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Speaker 1: Bring these mics up, and we've got Cody Pope and

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Byron g here with us in the studio.

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Speaker 2: Hey guys, Hey, good morning man, thanks so much for

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having us.

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Speaker 1: Yeah, welcome back, welcome back, and uh hop if you

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weren't waiting outside too long. It's a little little chilly today.

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Speaker 2: No, no, no, it was perfect timing.

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Speaker 1: He had Adju Justice Camra here. Get you guys in

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the shot. Of course we are on Facebook and YouTube

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and all that stuff.

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Speaker 3: There we go, there we go.

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Speaker 1: How have you guys been? What's what's going on? Have

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you been releasing new music or what have you been

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up to?

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Speaker 2: Yeah? So in October, we just released our sophomore full

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length album, Giant Steps in Gates City Excellent. Yeah, so

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that's been We did a big release show for that

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and it's been pretty wild ride since then.

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Speaker 1: Where did you Where'd you do the release show?

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Speaker 2: So we did it in our hometown in Nashaua. We

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like rented a hall and put together this whole experience.

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We had a caterer come in and like cater the

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event and had a photo booth and had a bunch

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of the artists from hell Hound open up the night.

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It was really cool.

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Speaker 1: Nice, nice. Yeah, you guys must know. Do you know

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Mike McDowell the Healer? Did you run into him on.

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Speaker 2: This We literally just shook hands and met as we

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were heading out as we were coming in.

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Speaker 4: Yea.

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Speaker 2: Looking forward to chopping it up with him more.

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Speaker 3: Yeah.

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Speaker 1: Yeah, he's doing some he's doing some great stuff. And

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you must know Eleanor and Andre from So.

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Speaker 2: I actually just met them super recently as well. Yeah,

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like maybe a week ago or so. I just got

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to go to New Hampshire Underground and hang out with

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them for a bit. They're awesome people.

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Speaker 1: Oh, excellent, excellent. I don't think they've done like a

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full hip hop show. I mean obviously six Minds combined yeah,

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performs there, but yeah they should do uh you should

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do something with them, like do a big hip hop show.

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Speaker 2: Yea, that's what we're hoping to do something. We're hoping

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the dates wul Ligne in that we can make something

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happen soon.

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Speaker 3: Yeah.

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Speaker 2: I really like their space. I think that it's really

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conducive to fostering a positive like live music and arts scene,

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and they offer resources and spaces for people that I

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think are really valuable. So right I'm looking forward to

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seeing what they're capable of doing with that. I think

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that's gonna be awesome.

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Speaker 1: Yeah, absolutely, well, I'm dying to hear you guys. You

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always perform when you come on the show, which is wonderful.

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And now the real test, of course, is always making

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sure that what have you got? What do you what

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do you call that? Byron?

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Speaker 3: This is the Roland SP four O four m K.

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Speaker 1: Two Okay, and what does that do for the For

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the uninitiated.

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Speaker 3: It does a little bit of everything.

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Speaker 5: It's a sampler so you could create like full songs

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on here.

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Speaker 3: Yeah. I use it mainly for our.

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Speaker 5: Live shows and stuff like that, so I can load

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up heads and I can manipulate the sound.

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Speaker 3: Yeah, kind of live as we're going.

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Speaker 1: So okay.

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Speaker 5: You never really get the same experience twice with these

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types of machines.

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Speaker 1: Right right. Yeah, for those listening live, if you're wondering

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how these guys are going to perform live, that's what

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let's see. If let's see if we can hear that.

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And I'm not hearing anything yet, but I think I

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know why. Oh there we go, easy.

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Speaker 3: Hello.

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Speaker 1: Yeah, this is always the that's always the moment, right

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when you guys come on. It's like, let's let's hope

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this last. This works.

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Speaker 2: Well.

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Speaker 1: The first time you came on, we did the Yeah,

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we did the flash drive option the very first time

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in the old station and.

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Speaker 2: That was our first album together too.

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Speaker 1: Oh that's right, yeah yeah. How many times have you

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guys been?

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Speaker 2: Is this this is our third time? Now? No, it's

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not your fourth. No, I think you've been up here before. Well,

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we had done stuff up in Laconia. Oh okay, maybe

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that's we did local outbreak up in Laconi.

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Speaker 1: That's why I'm thinking that, Yeah, both of us.

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Speaker 3: Time.

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Speaker 2: Okay, yeah, because we did our first album was Meet

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Me and Gates City, so we played some of those songs,

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and then the next time was we released an EP

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called Pound of Wait No Renaissance Park. I think it

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was the Park. Yeah.

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Speaker 1: Yeah, you guys have released a lot of it's hard.

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Speaker 2: Yeah, it's been a while.

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Speaker 1: Well, do you want to perform something or sure?

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Speaker 4: Yeah?

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Speaker 1: All right?

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Speaker 2: You have No Sugar added A good way to warm up.

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This is the uh. This was the first single that

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we released from the new album. Okay, it's the second track.

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It's called no Sugar added. Okay, check check, I've been

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in a daze. Mine's amazing a blaze. I've been catching

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fight us since before the twelfth grade. I had this

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design yet, but couldn't get out my way. Now I'm

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doubled the age, still rewonded, the days I can't believe

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with all love done, I'm still looking back bin clean

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it up, because still remember the cooking crack, the drink

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that had for the needle. Never quite took it back.

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Some days I still find that I'm quite shook. In fact,

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the light keeps going out. Maybe that's a soign for me.

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I have accepted that one day will be time for

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me someone's revenge. I suppose that it's fine with me.

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Nothing in life off didn't happen with the time and

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sweet all I can do work to build a good now.

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When then stay in the sun to makeup of days

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that shrouded in dens. I am the howling man standing

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upon the howling winds, night of the hunt of the preacher,

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upon the prout again, not perfect, not even close to

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all right. Can't remember the last time I slept all night,

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eyes wide open, but I need another hour. I just

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fell asleep already. Time for the shower. No sugar, no sugar.

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I just need water, meant the league. I can pat it.

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Speaker 3: No sugar added, no sugar added.

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Speaker 2: Somewhere between happening and apocalypse, now anxiety and alarms again.

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Hope my horrible waves could never harm a friend. Some

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men crossed me again, never saw him again, even the

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he the Nord demon can fall from a sin who

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called it again? I'm not sovvag to them. Drowning in

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my own flood, I hardly can swim. Then I stopped

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too late? How could I be so selfish do the

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stupidest thing, But know that I'm not helpless? Bad patterns, habits.

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I need to learn to break. I'm mad scattered this matter.

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If I need to learn to shake, we'll extinguish over

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light the match to burn the lake, every roll of

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the dice, the one determined faith, slipping into the void

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for just a few hours to win my best to

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not flip. I got no new flower. My dreamscape is

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the place that I do scout in search of advances, like

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how I could bet the US power? Not perfect, not

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even close to all right. Can't remember the last time

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I slept all night. I was wide open, but I

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need another hour. I just fell asleep already time for

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the shower. No sugar added, no sugar added. I just

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need water. Mentally, I get padded, no sugar added, no

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sugar added, somewhere between being happy and mad.

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Speaker 4: And I love it. I love it.

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Speaker 1: Thank you Cody Pope and Ryron g here whatever live

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in studio on this Saturday morning.

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Speaker 2: Yeah, I couldn't hear everybody at first. I was like,

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oh crap, what's going on.

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Speaker 1: You made it work.

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Speaker 2: You made it work volumes of magical thing.

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Speaker 1: Yes, yes, Now tell us about you know, for people

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who are not familiar, So because you refer to it

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Hellhound Publishing, what is that exactly? For people who don't know.

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Speaker 2: So, Hellhound Publishing is a record label that I founded

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in twenty eighteen and that Byron now co owns with me,

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and so that is essentially our creative house where we

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not only do we distribute and produce all of our music,

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but we've been fortunate to sign and release music for

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some artists that we're really close with as well. Okay,

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we do music, we do some books, and we do podcasts.

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Those are really like our big things right now.

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Speaker 1: Okay, okay, and yeah, you've talked about that on the show.

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Before has that kind of has that kind of grown

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in terms of who you're working with, Like you have

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more artists that you're that you're working with or I don't.

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I don't remember who we because I think the I

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think the first time you talked about it on the show,

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you had just kind of started that, or you had

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started working together on that.

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Speaker 2: I think, Yeah, I think what when we came on

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and put out Meet Me in Gate City he had

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only released a few records at that point, and now

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with Giant Steps in Gate City, it's our fifteenth release

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on the record label.

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Speaker 1: Oh wow, Yeah, okay, okay.

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Speaker 2: Yeah, I feel very fortunate to say that after all

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this time. But yeah, it's been quite the wild ride.

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Speaker 1: Yeah, no kidding, uh wow.

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Speaker 3: So who now?

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Speaker 1: Who else are you working with currently? Who are you

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releasing music for?

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Speaker 2: So our roster that's active right now consists of mostly producers,

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but so they go out and perform a lot of

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instrumental shows and we have instrumental albums out for them

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as well. Yeah, so we represent even though who is

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originally from Nashua but is now based out of the

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Worcester area, he has like this very like Ethereal Lo

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Fi kind of sound. But then because he comes from

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like a boom back background, there's like a really cool

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blend of like an almost ambient boombap kind of sound.

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We represent an artist named Trip Seat who's based out

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of Boston, Massachusetts area. He has a very electronic heavy sound.

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I like to compare him to like an Aphex Twin

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or a fat Boy Slim something along like very like

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high energy, like party music. We also represent eight Biza

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as well. I know you know Biza. He has obviously

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been a long time contributor to the label and to

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my music as well, and so he's always yeah, he's

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always been a big part of the equation as well,

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and that is that's really the core of like artists

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that we have releases coming out for. But for twenty five,

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where we're hoping to kind of expand the palette a

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little more. We've kind of changed the way that we

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operate as a label a bit, and we've also like

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we've moved our headquarters. We had been in the same

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place for over ten years. Wow, so now we just

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moved into a new place and that's really evolved how

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we can operate as a label and a lot of

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capacities so we may not have as many releases coming

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out in twenty five, but we fortunately have like really

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big plans and a lot more resources to apply to

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them now, which is exciting.

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Speaker 1: Oh okay, yeah.

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Speaker 3: Very good.

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Speaker 1: Now, why why the when you when you talk about

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the changes in terms of how you do things? Is

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that is that something that does that come from kind

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of learning as you go or or does some of

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it I'm curious if some of it has to do

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to with you know, the music business is constantly changing,

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and you know now and I don't think we've ever

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really talked about this aspect before, but now AI is

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kind of really changing things. And yeah, I mean, does

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does that play a role?

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Speaker 2: I would say, And you might have a different experience

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to speak to it. For me, as like a label owner,

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I always sought to be the person that I thought

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I would have wanted to have around as an artist.

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But I learned that I wasn't being the person that

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the artist needed, and that those are two separate things

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where you could want more than you actually need, and

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so not everybody's wants parallel, And so I had to

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learn how to manage the artists better on the release

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side of things because with some of the early releases

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we put out on the label, we were very we

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were very involved in the record in terms of like

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being in weekly meetings, trying to make plans, and some

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of the artists we were literally tracking all their music

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in our free time and doing the artwork for I've

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done the artwork for most of the releases on the

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label a lot of so we were like super involved,

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which feels good. But I think what we learned is

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that artists need to kind of finish the idea on

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their own m m and then kind of like be like,

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you know, we were trying to build things out of

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scratch with an artist, and really the artist has to

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kind of have that idea and figure out what they

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would do even if we weren't in the picture, and

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if they were going to do that anyways, that's where

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we can be of the most service to them. Okay,

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But as artists, we have certain expectations for ourselves, and

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so it's not fair to apply those expectations to everybody unilaterally.

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Every every artist requires a specific kind of like catered

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to means of getting their thing done, and if we

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love the art enough, we're going to work on how

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to be that to each artist and still maintain the

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integrity of what we're trying to do personally.

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Speaker 1: That makes sense because everyone's process is different. Yeah. Yeah,

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Now what about AI in terms of like like releasing music,

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do you have to? Does it get complicated now? With UH?

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I mean it's it's incredible what's going on, Like I

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I see uh, you know, like major labels are suing

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AI companies and there's all that. There's all this mess

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like do you have to does it become a consideration

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when releasing music? Like is there an AI sample or

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something in here? Is there something that is going to

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cause us a problem down the road? And are there

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headaches that come with that?

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Speaker 5: So it's I think personally there's there's good and there's bad.

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For for the sample based producers that like to dig

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in you know, old records of like old crates of

279
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records and things like that, which I am one of them,

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it makes it a little bit harder to kind of

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chop and and when it comes to release time, if

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you have samples on your beats, you kind of it's

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it's different now, It's definitely AI is picking up on

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a lot of that stuff. Doesn't mean that there's a

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place for it, because there definitely still is and a

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lot of uh, you know Snoop and are releasing. I mean,

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it's probably a little bit different because they have the

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actual stems from the artists, but there's different avenues where

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you could go for that type of stuff now.

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Speaker 3: But on the other side of things, I've been.

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Speaker 5: Using AI to generate uh chord progressions and and different

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sounds and stuff like that.

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Speaker 3: And i've you know you cant Byron?

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Speaker 1: Can you pull that, Michael a little bit? Just yeah,

295
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so just I noticed it was just dropping out. Yeah,

296
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it is better. That's better. Yeah, thank you, it's just it.

297
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It starts to g sorry about that, to make sure

298
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we can hear you. I'm sorry. Good, Yeah, go ahead.

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Speaker 3: Yeah.

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Speaker 5: On the other other side of things, I've been using

301
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AI to generate melodies and chords and picking my keys

302
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and and blending and mashing a bunch of like AI

303
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generated stuff and basically using them as my samples as

304
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of late, chopping it up that way and doing it

305
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that way. It's all like you're you're the creator, so

306
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there's no royalties or there's no copyright infringement cases that

307
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you run into. Oking it that way and it's different.

308
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There's a million different possibilities. And I'm the type of

309
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guy it's like, as we evolve, as you know, producers

310
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and just musicians, if you're not using all of the

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elements that are at your hands.

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Speaker 3: These days, you're gonna fall behind.

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Speaker 1: Yeah.

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Speaker 5: So there's good and there's bad. It's just all about

315
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how you look at it.

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Speaker 3: I think.

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Speaker 1: Yeah, adaptability is so important absolutely, and yeah, adapting to technologies. Yeah,

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we I was talking to somebody about that in terms

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of doing a like a radio show, you know, like

320
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there was a time when a radio show would just

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be on the radio, but we've had to adapt to

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you know now you know podcasting and streaming and all

323
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of that, and and if you don't if you don't

324
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do that, yeah, if you don't adapt, you fall behind.

325
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Speaker 3: Yeah.

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Speaker 5: Like I would never like take someone's voice right and

327
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and have them say specifically Eric's like I wouldn't use

328
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AI or anything like that. Yeah, But in terms of

329
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like creating, I'm definitely messing around with AI.

330
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Speaker 3: Yeah, it comes to creating melodies and stuff like that.

331
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Speaker 1: Sure, sure, So.

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Speaker 2: I think the thing that's important with AI, and that's

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why I'm glad you spoke on it because you have

334
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more experience with it. I don't, but I just from

335
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like a outside looking in perspective kind of thing, I

336
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feel like there's a lot of fear around AI taking

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on creative tasks and things of that nature. And I

338
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think the ultimate responsibility or obligation is that like, if

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we don't determine how AI is going to be used,

340
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other things are going to determine that for us. And

341
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so it's like, rather than being afraid of AI and

342
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being so against it, figure out how to implement it

343
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into your life in the ways that it that you want.

344
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You know, it's like, yeah, my conversations with most people

345
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is that it's like you want AI to take care

346
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of menial tasks and things that are time consuming and

347
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take away from you like living your most life right,

348
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So it's like if we sit back and wait for

349
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AI to become what it is, it's going to take

350
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the things we love instead. Because nobody like stepped in

351
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and said like no, I want to do this part,

352
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like do this task for me instead, And I don't

353
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have any experience using it, So that's why it's like

354
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hard for me to really like put my foot down

355
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one way or another. But I just feel like we

356
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have to kind of like we are the users of AI,

357
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so we have to dictate what purpose it's going to

358
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serve to us before it becomes consequential.

359
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Speaker 1: Yeah, got to be proactive with it.

360
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Speaker 3: Yeah, yeah, yeah, sure.

361
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Speaker 5: I think like for independent artists, it definitely can be

362
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like an attribute to you because as an independent artist,

363
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you have to you have to wear so many hats, right,

364
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whether it's creating artwork or whether it's you know, coming

365
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up with videos or whatever, and AI can be a

366
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huge help for that stuff if you're not specifically like

367
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a drawing artist, to make up your own art work

368
00:18:01,480 --> 00:18:04,480
whatever it is, right, Yeah, definitely use AI to help

369
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you out on that side of things too.

370
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Speaker 2: And even just like like task stuff, I would think

371
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more so you know, like as somebody who makes artwork,

372
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it's like I like, I like that side of things.

373
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But I'm sure even as like maybe an engineer or

374
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like a radio show producer, there's certain like engineering things

375
00:18:20,799 --> 00:18:23,480
where it's like I wish this, I wish my mixerer

376
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just always set to these levels, or I wish my

377
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fader just always went to this thing, or I wish

378
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my preset always went you know, these are kind of

379
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the initial These are things that like AI could probably

380
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do for us, is like set these kind of prerequisite

381
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things so that when we go to use our creative tools,

382
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they're like in the right settings or whatever.

383
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Speaker 5: Yeah, like everything else, as long as you put the

384
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time behind to learn the things you know, and you

385
00:18:50,480 --> 00:18:53,400
can manipulate anything in your favor. Yeah, you know, as

386
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long as you put the time in and the effort

387
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to figure it out.

388
00:18:56,039 --> 00:18:59,400
Speaker 1: Yeah, absolutely, Yeah, No, I agree, Well said you guys

389
00:18:59,440 --> 00:19:00,119
want to play on other.

390
00:19:00,759 --> 00:19:11,519
Speaker 2: Yeah, what do you think? Maybe gratitude?

391
00:19:12,000 --> 00:19:14,680
Speaker 1: Sure, if you're just joining us. We have Cody Pope

392
00:19:14,680 --> 00:19:16,519
and Byron g here with us live in studio.

393
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Speaker 3: Let me get that. Uh, there we go. I gotta

394
00:19:21,200 --> 00:19:21,960
find this joint.

395
00:19:22,400 --> 00:19:35,000
Speaker 6: Yeah.

396
00:19:37,039 --> 00:19:41,319
Speaker 2: Some days I wake up and I wish I had it.

397
00:19:43,440 --> 00:19:46,000
I hate that I'm sad, but my love once feel

398
00:19:46,079 --> 00:19:50,759
so glad that he's a lead trip And don't know

399
00:19:50,920 --> 00:19:55,119
why I'm so mad. Man got a lot to be

400
00:19:55,240 --> 00:19:59,519
He's greatful for even when I'm down, bad man. Some

401
00:19:59,599 --> 00:20:03,599
days i' wake up and I wish I had it.

402
00:20:05,759 --> 00:20:08,319
I hate that I'm sad, but my love Monk feels

403
00:20:08,359 --> 00:20:12,519
so glad, easily dripping.

404
00:20:12,519 --> 00:20:14,960
Speaker 1: I don't know why I'm so mad man.

405
00:20:16,400 --> 00:20:19,039
Speaker 2: You've got a lot to be grateful for. Even when

406
00:20:19,160 --> 00:20:24,200
I'm down, bad man, waked up in my brain already

407
00:20:24,319 --> 00:20:29,079
feeling dark, get the couch, already chase a spot, contemplat

408
00:20:29,160 --> 00:20:32,119
and in my sick or unhealthy. It's this depression of

409
00:20:32,240 --> 00:20:35,880
calma for unwealthy enough cleverity to know that I'm the

410
00:20:36,039 --> 00:20:38,440
end of me, the one destroying me, the one should

411
00:20:38,440 --> 00:20:41,079
be defending me. Got to take time enough to know

412
00:20:41,160 --> 00:20:43,640
you can't make time, So make mind feel with the

413
00:20:43,720 --> 00:20:46,359
things that shape live. What you heard on the great

414
00:20:46,480 --> 00:20:49,440
vine might not taste right, so you don't gotta make wine.

415
00:20:49,440 --> 00:20:52,480
You'll still make life. Plant that seed that gonna bandy

416
00:20:52,559 --> 00:20:56,119
your family with the real money tree, life's optical standard fees.

417
00:20:56,200 --> 00:20:59,119
And still days I'm fighting to get prop it. But

418
00:20:59,319 --> 00:21:02,279
that's the vibe when no mean my trooper, when the

419
00:21:02,319 --> 00:21:04,440
fight come at the door, you can't be true. You

420
00:21:04,480 --> 00:21:09,119
missed that chance. Well, some days I wake up and

421
00:21:09,279 --> 00:21:13,920
I wish I had it. I hate that I'm sad,

422
00:21:14,000 --> 00:21:18,759
but my loved once feel so glad. Then he's the

423
00:21:18,839 --> 00:21:23,880
lead tripping don't know vibe. I'm so mad man, got

424
00:21:23,920 --> 00:21:26,680
a lot to be here, grateful for even when I'm down,

425
00:21:26,759 --> 00:21:32,039
bad man. Some days I wake up and I wish

426
00:21:32,119 --> 00:21:36,640
I had it. I hate that I'm sad, but my

427
00:21:36,759 --> 00:21:41,839
loved ones feel so glad that he's the lead tripping.

428
00:21:41,920 --> 00:21:46,319
Don't know why I'm so mad, man, you got a

429
00:21:46,359 --> 00:21:49,839
lot to be grateful for, even when I'm down, bad man.

430
00:21:51,039 --> 00:22:04,079
Speaker 1: Some days I wake up, I wake up. Mmm, good stuff, guys,

431
00:22:04,119 --> 00:22:04,680
good stuff.

432
00:22:04,799 --> 00:22:05,200
Speaker 2: Thank you.

433
00:22:05,359 --> 00:22:07,119
Speaker 1: If you're just joining us, we have Cody Pope and

434
00:22:07,119 --> 00:22:10,880
Byron g here with us live in studio, and uh yeah,

435
00:22:11,000 --> 00:22:14,519
I love that track and it's it's very relatable. I

436
00:22:14,519 --> 00:22:15,200
I have those.

437
00:22:15,079 --> 00:22:18,039
Speaker 2: Days, right, That's the thing, you know, I feel like

438
00:22:18,079 --> 00:22:20,799
most of us do. And yeah, when we're in those moments,

439
00:22:20,880 --> 00:22:22,960
you kind of feel like you're the only person and

440
00:22:23,039 --> 00:22:25,559
it's like, man, how is like the world really like

441
00:22:25,599 --> 00:22:27,839
crashing down on me? But when you realize how many

442
00:22:27,880 --> 00:22:30,480
people in your life have made it to that next day,

443
00:22:30,480 --> 00:22:32,559
it's like, all right, let me let me just try

444
00:22:32,599 --> 00:22:36,240
and like breathe for a minute, yeah, and stop thinking

445
00:22:36,279 --> 00:22:38,680
about what's weighing on me and like figure out what's

446
00:22:38,720 --> 00:22:40,000
like lifting me instead.

447
00:22:40,359 --> 00:22:42,640
Speaker 1: Yeah, yeah, no, I like that a lot, you know.

448
00:22:42,720 --> 00:22:45,880
I I'm pretty public about it. I struggle with depression,

449
00:22:45,920 --> 00:22:48,279
and so I can I can relate to that, you know.

450
00:22:48,759 --> 00:22:50,960
I hear those lyrics and it's like, yeah, yeah, I

451
00:22:51,000 --> 00:22:51,319
get it.

452
00:22:53,200 --> 00:22:53,720
Speaker 3: I get it.

453
00:22:54,920 --> 00:22:55,119
Speaker 4: Now.

454
00:22:55,160 --> 00:22:58,000
Speaker 1: Are you so the new album it just came out.

455
00:22:58,240 --> 00:22:59,200
Speaker 2: It came out in October.

456
00:22:59,240 --> 00:23:01,240
Speaker 1: Came out in October, so pretty recent. Yeah, are you?

457
00:23:01,319 --> 00:23:03,000
Are you already working on the next one? It seems

458
00:23:03,039 --> 00:23:04,799
like you guys are pretty prolific. You put out a

459
00:23:04,839 --> 00:23:05,400
lot of music.

460
00:23:05,720 --> 00:23:07,559
Speaker 2: Yeah, So we have a lot of stuff in the

461
00:23:07,640 --> 00:23:11,000
vault right now, and we definitely have some releases planned

462
00:23:11,000 --> 00:23:13,839
for next year, but we're gonna honestly spend a lot

463
00:23:13,880 --> 00:23:17,279
of time with this record. We've been working on visuals

464
00:23:17,319 --> 00:23:21,480
for it. So we do these seminars called Inside the Music.

465
00:23:21,480 --> 00:23:24,599
We do them at Nashville Public Library, and oh yeah.

466
00:23:24,680 --> 00:23:27,200
We take songs from our records and kind of break

467
00:23:27,240 --> 00:23:30,440
down the lyrics and the stories and the Ryan patterns,

468
00:23:30,480 --> 00:23:33,119
the references, and he'll break down the stems of how

469
00:23:33,200 --> 00:23:36,759
the song was composed. And we put one together for

470
00:23:36,880 --> 00:23:40,200
Giant Steps, and we didn't get to do it in

471
00:23:40,279 --> 00:23:42,599
time for the release. So that's gonna be one of

472
00:23:42,680 --> 00:23:46,279
the things that we do this spring is Return of

473
00:23:46,319 --> 00:23:50,599
the library seminar, and so we really just want to

474
00:23:50,640 --> 00:23:54,480
give people time to take this record in. It's eighteen songs, yeah,

475
00:23:54,519 --> 00:23:57,400
and we have a documentary coming out for it on Monday,

476
00:23:57,559 --> 00:24:00,559
which really covers like from when we did meet Me

477
00:24:00,640 --> 00:24:03,640
in Gates City till where we're at now. And so

478
00:24:03,759 --> 00:24:06,799
there was like a lot of like obstacles along the

479
00:24:06,799 --> 00:24:09,720
way of getting the album out, and so because it

480
00:24:09,759 --> 00:24:13,160
took us so long to get here, we're really hoping

481
00:24:13,200 --> 00:24:15,839
that we can afford to take time with this record

482
00:24:16,079 --> 00:24:18,720
over next year because there's a lot to take in.

483
00:24:18,799 --> 00:24:21,640
You know, it's eighteen songs. It's a very like in

484
00:24:21,680 --> 00:24:26,880
depth personal record. It's the essentially like the follow up

485
00:24:26,920 --> 00:24:29,160
to you know, the first record that we did Meet

486
00:24:29,160 --> 00:24:33,920
Me in Gates City was shortly after we met as people,

487
00:24:34,240 --> 00:24:37,519
you know, and like we met, and within a year

488
00:24:37,559 --> 00:24:39,720
and some change we had a full length album out

489
00:24:39,759 --> 00:24:43,160
and had been playing all over the region and running

490
00:24:43,160 --> 00:24:47,160
this label together, and so so much has happened in

491
00:24:47,160 --> 00:24:50,400
that time and we've learned a lot. We've both gone

492
00:24:50,480 --> 00:24:54,039
through so much in our personal lives, and so the

493
00:24:54,119 --> 00:24:58,279
album is really a document of so much of that

494
00:24:58,880 --> 00:25:01,720
that it's hard to like move on to the next

495
00:25:01,720 --> 00:25:04,680
thing already interesting where like we have like we have

496
00:25:04,720 --> 00:25:07,799
an EP that we had already recorded. I have a

497
00:25:07,799 --> 00:25:09,920
actually I have a project with Biza that we're hoping

498
00:25:09,960 --> 00:25:10,920
to put out next year.

499
00:25:11,039 --> 00:25:11,480
Speaker 1: Oh cool.

500
00:25:12,079 --> 00:25:14,599
Speaker 2: I have a live band record that him that he's

501
00:25:14,599 --> 00:25:17,279
helped me engineer that we've been working on for a

502
00:25:17,359 --> 00:25:19,920
couple of years. We worked with some great artists from Maine.

503
00:25:20,359 --> 00:25:22,480
So we have stuff that we're hoping to put out

504
00:25:22,480 --> 00:25:26,240
next year. Yeah, but it just is, Ah, everything's kind

505
00:25:26,279 --> 00:25:29,400
of happening on a feeling now where we did so

506
00:25:29,480 --> 00:25:33,200
much stuff on setting deadlines that we thought fit within

507
00:25:33,240 --> 00:25:37,599
our marketplace, and our audience has really shown us that

508
00:25:37,680 --> 00:25:41,480
we can dictate our own marketplace and the best way

509
00:25:41,519 --> 00:25:43,880
to do that is to not compromise the integrity of

510
00:25:43,920 --> 00:25:48,319
these records. And so we're really hoping and frankly, you know,

511
00:25:48,480 --> 00:25:51,480
just to be like honest about it. The record is

512
00:25:51,519 --> 00:25:55,759
doing very well in regards to reception. People that hear

513
00:25:55,799 --> 00:25:58,839
it loved the record. People have been buying the CDs,

514
00:25:58,920 --> 00:26:02,400
which is great. The show was fantastic, But in terms

515
00:26:02,559 --> 00:26:05,720
of like the typical benchmarks that you're trying to reach

516
00:26:05,960 --> 00:26:08,240
in audience growth and stuff like that, we're just not

517
00:26:08,359 --> 00:26:12,680
there yet. Yeah, We're we're a long ways away from

518
00:26:13,240 --> 00:26:17,680
being where we're at comfortably in growing our audience, and

519
00:26:17,759 --> 00:26:21,559
so it seems like it would be detrimental of us

520
00:26:21,599 --> 00:26:23,839
to move on from this record too fast when there's

521
00:26:23,880 --> 00:26:25,480
so much substance there.

522
00:26:25,720 --> 00:26:27,079
Speaker 1: Yeah, no, that makes sense.

523
00:26:28,160 --> 00:26:32,519
Speaker 3: We also went to a legit studio this time around too.

524
00:26:32,720 --> 00:26:32,880
Speaker 6: Oh.

525
00:26:34,480 --> 00:26:36,839
Speaker 5: Before we were it was all in house, like doing

526
00:26:36,839 --> 00:26:40,079
all the engineering, mixing, mastering, all that stuff. This time,

527
00:26:41,559 --> 00:26:44,680
due to you know, time and our mental capacities with

528
00:26:44,799 --> 00:26:46,480
work and stuff like that, it just.

529
00:26:46,559 --> 00:26:49,400
Speaker 3: Wasn't gonna come out the way we wanted it to.

530
00:26:50,119 --> 00:26:53,359
Speaker 5: So they made the decision to bring in Mertz, who

531
00:26:53,559 --> 00:26:56,880
Cody had previously worked with who's uh engineered down at

532
00:26:56,920 --> 00:27:00,279
the Bridge in Cambridge, Massachusetts, and he was kind of

533
00:27:00,319 --> 00:27:02,039
like the third member of the team to help us

534
00:27:02,119 --> 00:27:06,079
put this one together. Yeah, and he absolutely crushed it,

535
00:27:06,200 --> 00:27:08,359
blew it out the like hit it right out the park.

536
00:27:08,480 --> 00:27:08,920
Speaker 1: Yeah. Yeah.

537
00:27:09,000 --> 00:27:11,920
Speaker 5: Like, the synergy between the three of us was fantastic.

538
00:27:11,960 --> 00:27:14,680
Every time we were down in his studio, we recorded

539
00:27:14,680 --> 00:27:17,680
the whole thing down there, and he was like a

540
00:27:17,799 --> 00:27:22,400
huge part of this record. So sonically, it's definitely like

541
00:27:22,440 --> 00:27:24,240
our best sounding record too.

542
00:27:24,519 --> 00:27:29,200
Speaker 2: Okay, it really it allowed us to be like it

543
00:27:29,240 --> 00:27:32,480
allowed us to operate as a duo as artists. Where

544
00:27:33,000 --> 00:27:35,200
doing Meet Me in Gate City, even though we were

545
00:27:35,240 --> 00:27:38,839
a duo, he had to be the Rick Rubin and

546
00:27:38,960 --> 00:27:41,160
like run the boards and make sure that I was

547
00:27:41,160 --> 00:27:43,440
doing what I needed to do. And and so this

548
00:27:43,559 --> 00:27:45,240
time was like we both just got to be the

549
00:27:45,359 --> 00:27:48,519
artists and have our vision be brought to life. And

550
00:27:48,559 --> 00:27:50,960
so I'm glad that you brought that up because i

551
00:27:50,960 --> 00:27:53,480
do think that that also like played a big part

552
00:27:53,519 --> 00:27:54,200
in making.

553
00:27:53,920 --> 00:27:57,680
Speaker 3: This That's what it was the Upbraide sonically for sure.

554
00:27:57,839 --> 00:28:00,319
Speaker 2: Yeah, it's a huge and and that's and it's a poster,

555
00:28:00,440 --> 00:28:03,039
you know, it's like this is part of a greater story.

556
00:28:03,160 --> 00:28:05,680
And so you know, from meet Me and Gate City,

557
00:28:05,720 --> 00:28:07,960
it was a lot of getting to know us, getting

558
00:28:08,000 --> 00:28:10,359
to know how to operate with each other, and us

559
00:28:10,799 --> 00:28:13,319
getting to know who our audience was. Now because this

560
00:28:13,480 --> 00:28:16,400
music was quite a bit different than my solo music

561
00:28:16,759 --> 00:28:21,480
and now with Giant Steps, it's exactly that, like we

562
00:28:21,480 --> 00:28:24,240
were willing to challenge ourselves, we were willing to challenge

563
00:28:24,279 --> 00:28:27,079
the listeners, we were willing to challenge the status quo.

564
00:28:27,799 --> 00:28:30,200
We were willing to step outside of all of our

565
00:28:30,240 --> 00:28:32,599
comfort zones and just make a record that we felt

566
00:28:32,680 --> 00:28:35,720
was like a strong body of work and I'm happy

567
00:28:35,799 --> 00:28:37,680
to like stand on that for a long time.

568
00:28:38,000 --> 00:28:41,880
Speaker 1: Yeah, was that a difficult decision to to because you

569
00:28:42,000 --> 00:28:45,920
had done the previous tracks? Yes, and how Yeah, Yeah.

570
00:28:45,880 --> 00:28:49,039
Speaker 2: We tried. We tried. Frankly, like we we took a

571
00:28:49,039 --> 00:28:52,240
couple different attempts at doing so we were gonna do

572
00:28:52,519 --> 00:28:55,799
EP three before the new album we had so that

573
00:28:55,920 --> 00:28:58,519
we did Pound of Flesh, then we did Renaissance Park

574
00:28:58,799 --> 00:29:01,640
and we have one more that we already have written,

575
00:29:02,039 --> 00:29:04,519
and so we went to record that and we just

576
00:29:05,160 --> 00:29:07,480
we just weren't feeling it. There was just something. And

577
00:29:07,519 --> 00:29:09,400
that's when I think he started to realize he was

578
00:29:09,440 --> 00:29:13,720
getting burnt from the engineering, the mixing, the mastering, all

579
00:29:13,799 --> 00:29:14,400
that stuff.

580
00:29:14,920 --> 00:29:19,319
Speaker 5: And it was juggling family with work and yeah, at

581
00:29:19,319 --> 00:29:22,160
the studio till two am and then waking up and

582
00:29:22,359 --> 00:29:24,079
going to work and doing the same thing.

583
00:29:24,160 --> 00:29:25,920
Speaker 3: And it's a lot. It was a lot, and we

584
00:29:25,960 --> 00:29:28,000
have been doing that for like three years straight.

585
00:29:28,119 --> 00:29:31,319
Speaker 2: So it was like, yeah, you don't get that same

586
00:29:31,359 --> 00:29:35,000
off filming, right right, Yeah, Yeah, you don't get that

587
00:29:35,079 --> 00:29:38,160
same fulfillment when it feels like work all the time.

588
00:29:38,400 --> 00:29:40,519
Speaker 5: Yeah, and that's what it was definitely becoming the field

589
00:29:40,599 --> 00:29:42,920
it was it was starting to feel like work and

590
00:29:42,960 --> 00:29:47,759
that's the complete opposite artist, right right.

591
00:29:47,880 --> 00:29:50,480
Speaker 2: But it was also like a blessing in disguise because

592
00:29:50,640 --> 00:29:53,960
the songs for EP. Three, while we love them, by

593
00:29:54,000 --> 00:29:56,200
the time we kind of figured out that we wanted

594
00:29:56,240 --> 00:30:00,400
to like go back into the studio setting, the songs

595
00:30:00,440 --> 00:30:03,000
wouldn't have worked for the time period that they would

596
00:30:03,000 --> 00:30:04,759
have been done. You know, there was just a sonic

597
00:30:04,799 --> 00:30:07,960
appeal to having them in like the springtime. They just

598
00:30:08,039 --> 00:30:11,599
have that kind of energy. And we didn't start recording

599
00:30:11,680 --> 00:30:13,920
until the beginning of summer, so by the time we

600
00:30:13,920 --> 00:30:16,519
were done, it was gonna be late summer fall, and

601
00:30:16,559 --> 00:30:18,599
we would have just been putting out songs just to

602
00:30:18,599 --> 00:30:21,200
put something out and just to keep up with the joneses.

603
00:30:21,799 --> 00:30:24,799
And instead we have this body of work that just

604
00:30:24,880 --> 00:30:27,599
like everything made sense, and it was like it just

605
00:30:27,640 --> 00:30:31,759
really reminded us of like we can't always dictate the timelines.

606
00:30:31,880 --> 00:30:33,640
We just have to make the art, and the art

607
00:30:33,720 --> 00:30:36,079
is going to tell us not to be like you know,

608
00:30:36,559 --> 00:30:38,279
but like the art is really going to set the

609
00:30:38,400 --> 00:30:41,240
terms of like what we can do. Like, nothing we

610
00:30:41,319 --> 00:30:43,599
say matters until we have a body of work in

611
00:30:43,640 --> 00:30:46,359
our hands, and then we can, you know, get to

612
00:30:46,400 --> 00:30:47,240
the starting line.

613
00:30:47,480 --> 00:30:50,880
Speaker 1: Yeah, that makes sense. That makes sense. By the way,

614
00:30:50,920 --> 00:30:53,039
you mentioned so you do you've done most of the

615
00:30:53,160 --> 00:30:56,920
artwork for the arts of released through hew Lound. Yeah,

616
00:30:57,240 --> 00:31:00,720
is there is there any kind of like, do you

617
00:31:00,759 --> 00:31:03,839
have a specific style that you apply to The reason

618
00:31:04,039 --> 00:31:08,319
I'm curious is in the past, it probably isn't really

619
00:31:08,319 --> 00:31:10,440
a thing anymore, but I just remember, like back in

620
00:31:10,480 --> 00:31:13,359
the nineties or in the two thousands, like No Limit Records,

621
00:31:13,519 --> 00:31:18,079
you know, there was a very specific style pixel.

622
00:31:18,400 --> 00:31:18,559
Speaker 6: Yeah.

623
00:31:18,640 --> 00:31:21,160
Speaker 1: Yeah, I'm curious if if, like, do you have a

624
00:31:21,160 --> 00:31:22,920
specific style that you try to use.

625
00:31:22,839 --> 00:31:25,160
Speaker 2: Or I don't. The only thing I guess I would

626
00:31:25,200 --> 00:31:29,200
really say about my style is that I am in

627
00:31:29,359 --> 00:31:33,160
I'm not like a traditionally trained graphic designer. I don't

628
00:31:33,160 --> 00:31:36,920
have any sort of like art background or anything. I

629
00:31:37,079 --> 00:31:40,000
learned how to use photoshop purely because I wanted to

630
00:31:40,000 --> 00:31:43,319
be a guy starting a record label, and so the

631
00:31:43,519 --> 00:31:47,519
root of my like artistic style is very photo heavy.

632
00:31:47,920 --> 00:31:50,680
So I love when somebody can either give me a

633
00:31:50,680 --> 00:31:53,839
photo or give me a reference or something, and that

634
00:31:54,000 --> 00:31:57,319
is typically like my canvas and I can like creatively

635
00:31:57,359 --> 00:32:00,400
build from there, Okay, and like I'm I'm learning how

636
00:32:00,440 --> 00:32:03,119
to do other stuff. But I would say that through

637
00:32:03,200 --> 00:32:06,400
the fifteen releases that we've put out that I've done

638
00:32:06,839 --> 00:32:11,000
covers for, they're very like photo centric, where it's about

639
00:32:11,359 --> 00:32:15,319
a certain like character or a certain idea and then

640
00:32:15,319 --> 00:32:17,960
I'll just kind of design around that idea.

641
00:32:18,160 --> 00:32:18,359
Speaker 1: Yeah.

642
00:32:18,440 --> 00:32:23,440
Speaker 5: Yeah, Robert, Yeah, he's the one who basically took all

643
00:32:23,480 --> 00:32:27,400
the pictures of us, yeah for the for the last

644
00:32:27,480 --> 00:32:32,839
ep in this album. Oh okay, Yeah, he was just

645
00:32:32,920 --> 00:32:36,440
the the artistry in him, like he was literally laying

646
00:32:36,519 --> 00:32:40,480
down almost like head in traffic to get that perfect angle.

647
00:32:41,400 --> 00:32:43,319
Speaker 3: Yeah. He's one of a kind.

648
00:32:44,160 --> 00:32:47,160
Speaker 2: Yeah, he's actually based here in Manchester. But his name

649
00:32:47,200 --> 00:32:50,400
is Robert Bates, ok and you can so you can

650
00:32:50,400 --> 00:32:53,720
find his Robert Bates Photography and on Instagram he goes

651
00:32:53,759 --> 00:32:57,200
by Domino Sonata. But he's also like a very he's

652
00:32:57,200 --> 00:33:00,400
a very into cinema, like local cinema and film and

653
00:33:00,480 --> 00:33:02,279
film history and stuff like that too.

654
00:33:02,359 --> 00:33:04,960
Speaker 5: So you could totally feel it when you're like when

655
00:33:04,960 --> 00:33:08,680
you see his photos. Really he's incredible man, And I think,

656
00:33:08,720 --> 00:33:11,680
what did Nick did meet me in Gate City?

657
00:33:12,160 --> 00:33:14,640
Speaker 3: So okay, Nix is girlfriend.

658
00:33:14,759 --> 00:33:17,039
Speaker 2: Yeah. So we have a lot of like close people

659
00:33:17,039 --> 00:33:19,720
in our network that shoot photos and then I just

660
00:33:19,839 --> 00:33:22,559
like am fortunate enough to take those and manipulate them.

661
00:33:22,720 --> 00:33:25,720
Speaker 1: Oh that's cool? Yeah, yeah, very cool. Uh you guys

662
00:33:25,720 --> 00:33:26,559
want to play another one?

663
00:33:27,279 --> 00:33:27,480
Speaker 3: Yeah?

664
00:33:27,480 --> 00:33:27,880
Speaker 2: What do we go?

665
00:33:28,079 --> 00:33:29,119
Speaker 1: Dying to hear more?

666
00:33:30,039 --> 00:33:30,240
Speaker 2: Here?

667
00:33:30,319 --> 00:33:31,880
Speaker 1: If you're just showing us we have Cody Pope and

668
00:33:31,880 --> 00:33:34,359
Byron g here with us alive in studio.

669
00:33:36,440 --> 00:33:44,759
Speaker 2: And to exit more. Yeah, it's a fun one, all right,

670
00:33:51,559 --> 00:34:09,159
you're watching at home, you can snap with us elevated

671
00:34:09,239 --> 00:34:12,000
to the gallows like a miles in France. Life be

672
00:34:12,079 --> 00:34:14,960
hitting differently do Miles of dance might have a thousand

673
00:34:15,039 --> 00:34:17,519
yards stare of of a mile and trance life can

674
00:34:17,559 --> 00:34:20,840
be so short you're running miles and pants don't care

675
00:34:20,880 --> 00:34:23,599
for people but a smile, because why not? This life

676
00:34:23,639 --> 00:34:25,639
the only one that I know that I got all

677
00:34:25,679 --> 00:34:28,639
This Third eyed Jazz got me feeling like cyclops every

678
00:34:28,719 --> 00:34:31,599
year for a little closer they'm feeling like my pops,

679
00:34:31,639 --> 00:34:35,000
frustrated with my nation. Probably for different reasons of posing

680
00:34:35,039 --> 00:34:38,400
opinions on opposition committing treason. I'm from where you got

681
00:34:38,440 --> 00:34:41,480
to embrace multiple seasons. One day it's spring, one day

682
00:34:41,519 --> 00:34:44,039
you take in the leaves and still jump hurdles. What

683
00:34:44,199 --> 00:34:46,920
I got these long legs for? Ramp up my protein?

684
00:34:47,000 --> 00:34:49,440
Would I eat all these eggs for? I grew up

685
00:34:49,480 --> 00:34:52,719
between exit one and exit for, But even as a youth,

686
00:34:52,800 --> 00:34:54,320
I knew I had to exit more.

687
00:34:56,119 --> 00:34:57,000
Speaker 3: A little short one.

688
00:34:57,760 --> 00:34:58,599
Speaker 1: That is a short one.

689
00:34:58,599 --> 00:34:58,800
Speaker 3: Wow.

690
00:34:59,119 --> 00:35:01,320
Speaker 5: Yeah, there's a lot of those little kind of like

691
00:35:01,360 --> 00:35:04,360
interlows between each a lot of the tracks on this one.

692
00:35:04,440 --> 00:35:06,920
Speaker 1: Yeah, yeah, No, I like it though. One day it's spring,

693
00:35:07,000 --> 00:35:10,079
next day you're taking the leaves. Then that is true.

694
00:35:10,559 --> 00:35:14,320
That is our weather tends to go. Yes, yes, we

695
00:35:14,360 --> 00:35:16,480
have Cody Pope and Byron's here with us alive in

696
00:35:16,639 --> 00:35:21,519
studio and uh sounding great. Are you guys playing out Lutrey?

697
00:35:21,639 --> 00:35:23,119
Are you doing a lot of live shows the days?

698
00:35:23,440 --> 00:35:26,280
Speaker 2: So it was. I would say this was probably our

699
00:35:26,400 --> 00:35:29,960
slowest year we did. We did a run in March

700
00:35:30,000 --> 00:35:32,639
when we put out Renaissance Park. We were real lucky.

701
00:35:32,760 --> 00:35:34,599
We got to go out with Ari the Rugged Man

702
00:35:34,679 --> 00:35:37,440
for a night. We did some nights in Vermont. Yeah,

703
00:35:37,840 --> 00:35:40,800
came here. You're with the first on that whole that

704
00:35:41,639 --> 00:35:44,639
was the well, that's the show that's okay, going back

705
00:35:44,679 --> 00:35:47,280
to before we were on air, that's we were here

706
00:35:47,320 --> 00:35:49,960
for Renaissance Park and that was the show that the

707
00:35:50,000 --> 00:35:53,960
computer crashed, yes, because we played let It Grow for

708
00:35:54,000 --> 00:35:54,599
the first time.

709
00:35:54,639 --> 00:35:57,239
Speaker 1: Yeah, yeah, yeah, that's that's part.

710
00:35:57,000 --> 00:35:59,159
Speaker 3: Of that run. And that same night we had a

711
00:35:59,280 --> 00:36:00,960
The Rugged Man at.

712
00:36:00,679 --> 00:36:02,280
Speaker 1: Oh okay, okay wow.

713
00:36:02,480 --> 00:36:06,199
Speaker 2: But after that run of shows, it was pretty quiet

714
00:36:06,239 --> 00:36:08,280
for the most part. We did something, you know, something

715
00:36:08,280 --> 00:36:08,840
here or there.

716
00:36:09,039 --> 00:36:11,159
Speaker 3: A lot of life stuff was going on.

717
00:36:11,280 --> 00:36:16,199
Speaker 2: Yea, yeah, we we started working on well, so we

718
00:36:16,280 --> 00:36:21,199
started EP three basically in like so, Renaissance Park came

719
00:36:21,239 --> 00:36:24,360
out in March, and by like the end of April,

720
00:36:24,400 --> 00:36:28,280
we were already jumping into EP three and then by

721
00:36:28,440 --> 00:36:31,639
like the end of May we realized everything just like

722
00:36:31,800 --> 00:36:34,480
wasn't working. And by the end of June we were

723
00:36:34,519 --> 00:36:37,760
already down at the Bridge working on the new album. Okay,

724
00:36:39,039 --> 00:36:40,800
So it was just one of those things that like

725
00:36:40,880 --> 00:36:43,920
and then we spent so much time doing the album

726
00:36:44,079 --> 00:36:47,280
and we didn't want to. We knew what we wanted

727
00:36:47,280 --> 00:36:49,639
to do for the release show, and we knew if

728
00:36:49,639 --> 00:36:52,360
we did too many shows beforehand that that would kind

729
00:36:52,360 --> 00:36:55,840
of like spoil or saturate it. So once we started

730
00:36:55,840 --> 00:36:58,239
working on the album, we made like a very like

731
00:36:58,840 --> 00:37:01,679
conscious effort to be like, look, we're gonna not perform

732
00:37:01,840 --> 00:37:05,079
until this show. We want people to really like, this

733
00:37:05,119 --> 00:37:07,199
is the next time they experience us is going to

734
00:37:07,239 --> 00:37:09,760
be hearing these songs in a room that we booked

735
00:37:09,800 --> 00:37:13,920
with our sound are lighting, our caterers that we brought,

736
00:37:13,960 --> 00:37:16,400
like just like a show the way that we think

737
00:37:16,440 --> 00:37:19,440
it makes the most sense. Yeah, and and like, I

738
00:37:19,440 --> 00:37:21,679
think it was one of the best decisions we made

739
00:37:21,760 --> 00:37:26,480
because the event turned out like really memorable.

740
00:37:26,199 --> 00:37:28,800
Speaker 1: Excellent, excellent. By the way, what was our a the

741
00:37:28,880 --> 00:37:31,360
rugged man? Like he seems like an intense dude.

742
00:37:31,360 --> 00:37:36,719
Speaker 2: Like, yeah, he's very intense. Yeah, we we didn't get

743
00:37:36,760 --> 00:37:39,760
to meet him. I've opened I think I've opened for

744
00:37:39,880 --> 00:37:42,519
him like three or four times, and I've literally never

745
00:37:42,559 --> 00:37:45,719
met him. So oh really yeah, that's just how rappers

746
00:37:45,760 --> 00:37:46,199
are though.

747
00:37:46,400 --> 00:37:50,840
Speaker 1: Yeah, he I I heard I heard an interesting story

748
00:37:50,840 --> 00:37:52,239
about him. Do you guys know Kate ever?

749
00:37:53,639 --> 00:37:56,239
Speaker 2: So I don't know him personally, but I feel like

750
00:37:56,400 --> 00:37:59,320
we the name sounds familiar and I'm pretty sure we

751
00:37:59,400 --> 00:38:02,400
played a show like years and years ago in the past,

752
00:38:02,440 --> 00:38:03,519
if I'm not mistaken.

753
00:38:03,639 --> 00:38:05,840
Speaker 1: Okay, yeah, he he opened for U.

754
00:38:07,199 --> 00:38:08,639
Speaker 2: I bet you that was probably the I bet you

755
00:38:08,679 --> 00:38:11,320
I might have been on that show too. Okay, maybe

756
00:38:11,320 --> 00:38:12,480
that's where I know him from.

757
00:38:12,760 --> 00:38:15,199
Speaker 1: Yeah he he He told me an interesting story which

758
00:38:15,239 --> 00:38:16,400
I won't I won't repeat.

759
00:38:17,280 --> 00:38:20,079
Speaker 5: But I would never want to be as loud as

760
00:38:20,119 --> 00:38:23,280
a live sound engineer artist.

761
00:38:23,400 --> 00:38:25,360
Speaker 3: Man. I felt bad for that guy that night.

762
00:38:25,480 --> 00:38:28,320
Speaker 1: Really, why did the engineer take some verbal Yeah.

763
00:38:28,199 --> 00:38:29,840
Speaker 3: And it's yeah, yeah he did.

764
00:38:30,079 --> 00:38:32,679
Speaker 5: And uh, you know, I mean if you're an art

765
00:38:32,920 --> 00:38:36,280
like a has been around for you know, over two decades.

766
00:38:36,440 --> 00:38:38,960
Speaker 2: Yeah, yeah, it's like there's a there's a level of expectations.

767
00:38:39,199 --> 00:38:42,280
Speaker 5: You got it if you're gonna you know, oh yeah, yeah,

768
00:38:42,400 --> 00:38:44,480
do anything with him, which is you know, he earned that.

769
00:38:44,599 --> 00:38:46,639
Speaker 1: So if you guys ever seen the meltdown he had

770
00:38:46,639 --> 00:38:49,400
with Tim Poole on his podcast.

771
00:38:49,719 --> 00:38:50,639
Speaker 2: That sounds wild.

772
00:38:50,719 --> 00:38:52,599
Speaker 1: Oh it's great. Yeah yeah, if you go on YouTube

773
00:38:52,599 --> 00:38:54,239
and just hide in Tim pool all right, the recommend

774
00:38:54,239 --> 00:38:54,960
I'm sure it comes right.

775
00:38:54,960 --> 00:38:57,400
Speaker 3: Oh, I gotta check that out.

776
00:38:57,440 --> 00:38:59,519
Speaker 1: Yeah he got He had a little angry with Tim Poole.

777
00:39:00,000 --> 00:39:02,039
It's just like, I'm not that guy. You don't want

778
00:39:02,039 --> 00:39:04,639
to go there with me. I can't even do an

779
00:39:04,639 --> 00:39:08,159
impression of it. It's it's really really good. I'm really

780
00:39:08,199 --> 00:39:13,639
angry with it. Was awesome, It's fantastic.

781
00:39:13,679 --> 00:39:15,320
Speaker 2: I can just like picture that in my head.

782
00:39:15,519 --> 00:39:18,960
Speaker 3: Yes, it's really good.

783
00:39:20,320 --> 00:39:20,880
Speaker 1: Now who else?

784
00:39:21,320 --> 00:39:21,480
Speaker 3: Now?

785
00:39:21,599 --> 00:39:23,760
Speaker 1: Is there any is there anyone else coming up in

786
00:39:23,800 --> 00:39:28,679
the short term who you're releasing through uh?

787
00:39:28,719 --> 00:39:33,280
Speaker 2: In sometime this spring we are hoping to release so

788
00:39:33,599 --> 00:39:38,480
eight Biza. Yeah, yeah, really yeah. Business just dropped a

789
00:39:38,559 --> 00:39:42,119
Merry Christmas beat tape which is on all streaming pladcams,

790
00:39:42,320 --> 00:39:45,840
so everybody should go listen to that. But when we

791
00:39:45,920 --> 00:39:50,480
initially obviously Bizza has always been a part of our movement,

792
00:39:50,960 --> 00:39:54,639
but when we like made a formal offer to be like, hey,

793
00:39:54,639 --> 00:39:56,920
we want to have a record of yours come out

794
00:39:56,960 --> 00:40:00,199
on the label, he put out what what I to

795
00:40:00,280 --> 00:40:03,000
consider like his magnum opus is an album he did

796
00:40:03,039 --> 00:40:06,199
a few years ago. It's called Bobby's boombapp recitle. Okay,

797
00:40:06,559 --> 00:40:12,559
it's like his producer composition album and he basically hired

798
00:40:12,599 --> 00:40:17,239
and picked and curated all of the vocal features on

799
00:40:17,280 --> 00:40:20,320
the record and produced it and put them all together.

800
00:40:20,760 --> 00:40:26,119
And it's a phenomenal album. It just has acrobatic mister Lyft,

801
00:40:26,360 --> 00:40:30,800
crime Apple, my favorite rapper, Cody Pope is on there.

802
00:40:31,599 --> 00:40:34,719
Tons of people are on There's just Time and lep

803
00:40:34,800 --> 00:40:37,559
who don't even really perform anymore. So it's probably one

804
00:40:37,599 --> 00:40:39,960
of the last recordings that they did. Yeah, there's just

805
00:40:40,000 --> 00:40:43,320
these phenomenal verses on there. But much like a lot

806
00:40:43,320 --> 00:40:46,000
of us as artists, because they didn't have a budget

807
00:40:46,039 --> 00:40:49,400
behind him to do some grand release. He didn't have

808
00:40:49,480 --> 00:40:52,760
money to do a physical release, you know, there wasn't

809
00:40:53,079 --> 00:40:54,880
He was doing it all himself, you know, and he

810
00:40:54,920 --> 00:40:57,960
puts so much into making it that it didn't even

811
00:40:58,000 --> 00:41:01,920
get like a huge digital distribution. Okay, So one of

812
00:41:02,000 --> 00:41:04,760
the things that we wanted to do first was give

813
00:41:04,800 --> 00:41:10,119
that record like a really grand release, And over the

814
00:41:10,199 --> 00:41:13,119
years we've been trying to like put a CD package

815
00:41:13,159 --> 00:41:16,920
together that really like is special and put some video

816
00:41:17,000 --> 00:41:20,280
content around it. So this spring really is hopefully going

817
00:41:20,360 --> 00:41:23,639
to be the Bobby's boomback recital Spring, as well as

818
00:41:23,760 --> 00:41:25,039
some more stuff from us.

819
00:41:25,400 --> 00:41:25,679
Speaker 4: Yeah.

820
00:41:25,800 --> 00:41:28,960
Speaker 1: Yeah, Bus is incredible. Yeah, I haven't interviewed him and

821
00:41:29,000 --> 00:41:30,320
a real I gotta get him on the show.

822
00:41:30,400 --> 00:41:32,320
Speaker 2: Yeah, he's always got stuff going on.

823
00:41:32,639 --> 00:41:32,800
Speaker 6: Man.

824
00:41:32,960 --> 00:41:34,239
Speaker 3: I went into the studio.

825
00:41:34,360 --> 00:41:37,880
Speaker 5: It was like two weeks ago and ran into bizit

826
00:41:37,920 --> 00:41:40,559
there and what he was doing that night, I actually

827
00:41:40,559 --> 00:41:42,599
got it. I had was like taking videos and stuff.

828
00:41:42,719 --> 00:41:46,639
Just the way he manipulates samples and audio is like

829
00:41:46,800 --> 00:41:50,000
no one's doing it like him. Yeah, he could literally

830
00:41:50,840 --> 00:41:53,000
you can smack this wall and he'll make a full

831
00:41:53,199 --> 00:41:53,840
beat out of it.

832
00:41:53,920 --> 00:41:56,559
Speaker 3: Like, yes, he's on another level, and I hope.

833
00:41:56,920 --> 00:42:02,079
Speaker 5: I think he'll get his flowers soon where everybody, you know,

834
00:42:02,119 --> 00:42:04,639
I can see that he can just he's he's the

835
00:42:04,679 --> 00:42:06,880
mad scientist for that's what I call it.

836
00:42:07,000 --> 00:42:10,159
Speaker 3: He just can anything any sound.

837
00:42:10,239 --> 00:42:14,440
Speaker 5: He's manipulating it in his way, and it's really incredible

838
00:42:14,480 --> 00:42:17,000
to see when he's in his zone at the studio,

839
00:42:17,119 --> 00:42:17,320
you know.

840
00:42:17,519 --> 00:42:20,280
Speaker 2: Yea, Yeah, I hate to be biased because I'm obviously

841
00:42:20,360 --> 00:42:23,559
like his friend, but I can't tell you enough, like

842
00:42:23,679 --> 00:42:28,320
as a record label owner and obviously like Bizza is

843
00:42:28,360 --> 00:42:31,360
an artist, So I'm not saying that he's not challenging

844
00:42:31,400 --> 00:42:34,760
in his own right, but but Bizza is he's the

845
00:42:34,840 --> 00:42:36,960
type of artist you want to work with as a

846
00:42:37,039 --> 00:42:41,280
label owner because he's doing things that he was going

847
00:42:41,360 --> 00:42:44,880
to do even if you weren't. Sorry, that's right. He's

848
00:42:44,920 --> 00:42:47,719
doing things that he was gonna do even if you

849
00:42:47,760 --> 00:42:50,199
weren't in the picture. And that's what you want, is

850
00:42:50,199 --> 00:42:52,119
you want an art of You want an artist that's

851
00:42:52,159 --> 00:42:55,039
motivated enough to do it themselves, so that when you

852
00:42:55,079 --> 00:42:58,639
come in and partner with them, you're just adding fuel

853
00:42:58,760 --> 00:43:01,840
to something that was already the If you just know

854
00:43:01,960 --> 00:43:04,679
a great artist but they're not driven to do it

855
00:43:04,719 --> 00:43:08,239
on their own, you're like pulling teeth sometimes because it's

856
00:43:08,280 --> 00:43:11,079
like they clearly didn't want it if if you were,

857
00:43:11,199 --> 00:43:13,639
if they weren't already doing it, you know. And so

858
00:43:13,719 --> 00:43:16,360
with Bizzy, you almost have to chase him sometimes because

859
00:43:16,400 --> 00:43:19,960
he's so motivated that he's he's dropping stuff constantly, and

860
00:43:20,039 --> 00:43:22,280
you got to kind and so that's why it's like

861
00:43:22,599 --> 00:43:25,800
we have a unique friendship and relationship with him because

862
00:43:25,800 --> 00:43:29,119
it's like he was doing this before either of us anyways.

863
00:43:29,280 --> 00:43:30,920
So it's like you got to give him room to

864
00:43:31,440 --> 00:43:35,119
do his thing and let him breathe creatively. But we

865
00:43:35,239 --> 00:43:39,119
just feel fortunate that like he still like wants to

866
00:43:39,159 --> 00:43:41,280
partner with us and do stuff with us as well,

867
00:43:41,320 --> 00:43:44,199
because we like to find those little gems every now

868
00:43:44,239 --> 00:43:45,880
and then and be like, here's how we can help

869
00:43:46,239 --> 00:43:47,719
bring that into the world.

870
00:43:47,719 --> 00:43:50,119
Speaker 1: Right, right, Have you ever I mean obviously I don't

871
00:43:50,119 --> 00:43:51,719
expect you to mention any names, but have you guys

872
00:43:51,719 --> 00:43:53,559
ever run into a situation where you work with somebody

873
00:43:53,559 --> 00:43:56,400
who maybe just doesn't.

874
00:43:56,960 --> 00:44:04,559
Speaker 2: Absolutely, I guess for you know, not too many, fortunately,

875
00:44:04,639 --> 00:44:08,239
but I would say we've had We've had one release

876
00:44:08,320 --> 00:44:11,159
that didn't work out, and in total, we've maybe worked

877
00:44:11,159 --> 00:44:15,360
with three artists that it just wasn't the right kind

878
00:44:15,360 --> 00:44:21,000
of relationship. But fortunately, we only ever really were in

879
00:44:21,119 --> 00:44:24,480
one situation where an artists record came out and it

880
00:44:24,559 --> 00:44:28,000
just didn't really work out. And uh yeah, you know,

881
00:44:28,159 --> 00:44:32,199
like those things are tough in the moment, and for

882
00:44:32,400 --> 00:44:35,320
us being so early in the label, I think it

883
00:44:35,519 --> 00:44:38,559
definitely felt like, oh, like what did we do wrong?

884
00:44:38,719 --> 00:44:41,360
Like what you know, But as time went on, like

885
00:44:41,400 --> 00:44:44,960
we realized like we did the best we could and

886
00:44:45,000 --> 00:44:48,079
it just like everything's not going to always work out.

887
00:44:48,679 --> 00:44:53,079
And I like to say that hell Hound is for anyone,

888
00:44:53,599 --> 00:44:57,400
but Hellhound isn't for everyone, right, you know, Like we

889
00:44:57,760 --> 00:45:00,960
are so open to what kind of music, what kind

890
00:45:00,960 --> 00:45:03,639
of art, the kind of people we work with, Like

891
00:45:03,719 --> 00:45:06,079
we really just we have a wide scope and a

892
00:45:06,159 --> 00:45:09,559
love of art. Yeah, but we also have a certain

893
00:45:09,719 --> 00:45:12,199
framework within which we like to do things, and we

894
00:45:12,239 --> 00:45:15,639
have a certain aesthetic and a certain rawness and vulnerability

895
00:45:15,679 --> 00:45:19,480
and honesty and work ethic, and that's not for everybody,

896
00:45:19,519 --> 00:45:21,639
and so it's not you know, goes back to like

897
00:45:21,639 --> 00:45:24,039
what I was saying earlier, is like we can't hold

898
00:45:24,159 --> 00:45:27,719
other artists to the way that we do things. We

899
00:45:27,760 --> 00:45:30,000
do what works best for us. And if there's other

900
00:45:30,039 --> 00:45:32,320
people that we love their art, we just have to

901
00:45:32,440 --> 00:45:35,280
kind of acclimate to what's going to work for them

902
00:45:35,440 --> 00:45:37,559
to be the most genuine.

903
00:45:37,159 --> 00:45:40,920
Speaker 3: Yeah, yeah, exactly not And you could tell. You could

904
00:45:40,960 --> 00:45:41,880
tell when.

905
00:45:43,159 --> 00:45:46,760
Speaker 5: You know the passion's not fully there right as well,

906
00:45:46,880 --> 00:45:47,360
you know, and.

907
00:45:47,320 --> 00:45:49,239
Speaker 3: It kind of sucks the air out of the room.

908
00:45:49,800 --> 00:45:52,519
Speaker 5: So yeah, you kind of learn real quick when you

909
00:45:53,199 --> 00:45:57,039
get into a couple of sessions with somebody and you know,

910
00:45:57,480 --> 00:46:00,840
kind of the first or second day, we're like, it's

911
00:46:00,920 --> 00:46:05,159
either going to be way too much work in us pushing, right,

912
00:46:06,239 --> 00:46:09,400
and if they're not in that creative space or if

913
00:46:09,440 --> 00:46:14,400
they're you know, not fully committed, then it's I'm we're

914
00:46:14,440 --> 00:46:17,079
not going to push you to like get there, like

915
00:46:17,119 --> 00:46:20,039
you gotta have that. Like it's just an artist in

916
00:46:20,119 --> 00:46:22,800
general or musician or whatever like, Yeah, you gotta have

917
00:46:22,840 --> 00:46:24,519
the passion or else it's not gonna work.

918
00:46:24,599 --> 00:46:26,239
Speaker 1: Yeah, exactly, exactly.

919
00:46:27,199 --> 00:46:27,679
Speaker 3: We have time.

920
00:46:27,719 --> 00:46:30,480
Speaker 2: You guys want to play one more or twist arm right?

921
00:46:33,039 --> 00:46:33,800
Speaker 3: Do the last one?

922
00:46:33,880 --> 00:46:36,079
Speaker 2: Yeah, I guess we should. So. This is the title

923
00:46:36,159 --> 00:46:39,559
track from Giant Steps in Gate City, which is affectionately

924
00:46:39,599 --> 00:46:40,599
called Giant Steps.

925
00:46:40,800 --> 00:46:42,840
Speaker 1: Okay, Cody Pope and Byron g.

926
00:46:55,159 --> 00:46:58,000
Speaker 2: My lace is tight enough for all my giant steps.

927
00:46:58,039 --> 00:47:00,800
Now easy to get every day to say I'm the

928
00:47:00,800 --> 00:47:04,559
best Now, life be like some big beautiful breast now

929
00:47:04,920 --> 00:47:08,039
over a windy day when all the sun dresses out.

930
00:47:08,360 --> 00:47:11,920
Even when stressed out, stop and taking another ahead of

931
00:47:12,039 --> 00:47:15,079
this life and understand why you love it it. No

932
00:47:15,079 --> 00:47:17,480
one can do what you do. That's why the gluff

933
00:47:17,519 --> 00:47:20,239
won't fit. Keep working hard towards your dreams. You'll make

934
00:47:20,320 --> 00:47:23,519
so much of it. These menver thongs take training more

935
00:47:23,519 --> 00:47:26,840
than saying words. Sometimes you're on the path alone that's

936
00:47:26,880 --> 00:47:31,159
evading herds. You lucky if your lifeline is exchanging verbs.

937
00:47:31,360 --> 00:47:34,320
There was a time in my life I was exchanging hurt.

938
00:47:34,760 --> 00:47:37,280
Went from thinking not be dead before the age of

939
00:47:37,360 --> 00:47:40,199
thirty to making it with words and trying not to

940
00:47:40,280 --> 00:47:43,519
be too worthy for every step back something to look

941
00:47:43,559 --> 00:47:47,440
forward to. You've been working. Soon enough you'll be soreing too.

942
00:47:47,800 --> 00:47:50,960
These giant steps come by learning how to evox. First,

943
00:47:51,199 --> 00:47:53,760
life's a fight. You might want to learn how to evox.

944
00:47:53,840 --> 00:47:58,599
First progress means getting up when you beat down. Dedicated

945
00:47:58,639 --> 00:47:59,760
to the babies born.

946
00:48:00,360 --> 00:48:00,679
Speaker 3: Damn.

947
00:48:00,920 --> 00:48:04,039
Speaker 2: These giant steps come by learning how to walk. First,

948
00:48:04,360 --> 00:48:06,840
life's to fight. You might want to learn how to box.

949
00:48:07,000 --> 00:48:11,719
First progress means getting up when you beat down. Dedicated

950
00:48:11,800 --> 00:48:15,840
to the babies born. I meet clowns all the time.

951
00:48:15,920 --> 00:48:19,000
Most of them fade away. Not enough battery for all

952
00:48:19,039 --> 00:48:22,519
the games they play. Learn how to center, stop, step

953
00:48:22,599 --> 00:48:25,119
on your own side. Don't let these cat with this

954
00:48:25,199 --> 00:48:28,159
people lead up your own time. You know you best,

955
00:48:28,239 --> 00:48:32,039
so find a pass to the rest. Understand it takes time,

956
00:48:32,159 --> 00:48:35,039
try your buy risk and tests. Had many people tell

957
00:48:35,119 --> 00:48:38,119
me I was two heads strong, But when I do this,

958
00:48:38,199 --> 00:48:41,360
all those people will be dead. Wrong people not wrong

959
00:48:41,440 --> 00:48:44,440
for offer room ways to make the day, but everyone

960
00:48:44,559 --> 00:48:47,440
God preferences how to make the stake. There will be

961
00:48:47,599 --> 00:48:50,639
times when you know you got to walk alone. Let

962
00:48:50,679 --> 00:48:53,920
the power of your actions be the message shown. Plenty

963
00:48:53,960 --> 00:48:56,960
of thrones don't worry about what the king say. You

964
00:48:57,039 --> 00:49:00,760
play lifelike shredding guitar like a way. How much can

965
00:49:00,800 --> 00:49:04,360
you do before the end credits play? All depends on

966
00:49:04,440 --> 00:49:07,320
how much you let get in the way. These giant

967
00:49:07,360 --> 00:49:10,800
steps come by learning how to walk first life. To fight,

968
00:49:10,840 --> 00:49:14,239
you might want to learn how to box first. Progress

969
00:49:14,360 --> 00:49:17,840
means getting up when you beat damn. Dedicated to the

970
00:49:17,920 --> 00:49:21,679
babies born feet damn. These giant steps come by learning

971
00:49:21,760 --> 00:49:24,599
how to walk. First life. To fight, you might want

972
00:49:24,599 --> 00:49:28,360
to learn how to box first. Progress means getting up

973
00:49:28,360 --> 00:49:33,519
when you beat damn. Dedicated to the babies born feet damn. Preach.

974
00:49:41,000 --> 00:49:43,079
Speaker 1: Well done, guys, Thank you man, well done.

975
00:49:43,159 --> 00:49:44,519
Speaker 2: Well, Thank you having us.

976
00:49:44,440 --> 00:49:47,239
Speaker 1: Cody Pope and Byron g here with us live in studiou.

977
00:49:47,599 --> 00:49:49,400
What should our listeners know about where to find you

978
00:49:49,440 --> 00:49:51,440
guys online to keep up with everything that you're doing.

979
00:49:52,199 --> 00:49:54,800
Speaker 2: So everything in our universe can always be found at

980
00:49:54,840 --> 00:50:00,000
hellhum Publishing dot com. We're really active on YouTube right now,

981
00:50:00,360 --> 00:50:03,119
so we have a Hellhound Publishing YouTube channel. We would

982
00:50:03,159 --> 00:50:05,559
love for people to go over there and hit the

983
00:50:05,559 --> 00:50:08,920
all subscribe button. We're putting out music, we're putting out

984
00:50:08,920 --> 00:50:11,719
behind the scenes videos. We had our documentary. It's going

985
00:50:11,760 --> 00:50:12,480
to be out Monday.

986
00:50:12,559 --> 00:50:14,599
Speaker 1: Oh yeah, I'm very very curious to see that.

987
00:50:14,760 --> 00:50:17,239
Speaker 2: Thank you. Yeah. So it's my first like big video

988
00:50:17,360 --> 00:50:20,760
editing project. It's like a forty minute documentary just about

989
00:50:21,400 --> 00:50:22,480
our whole journey. Cool.

990
00:50:22,840 --> 00:50:24,440
Speaker 3: I saw it yesterday for the first time.

991
00:50:24,519 --> 00:50:24,719
Speaker 4: Really.

992
00:50:24,760 --> 00:50:27,280
Speaker 3: Yeah, it's blown away. Yeah, oh very cool. Yeah.

993
00:50:27,320 --> 00:50:32,039
Speaker 2: So yeah everything Hellhound Publishing dot com, Hellhound Publishing on YouTube,

994
00:50:32,119 --> 00:50:35,719
if you're on social media, I'm at Cody Pope hc

995
00:50:35,840 --> 00:50:40,000
across everything. He's at BG six ZH three across everything,

996
00:50:40,639 --> 00:50:44,800
and at Hellhoun Publishing of course too. But hell Hound

997
00:50:44,880 --> 00:50:46,360
till we're underground.

998
00:50:46,039 --> 00:50:47,639
Speaker 4: All right, I love it. I love it.

999
00:50:48,280 --> 00:50:49,840
Speaker 1: Anything we didn't talk about that, you want to make

1000
00:50:49,840 --> 00:50:52,239
sure our listeners know about anything we didn't mention. You

1001
00:50:52,280 --> 00:50:54,679
guys always got to like going on side. Well, I

1002
00:50:54,800 --> 00:50:56,000
make sure we didn't leave anything out.

1003
00:50:56,079 --> 00:50:58,440
Speaker 2: No, So we're, like I we mentioned earlier, we're and

1004
00:50:58,480 --> 00:51:00,679
this is our kind of weekend wrap. But for us,

1005
00:51:00,719 --> 00:51:02,559
this was the first thing we have going on. So

1006
00:51:02,599 --> 00:51:05,800
thank you so much for having us. Yeah, Tomorrow night, Sunday,

1007
00:51:05,800 --> 00:51:08,079
we're going to be at the shaf Skiine for rap night.

1008
00:51:08,119 --> 00:51:09,840
It's gonna be our last show of the year, kind

1009
00:51:09,840 --> 00:51:12,599
of a holiday wrap up show, and then Monday is

1010
00:51:12,639 --> 00:51:15,719
the premiere of the documentary. And other than that, I

1011
00:51:15,760 --> 00:51:18,199
would just say that our new album, Giant Steps in

1012
00:51:18,239 --> 00:51:21,400
Gate City is available anywhere that you listen to music.

1013
00:51:21,960 --> 00:51:25,559
Please take an opportunity to listen to it. That's all

1014
00:51:25,599 --> 00:51:27,400
we could ask is for people to just take the

1015
00:51:27,440 --> 00:51:30,480
time to listen to it. It's eighteen songs and if

1016
00:51:30,480 --> 00:51:34,320
you don't like it, hopefully you'll have a better day after.

1017
00:51:36,000 --> 00:51:36,719
I think you will.

1018
00:51:38,719 --> 00:51:40,920
Speaker 1: Very good, very good guys. Thank you so much.