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Speaker 1: That is a reactor number four that is from the

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EP Radiation Sickness. I love that. That is so good.

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It is Matt Connorton Unleashed. We are live on this

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Saturday morning. Jenny is here, of course, at the news table,

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present and account it far and joining us via Skype

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is the great Dylan Reynolds Dillon. Are you there?

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Speaker 2: I am, how are you good?

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Speaker 1: Good? Hey man? I love that. I love that track.

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I love this EP, really great stuff and I'm so

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happy to talk to you this morning. Tell us if

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you would about Radiation Sickness and what the premise is.

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It's got a as one. My guess from the title,

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there must be a story to it. It has a

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very specific premise, if you could explain that to us.

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Speaker 2: So, yeah, Radiation Sickness, it's it's the entire EP is

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more like a concept DP. It's kind of building a story.

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But I love like post apocalyptic theme stuff, like I

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read novels, I play games, you know, like the Fallout

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series or Metros like that. Yeah, So I've always always

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had a really big fascination with post apocalyptic or post

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nuclear kind of stuff. And I was like, well, you know,

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I like listening or I like playing stuff like this,

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but you know, there's a few bands that I like

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that do similar stuff to that, and I was like,

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it's always something that I've wanted to do, So I

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just decided to kind of build a little, a little,

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I guess, minor story about what could possibly happen based

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off of what has already happened in the world. So

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kind of just piecing things together out of my brain,

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just having fun, and you.

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Speaker 1: Know, and this is, uh, this is specifically though about Chernobyl, right,

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the Chernobyl disaster or is it a broader concept than

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than just Chernobyl.

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Speaker 2: Yeah, you know, Reacting number four is definitely about Chernobyl.

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It's it's actually probably the most or the less fictitious

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song on the release. So, I mean I went in,

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I did research, you know, the time, the date, the protocol, procedure,

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the clean up, everything like that. And there was a

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good series on HBO called Chernobyl. I don't know if

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you've seen it.

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Speaker 1: I have not it, I've heard a lot about it.

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Speaker 2: Oh dude, it's it's phenomenal. So, you know, watching stuff

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like that and I'm like, dude, I could I could

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definitely write something about this. So I pieced it all together,

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and then you know, I took it from the first song,

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which was Reacting number four, and I decided just to

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build this entire story out based off of, you know,

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the one true event and that really did happen, but

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then other stuff inspired on, kind of like the themes

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and the imagery and stuff that would fit in the

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narrative but didn't actually happen.

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Speaker 1: Yeah. It's particularly intriguing to me because I mean, I

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love the music, and so regardless of what it's about,

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I would enjoy this. But particularly intriguing to me because

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I'm actually I'm old enough to remember when Chernobyl happened,

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and I still remember coming home from school that day

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and the news had already broken and I come home

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and I'm worried, and I turn on the TV and

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you know, there it is. They're talking about Peter Jennings

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of ABC News. For those of us who who might recall, Uh,

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there he is talking about it. And I was freaked

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out because I didn't know what was going to happen.

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You know, is a cloud of nuclear radiation going to

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float all the way to the United States and kill

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all of us? And you know, my body Yeah, and

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my fears were quelled relatively quickly because you know, these

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experts are saying, well, you know, it's kind of unlikely

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that it would make it all the way here and whatnot.

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But at the in the moment, I was freaked out.

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Speaker 2: Well, yeah, you know, you got to think of like

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the timeline too. You know, it's right towards the very

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end of the red scale. Everybody's afraid of, you know,

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the tensions with Russia and the tensions with the United States,

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So they're thinking, you know, you know, was this a plan?

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Speaker 1: Thing?

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Speaker 2: Is is something terribly going to go wrong? Can this

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lead to more nuclear kind of stuff? So it's a

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big level of uncertainty, you know, definitely before you know

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that the Iron Curtain came down and everything like that.

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But yeah, uh, it's you know, it's it's a scary

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theme because I mean, realistically, nobody other than the people

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that had to move away from the area and nobody's

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really been through anything like that since, so you know,

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imagine what would that be like if the entire world

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was like that. So that's the scary part of the.

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Speaker 1: Topic right right now. You mentioned so there's some fictitious

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elements to the story also that you tell in these

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in these songs on the.

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Speaker 2: CP definitely you know. Prippy At is the third song.

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It was originally supposed to be the opener track because

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it has a really, really really long intro in it,

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But then I started thinking about it, and I'm like,

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as far as the timeline's concerned, that it wouldn't make sense,

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So I decided to put that a little bit farther down.

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But that's actually based on there's a there's an old

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PC computer game called Stalker, which is about the uh

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there's a bunch of warring factions in the you know,

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the Chernobyl Exclusion Zone, and there's you know, mutants and

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Stalkers are basically guys that go in they have you know,

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wars and gangs and stuff like that, and they go

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in and they fight mutants, they fight uh you know,

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bandits shit like that. Sorry and sorry about that. I

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gotta turn on gotta turn on the radio voice.

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Speaker 1: Don't We're on a delay. So I caught it.

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Speaker 2: It's all good, okay, good deal, and uh but yes,

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so Pripyat's about the Stalker games. Radiation Sickness is more

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of not really based on anything, but rather the theme

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and then, uh, the Aftermath is a song that I wrote.

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I probably wrote that song like seven or eight years ago,

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and I just never had anything to kind of put

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it with. And it's it's more of like, you know,

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the the Big screw as the Big Terror of the fires.

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Everything is for the most part been put out, but

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it's about what remains after and it's all these people

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just basically either one trying to survive or two banding

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together to take whatever they want. So kind of Mad

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Max in a way.

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Speaker 1: I guess, Yeah, I'm curious, do you know, uh, how

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do I fraise it? Do you do you know why

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you're interested in this subject and these themes like did

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you did you grow up always having a fascination with

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sort of apocalyptic or post apocalyptic stuff or or is

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this something you've always been into or and do you

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know where it comes from? I'm always super curious about

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this kind of.

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Speaker 2: Thing, definitely. So I grew up watching Mad Max. Some

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of my favorite movies of all time Road Warrior, you know,

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beyond Thunderdome, and I've always liked that concept, and then

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a couple of years when I was growing up later

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into it, you know, like movies like the Book of

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Eli came out, and just seeing that kind of down

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you know, dirty gritty themes and imagery, and I'm just like, dude,

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this is it kind of brings humanity back to its

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primal stage. You know, there is no you're my neighbor

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and I'm going to take care of you anymore. It's

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you have what I want and I'm going to come

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take it. So it's always kind of fascinating me. I

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guess maybe like on a I don't know, like a

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mental or a psychological level, like what could make humanity

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revert back to the most basic of instincts? Yeah, and

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the Great Reset would do that, And so it's just

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I guess it's just always been fascinating to me on

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that level. So anytime a new book comes out that's

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post apocalyptic and theme, or a movie or a game,

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I'm usually the first one to try it. Plus, you know,

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I grew up playing Fallout. It's one of my favorite

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game series of all times, so I've always always kind

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of really read into it from that angle to So

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is that.

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Speaker 1: What I'm not a gamer, but I assume Fallout is

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that that that's about something having to do with nuclear radiation.

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I assume.

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Speaker 2: Yeah, yep, so Fallout is sent in. I think it's

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like two hundred years after a great nuclear war devastates

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the entire world. Yeah, and I won't get into the

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lord because it's just too much to talk about. But essentially,

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the government built underground vaults and bunkers and they decided

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to risk, you know, certain people underground in a way

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to write it out where they could come back after

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most of the radiation goes away. And when a lot

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of them open up, they realize it never went away,

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and there's bandits, there's some small vestiges of humanity left,

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and it's it's a really cool role playing experience. If

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if you ever decide to get into any of them,

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I would heavily recommend it. It's just it's a it's

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a fun, fun experience.

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Speaker 1: Yeah, yeah, I yeah, I won't. I actually, about twenty

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years ago was the last time I ever held any

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kind of a game controller, and I had to put

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it down and I said, I'm never playing any more

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games because I found it very psychologically addictive.

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Speaker 2: Oh yes, yes, yeah.

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Speaker 1: The last video game I ever played. I remember I

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was at a friend's house and they had fallen asleep

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and it was like one am, and I had started

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playing this game at like nine pm, and there it

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is four hours later, and I'm looking at the clock

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and I'm like, I can't do this anymore. And I

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actually stopped because that's that's exactly the kind of thing

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that I would get sucked into.

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Speaker 2: And then oh, yeah, yes, dude, it's it's even worse.

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Like I had add. Man, it's really hard for me

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to concentrate on certain things. But if you put a

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controller in my hand, you know, just like you say,

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it'll be eight pm, and the next time you look

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at the clock, it's four or four am, and you're like,

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what happened? So I get it.

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Speaker 1: Yeah, hey, this is a little bit, a little bit

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of a left turn topically. But you mentioned a d D.

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I uh do some work with some podcasting with a

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gentleman named doctor Kevin ross Emory and a d D ADHD.

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It's kind of a specialty of his, and he talks

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about he has a book called Managing the Gift, for example,

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and he talks about a lot about how people with

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ad D actually tend to be more creative and and

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accomplish more in terms of their creativity and and and

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you know, just uh, you know, whether it be music

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or visual art or whatever it is. I mean, do

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you feel that, Like I said, I know, this is

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kind of a curve. You probably didn't expect to be

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talking about this, but I'm curious since since you mentioned it,

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do you feel that your ad D helps you because

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you're you're such a creative person. Do you feel that

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it helps you in some way with your in terms

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of making music and everything else.

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Speaker 2: Definitely, I feel like I to a degree, I hyper

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think say it on things that I like. So you know,

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I'm not gonna say like I'm a teetotal perfectionist. But

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if I look at something and I realize, you know,

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that could be slightly better, you know, I'll It's there's

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an old common saying. It's like, you know, if you're

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painting something, you're never really done painting it. It's just

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when you decide to quit, because you can always add

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more pain. Right. So it's the same thing with music.

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You know, I do graphic art. It's the same thing

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with that as well. I can sit at a computer

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and make a million tiny changes that probably ninety percent

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of people wouldn't realize. But if I don't do them,

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I'll look at it and I face I should have

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done that, So yeah, kind of. And then on the

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flip side of it, you know, you get like writer's

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block or designer's block a lot. So sometimes you just

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sit there and be frustrated at a computer trying to

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write something or trying to design something, to the point

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where you have to take a break, and sometimes it sucks.

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But that break is like a month long, and then

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when you come back from that break, it's like everything

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falls into place. But you know, if you spend too

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much time on something then you'll you'll just get annoyed

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with it.

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Speaker 1: Right, But but yeah, do you You've always got multiple things

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going on creatively anyway, right, so i'd imagine, oh yeah,

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it's kind of move from one thing to the next,

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but but they're all they're all always in motion.

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Speaker 2: Yeah, that's and that's the way to keep it fresh too,

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is you know, you get a little frustrated with one thing,

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put it down, run to the next, knock that out,

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come back. So that definitely does help. Yeah.

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Speaker 1: Yeah, and you mentioned too being a graphic artist, so

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obviously you do all the artwork for you know, like

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radiation Sickness, you did all all that yourself, I would imagine, right.

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Speaker 2: Uh yeah, So normally, under normal circumstances, I'll be one

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hundred percent transparent with it. For normal clients that I have,

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I never use AI generated art. I think it's a

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cool tool to get inspiration, but I don't ever use

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it for clients in mind. Yeah, I did use it

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for my stuff just because it's something I wanted to

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put out as quick as possible, so I did a

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lot of editing to it. But for the most part,

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it is generated. But like I said, it's it's only

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stuff that I've used for for my personal stuff. That way,

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I'm not I'm not going to charge somebody, you know,

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however much I charge for a design when it, you know,

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took ten seconds to generate versus you know, then tell

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me something specific and I'll make it myself.

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Speaker 1: Sure. Sure, yeah. But but yeah, that's interesting because that's

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another subject that comes up a lot on this show,

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you know, AI and and how it affects the music

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industry and art and so forth. Are you how do

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you feel about AI in terms of music? Are you

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worried about it? Do you care?

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Speaker 2: Is it?

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Speaker 1: Uh, there's a lot of varying opinions on the matter.

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Speaker 2: Well, you know me, I love rock music, right, yes,

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as far as when it comes to playing it live,

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you know, rock bands historically played every for the most part,

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played every instrument live. Pop music resorts a little bit

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more towards backing tracks and not as many live musicians.

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So in a way, it's a stretch. But in a

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way I kind of look at it, like, how is

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AI any different than a pop singer playing live If

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they're just playing to music behind them and then somebody

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hits a button and generates a couple beats. I'm kind

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of in that. Like I said, it's a stretch. Now

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as far as being like a complete creative process, like

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you know, I'm going to pump in a formula on

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the computer and it's gonna pull out beats for me,

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it's gonna pull out chord patterns, it's gonna do that.

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Don't really believe in that. I don't find that creative

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at all. But maybe using it as just an inspiration

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tool rather than the means to an end I think

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would probably be okay.

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Speaker 1: Yeah, yeah, yeah. It's going to be very interesting in

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the coming years to see how the music industry deals

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with it. And so forth. But getting back to radiation

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sickness for a moment. So are you performing these songs

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live or is this strictly a studio project or how

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are you proceeding with it?

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Speaker 2: Currently? Studio project only? In my normal day to day,

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I'm extremely busy, so I don't have a lot of

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time to go out and find guys that I trust

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you can learn all the material and then grind and

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play a whole bunch of shows. So it's more just

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fun for me and a little bit of a segue.

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It helps me build up a catalog which gets me,

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you know, different doors open. Like right now, I am

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writing the soundtrack for a local movie based out of Hickory,

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North Carolina. Oh, so we're writing. It's a full, complete

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independent movie. So they wanted to do an eighties style

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slasher thriller. Oh and they wanted a complete hard rock

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soundtrack to go with the movie. So it's somebody that

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I've known for years. That's he's a writer, he's an author,

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he's done a lot of really cool stuff. And he

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asked me, He's like, hey, do you want to do this?

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And I said, yeah, you don't even have to pay me.

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Let's do it. Yeah, so you know, even if it's

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something small like that, they can get the door open.

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You know. I'm I'm extremely I've already got five or

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six songs. If I get permission when it gets closer

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to release time, I'd love to send you one. Oh yeah, yeah,

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that way we can we can do a little bit

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of promotion on that.

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Speaker 1: Absolutely. Absolutely. Oh that's very cool and that's that's certainly

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right up your alley. Are you Are you playing out

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at all currently? Do do you do any live shows

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of any kind? I know you you have the h

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I don't know if you still do it the Judas

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Priests at Tribute band.

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Speaker 2: Yes, yeah, we still do Unleashed the Classic Judas Priests Tribute.

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We actually just got back from Virginia about three weeks

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ago and we played a showdown there for a biker rally. Cool,

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So we did that. We got some stuff coming up

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in October. We we try to do like bar hop.

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We don't want to be weekend Warriors because we all

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have full time jobs and families and everything like that.

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So yeah, we try to do like five six, seven

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big shows a year and then just spend the rest

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of the time with family.

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Speaker 1: So yeah, Oh that's cool. Is it challenging singing?

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Speaker 2: You know?

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Speaker 1: Halford obviously one of the greats uh some would say

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the best, you know, the metal god Rob Halford. Is

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that challenging to do? I mean, do you have to

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especially whereas, like you said, if you're only doing five

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or six big shows a year with that project, is

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that to get your voice in shape for that? Is

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that challenging at all? Or is it perfectly natural? Or

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how do you approach that vocally?

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Speaker 2: Now that I have spent years singing it, you know,

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I could go weeks without practice, go to you know,

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then go to a rehearsal and play it like we've

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been playing it for a year straight.

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Speaker 1: Yeah, yeah, I.

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Speaker 2: Would probably indirectly, I would probably credit Halford for getting

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my voice the way it is, learning how to sing

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his stuff, because you know, if you listen vocally on

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the Radiation Sickness EP, it's very guttural. It's very raspy, rowy,

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which is how I originally learned to sing. I grew

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up listening to you know, early Pauldiano, Iron Maiden, really

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deep voice because that's what I had. I didn't have

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a high pitched voice growing up singing, so I learned

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how to sing like that, and then I get into it,

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and you know, that's these guys that I've been playing

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with for a while. We were doing like variety eighties metal,

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just you know, for fun, going and playing a couple

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of shows a year, doing whatever. And then we all

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decided let's do let's do one band, and we all

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agreed on Priests. Then I'm sitting here thinking, oh my,

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I have to learn sing like Priest. So it took years,

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years and years and years to learn how to how

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to get Halford's nuances. How especially his high screams. Those

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are some of those are really brutal. But but like

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I said, man, the only way to do it is

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to do it, and I just I went out there

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and I practiced for years just that. I mean, the

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same songs over and over and over and just try

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to get a little better at each time. And man,

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I've probably grown at least an entire octave range learning

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how to sing his stuff. Yeah, it's been tough, is there?

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Speaker 1: I'm curious, is there any particular pret song that really

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gave you a hard time?

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Speaker 2: Is there?

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Speaker 1: Is there one you can pinpoint as being the most challenging.

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Speaker 2: Yes, there is a song called Devil's Child and it

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is off of the Screaming for Vengeance album.

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Speaker 1: YEP.

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Speaker 2: It is absolutely and it was one of the first

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songs they wanted to learn too, so it was right. So,

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I mean, it's it's tough, man. There is a there's

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kind of like a bridge section where it's just nothing

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but you know, his highest screaming piercing notes. And it's

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not like there's different levels to Hawford's screams. There's low

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screams and there's high and that mid section is nothing

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but high screams. Chorus is high screams. I mean it's yeah,

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it's tough, man, I think. I mean, honestly, this is

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kind of gonna be weird to say, but I think

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I could sing Painkiller easier than I could sing Devil's Child.

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Speaker 1: Really.

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Speaker 2: Yeah, it's right in the pocket. I don't know how

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to describe other than that with my voice. Yeah, but

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I can hit those screams all day long because they're

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not They're right about in the same zone. So it's

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the not monotonous, but it doesn't gas me out. Devil's

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Child for some reason, dude, that song kills me every time.

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Speaker 1: But it's probably kind of cool in a way that

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you had to you said that was one of the

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first ones or the first one they wanted you to learn,

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because I mean, if you can sing that, you can

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sing any of it, right, If that's yes, So that's

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probably a good way to start from that standpoint.

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Speaker 2: Oh definitely, yeah, yeah, yeah.

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Speaker 1: Pretty cool. Uh, Dylan, the time goes so quickly. I

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do want to so we'll let you go in a moment,

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but I want to end the segment by playing another

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track from Radiation Sickness. Uh, but I'd like you to

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choose what would be a good uh, what would be

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a good one to end with.

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Speaker 2: Let's go with the title track.

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Speaker 1: Oh there it is. Yeah, I'm staring right at it

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and not seeing it. Clearly I need more caffeine. All right,

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very good, So we'll play that. We'll play the title

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track from Radiation Sickness And Dylan, where should people go

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online to keep up with everything that you're doing? To

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find the EP and and just anything else if you

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want to plug your your work as a graphic artist,

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anything our listeners should know about you.

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Speaker 2: So for graphic artwork, you can find me at atom

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A t O M Bomb Artwork, dot com uh music

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general updates, or on my YouTube channel YouTube dot com

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slash Dangerous Dylan with a Z not an S. And

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you can just find me generally on Facebook under doing

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Reynolds or doing Renolds music, and that's typically where I

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keep everything else. Also, if you want to check out

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the Unleashed tribute, we are on Facebook as Unleashed the

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Classic Judas Priest.

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Speaker 1: Very cool, very cool. All right, Dylan Reynolds, thank you

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so much, my friend. I'm gonna hit this track and

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I appreciate you joining us today and we will uh

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we'll do this again, uh in the uh your future,

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I'm sure.

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Speaker 2: Alrighty man, thank you for letting me be on absolutely anytime.

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Speaker 1: All right, Thanks Jill, and take care later, buddy,