,239 --> 00:46:53,559 Conduit Conduit we had on the show recently, and we had Novakoy on the 513 00:46:53,599 --> 00:46:59,280 show a little while ago and a couple of great bands, so that is 514 00:46:59,400 --> 00:47:01,199 awesome. Yeah, definitely people should check that out. And of course we've 515 00:47:01,199 --> 00:47:07,800 had Eleanor on the show when Terminus was first opening there in Nashua and a 516 00:47:07,960 --> 00:47:10,639 great, great place, and I don't know if you've seen it yet, 517 00:47:10,679 --> 00:47:15,679 but when you walk into it, it's it's my reaction was walking into that 518 00:47:15,800 --> 00:47:20,000 room for the first time. It's like another world. It's it's it's it's 519 00:47:20,039 --> 00:47:24,760 amazing. It's a truly remarkable place. Guys. The time goes so quickly. 520 00:47:24,880 --> 00:47:29,360 This has been a fascinating conversation I really love what you're doing. I 521 00:47:29,480 --> 00:47:30,719 love your music. We are going to play another track. I was thinking 522 00:47:30,760 --> 00:47:36,800 about playing Leviathan to to close out this segment, and then we'll probably play 523 00:47:36,840 --> 00:47:39,880 something else too later in the show. You've definitely got a fan in me. 524 00:47:40,079 --> 00:47:44,719 So I love the music and I love the whole concept. It's really 525 00:47:44,760 --> 00:47:51,440 really cool. What oh absolutely thank you guys for joining us today before we 526 00:47:51,559 --> 00:47:52,719 let you go, And like I said, I think we're gonna play Leviathan 527 00:47:52,840 --> 00:47:57,719 next. But I want to make sure people know how to find you online. 528 00:47:58,239 --> 00:48:04,239 People listening who have not actually looked or Google you probably don't know how 529 00:48:04,280 --> 00:48:08,199 to spell the name of your band. So how should people know how to 530 00:48:08,320 --> 00:48:12,320 reach you online so they can follow you, keep up with everything that you're 531 00:48:12,360 --> 00:48:15,000 doing, get your music, go to a show, whatever it is out 532 00:48:15,199 --> 00:48:21,559 How should people find you? Yeah, So it's H A I S H 533 00:48:21,840 --> 00:48:28,800 E N. And we are at Hishen band on. You can find us 534 00:48:28,840 --> 00:48:34,199 on Facebook, Instagram, YouTube, or Twitter. Don't really use the Twitter 535 00:48:34,280 --> 00:48:37,840 that often. Instagram is really the best place to keep up with us. 536 00:48:39,119 --> 00:48:44,440 We also have We're on Spotify. Just Hi Shen. We're the only ones 537 00:48:45,039 --> 00:48:50,639 we come right up. Good. We're on band camp hishen dot band camp 538 00:48:50,719 --> 00:48:54,639 dot com. We have CDs of the new album, CDs and tapes of 539 00:48:54,679 --> 00:49:00,800 the EP. We just posted a couple of shirt designs last night. And 540 00:49:00,239 --> 00:49:05,679 other than that, we will be in Revere, Massachusetts to Sammy's Patio on 541 00:49:05,760 --> 00:49:07,079 the twelfth. If you can't make the New Hampshire show but you're in the 542 00:49:07,079 --> 00:49:12,239 New England area, We're gonna be at Gold Sounds in Brooklyn on the thirteenth 543 00:49:12,760 --> 00:49:15,800 Monday. If you're in the New York City area, and other than that, 544 00:49:17,320 --> 00:49:20,480 keep an eye on our Instagram. We're going to be trying to play 545 00:49:20,599 --> 00:49:23,800 out of town a lot this year. Please feel free to hit us up 546 00:49:23,880 --> 00:49:30,119 for booking. High Shendband at gmail dot com or message us on any one 547 00:49:30,159 --> 00:49:31,159 of our social media pages and we'll get back to you as soon as we 548 00:49:31,199 --> 00:49:35,880 see it. I'll also add we are on Apple Music as well for all 549 00:49:36,320 --> 00:49:43,280 iPhone users were We're on most scream screening services. Whatever CD baby puts us 550 00:49:43,360 --> 00:49:46,440 on, we're on that. And also I was gonna say a quick shout 551 00:49:46,480 --> 00:49:51,960 out to is Our. You can also find our merch for sale at our 552 00:49:52,639 --> 00:49:59,800 record labels website Needlejuicerecords dot com. Okay, so that's all the places you 553 00:49:59,840 --> 00:50:07,280 can find us other than in person somewhere on later today. Very good, 554 00:50:07,480 --> 00:50:12,360 very good, all right, justin Randy Chris from Highshend. Thank you guys 555 00:50:12,440 --> 00:50:14,800 so much. We'll let you go. I'm gonna hit this track Leviathan. 556 00:50:14,880 --> 00:50:19,119 I can't wait to share this with everybody, and but thank you so much 557 00:50:19,119 --> 00:50:21,639 for having us on. Absolutely we'll do it again in the future. Guys, 558 00:50:21,679 --> 00:50:23,159 have a great show tonight, and thank you so much. Take care 559 00:50:24,199 --> 00:50:27,320 and I'm sure we have a good one, all right YouTube, bye bye, 560 00:50:27,800 --> 00:50:30,280 all right, the guys from Highen. We're gonna play this track Leviathan. 561 00:50:30,320 --> 00:50:34,679 Then when we come back, Jenny's gonna tell us about the event today, 562 00:50:34,880 --> 00:50:37,519 and then we're gonna bring in on the second hour Bees Deluxe. Are 563 00:50:37,559 --> 00:50:40,400 they in the building? Is that? Oh? I'm sorry your mic was 564 00:50:40,679 --> 00:50:43,840 I shot your mic off when you got up to leave the room to let 565 00:50:43,880 --> 00:50:45,320 them in. They are in the buildings, they are, They're in the 566 00:50:45,360 --> 00:50:49,679 building. Very good, very good, all right, So plenty more to 567 00:50:49,800 --> 00:50:53,800 come. But check this out from Highend. This is called Leviathan. Really 568 00:50:53,840 --> 00:51:40,639 good stuff. Oh b rise, Oh my god, sat not my no, 569 00:51:43,440 --> 00:51:47,519 I won't I said that my could ever be cat I thought I was 570 00:51:47,599 --> 00:52:00,480 going the reality, I said, my say, oh kay, and so 571 00:52:04,000 --> 00:52:15,039 by die now oh or Ney ells right to the truth. But be the 572 00:52:15,280 --> 00:52:25,480 shadow makes me wide moments about their shoes a file side said that goes from 573 00:52:25,599 --> 00:52:36,079 one plays the brot the little the time, but not to themselves up in 574 00:52:36,320 --> 00:52:51,880 the side you mean Detroit and sit the wall soon Detroit right by by oh 575 00:52:52,159 --> 00:53:14,360 by the by willisode back. I did OUs all back and rest thou do 576 00:53:15,119 --> 00:54:43,440 thousand about size, style and stuff, and sous now spe cries of my 577 00:54:43,679 --> 00:54:52,679 be so well make the best of the bays. When war exploiting us, 578 00:54:53,280 --> 00:55:07,000 falling fins one one, they think the ball the sus accepting like baby doll, 579 00:55:07,679 --> 00:55:16,800 like b like b a ball over by ur But sa for me go 580 00:55:17,440 --> 00:56:08,760 round. That is Leviathan from Highshen And thanks again to those guys for joining 581 00:56:08,840 --> 00:56:14,000 us out of course it's from the album Awaken the Endless Steep, really good 582 00:56:14,039 --> 00:56:17,800 stuff. Fascinated by their music and what those guys are doing. And as 583 00:56:17,920 --> 00:56:23,440 promised, Jenny tell us about the event today this evening, or actually this 584 00:56:23,559 --> 00:56:29,519 afternoon. In of this evening, there's a special opening reception going on at 585 00:56:29,519 --> 00:56:34,599 the Mosaic Art Collective right here in the Queen City of Manchester, located at 586 00:56:34,639 --> 00:56:39,760 sixty six Hanover Streets. Tweet two to one. I can speak. This 587 00:56:39,920 --> 00:56:45,400 is a really interesting and really cool art show. And I'm excited because one 588 00:56:45,440 --> 00:56:49,119 of my pieces is in the show, so I will be there this afternoon 589 00:56:49,679 --> 00:56:54,119 for the opening. But this is an interesting What they did was this is 590 00:56:54,159 --> 00:57:01,599 called the Resurgence Art of the Botanical and it's a collaboration with local florists people 591 00:57:01,679 --> 00:57:14,480 like do Collective Blue Botanicals, Heather Noonan and they've created arrangements inspired by pieces 592 00:57:14,519 --> 00:57:19,280 of the original artwork that are in the show. Isn't that crazy cool? 593 00:57:19,800 --> 00:57:22,079 I'm excited to see this. So there's all different kinds of art pieces, 594 00:57:22,599 --> 00:57:28,239 all different kinds of artists, and it's a fusion between you know, the 595 00:57:28,320 --> 00:57:35,719 visual beauties of artwork on the walls with the three D come to life bouquets 596 00:57:35,920 --> 00:57:39,960 and just floral arrangements and they are there's going to be an auction also, 597 00:57:40,079 --> 00:57:44,840 so these floral arrangements are going to get auctioned off. Really good timing too, 598 00:57:45,000 --> 00:57:50,159 considering tomorrow's Mother's Day, so you could get an amazing, amazing bouquet 599 00:57:50,199 --> 00:57:52,960 of flowers. So I'm really excited to be there the shows. The opening 600 00:57:53,159 --> 00:57:59,280 is from four to eight pm this evening. And each one of these artists, 601 00:57:59,719 --> 00:58:05,519 these florists, they chose the artwork that inspired them to create these exquisite 602 00:58:05,599 --> 00:58:08,239 floral arrangements. So I'm just I'm so excited about this. I can't wait 603 00:58:08,280 --> 00:58:12,079 to see it. So I hope you guys will join us. That's uh 604 00:58:12,199 --> 00:58:15,039 tonight from four to eight pm at sixty six Hanover Street here in the Queens 605 00:58:15,079 --> 00:58:21,559 City, Suite to one the Mosaic Art Collective. Do look them up Mosaicarcollective 606 00:58:21,599 --> 00:58:25,880 dot com. There will be a new show starting they're gonna be They have 607 00:58:25,960 --> 00:58:31,719 an open call going for their June show called lux Reflecting Queer Beauty and Resilience. 608 00:58:32,159 --> 00:58:36,000 That's going to go from June third to June thirtieth, with an opening 609 00:58:36,079 --> 00:58:39,760 reception on June eighth. So, if you are an artist from all corners 610 00:58:39,800 --> 00:58:46,320 of the LGBTU plus community, allies explore and celebrate the multifollient aspects, so 611 00:58:46,440 --> 00:58:51,119 you can submit your artwork. That is an open call that is going on 612 00:58:51,280 --> 00:58:54,119 for next month if you'd like to get your work into the Mosaic Art Collective. 613 00:58:54,599 --> 00:59:00,599 It's a great place to show. It's a smaller gallery, it's very 614 00:59:00,760 --> 00:59:05,199 unique. It's a wonderful environment. There are live live there are live artists. 615 00:59:05,519 --> 00:59:07,960 There are studios there that you can actually get a glimpse into some of 616 00:59:08,000 --> 00:59:12,880 the local artists work as they're in these studios. Let me tell you, 617 00:59:12,960 --> 00:59:15,840 are incredible to look at. It is just the way that the artists have 618 00:59:15,960 --> 00:59:19,000 them set up and everything. It's a piece of its own if you will, 619 00:59:19,519 --> 00:59:22,159 so definitely check that out. I'm excited to be there. I just 620 00:59:22,239 --> 00:59:25,599 love the Mosaic Are Collective. I really yeah, very good. While we 621 00:59:25,679 --> 00:59:30,400 look forward to that absolutely all right, excellent, excellent and congratulations, thank 622 00:59:30,480 --> 00:59:34,639 you, And we are approaching the top of the hour. We're going to 623 00:59:34,679 --> 00:59:37,639 get to a quick break, show some love to our amazing sponsors, and 624 00:59:37,760 --> 00:59:42,079 then when we come back, we have Conrad and Carol from the band Bees 625 00:59:42,119 --> 00:59:45,480 Deluxe. They are here with us live and spooloop. I'm sorry, I 626 00:59:45,519 --> 00:59:49,000 don't know where that's coming from. They are here with us live and studio. 627 00:59:49,760 --> 00:59:52,239 I figured out where it's coming from. That was a sneak peak of 628 00:59:52,280 --> 00:59:54,239 one of the songs we're going to be playing. I didn't mean to play 629 00:59:54,280 --> 00:59:57,760 it yet anyway. All right, let's h