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Speaker 1: Right now. A w m n H ninety five point

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three FM exclusive, Matt Connerton Unleashed presents the world radio

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premiere of the new single from Brides. This is called

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creature culture.

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Speaker 2: You are listening to Wumnah.

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Speaker 3: World premiere start creature mutation. But it's sad test like

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mad skinIn smills down the grado. It's still goode being paid, But.

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Speaker 4: How did you take place some right?

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Speaker 3: Just put back like you talk.

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Speaker 5: It's map skins, pretty skin lead at me too, shit

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you guys, good nay chill and stop.

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Speaker 3: Ain't by that ts its tick, your sensation creacher chock chup,

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creature shop shot strutching it what TuS you get your

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stish line, you put a little don't.

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Speaker 5: Two of your eyes but your right tess's about.

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Speaker 3: It's like the subtest not mask strolling the brothers struggle

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in the bay.

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Speaker 4: But haven't you go so much.

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Speaker 3: To stop by face.

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Speaker 5: This man skins and friskin leading me to me that

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smation something my face causes.

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Speaker 2: Like a sensation shave me away showing.

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Speaker 3: And I get loud at the drenching as people. It's

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const mind to destry. Custis the g T man sen

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so may.

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Speaker 6: The Sons of Mind face the Man's Rain in My Friends,

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it's when behind a man, That's why behind and You're.

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Speaker 3: Not drunk, a Mousers gay.

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Speaker 4: Rights bag and see.

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Speaker 1: There it is. That is a brand new track from

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Brides that is called Creature Culture. They are all the

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way from the UK and they are going to be

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here with us on the show next week online, not

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in person, but really looking forward to that. But you

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heard it here first the first time ever on any

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radio station, the world radio premiere of the new track

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from Brides that is called Creature Culture. And this is

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Matt Connorton Unleashed. We are live from the studios of

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w m n H ninety five point three FM and

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Glorious Manchester, New Hampshire. It is August thirtieth, twenty twenty

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five and I am not alone.

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Speaker 7: Good morning Sunshine.

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Speaker 1: Jenny is here at the news table present account at

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four and well it's our last show in August. You know,

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I love that song. Basically the last show of summer

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makes me kind of sad. Unofficially sorry, I do love

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that song, tood. I'm looking forward to talking with them, yeah, yeah,

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next week next week, yes, but right now, joining us

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live in studio. Let me get these mics up. We've

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got replaced by robots. This here, welcome, thanks for having us,

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and hello, and there's an actual role let me get

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that hammer on you for those watching online. And we

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have an actual robot in studio with us too.

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Speaker 3: Here okay, man or.

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Speaker 8: He is new to this planet.

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Speaker 1: Wow is a robot an official member of the band or?

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Oh wow? Okay, excellent? So you're actually a four piece?

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Speaker 8: Yes, Gulcasan will drive back home if he forgets him

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a gig.

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Speaker 1: So we have uh so the the three primary members

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are Gulcazi and Heather Joy Morgan and Adam Wade, who

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are all here in studio with us, and of course

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the robot. What's the robot's name? I assume the robot.

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Oh what's the matter. Oh your MIC's not working? My

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MIC's Oh I hear it. Oh you're just low in

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the you're low apologized. I can hear it now, Yeah,

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now I can hear you?

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Speaker 9: Can you hear me?

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Speaker 5: Now?

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Speaker 1: We've got we've got an extra mic set up because

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these guys are gonna play live for us in a

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few minutes and really looking forward to that because you

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know what, I'm interested in is because listening to the

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tracks and I love these songs, but I'm very curious

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to hear how you sound with an acoustic guitar. After

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after hearing these studio tracks, you know, yeah.

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Speaker 7: We are too at it. And it was like, yeah,

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let's do this, and I was like.

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Speaker 8: Everything, So this.

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Speaker 1: Is this is an unusual uh scenario here with the

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first really Oh yes, yes, we do like that very much,

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very much.

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Speaker 8: I have so few firsts left now, that's never true.

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Speaker 1: There's always something good. And uh, where are you all from?

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I assume you're you're probably a little bit scattered, right,

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but you're based where? Where are you? Where do you

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say you're based out of Portsmouth? Sportsmouth?

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Speaker 3: Yeah?

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Speaker 1: Great, great music scene there, Sportsmouth.

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Speaker 8: I feel, yeah, we're the best of it.

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Speaker 1: I mean as far as as far as New Hampshire goes.

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I think I think Portsmouth is kind of in terms

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of the music scene, the coolest, the hippest place in

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the state, really coolest well in terms of music. Yeah,

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just just like like Portsmouth. To me, I've always kind

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of thought of it as like Boston North, you know

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what I mean, It's like nor I don't know that

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Portsmouth would agree, that's that's you know, I don't know.

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I certainly mean it as a compliment. Oh I know,

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I know.

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Speaker 8: But on their way through Ride did come by there

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and play who did Ride?

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Speaker 1: Ride?

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Speaker 8: The British shoegaze bend?

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Speaker 10: Uh?

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Speaker 1: Yeah, well there you go. Yeah, they didn't come to Manchester,

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did they?

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Speaker 11: No?

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Speaker 8: They did not.

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Speaker 1: Well, what's what's I'm gonna let you all pick what

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should we play for a studio track, and then we'll

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you send me I love these songs, and then we'll

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actually maybe can I pick? Can I be Selfish? And

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can we play Lonely Nights?

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Speaker 3: Yeah?

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Speaker 1: Okay, because that's my favorite? I usually let the guest pick,

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but that's my personal favorite. I love this song so much.

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It it's catchy as hell.

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Speaker 8: Wasn't that what we were going to play on? And

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the acoustic?

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Speaker 3: That's okay?

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Speaker 8: That's a bit.

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Speaker 3: Maybe.

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Speaker 1: Well I don't know, all right, Well we can we

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can play something else?

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Speaker 12: So confusing?

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Speaker 3: We could?

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Speaker 1: We could? Yeah, that's true, we could. We could play

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the Ouiji board song. What's the full title of that?

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Speaker 8: Since you broke my wija board?

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Speaker 1: I have a question too before we play this. Now,

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I've always heard of pronounce wigi, but you pronounce it

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more like it's actually spelled.

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Speaker 8: Yes, that's because I actually speak German. Probably, Oh, no.

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Speaker 1: Kidding, Okay, so that is so so so the way

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you're saying it is the correct pronunciation osia. Yeah. I

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always wondered because growing up, so my mother had one

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and we in the summer when I would I would

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spend the summers with her because she lives in another

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part of the country, and uh, she would uh, she

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would pull out the Wiji board or wija. I don't

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know if I can get used to say, well, I

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can't pronounce it exactly the way you say it anyway,

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because I can't do the accent. But much to the

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consternation of my father, who found out many years later

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that that we were doing that, my great devout Catholic

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father did not approve. But but then so that was

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what I thought about the first time I saw that

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song title and the night I played it, and I

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was like, oh, she pronounces it differently, but the way

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she pronounces it is it looks like the way it's

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actually spelled. Because I always wondered, are we saying it wrong.

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Speaker 8: Because well, it's just yes in French, and yes in

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German we.

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Speaker 1: And yeah, so I knew that.

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Speaker 3: Yeah.

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Speaker 8: Actually, if you were pronouncing it then it would be we. Yeah,

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but that's that's not for an English person to get

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involved with. So just stop at wee jaw.

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Speaker 1: Okay, all right, let's give this a spin and then

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we're going to come back and talk a little bit.

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And uh, here it is, and the band is replaced

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by robots.

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Speaker 3: Seagroqueijao can talk to those numb.

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Speaker 13: You, Loueigian boy can do that does not as unchables

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you ever Rueigia not.

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Speaker 4: Taste the.

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Speaker 3: Sad.

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Speaker 4: The show.

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Speaker 3: No su.

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Speaker 13: Sunston was the game advice, the Evening Dusk Summers some moments.

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Speaker 1: Now, that part at the end is such a cool touch,

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not not what you were doing green casing, but the.

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Speaker 7: Little Adams Adams insane piano.

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Speaker 1: Yeah, yeah, that's that's really cool. I like the way

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it because it's kind of it's kind of a surprise.

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You don't expect to hear that at the end, but

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it fits a song perfectly. The band, of course, is

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replaced by robots who are here with us live in studio,

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and the song Heather, how do you pronounce it correctly? Again?

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Speaker 8: Wija wija since you broke my wija board.

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Speaker 1: Since you broke my wija board. All right, so do

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you want to tell that you were telling it off?

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Are you want to tell?

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Speaker 14: Yeah?

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Speaker 8: We were in the middle of a rehearsal, and then

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I went into the little terror room on the side

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where we used to where we record, and I've got

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all my little relics and oddities laying around there, and

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I noticed that Gulcassian had taken my antique weijaboard and

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stuffed it into a bag and and he broke it.

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And I was so upset, and I went back into

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the room, and you know, we're all just kind of

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jamming and and they're like lyrics Morgan. So then I

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just started singing, since he broke my wee jabb, I

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can't talk to the ghost no more. And we just

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kept going. We just wrote the whole thing right there.

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That's cool channeling my marital rage, ye.

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Speaker 1: Are are was? It wasn't the robot.

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Speaker 8: It's not really broke, it's broken.

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Speaker 7: It was italy like a little like a little ding

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in the side of it.

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Speaker 8: I was wondering, Yeah, it was perfect before I met you.

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It was perfect since nineteen nineteen.

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Speaker 1: Oh wow, it really is?

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Speaker 15: Oh wow?

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Speaker 1: Yeah? And then so what it's good? So it's just

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got a ding in it or a crack or what broken?

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Speaker 7: This little overly dramatic.

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Speaker 1: Okay, okay, yeah great for song lyrics? Yeah, absolutely, absolutely

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very cool. Well, I'm dying to hear you all play live.

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Uh if you are just joining us replaced by robots?

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Is here with us live in studio?

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Speaker 8: And uh and we're somewhat alive?

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Speaker 1: Yeah it is.

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Speaker 16: Uh.

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Speaker 1: Is this the earliest uh you as a band have

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ever played live? Yes? Yes, but we and also je okay, gotcha,

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well well done, We've got Adam brought his guitar so

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which which was a surprise. I didn't know you're gonna

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play live, but I'm very happy about it. So, so

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what are you gonna What are you gonna play for us?

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Speaker 7: I think we'll play.

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Speaker 3: Lonely Nights. Little song called Lonely Nights.

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Speaker 1: Awesome. I love this song and I'm very excited to

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hear it played acoustic live in studio.

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Speaker 17: So we are yeah, cruel morning for a long Adam

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sprung this on us at like seven, Oh wow, I

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was still asleep and basically responded, Okay, yeah, here I

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am yeah, yeah, you.

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Speaker 8: Were having a dream googlecase in you were punching a lamp.

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Speaker 1: Oh my goodness, but he does okay, all right, well,

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fair enough, whatever, whenever you're ready, all right.

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Speaker 10: Lonely, lonely, lonely, lonely, nice, lonely, lonely, lonely, lone lay, nice.

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Speaker 7: Smoke a funny cigarette. Walked into the discothech, trying not

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to act strange, dancing like a freak. I'm trying to

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be discreek as trying to catch your name.

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Speaker 14: Lola, lol, lonely, lonely, nice, long letlone no lo let,

239
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lonely nice.

240
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Speaker 8: The tons and the spieger, the tons and guns a line.

241
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I couldn't find you anywhere, findedly so fine circles getting smaller,

242
00:17:44,640 --> 00:17:47,440
running out of time, the unclinas.

243
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Speaker 18: I want you to be mine, lone man, lonely, lonly nice.

244
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Speaker 3: On the Lol, lo man, loely, lonely.

245
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Speaker 18: Nice, lonely, running out of time, lo lay, lone.

246
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Speaker 16: Man, lonely, lonely nice, lay, low man, lonely, lonely.

247
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Speaker 3: Nights it Lola, LOLd man, lonely, lone.

248
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Speaker 16: Me nice, no lay, lone man, loly, lonely, nice, long lay, lonely, lonely.

249
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Speaker 3: Lonely nice.

250
00:19:01,440 --> 00:19:02,440
Speaker 1: Oh my god, I love it.

251
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Speaker 3: That was awesome. That was awesome.

252
00:19:05,920 --> 00:19:07,400
Speaker 1: Wow. I can't wait for you guys to hear your

253
00:19:07,440 --> 00:19:10,960
souls on playback. Yeah, like that was really awful. Yeah, yeah,

254
00:19:11,000 --> 00:19:13,640
that was great. Well done. If you are just joining us,

255
00:19:13,680 --> 00:19:15,640
we have replaced by robots here with us live in

256
00:19:15,759 --> 00:19:20,119
studio on this Saturday morning, and that sounded fantastic.

257
00:19:20,599 --> 00:19:23,000
Speaker 8: I put my toe out of line. I'm gonna get

258
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it later.

259
00:19:23,839 --> 00:19:31,799
Speaker 1: Oh my well, no, no, no worries. So now how

260
00:19:31,880 --> 00:19:33,640
do you Everyone always say it's this question, but how

261
00:19:33,680 --> 00:19:35,839
do you describe your music to people who haven't heard it?

262
00:19:35,960 --> 00:19:38,799
Because there's obviously a tremendous mix of influences and you have,

263
00:19:39,440 --> 00:19:41,039
you know, you've all played in other bands and have

264
00:19:41,119 --> 00:19:43,440
different backgrounds and ear least I assume so. And by

265
00:19:43,440 --> 00:19:45,680
the way, Heather, are you you're also an oil painter? Correct?

266
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Speaker 11: Yes?

267
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Speaker 3: I am trained?

268
00:19:47,440 --> 00:19:48,799
Speaker 8: Yeah, trained trained.

269
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Speaker 1: Jenny's an artist. I am not trained, but so I'm curious,

270
00:19:55,799 --> 00:19:58,200
So how do you describe your or do you even try?

271
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Or do you just play it and say I spam?

272
00:20:01,279 --> 00:20:06,000
Speaker 8: When I send out males about our about our upcoming shows,

273
00:20:06,039 --> 00:20:09,000
I always say the world's most prominent rock band if

274
00:20:09,039 --> 00:20:12,839
you're interested in in that. But usually I say, you

275
00:20:12,920 --> 00:20:15,079
can tell what we love. You can tell that we

276
00:20:15,319 --> 00:20:19,920
love nineties alternative. You can tell we like the Pixies,

277
00:20:20,039 --> 00:20:23,799
the Cure and and Girl Group. I gotta ask punk rock.

278
00:20:23,920 --> 00:20:25,480
Speaker 1: Are you influenced by Blondie?

279
00:20:25,799 --> 00:20:25,960
Speaker 3: Oh?

280
00:20:26,039 --> 00:20:28,400
Speaker 8: Absolutely, because like I thought, I'm like.

281
00:20:28,640 --> 00:20:31,000
Speaker 1: She's gotta be I was a Blondie family. Oh yeah,

282
00:20:31,160 --> 00:20:32,640
and I can hear with you like that is.

283
00:20:32,680 --> 00:20:36,200
Speaker 8: So called first concert I ever went to? Was was

284
00:20:36,279 --> 00:20:40,519
it Meadow Lens brendan Burn Arena? It was rand opening

285
00:20:40,640 --> 00:20:48,400
for Blondie. Yeah, of course yeah. I was like nine, Wow, yes,

286
00:20:48,680 --> 00:20:49,359
of course.

287
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Speaker 3: So did we ever? Yeah?

288
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Speaker 1: So I mean what do you so, what do you

289
00:20:54,440 --> 00:20:54,680
call it?

290
00:20:54,799 --> 00:20:54,839
Speaker 3: Like?

291
00:20:54,920 --> 00:20:56,440
Speaker 1: Do you try to put a label on what you.

292
00:20:56,519 --> 00:20:59,680
Speaker 8: Do or well that's usually what what we hear in

293
00:20:59,799 --> 00:21:03,640
our reviews is kind of genre busting. But you can

294
00:21:03,680 --> 00:21:05,519
tell what we like. You know, if you if you

295
00:21:05,799 --> 00:21:09,279
like the uh, you know Bauhaus, you're like, oh, you know,

296
00:21:09,480 --> 00:21:11,960
I hear a little of that. I mean, Adam over

297
00:21:12,000 --> 00:21:15,839
here is an encyclopedia of underground music, so he can

298
00:21:15,960 --> 00:21:21,160
just pop in whatever influences we're thinking about that day.

299
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Speaker 1: Nice. Nice. We're kind of pop goth, Yeah, dance dance

300
00:21:25,400 --> 00:21:27,480
pop god dance pop goth. I like that. Yeah.

301
00:21:27,920 --> 00:21:30,279
Speaker 7: And one of the things that when we came up

302
00:21:30,400 --> 00:21:33,240
with the name Replaced by Robots, what we kind of

303
00:21:33,319 --> 00:21:37,559
loved about it was like it didn't higeon hold us

304
00:21:37,640 --> 00:21:41,640
into anything because it and like we'll write songs and

305
00:21:41,759 --> 00:21:44,880
then we're like, this is not like what we do,

306
00:21:45,400 --> 00:21:49,160
but it fits in, Like everything fits in with that name,

307
00:21:49,200 --> 00:21:51,119
you know what I mean, it's not constrained.

308
00:21:53,359 --> 00:21:55,440
Speaker 8: I love it a good pigeon hole.

309
00:21:56,079 --> 00:21:58,359
Speaker 1: Well where so where does the name come from? Replaced

310
00:21:58,400 --> 00:21:59,000
by Robots?

311
00:21:59,359 --> 00:22:03,839
Speaker 8: I mean, I uh, we were tossing around ideas and uh,

312
00:22:04,039 --> 00:22:06,279
I just came up with that out of kind of

313
00:22:06,319 --> 00:22:08,960
out of the blue. But uh, it had something to

314
00:22:09,119 --> 00:22:13,319
do with a kind of disappointment in the algorithm driven

315
00:22:14,119 --> 00:22:18,599
of today, neiss of music and uh, you know, and

316
00:22:18,720 --> 00:22:23,359
also people's livelihoods and just everything. Yeah, and uh and

317
00:22:23,559 --> 00:22:25,720
to me that was I mean, it could be a

318
00:22:25,759 --> 00:22:28,960
way of saying that we're robots, or it could be

319
00:22:29,039 --> 00:22:32,640
a way of saying we are obsolete bohemians, and you know,

320
00:22:32,759 --> 00:22:35,279
maybe a little of both. We play with, we play

321
00:22:35,359 --> 00:22:39,440
with all of those ideas. And once we picked up

322
00:22:39,480 --> 00:22:41,880
on that concept, it became so much fun to play

323
00:22:41,960 --> 00:22:46,200
with with our videos, with our writing and uh so yeah,

324
00:22:47,559 --> 00:22:50,359
right guys, Yeah absolutely.

325
00:22:50,079 --> 00:22:52,640
Speaker 1: And and and what about the themes like lyrical themes

326
00:22:52,839 --> 00:22:54,960
in your songs? I mean, is there anything specific that

327
00:22:55,039 --> 00:22:58,559
you're trying to convey or are you trying to I saw,

328
00:22:58,839 --> 00:23:00,720
you know, the word when I was reading about the band,

329
00:23:00,759 --> 00:23:03,480
The word futuristic came up quite a bit. But I

330
00:23:03,559 --> 00:23:06,039
don't know if I mean a song like Lonely Nights

331
00:23:06,079 --> 00:23:09,759
that's not that's not anything futuristic. That's just something relatable.

332
00:23:09,920 --> 00:23:11,680
Maybe that's why I like that song so much. Aside

333
00:23:11,680 --> 00:23:14,640
from that, it's very catchy. It's something everyone can relate to, right.

334
00:23:14,599 --> 00:23:17,079
Speaker 8: But yeah, Heartbreak and the Apocalypse go.

335
00:23:20,680 --> 00:23:23,960
Speaker 7: Yeah, like I feel like at a core, always like

336
00:23:24,440 --> 00:23:29,119
very emotional, you know, like like I love soul music,

337
00:23:30,400 --> 00:23:32,079
but I don't like listening to it. But I like

338
00:23:32,160 --> 00:23:32,720
the concept.

339
00:23:33,000 --> 00:23:38,920
Speaker 1: Oh okay, very interesting, very interesting. What's your what's your

340
00:23:38,960 --> 00:23:42,480
live show like? Because because what you do lends itself

341
00:23:42,599 --> 00:23:45,759
to I assume the robot is part of the live show.

342
00:23:46,160 --> 00:23:49,359
Speaker 7: Big He's like we put him out front and he

343
00:23:49,559 --> 00:23:52,519
just kind of dances and then people kind of want

344
00:23:52,559 --> 00:23:53,759
to come dance with him.

345
00:23:53,880 --> 00:23:54,559
Speaker 1: Oh that's cool.

346
00:23:54,880 --> 00:23:56,559
Speaker 7: Yeah, but we just have fun.

347
00:23:56,680 --> 00:23:56,799
Speaker 3: Man.

348
00:23:56,880 --> 00:24:02,599
Speaker 8: We're very high spec control and uh and and uh

349
00:24:03,000 --> 00:24:10,279
and luminous mesmerizing. We've been told things mesmerizing and uh

350
00:24:10,400 --> 00:24:13,359
and I mean we're we're a tough actor. Follow Literally,

351
00:24:13,680 --> 00:24:15,519
bands who have to go on after us are like,

352
00:24:15,640 --> 00:24:18,079
oh man, like what what am I going to do?

353
00:24:18,200 --> 00:24:20,839
Those guys that they're weird and they're also like so

354
00:24:21,160 --> 00:24:24,200
driving that it may take a couple of songs for

355
00:24:24,519 --> 00:24:26,519
for a person to reclaim the space.

356
00:24:26,799 --> 00:24:31,119
Speaker 1: Sure, and that's cool. Oh yeah, that's that's very cool.

357
00:24:32,759 --> 00:24:32,920
Speaker 16: Yeah.

358
00:24:33,000 --> 00:24:36,319
Speaker 7: Both Adam and I come from really intense like uh,

359
00:24:37,119 --> 00:24:38,559
like punk rock band.

360
00:24:38,839 --> 00:24:42,839
Speaker 1: Yeah, so you were in the elevator drop okay because

361
00:24:42,839 --> 00:24:46,720
I remember that band? Yeah, and oh go ahead.

362
00:24:46,799 --> 00:24:49,400
Speaker 7: Yeah. And Adam was in a funeral party, which was

363
00:24:49,480 --> 00:24:51,559
and we knew each other in Boston. Oh no, kidding,

364
00:24:51,799 --> 00:24:54,079
can make the whole thing makes no sense. We shared

365
00:24:54,359 --> 00:24:57,680
a rehearsal space and he reminded me I I have

366
00:24:57,839 --> 00:24:59,400
like the worst memory.

367
00:24:59,599 --> 00:25:00,960
Speaker 1: Yeah, and I was like, oh my god.

368
00:25:01,039 --> 00:25:03,799
Speaker 7: So we were like like we shared oursal space together

369
00:25:04,200 --> 00:25:06,680
in Boston. Then he was like, my neighbor up here.

370
00:25:06,839 --> 00:25:09,599
Speaker 1: No, kidd oh wow, So this is there is an

371
00:25:09,680 --> 00:25:11,720
element of fate to this, right, you were destined to

372
00:25:11,759 --> 00:25:12,480
be at a band together.

373
00:25:12,680 --> 00:25:16,519
Speaker 8: We all came together at a we we hosted the

374
00:25:16,599 --> 00:25:20,599
Chameleons in their kind of acoustic form, a Chameleons Box,

375
00:25:21,279 --> 00:25:24,640
play a show at our house, and and we invited

376
00:25:24,640 --> 00:25:26,920
Adam to the party. He's a huge band, and it

377
00:25:27,079 --> 00:25:29,400
was it was a great night. It was a it

378
00:25:29,480 --> 00:25:31,880
was a great show. And then we ended up deciding

379
00:25:31,960 --> 00:25:33,240
to play together at that show.

380
00:25:33,480 --> 00:25:36,519
Speaker 1: Okay, okay. And then how long after you decided to

381
00:25:36,519 --> 00:25:38,400
play together, how long did it take to get the

382
00:25:38,640 --> 00:25:42,039
project rolling? Not too long? No, like a month? Really

383
00:25:42,119 --> 00:25:44,720
that's quick, Yeah, that's quick. But that's when you know

384
00:25:44,799 --> 00:25:46,400
you've got something, right. I always say this when you

385
00:25:46,519 --> 00:25:49,880
when you have something that you know, gels quickly, you know,

386
00:25:50,000 --> 00:25:51,599
and it's not a lot of effort, you know, to

387
00:25:51,880 --> 00:25:53,640
try to put something together. It just kind of happens,

388
00:25:53,680 --> 00:25:55,359
and you know you've really got something totally.

389
00:25:55,559 --> 00:25:57,039
Speaker 16: I think it was forty three days.

390
00:25:59,279 --> 00:26:04,920
Speaker 8: Yeah, I'mikeka and Adam has a very good memory apparently. Yeah,

391
00:26:06,279 --> 00:26:09,240
and it's like a soup, everything is all mixed together.

392
00:26:10,119 --> 00:26:12,599
He just dips the ladle in and spills it out

393
00:26:12,720 --> 00:26:16,279
and all years intermingled all the fact.

394
00:26:16,240 --> 00:26:17,880
Speaker 3: How this is the spoon on the bowl.

395
00:26:18,200 --> 00:26:19,240
Speaker 8: Yeah, I.

396
00:26:21,839 --> 00:26:22,799
Speaker 1: See, I see.

397
00:26:24,000 --> 00:26:26,079
Speaker 8: We are for his madness.

398
00:26:26,319 --> 00:26:33,480
Speaker 1: Okay, okay, well I think we should play another studio track.

399
00:26:33,960 --> 00:26:36,400
So we talked off air about this. So this is

400
00:26:36,440 --> 00:26:37,599
not one of the ones you sent me, but I

401
00:26:37,680 --> 00:26:39,640
do have a queue up I did where do you

402
00:26:39,680 --> 00:26:41,400
get here? It is are we falling in Lover? Am

403
00:26:41,440 --> 00:26:43,359
I just losing my mind? I really like this song too?

404
00:26:43,799 --> 00:26:45,440
And this is of course we haven't talked about this yet.

405
00:26:45,480 --> 00:26:48,559
We'll talk about the experiment, the the EP that you've

406
00:26:48,599 --> 00:26:50,039
released a little bit on the other side of this.

407
00:26:50,160 --> 00:26:52,319
But but let's give this a listen, because I really

408
00:26:52,400 --> 00:26:53,519
like this song a lot. And if you are just

409
00:26:53,599 --> 00:26:58,160
joining us, we do have replaced by robots, replaced by

410
00:26:58,240 --> 00:27:01,279
robots here with us in studio and uh, let's uh,

411
00:27:01,359 --> 00:27:03,400
let's give this a spend. This is called are we

412
00:27:03,480 --> 00:27:05,599
falling in love? Or am I just losing my mind?

413
00:27:14,960 --> 00:27:30,359
Speaker 3: Dancing around the machinery? Coming rights? We'll give me asking

414
00:27:30,759 --> 00:27:53,039
times to sens spending now the altar case.

415
00:27:53,920 --> 00:27:59,039
Speaker 11: God, this is such a beausiful nice sometimes.

416
00:27:58,319 --> 00:28:00,640
Speaker 2: A list of the sector to.

417
00:28:02,319 --> 00:28:07,920
Speaker 3: Come right, but give you asking the times to send.

418
00:28:07,799 --> 00:28:50,880
Speaker 11: To as we're born to another dimension.

419
00:28:51,519 --> 00:28:52,519
Speaker 10: So ask.

420
00:29:23,240 --> 00:29:25,559
Speaker 1: Are we falling in love? Am I just losing my mind?

421
00:29:25,759 --> 00:29:28,200
The band is replaced by robots, and we have replaced

422
00:29:28,200 --> 00:29:30,279
by robots here with us live in studio. What are

423
00:29:30,279 --> 00:29:31,000
you going to say, Jenny?

424
00:29:31,920 --> 00:29:32,039
Speaker 10: Oh?

425
00:29:32,200 --> 00:29:34,279
Speaker 1: Sorry, I wasn't gonna say anything. Oh okay. I thought

426
00:29:34,279 --> 00:29:36,079
about it for a moment and then went down. Oh okay.

427
00:29:36,440 --> 00:29:39,559
It was like it was a fleeting thing. I understood, understood. Okay,

428
00:29:39,880 --> 00:29:41,920
all right, sounds nice.

429
00:29:42,119 --> 00:29:42,559
Speaker 3: You say things.

430
00:29:42,599 --> 00:29:45,039
Speaker 7: Well, were you going to say, I'm not telling you?

431
00:29:45,279 --> 00:29:46,680
Speaker 1: Okay? Fine?

432
00:29:48,200 --> 00:29:53,119
Speaker 8: Great, nobody said you you promised you would behaved.

433
00:29:53,279 --> 00:29:56,200
Speaker 17: Devis surprises that he doesn't talk about Oh my goodness,

434
00:29:58,039 --> 00:29:59,559
you're less shortening.

435
00:30:00,119 --> 00:30:04,680
Speaker 8: Yes, oh you may growl now.

436
00:30:04,839 --> 00:30:05,279
Speaker 19: But you.

437
00:30:10,400 --> 00:30:13,759
Speaker 1: So tell us about the the EP uh the experiment?

438
00:30:14,319 --> 00:30:16,240
Where did where did you record this? And how did

439
00:30:16,279 --> 00:30:19,400
you record it? And it sounds great? We recorded it

440
00:30:20,359 --> 00:30:22,119
at our house, okay.

441
00:30:22,240 --> 00:30:25,519
Speaker 7: But then like, uh, it was really good. So like

442
00:30:25,680 --> 00:30:30,319
we had certain songs where we we brought that song

443
00:30:30,799 --> 00:30:35,319
that you just played to uh Hagar that uh he

444
00:30:35,440 --> 00:30:38,759
was in elevator drops. He's in Devo down. He's really. Yeah,

445
00:30:39,119 --> 00:30:43,000
he's great, he's the producer. His brother's nuts he uh

446
00:30:43,680 --> 00:30:47,279
he does like all the Miley Cyrus records and Josh's

447
00:30:47,359 --> 00:30:50,759
is his brother. And we were, you know, Elevator rops

448
00:30:50,759 --> 00:30:54,359
forever and so we mixed that there, and then we

449
00:30:54,519 --> 00:31:02,960
mixed Lonely Nights with Colderry, who's amazing, he's not all

450
00:31:02,960 --> 00:31:07,200
the Pixies records and the Go Gos and yeah and there.

451
00:31:07,240 --> 00:31:10,319
It's funny because there was one part originally in that

452
00:31:10,519 --> 00:31:13,319
song which there was a little snippet of a Go

453
00:31:13,480 --> 00:31:16,119
Go song. We didn't know what it was. Adam was

454
00:31:16,200 --> 00:31:18,680
playing it and we knew or he probably knew, and

455
00:31:19,079 --> 00:31:21,839
he pulled it out and and I found out later

456
00:31:21,920 --> 00:31:24,039
that he also uh produced.

457
00:31:26,400 --> 00:31:29,279
Speaker 19: Oh wow, So he wanted to bury It was my

458
00:31:29,599 --> 00:31:32,680
intentional nod to the Go Gosh and he kind of

459
00:31:32,720 --> 00:31:35,519
wanted to bury in the mix as to avoid any litigation.

460
00:31:35,759 --> 00:31:38,799
Speaker 8: Oh really, Actually I think it was more like, hey,

461
00:31:38,799 --> 00:31:41,400
you didn't want to pull focus off our amazing tune,

462
00:31:41,559 --> 00:31:44,559
and and suddenly being like, oh, I want to listen

463
00:31:44,599 --> 00:31:45,240
to the Go Gos.

464
00:31:46,039 --> 00:31:49,680
Speaker 7: I want the Go Go effect because I for for

465
00:31:49,839 --> 00:31:54,039
a lot of years I would always pull in quotes

466
00:31:54,240 --> 00:31:59,839
from other songs, and when it was really enlightening, I was,

467
00:32:00,039 --> 00:32:02,000
you know, like you learned from a producer. And I

468
00:32:02,119 --> 00:32:06,000
really like that that input because like it makes you

469
00:32:07,039 --> 00:32:11,079
strive to stay original, which is hard in this day

470
00:32:11,079 --> 00:32:13,960
and age with all the influences of other music around you.

471
00:32:15,119 --> 00:32:18,839
So it's awesome. It's like, especially with what we do,

472
00:32:19,000 --> 00:32:21,319
we definitely have a lot of influences, but we do

473
00:32:21,720 --> 00:32:23,000
we work hard to make it.

474
00:32:23,680 --> 00:32:27,440
Speaker 1: Still be you know, right right, yeah, yeah, that could

475
00:32:27,440 --> 00:32:31,519
be a challenge, of course. Yeah, absolutely absolutely. And you've

476
00:32:31,559 --> 00:32:33,119
got a lot of shows coming up too. You're talking

477
00:32:33,119 --> 00:32:35,559
about that off here, right, You got some uh yeah.

478
00:32:35,440 --> 00:32:40,480
Speaker 8: We're playing September eighteenth at the Stone Church excellent, and

479
00:32:40,759 --> 00:32:44,000
we're playing in October on the tenth at the Appohadian

480
00:32:44,079 --> 00:32:44,559
in Portland.

481
00:32:44,839 --> 00:32:45,039
Speaker 3: Yeah.

482
00:32:45,160 --> 00:32:48,720
Speaker 7: And the one that's coming up in stone Church, we've

483
00:32:48,759 --> 00:32:52,319
got like the Glimmer Stars. It's their first date of

484
00:32:52,839 --> 00:32:56,880
their tour. They're from La Hollywood area, Okay, and they're

485
00:32:57,000 --> 00:32:59,200
coming out here and that's the first date. And so

486
00:32:59,279 --> 00:33:02,160
we're kind of and we're playing with us Polana versus

487
00:33:02,240 --> 00:33:03,599
the Man, Polana versus.

488
00:33:03,480 --> 00:33:05,839
Speaker 1: The Man okay, and the.

489
00:33:07,680 --> 00:33:10,480
Speaker 7: Cretans who are like they have. There's some like they're

490
00:33:10,599 --> 00:33:12,880
like a punk rock they're they're friends with the queers

491
00:33:13,079 --> 00:33:21,000
and all that that that whole old Boston Hampshire, Boston scene.

492
00:33:21,039 --> 00:33:22,039
So it's it's gonna be.

493
00:33:22,319 --> 00:33:25,440
Speaker 8: David, have you coughing? Paint? What's going on?

494
00:33:26,000 --> 00:33:26,200
Speaker 11: This is?

495
00:33:26,279 --> 00:33:30,680
Speaker 8: This is a new rasp that we don't usually have, well,

496
00:33:31,200 --> 00:33:31,599
but it is.

497
00:33:31,839 --> 00:33:34,599
Speaker 1: It is nine a I'm on on a Saturday morning.

498
00:33:34,680 --> 00:33:36,960
Needs something to get you going in the morning. That's right,

499
00:33:37,319 --> 00:33:38,599
there you go, there you go.

500
00:33:38,960 --> 00:33:40,839
Speaker 8: I just picked this guy up at a truck stop.

501
00:33:41,039 --> 00:33:44,039
It's not the actual is.

502
00:33:44,160 --> 00:33:46,000
Speaker 15: Dave, the real Dave actually coming by?

503
00:33:47,720 --> 00:33:54,240
Speaker 1: Oh boy, paint?

504
00:33:55,160 --> 00:33:56,200
Speaker 3: Sorry, I can help it.

505
00:33:57,440 --> 00:34:01,160
Speaker 1: You gotta blame retro, right right? So are there are

506
00:34:01,200 --> 00:34:04,359
there plans to record new more music sooner? This hasn't

507
00:34:04,359 --> 00:34:06,359
been out for very long actually, right, so you're probably

508
00:34:06,519 --> 00:34:09,559
still Yeah, we'll got some new stuff in the works.

509
00:34:10,119 --> 00:34:12,840
Speaker 7: We're super excited that we have a couple of tracks

510
00:34:12,920 --> 00:34:15,760
already done. Yeah, and we might We're trying to figure

511
00:34:15,800 --> 00:34:18,599
out what this day and age is, so like bonkers,

512
00:34:18,679 --> 00:34:22,920
we might just release like a single because putting out

513
00:34:22,960 --> 00:34:25,039
a record is so weird it doesn't even make sense.

514
00:34:25,320 --> 00:34:29,880
No one wants records. They want like they want song

515
00:34:30,000 --> 00:34:32,320
and they want another one. So we might just put

516
00:34:32,400 --> 00:34:37,239
them out and then collect them into a bin and

517
00:34:37,400 --> 00:34:42,760
put the bin outside and package it and make a record.

518
00:34:42,920 --> 00:34:46,119
Speaker 1: Yeah, dump it out all over the street, come get

519
00:34:46,159 --> 00:34:50,679
it kids. Well that is though, I mean, that's how

520
00:34:50,800 --> 00:34:52,199
a lot of I mean, there's so many different ways

521
00:34:52,199 --> 00:34:54,159
you can release music now, right, But but that but

522
00:34:54,280 --> 00:34:56,760
that approach of kind of the inverse of what it

523
00:34:56,840 --> 00:34:58,119
used to be, right, because it used to be, you know,

524
00:34:58,239 --> 00:34:59,400
you have an album and then you have a bunch

525
00:34:59,400 --> 00:35:00,800
of singles from the album. And now a lot of

526
00:35:00,880 --> 00:35:02,559
artists do they put out a series of singles and

527
00:35:02,639 --> 00:35:04,480
eventually co all less into an album.

528
00:35:04,519 --> 00:35:06,920
Speaker 19: And yeah, it's really retro too, because that's really you know,

529
00:35:06,960 --> 00:35:07,960
the old fifties rock and.

530
00:35:08,039 --> 00:35:09,239
Speaker 9: Roll, it was all about singles.

531
00:35:09,400 --> 00:35:09,880
Speaker 3: That's true.

532
00:35:09,920 --> 00:35:11,960
Speaker 1: You know, I hadn't even thought about a full circle

533
00:35:12,039 --> 00:35:14,360
back to the beginning. Yeah that's a good point. Yeah,

534
00:35:14,519 --> 00:35:14,960
that's true.

535
00:35:15,039 --> 00:35:18,239
Speaker 8: Grab our dollar and go into the studio box music

536
00:35:18,320 --> 00:35:19,880
walk out in our little forty five.

537
00:35:20,119 --> 00:35:24,119
Speaker 1: Yeah yeah, no, that makes sense. And then do you

538
00:35:24,199 --> 00:35:26,159
have any have you done any videos yet for any

539
00:35:26,159 --> 00:35:28,960
of these songs? Oh, they all have videos I'm gonna

540
00:35:29,199 --> 00:35:31,239
I'm gonna have to go check those out. Yeah, yeah,

541
00:35:31,239 --> 00:35:32,760
because I'm really curious about that.

542
00:35:33,000 --> 00:35:36,559
Speaker 7: You can see all of them that replaced by robots

543
00:35:37,000 --> 00:35:40,559
dot space. We couldn't afford dot com.

544
00:35:41,119 --> 00:35:41,239
Speaker 3: Oh.

545
00:35:41,559 --> 00:35:43,280
Speaker 1: I had my son's dress up as ghosts for the

546
00:35:43,320 --> 00:35:46,079
Ouiji board video. Oh really Yeah, Oh, I gotta check

547
00:35:46,119 --> 00:35:48,599
that out. I gotta check that out. Uh, let's play

548
00:35:48,599 --> 00:35:50,000
another one. I want to get these all in before

549
00:35:50,000 --> 00:35:51,559
we run out of time, because, like I said, I

550
00:35:51,639 --> 00:35:55,679
love your sound. Uh the title track, Oh no, it's

551
00:35:55,719 --> 00:35:57,920
not the title track. I'm sorry, but laboratory. I don't

552
00:35:57,920 --> 00:35:59,719
know why. No, the the ev is called the experiment.

553
00:35:59,719 --> 00:36:01,840
I don't why I was thinking this was the title track. See.

554
00:36:01,880 --> 00:36:03,800
I also at you know, nine am on a Saturday.

555
00:36:03,800 --> 00:36:09,199
I have issues on my own, but but plus I

556
00:36:09,280 --> 00:36:11,239
only had like two SIPs of my Monster Energy drink

557
00:36:11,280 --> 00:36:13,760
so far. That's that's my issue. But let's give this

558
00:36:13,840 --> 00:36:15,760
a listen. This is a short song. This is under

559
00:36:15,800 --> 00:36:18,440
two minutes, but but it's it's good stuff. And then

560
00:36:18,519 --> 00:36:20,199
we'll come back and talk a little more. If you

561
00:36:20,280 --> 00:36:22,519
are just joining us, we have replaced by robots here

562
00:36:22,599 --> 00:36:25,760
with us a live in studio on this Saturday morning

563
00:36:25,800 --> 00:36:28,519
on Matt Connorton on leash Here it is laboratory by

564
00:36:28,639 --> 00:38:24,320
Replaced by Robots. That is a short song. The Indians

565
00:38:24,320 --> 00:38:26,440
snuck up on me there, but I like it laboratory

566
00:38:27,239 --> 00:38:29,239
And uh so, what what are you saying?

567
00:38:29,599 --> 00:38:29,840
Speaker 3: In those?

568
00:38:30,039 --> 00:38:31,519
Speaker 1: Because we were talking off their about this. This is

569
00:38:31,599 --> 00:38:33,199
a common question, what are you What are you saying there?

570
00:38:33,400 --> 00:38:36,840
Speaker 8: Either in those lads, I'm saying ha ha ha okay

571
00:38:37,360 --> 00:38:43,039
ha ha because it is funny, yes to say ha

572
00:38:43,920 --> 00:38:44,159
ha ha.

573
00:38:46,000 --> 00:38:49,639
Speaker 1: We were talking about Yeah, how people people always wonder

574
00:38:49,719 --> 00:38:51,559
what it is that you're saying. I wondered it too

575
00:38:51,559 --> 00:38:53,199
when I was listening to it. I thought when I

576
00:38:53,239 --> 00:38:54,480
listened to it the first time, I thought, it sounds

577
00:38:54,519 --> 00:38:55,920
like she's just saying ha ha ha. But I'm not

578
00:38:56,079 --> 00:38:59,079
sure you know that, and my ears don't always hear

579
00:38:59,119 --> 00:38:59,719
everything correctly.

580
00:38:59,800 --> 00:38:59,960
Speaker 3: Either.

581
00:39:00,400 --> 00:39:06,000
Speaker 8: Experience mirth with me, see as you are doing. Yes,

582
00:39:07,480 --> 00:39:08,719
we are all very happy.

583
00:39:09,079 --> 00:39:09,280
Speaker 12: Yeah.

584
00:39:13,760 --> 00:39:16,559
Speaker 1: Replaced by Robots is here with us live in studio.

585
00:39:16,920 --> 00:39:19,800
And where should people go online? We want to make

586
00:39:19,800 --> 00:39:21,920
sure everybody knows where's the best place to find you

587
00:39:22,039 --> 00:39:24,480
online for to keep up with everything that you're doing.

588
00:39:24,719 --> 00:39:31,719
Speaker 7: Replaced by Robots. That's space Space. I actually we did

589
00:39:31,840 --> 00:39:34,559
try to buy dot com, but he wasn't a vibelt.

590
00:39:34,639 --> 00:39:36,920
It was like six seven dollars more, but that ended

591
00:39:37,000 --> 00:39:38,360
up every month, well not.

592
00:39:38,440 --> 00:39:40,760
Speaker 1: Only that year, not only that. But I think because

593
00:39:40,760 --> 00:39:42,800
you've got kind of a futuristic vibe, right, I think

594
00:39:42,840 --> 00:39:46,519
space is better anyway, right, I agree? Yeah, yeah, you know,

595
00:39:46,679 --> 00:39:49,599
why not? I like that? And I yeah, I like

596
00:39:49,679 --> 00:39:51,800
that song a lot too. I was saying, it's got

597
00:39:51,880 --> 00:39:53,559
got a little bit of a surf punk vibe there,

598
00:39:53,599 --> 00:39:55,320
with the guitar and everything in the whole vibe of it.

599
00:39:55,360 --> 00:39:57,000
I really like that a lot. That must go over

600
00:39:57,039 --> 00:39:58,239
one live. Do you play that one live?

601
00:39:58,360 --> 00:39:58,480
Speaker 3: Oh?

602
00:39:58,639 --> 00:40:02,800
Speaker 1: Yeah, yeah, yeah, that's an often Oh no, no kidding, Okay, yeah,

603
00:40:02,840 --> 00:40:05,159
that's like three or four times. And I said, yeah,

604
00:40:05,519 --> 00:40:08,480
oh oh my, do you uh well it is it

605
00:40:08,599 --> 00:40:09,320
is a short song.

606
00:40:10,599 --> 00:40:11,559
Speaker 3: One more time.

607
00:40:12,920 --> 00:40:17,119
Speaker 1: I reminds me of a you remember this is totally

608
00:40:17,199 --> 00:40:19,760
off subject, but do you remember lou Bega Mamo number five?

609
00:40:20,000 --> 00:40:21,000
Speaker 15: Yeah? I love that.

610
00:40:21,480 --> 00:40:24,519
Speaker 1: I saw lou Bega one time at at the time,

611
00:40:24,599 --> 00:40:27,760
I was working at a record store and I got

612
00:40:27,800 --> 00:40:29,559
invited to go to one of those all day radio

613
00:40:29,599 --> 00:40:31,800
station shows. One of the Boston Stations was doing this

614
00:40:31,960 --> 00:40:33,880
was a long time Agoes was. This was when Mamo

615
00:40:33,960 --> 00:40:36,840
number five was on the radio, and uh so it's like,

616
00:40:36,920 --> 00:40:39,679
you know, like fifteen different artists throughout the day and

617
00:40:39,719 --> 00:40:41,840
they've all got really short, like twenty minute sets because

618
00:40:41,840 --> 00:40:44,800
of so many of them. And lou Bega was one

619
00:40:44,800 --> 00:40:48,000
of the one of the performers and he actually played

620
00:40:48,159 --> 00:40:53,079
Mamo number five twice. He opened with it, and I thought,

621
00:40:53,320 --> 00:40:56,400
he's opening with his big hit. This is a bold move.

622
00:40:56,960 --> 00:40:59,559
And then I thought, oh, maybe he's closing with a cover.

623
00:40:59,840 --> 00:41:01,920
That's the one time. That's the only way that makes sense.

624
00:41:01,920 --> 00:41:04,039
He must be closing with a cover that goes over

625
00:41:04,119 --> 00:41:05,960
really well. So he's going to open with his big hit.

626
00:41:06,320 --> 00:41:09,119
He didn't he So he opens with Mamo number five,

627
00:41:09,199 --> 00:41:11,639
then he plays like one other song from his album,

628
00:41:12,239 --> 00:41:15,000
and then he closes with Mamo number five. He actually

629
00:41:15,039 --> 00:41:17,440
played it twice and I and it was like it

630
00:41:17,480 --> 00:41:19,760
was kind of weird, but but I also remember thinking,

631
00:41:20,000 --> 00:41:22,800
I respect it in a way that he understands, he

632
00:41:22,920 --> 00:41:25,639
knows he's a one hit wonder, he understands he's on

633
00:41:25,840 --> 00:41:28,360
the you know, thirteenth or fourteenth of his fifteen minutes

634
00:41:28,719 --> 00:41:30,559
you know what I mean. I saw Men Without Hats

635
00:41:30,599 --> 00:41:33,119
a couple of years ago and they opened with safety Dance.

636
00:41:33,280 --> 00:41:37,440
Yeah they no kidding? Yeah, all right, you don't have

637
00:41:37,559 --> 00:41:38,400
to do that, guys.

638
00:41:38,559 --> 00:41:40,360
Speaker 8: They have a lot of good songs.

639
00:41:40,280 --> 00:41:43,800
Speaker 1: Come on, I but that's their only hit, right yeah?

640
00:41:43,920 --> 00:41:44,119
Speaker 3: Yeah?

641
00:41:45,960 --> 00:41:50,880
Speaker 8: Oh no? Actually what was that one? The apocalypse one.

642
00:41:53,239 --> 00:41:55,400
Speaker 1: From Men Without Hats? Yeah, I don't even remember that.

643
00:41:57,840 --> 00:41:59,039
Oh that's kind of familiar.

644
00:41:59,199 --> 00:42:02,519
Speaker 8: It's a tear jerk okay, all right, yeah.

645
00:42:02,519 --> 00:42:05,719
Speaker 1: I think they did that twice too, because you got

646
00:42:05,800 --> 00:42:08,320
to fill that time, get that get that check. Yeah.

647
00:42:08,719 --> 00:42:12,280
Oh that's funny. So when's just remind people too? I

648
00:42:12,320 --> 00:42:13,519
know we just talked about it, but for people just

649
00:42:13,599 --> 00:42:15,079
joining us, when is your next show? When is the

650
00:42:15,119 --> 00:42:18,000
next opportunity of eighteen September eighteen.

651
00:42:18,239 --> 00:42:22,480
Speaker 20: Slimmer stars Plana Versus the Man, the Cretans.

652
00:42:23,119 --> 00:42:27,280
Speaker 1: And us and you and very good, very good by

653
00:42:27,320 --> 00:42:29,840
the way. So and then all the how do you

654
00:42:30,039 --> 00:42:32,280
how do you handle the percussion and everything in the

655
00:42:32,519 --> 00:42:34,840
when you're on stage? Is that is that programmed or

656
00:42:34,840 --> 00:42:35,559
how do you approach that?

657
00:42:35,719 --> 00:42:40,639
Speaker 7: Michael Mike Walsh, who is uh Jazz Virtual.

658
00:42:40,320 --> 00:42:46,199
Speaker 1: So yeah, lays oh excellent, excellent and.

659
00:42:46,400 --> 00:42:49,719
Speaker 7: Uh and Adam what the funniest part of all this

660
00:42:49,880 --> 00:42:51,960
is Adam you know, he's been playing the guitar is

661
00:42:52,159 --> 00:42:54,800
you know, fantastic. And then one day we're at practice

662
00:42:55,559 --> 00:42:58,000
and we had a drummer time and he's like, hey,

663
00:42:58,119 --> 00:42:59,840
let me let me just show you this part. Adams

664
00:43:00,079 --> 00:43:04,960
up behind the drums. Yeah, Adam, it might be the best,

665
00:43:05,400 --> 00:43:07,880
one of the best drummers that I seen. Yeah, and

666
00:43:08,320 --> 00:43:12,800
it was like a secret secret, no idea. Oh wow,

667
00:43:13,400 --> 00:43:14,079
so Adam played.

668
00:43:16,000 --> 00:43:19,320
Speaker 8: Never heard him drum his fingers on a table before. No, kid,

669
00:43:19,599 --> 00:43:21,119
he just yeah busted out.

670
00:43:21,239 --> 00:43:21,960
Speaker 1: Oh that's cool.

671
00:43:22,079 --> 00:43:22,280
Speaker 21: Yeah.

672
00:43:23,119 --> 00:43:25,039
Speaker 3: It's been easy too because we can just late.

673
00:43:25,280 --> 00:43:25,840
Speaker 22: We don't have to.

674
00:43:26,000 --> 00:43:28,280
Speaker 7: Uh, the three of us can just write and record

675
00:43:28,360 --> 00:43:29,679
and play everything.

676
00:43:29,760 --> 00:43:32,840
Speaker 12: And you know, Michael, Mike will probably start.

677
00:43:33,000 --> 00:43:36,280
Speaker 8: Mikey's great though. Yeah, he can do he can do

678
00:43:36,400 --> 00:43:37,719
anything that you point him at.

679
00:43:37,880 --> 00:43:41,639
Speaker 1: Yeah. Yeah, excellent, excellent, very good, very good. Well listen,

680
00:43:41,760 --> 00:43:43,719
I want to thank you, thank the three of you

681
00:43:43,800 --> 00:43:45,559
for joining us here today, all the four of you,

682
00:43:45,599 --> 00:43:48,320
because the robots here as well. Yeah, I forget I

683
00:43:48,400 --> 00:43:49,800
asked you if the robot had a name. I can't

684
00:43:49,800 --> 00:43:50,400
remember what you said.

685
00:43:50,400 --> 00:43:53,719
Speaker 7: Does the robot have a name Boris Boris Excel two

686
00:43:53,800 --> 00:43:55,079
four Excel two four.

687
00:43:55,280 --> 00:43:58,719
Speaker 1: Yes, I had a Do you remember to excel? I

688
00:43:58,800 --> 00:44:00,079
had a two excel when I was a kid to

689
00:44:00,119 --> 00:44:01,880
play the A tract You put the A tractapes in

690
00:44:02,159 --> 00:44:03,920
was I am to excel?

691
00:44:04,159 --> 00:44:07,519
Speaker 7: One thing I'll put out there. Our sort of secret

692
00:44:07,599 --> 00:44:10,920
hope that we have is eventually people will come to

693
00:44:11,039 --> 00:44:13,559
our shows and bring their robots so that they can

694
00:44:13,639 --> 00:44:15,400
all dance in the front together.

695
00:44:15,599 --> 00:44:17,320
Speaker 1: That's that's such a cool idea.

696
00:44:18,400 --> 00:44:18,760
Speaker 3: Together.

697
00:44:19,079 --> 00:44:21,920
Speaker 7: If you come to the Stone Church, bring a robot

698
00:44:22,320 --> 00:44:23,800
and we'll give you free.

699
00:44:25,400 --> 00:44:28,679
Speaker 1: That's a very cool idea. Does it have to be

700
00:44:28,760 --> 00:44:30,960
a robot? What if it's like like like what what what?

701
00:44:31,119 --> 00:44:35,480
Speaker 7: Anything robotic like like that? That would be awesome, that works,

702
00:44:35,760 --> 00:44:39,480
That would be hilarious because I think, actually, it's funny

703
00:44:39,519 --> 00:44:40,440
you say that, because.

704
00:44:40,239 --> 00:44:40,639
Speaker 3: I want to.

705
00:44:44,559 --> 00:44:49,280
Speaker 8: Like it'll be it'll be like survival research laboratories, only

706
00:44:49,360 --> 00:44:50,199
without the fighting.

707
00:44:50,440 --> 00:44:53,079
Speaker 7: Yeah, it's funny to say that. Because one of the

708
00:44:53,159 --> 00:44:56,440
new videos that we're working on, like I'm always like

709
00:44:56,519 --> 00:44:58,800
trying to find something it's a little different, and I

710
00:44:58,960 --> 00:45:03,239
was looking at Room the uh footage. Yeah, it's gonna

711
00:45:03,280 --> 00:45:05,800
make it in there. Yeah, it has nothing to do

712
00:45:05,960 --> 00:45:08,960
with this song. The next song that we're releasing is

713
00:45:09,039 --> 00:45:13,599
really organic and beautiful, but it is yeah, oh.

714
00:45:15,039 --> 00:45:17,320
Speaker 1: Is oh, that's not on the EP. It's not.

715
00:45:17,559 --> 00:45:19,239
Speaker 7: No, we're done, it's recording.

716
00:45:19,440 --> 00:45:19,719
Speaker 1: Okay.

717
00:45:20,039 --> 00:45:21,000
Speaker 7: It's a masterpiece.

718
00:45:21,039 --> 00:45:21,320
Speaker 1: Adam.

719
00:45:21,360 --> 00:45:26,199
Speaker 7: The guitar. I feel like I'm like stroking the guitars.

720
00:45:28,079 --> 00:45:31,760
It's the guitar. It's a guitar like show piece.

721
00:45:32,000 --> 00:45:32,199
Speaker 3: Yeah.

722
00:45:32,719 --> 00:45:35,280
Speaker 1: Nice. Nice. When's it coming out?

723
00:45:35,440 --> 00:45:35,800
Speaker 7: I don't know.

724
00:45:36,199 --> 00:45:38,719
Speaker 1: All right, Well, sender to us when it's ready. We'll

725
00:45:38,760 --> 00:45:40,679
do We'll do a world premiere for it.

726
00:45:41,320 --> 00:45:42,320
Speaker 3: Some surprises in the fall.

727
00:45:42,480 --> 00:45:46,639
Speaker 1: Absolutely awesome, awesome, excellent, excellent, Well again, thank thank you all,

728
00:45:46,760 --> 00:45:48,320
all three of you, and I think we'll close the

729
00:45:48,360 --> 00:45:51,960
segment with the studio version of Lonely Nights again. This

730
00:45:52,119 --> 00:45:54,519
is my favorite. It's just so catchy. But uh, I

731
00:45:54,599 --> 00:45:56,960
really appreciate you all coming in this morning. Thanks for

732
00:45:57,119 --> 00:46:00,320
having absolutely absolutely we will do it again in the future.

733
00:46:00,559 --> 00:46:03,199
And if you are listening live on Saturday, we have

734
00:46:03,559 --> 00:46:06,280
Are they in the building? Jenny Silent Season? Silent Season

735
00:46:06,400 --> 00:46:09,360
is coming up in the second hour, but we will

736
00:46:09,400 --> 00:46:12,119
close out this segment again. This is Lonely Nights and

737
00:46:12,239 --> 00:46:14,039
this is replaced by robots.

738
00:46:17,599 --> 00:46:38,800
Speaker 21: Long nights, Hollo Lo nights, look funny cigarette walk down

739
00:46:38,880 --> 00:46:40,920
to the discotect, trying not to.

740
00:46:41,119 --> 00:46:46,000
Speaker 3: Act strange, dancing like a breach, trying to.

741
00:46:46,079 --> 00:46:47,280
Speaker 7: Beat street today?

742
00:46:47,519 --> 00:47:13,880
Speaker 3: Is it trying to catch a nice Benson in speaker?

743
00:47:14,199 --> 00:47:17,639
Speaker 8: The TODs and Gods Aline, I couldn't find you anywhere

744
00:47:18,039 --> 00:47:21,400
for the so far stuffs getting smaller.

745
00:47:21,119 --> 00:47:22,880
Speaker 3: Than running out of time?

746
00:47:23,360 --> 00:47:25,800
Speaker 8: The a China Houser, How would you do?

747
00:48:10,239 --> 00:48:21,000
Speaker 3: Love? Pay play, no play, not play, lass play.

748
00:48:26,360 --> 00:48:28,239
Speaker 10: Some plays now play.

749
00:48:31,840 --> 00:48:35,400
Speaker 5: Love love plays some play no play.

750
00:48:41,320 --> 00:48:42,719
Speaker 3: May only.

751
00:49:04,920 --> 00:49:11,880
Speaker 22: I should should look to your right and thought for you,

752
00:49:12,599 --> 00:49:19,480
but thouse aides should give me more side.

753
00:49:22,480 --> 00:49:36,320
Speaker 3: And needs. No you know that I think sho I

754
00:49:36,599 --> 00:49:37,480
shall do?

755
00:49:43,159 --> 00:49:50,320
Speaker 5: What can't you start? You chant always good?

756
00:49:54,840 --> 00:49:55,400
Speaker 3: A sure?

757
00:49:55,880 --> 00:50:02,320
Speaker 5: How I fell you hudect? I can't say jot.

758
00:50:11,840 --> 00:50:11,880
Speaker 19: This.

759
00:50:12,199 --> 00:50:15,800
Speaker 3: No one who should chose him killed him.

760
00:50:17,679 --> 00:50:30,320
Speaker 23: Soon way, sir, you can make up? Then I can't

761
00:50:30,400 --> 00:50:39,039
shot him? Go go, but I fan my dream.

762
00:50:43,199 --> 00:50:44,639
Speaker 5: I'm sup?

763
00:50:50,079 --> 00:50:55,039
Speaker 3: What can't go? Start a built jack?

764
00:50:55,519 --> 00:50:57,639
Speaker 5: My boy got.

765
00:51:01,719 --> 00:51:02,559
Speaker 3: My song.

766
00:51:04,320 --> 00:51:51,760
Speaker 5: Girls girl songs. John Rogers said, good Joe, Joe still

767
00:51:52,199 --> 00:51:53,559
suns John.

768
00:52:00,239 --> 00:52:13,760
Speaker 3: Show charsca A tract A lot of you starts.

769
00:52:14,119 --> 00:52:19,320
Speaker 22: If you shouts, get a voice, your s.

770
00:52:50,320 --> 00:52:54,880
Speaker 3: Strass beneath the white of the creature said his name.

771
00:52:57,239 --> 00:53:07,679
Real mutilation is an it shud taste like whin skin

772
00:53:08,519 --> 00:53:11,239
smells out and grab up and strut got the paper

773
00:53:11,559 --> 00:53:14,320
hoppen take place. So I just come back a joke.

774
00:53:17,800 --> 00:53:21,000
It's ma t gonna take friend speak leading me to

775
00:53:21,199 --> 00:53:23,840
a s me. That's the nation. It's not pain't back

776
00:53:23,920 --> 00:53:26,159
that choice. It's how your sensation.

777
00:53:38,239 --> 00:53:42,159
Speaker 2: Creature chop chump.

778
00:53:44,079 --> 00:53:48,039
Speaker 3: Creature struct sup.

779
00:53:48,559 --> 00:53:51,599
Speaker 20: Strutch my name, the white chosky get interest in this

780
00:53:52,119 --> 00:53:56,800
on the line, and you tell not don't do your eyes,

781
00:53:56,880 --> 00:54:00,920
but your right teas is about a little slow.

782
00:54:04,400 --> 00:54:09,440
Speaker 6: The subtas like redskin shad than grubbers struggle in the paper.

783
00:54:09,760 --> 00:54:15,320
Speaker 3: How mut you go? So I just come back bash.

784
00:54:16,000 --> 00:54:20,360
Speaker 6: This man skins a friskin leading me to s. That's

785
00:54:20,440 --> 00:54:23,840
then s the South been FDA's cause just lack of sensation.

786
00:54:36,320 --> 00:54:38,320
Take me away, show me.

787
00:54:38,519 --> 00:54:41,920
Speaker 3: The other a good loud of the creatures being more the.

788
00:54:42,079 --> 00:54:45,519
Speaker 2: Culture of mind to astract customized.

789
00:54:45,079 --> 00:54:50,599
Speaker 3: To take me sense. The sun's in mine face, the

790
00:54:50,760 --> 00:54:53,639
man's rain in my shoes. It's win behind me.

791
00:54:53,719 --> 00:54:55,239
Speaker 10: And there's win behind you.

792
00:54:55,840 --> 00:54:59,119
Speaker 3: But not drunk. Upon said stay by, you may give me.

793
00:55:00,880 --> 00:55:14,440
Speaker 4: Clown cross clowns.

794
00:55:29,679 --> 00:55:31,639
Speaker 12: Luigi's Pizza Barron Grill.

795
00:55:31,920 --> 00:55:32,679
Speaker 4: You're a brief.

796
00:55:33,760 --> 00:55:39,920
Speaker 23: Let's praise a class mine with Tommins the ground Pizza Pizza.

797
00:55:39,639 --> 00:55:40,800
Speaker 4: Bar Yo Mind.

798
00:55:41,320 --> 00:55:46,119
Speaker 12: Luigi's Pizza Barren Grill, seven twelve Valley Street, Manchester. Come

799
00:55:46,199 --> 00:55:49,199
on in or call six two two one zero two

800
00:55:49,320 --> 00:55:54,079
one Luigi keeping the tradition alive since nineteen seventy five.

801
00:55:55,960 --> 00:55:57,760
Speaker 3: Pizza for every one.

802
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Speaker 6: Come join a piece to n with these slye sets

803
00:56:02,599 --> 00:56:05,000
of it, everything feels.

804
00:56:04,719 --> 00:56:05,400
Speaker 3: So right.

805
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Speaker 11: In times of crisis.

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Speaker 9: You need a law firm that stands by your side.

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Speaker 12: Come see the possibility. It's Queen City Cabinet Tree, another

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Speaker 24: Hey everyone, there's Rob Azevedo host a Granite State of Mind,

826
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and I want to tell you about Pembrook City Limits

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and the Historic Suncook Village. PCL's an award winning bar,

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restaurant and music venue where there's live music five days

829
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Speaker 7: Please come visit.

834
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Speaker 24: Pembrook City Limits at one thirty four Main Street, the

835
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historic Suncook Village, only six miles outside of Manchester, Open

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Speaker 7: Where it's all about the music.

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Speaker 7: Midnight.

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Speaker 4: Seven times out of ten we listened to our music

858
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at nights on the titled business program.

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Speaker 12: Late Night to Light with DJ Midas right here on

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WMNH Manchester wonder because Saturdays and Sunday nights midnight to

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