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Speaker 1: I love it. That is absolutely epic. That is the

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quality of Mercury. The track is called Radi eight and

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we are going to talk to the man behind that

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that project in just a moment. But welcome everybody. We

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have entered our number two New Maarrow dose of Matt

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Connorton Unleashed and we are live from the studios of

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wm NH ninety five point three FM and Glorious Manchester,

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New Hampshire. Of course, you can stream the show from

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anywhere or go to Matt connorton dot com slash live

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for all of your live streaming options, social media links,

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contact and Fosho archives, et cetera, et cetera. Today is Saturday,

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November twenty nine, twenty twenty five, and let's bring in

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showing us via Microsoft Teams Jeremiah Rouse from the Quality

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of Mercury. Jeremiah, are you there.

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Speaker 2: Good morning, Matt. Thanks for having me on.

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Speaker 1: Absolutely it's wonderful to have you. I really really love

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I love everything you're doing here with the quality of Mercury.

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I love the sound. It's just epic. It's so it's

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so big, and the way that track, the way radiate,

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the way it ends is so cool. You got that

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that really long sustain on that guitar that just seems

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to go on and on and you feel like eventually

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it's just going to kind of fade out, but then

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there's that little thing at the end that it kind

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of seeks up on you. It's just so cool. I

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really but I listened to the full album and I

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love the whole thing. It's really really good. So congratulations

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on that.

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Speaker 2: Well, thank you very much, and thanks for the kind words.

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Speaker 3: You know, it's a it's a love of the art

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and it's something that I've been trying to really push

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for it in getting this sound for a long time now,

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and I'm really happy with the way the album turned out.

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Speaker 1: Yeah, yeah, absolutely. So the album is called The Voyager,

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So what can you tell us about this? Obviously, I

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mean I feel like there's I feel like there's a theme,

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like there's a story here. But tell us about the

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album The Voyager.

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Speaker 3: Well, you know, the album itself, it kind of explores

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the idea of longing and needing connection basically always you know,

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wanting something more or this search for something more grand

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or fulfilling in life, whether that's like a spiritual connection

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or human connection. But basically overall theme of the album

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kind of conveys that idea.

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Speaker 1: Yeah, I was reading too that. You kind of tell

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me if I have this right when you the way

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you approach these songs, is it kind of like each

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one is a movie theme or or I'm sorry, not

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a theme, but a scene in a film. Is that? Yeah?

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Speaker 3: You know what, I'm a very visual artist when it

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comes to the music, So like when I put things together,

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when I write songs, I kind of write a story

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that I could see, you know, being filmed cinematically and

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little short stories.

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Speaker 2: Basically.

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Speaker 3: You know, I come from a film production background and

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I watch a lot of sci fi stuff, and then

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that's kind of like my impetus to put these things together. So,

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you know, I would you know, if I had money

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in time, I would love to put like little short

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films together for all the songs. But that's kind of

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how I approach the music and the writing.

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Speaker 1: Okay, No, that makes sense given your background. So are

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you currently working in film?

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Speaker 3: I yes, well, not film, I'm managing audio video production company.

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Speaker 1: Oh excellent.

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Speaker 3: It's for a good portion of my career I did

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film production mainly a lot of corporate stuff that worked

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on you know, music videos and commercials and some independent

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short films and stuff like that. But my bread and

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butter is in the corporate realm and that's kind of

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what I do now as I manage large events and

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provide the av support for large events.

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Speaker 1: Oh excellent. That must be an exciting field to work in, too,

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because as technology continues to evolve, I mean, you probably

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never stop learning, right, You're probably constantly evolving in what

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you do, and it's got to be I mean, it's

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got to be just an amazing time to have a

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career in your field. I would think, well, I enjoyed

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a lot.

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Speaker 3: The one aspect that I really enjoys being able to

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travel a lot. So I mean that my job takes

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me to a lot of places. But you know, being

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immersed in the new and upcoming technology is also really cool.

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Speaker 1: You know.

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Speaker 3: It's it's hard to keep your finger on the pulse

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of everything because technology is just increasing so rapidly, and

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there's always a new gadget out and by the time

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you master one thing, it's obsolete.

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Speaker 1: No doubt, no doubt. You're obviously very busy and you've

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got a lot on your plate, so I'm curious because

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I know that there was a was it a nine

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year gap between the first album that you did Transmission?

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Is that correct?

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Speaker 2: Yeah?

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Speaker 3: Yeah, I mean with my career and the way I

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travel and family, you know, the music unfortunately is more

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of a hobby and you know, it takes the back

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seat to life at this point. So I try to

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create when I can and record when I can. I'm hoping,

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you know, to keep up the pace a little bit

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better than I have for the past nine years now

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with my kids being older and whatnot. And yeah, but

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it's it's, uh, you know, it's it's a great.

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Speaker 2: Creative outlet for me.

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Speaker 3: I have to do it, but sometimes making the time

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to do it is just very challenging.

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Speaker 1: I would imagine that can be challenging because you know,

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you're probably day to day, you've probably got all these

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ideas in your head right for songs, and you just

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want to you know, you want to be able to

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find the time to actually record them. Yeah, I would

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imagine that's I would imagine that's hard in a way,

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but I mean a good problem to have, and that

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you've probably got tons of ideas. You strike me as

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someone who is constantly thinking about this stuff. But then

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to find the time to actually record them and really

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and to really do it right, you know, the sound

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that you achieved. I'm also very curious, and I'm a

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little bit of a recording nerd and audio engineering nerd,

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so I'm just curious about your process because you really

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achieve that sort of I think, I use the word

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epic coming out of that song. I mean, it's just

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you've got such a big, full sound. What is your

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process like in terms of recording?

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Speaker 3: Well, you know, thanks, you know, thanks again for the

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kind wordas I appreciate that. It's you know, I guess

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I really base what I want to do on the

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sonic like landscape. I do want to create these lush,

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you know, big sounding landscape, so that's kind of the

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priority when I when I record. But my process is,

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you know, I generally start, you know, noodling around with

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some type of rhythm section on an acoustic guitar or

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an electric guitar, and I and then you know, from that,

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I kind of get the hook or the chorus part

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of the song, and then I have to build it

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or out around that. It's probably ninety nine percent of

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time how I start writing a song, and since I

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play by myself. You know, a lot of times when

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I'm recording, I may have only ever played that guitar

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part once or that you know that thing one time only.

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It's not like I'm a rehearsing band or something like that.

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So I kind of build it as I go, and

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then you know, just kind of crafted in the box

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with effects and whatnot. I have a general idea where

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I want to go with things, but there's a lot

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of nice surprises that happened along the way.

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Speaker 1: Yeah, I would imagine. I mean, do you sometimes find

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that what you end up with at the end of

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it is significantly different than sort of your initial idea,

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your initial concept.

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Speaker 3: Yeah, I would say probably most of the time it

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ends up being quite a bit different than the initial concept,

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just because you know, the happy accidents happen and you're like, oh,

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that that sounds different than I thought, but it's really good,

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so let me go with it.

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Speaker 1: Yeah, that must be exciting when that happens, And is

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it correct? That is it all you?

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Speaker 3: Like?

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Speaker 1: Do you have any collaborators at all, any guest musicians

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or do you do everything yourself?

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Speaker 3: So I do everything myself, and I basically program some

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basic drum beats with some software, and then when I'm

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all done with the you know, recording process, I'll have

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somebody actually play real drums and record drums for me. So,

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oh okay, for this is my second record, but for

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each record, that's that was my process.

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Speaker 2: I wrote, recorded all.

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Speaker 3: The instrumentation around some program drum tracks, and then I

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had the drum tracks replaced by somebody who can actually play.

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Speaker 1: Oh. Interesting, Yeah that makes sense because I was thinking

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as you were saying that, you know, when you mentioned

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programming the drums, I was sinking, Wow, these drums they

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sound amazing. But but so you have is it the

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same drummer on each track all the way through or so?

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Speaker 3: Yeah, for this record it was one drummer. I actually

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connect with Mario Quintwit. Yeah, Mario Quintero from the band Spotlights.

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Speaker 1: Oh okay.

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Speaker 3: He also produces and mixes, so he recorded and you know,

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played the drums for all the songs, and he did

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the final mixing of the record, which I'm super happy with.

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I would not have gotten to you know, where it

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is now without Mario's involvement.

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Speaker 1: Yeah, no, it sounds incredible. So he wasn't involved in transmission.

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I assume he was not it was not. Okay, okay, Now,

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how did you come to work with him? Is he

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someone that you just know through the industry or I've been.

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Speaker 3: A big fan of the band Spotlights for a long

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time and then you know, I've been I'm the guy

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that reads all the record jackets and all that stuff

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and credits.

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Speaker 1: Same And I had.

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Speaker 2: Seen that he had done drums for.

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Speaker 3: A band called Machines Learning way back when, which I

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liked it, and so I know he was at one

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point he was promoting his audio mixing business or it's

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Audio MQ, and I just I connected through him, I

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think through his website, asked him if he'd be interested

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in working on the project with me.

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Speaker 1: Okay, okay, wow, no, that's fantastic. Yeah, Like I said,

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the whole thing, it just it sounds really really good.

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Before prior to Quality of Mercury, had you ever been

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in a band a full, like normal sort of working

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situation in a band.

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Speaker 3: Yeah, I mean, for a brief period, I was with

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some friends and we had though you know, we called

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ourselves an emo band back in the late nineties early

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two thousands. Yeah, you know, we had played a handful

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of shows throughout a year and we really enjoyed it.

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Speaker 2: It's just tough being in a band.

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Speaker 3: I would love to be in a band, but you know,

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different personalities to work with. Everybody's got a different work ethic.

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Speaker 2: And I enjoyed it a lot. I found to be

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a bit frustrating at times.

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Speaker 1: Yeah, somebody, I wish I could remember who it was,

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but somebody was on the show who was a solo

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singer songwriter who had transitioned from being in a band

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to just doing a solo thing, who said something about

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something like, when you're in a band with three other people,

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it's like being in a relationship with three other people

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who are also in a relationship with three other people.

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And it's just it's so difficult. And I know from

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my own experience too, because you know, if you're in

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a band with several people, everybody's got you know, you've

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got varying levels of commitment and uh vision in terms

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of where you're going and and you know, sometimes and

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it's not anybody's fault, it's just you know, kind of

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how it goes. But it can be it can be

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very difficult, you know, and especially too you're someone with

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with your commitments and your schedule. I'm sure it's it's

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just easier, you know, to be able to do this

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on your own and to uh and and to be

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in control of everything and not have to check with

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anybody about you know, Hey, are you available to play

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this show on this state at this venue? Oh? No,

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you're you can't do that day? Okay, I guess we're

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not playing that show.

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Speaker 3: You know.

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Speaker 1: That's the kinds of things I would go through when

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I've played in bands, and and it's it can be

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really hard. But that brings me to the question, so

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is there any sort of live performance of of any

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of the work that you've done as the quality of

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Mercury that you've been able to do. I don't know

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how that would work exactly without a band, But have

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you ever found a way to to do any of

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this live? You know?

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Speaker 3: I keep exploring that I haven't done it yet, And

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it's not that I don't want to. I think it's,

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you know, a big challenge to figure out how to

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do it. There's definitely I got ideas. I have people

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that you know would play with me as well. It's

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it's more about finding the time to make it happen.

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Speaker 2: At this point.

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Speaker 3: That's my biggest challenge with my music. It's just finding

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time to make all this stuff happen. But I would

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love to do it, and I hope, you know, hopefully

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I get a chance to do something live at some point.

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Speaker 1: Yeah, yeah, that would be uh well again, you know,

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with with evolving technology, there are there are ways to

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do it, but like you said, you know, time is

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uh you know, time can be a barrier to that.

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I wanted to ask you too about the artwork. Now,

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you created this yourself, correct the cover for the Voyager.

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Speaker 2: I did, Yeah, I did.

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Speaker 3: You know, using the the AI tools that are available

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out there now I can get some really you know,

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astonishing results. But you know, I think it kind of

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really I was able to achieve my vision of the

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artwork with with the AI tools.

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Speaker 1: Yeah. Yeah, no, I like it. It looks like it's

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almost hard to describe. It looks like a spaceship landing

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in some sort of body of water or river or something, or.

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Speaker 2: A latic alien planet like.

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Speaker 1: Yeah, yeah, but I like it. I like that, and

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I really like the colors too. Yeah, it's it's very

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very cool. How do you feel about I mean, do

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you have any thoughts about it a little bit of

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a side street, but it is a subject that comes

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up a lot on the show, and you're working in

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areas where you know, technology is, as we discussed earlier,

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is evolving so rapidly. I mean, how do you feel

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about the use of AI in all things creative?

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Speaker 3: You know, if you treat it as a tool to

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you know, enhance your art, I'm all for it.

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Speaker 2: Yeah, I'm really torn.

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Speaker 3: You know. I just started messing around with Suno, the

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audio recordings, and I am blown away with the results

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that give me. But like, at the same time, I

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don't I don't feel right using it. Like right, it's

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kind of cool for inspiration and it's just jaw dropping

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on what it's doing, but at the same time, it's

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taking it's taking away that ar street. So ah, man,

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I'm torn, you know. I'm I'm a bit old school,

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you know. I like analog. I stay analog, so to speak.

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And I think, you know, after messing with this AI

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music generator, like, I had a lot of fun and

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it's it's been, you know, quite an experience messer with

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music with this Suno. But I am going to continue

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to write my songs record them in the traditional way.

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Speaker 1: Yeah, no, I think I think that's good. Yeah, it is.

302
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Suno is incredible. I always tell people, though, to enjoy

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these tools while we have them, because the sharks are

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circling in terms of class action lawsuits all that kind

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of thing. But not that I think these uh not

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that I think these tools are going away. I think

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it's too late to shove the the genie back in

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the bottle. But still, yeah, it's it's.

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Speaker 2: It's crazy times right now.

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Speaker 3: It's I don't know what the future holds, but it's

311
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gonna keep evolving and getting better. But does that mean

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everything's going to be looking and sounding the same?

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Speaker 2: I don't know, right.

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Speaker 1: Right, yeah, exactly, Yeah, we'll see. You know, the technology

315
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it does move. It does move very quickly. By the way,

316
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did I see something about do you have a family

317
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member who's also on the album with uh doing backing vocals?

318
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Speaker 2: Yeah, my daughter of Violet, she did backing vocals and

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some of the tracks.

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Speaker 1: Oh that's so cool. That must be that must be

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a kick.

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Speaker 2: Yes, she kind of.

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Speaker 3: You know, I wanted to do backing vocals for almost

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all the tracks and she she did like half of them,

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and then she refused to do the rest. Oh really, yeah,

326
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you know at nine years. You know, a young girl

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changes a lot in nine years. So when she was younger,

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she was more interested in help me out, and as

329
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I got closer to the end of the recording process,

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she didn't have anything to do with it.

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Speaker 1: Oh, no kidding, Oh that's funny. No, that must be

332
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so cool though, having your daughter on the tracks. Is

333
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she I mean, does she have interest in being a

334
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professional musician or or what do you what do you think?

335
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Speaker 2: I don't know. You know, earlier on I thought she

336
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she was playing piano. She loves to singing.

337
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Speaker 3: She still sings constantly, so I think I think she'll

338
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have the bug. You know, she's still kind of young,

339
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but I think she gets a little bit more into

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the high school years. I think she's gonna kind of

341
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reconsider what she does with music and take it a

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little bit more seriously.

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Speaker 1: Right right, Yeah, No, that's great, that's that's fantastic. And

344
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then so what can you tell us too? I wanted

345
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to ask you about these songs because I know Radiate.

346
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We opened with Radiate because that's kind of the focus track.

347
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As we say, what's what can you tell us about

348
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that song? And why is that song so significant to you.

349
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Speaker 3: Well, I mean, I guess for most of these songs,

350
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you know, they're all kind of set in a space theme, right,

351
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the sci fi space theme, but they're all most of

352
00:17:11,799 --> 00:17:15,559
my songs are metaphors for something either it's like some

353
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kind of love lost or longing for something bigger or new.

354
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Speaker 2: And that's kind of, like I said, the overall theme

355
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of this. But this particular song.

356
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Speaker 3: You know, it's it's about this guy who's stuck in

357
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this disabled spaceship that's you know, about to explode and

358
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he needs to he needs to get out of there,

359
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and oft in a distance is a smaller space station

360
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that he's gonna try to like kind of use the

361
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airlock to eject himself out towards that.

362
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Speaker 2: Space station for survival.

363
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Speaker 3: But you know, the tether that he would normally wear

364
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doesn't you know, go that far out, so it would

365
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be too short. So he's going to be out in

366
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space free and he's hoping to meet uh someone on

367
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the other side halfway basically, So that's kind of just

368
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that story there literally, but metaphorically it's about you know,

369
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having all of your options you know, taken away except

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for one, and you've got to take the leap of

371
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faith to move forward and survive.

372
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Speaker 1: It's relatable. I think everyone's yeah, been in that position

373
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or will be at some point certainly. So yeah, yeah, no,

374
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I think that's I think that's that's interesting. And then

375
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what about in a moment, So at the end of

376
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our segment, we're gonna play uh, Ganna made or a Ganymede.

377
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How am I saying that?

378
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Speaker 3: Right?

379
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Speaker 1: Ganymede.

380
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Speaker 2: It's Ganymede. Yeah, named after one of the moons.

381
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Speaker 1: Oh okay, yeah, Well, and and what can you tell

382
00:18:50,279 --> 00:18:51,079
us about that track?

383
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Speaker 3: Well, that track that's essentially a love story, and it's

384
00:19:00,759 --> 00:19:07,799
it's basically about this guy who ort he meets a

385
00:19:07,839 --> 00:19:14,119
partner on a like a space station and basically falls

386
00:19:14,119 --> 00:19:16,519
in love with her, follows her around, and then he

387
00:19:17,559 --> 00:19:22,640
she she's kind of reckless and loose and wants to

388
00:19:22,680 --> 00:19:27,759
get off the planet Jupiter and go to the moon Ganymy,

389
00:19:27,799 --> 00:19:30,240
which is this ice planet, and and he follows her,

390
00:19:30,279 --> 00:19:34,720
but you know, he hates going there and things don't

391
00:19:34,759 --> 00:19:36,440
work out, they don't see eye to eye, and then

392
00:19:36,440 --> 00:19:39,079
she ends up leaving him. That's kind of what the

393
00:19:39,119 --> 00:19:43,359
story is about, and the significance of this track.

394
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Speaker 2: You know, I think this was this was my initial single.

395
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Speaker 3: I think this track really captures, you know, what the

396
00:19:52,640 --> 00:19:55,680
album is about, and like what the landscape is of

397
00:19:55,720 --> 00:19:58,079
the album, and like the journey is of the album.

398
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Speaker 2: So this is why it was the lead track.

399
00:20:00,680 --> 00:20:03,640
Speaker 3: It kind of has all that in there, you know,

400
00:20:03,799 --> 00:20:08,319
the space, the metaphorical story, plus the sonical landscape.

401
00:20:08,359 --> 00:20:10,279
Speaker 2: So it kind of laid out what the album's though

402
00:20:10,279 --> 00:20:10,759
all about.

403
00:20:10,960 --> 00:20:13,759
Speaker 1: Okay, okay, that makes sense. Yeah, yeah, it's another great track.

404
00:20:13,839 --> 00:20:15,480
We're going to play that in just a couple of minutes.

405
00:20:15,519 --> 00:20:19,160
But now, what is uh, what's kind of your future

406
00:20:19,240 --> 00:20:21,799
trajectory with this track? I mean, I mean, not with

407
00:20:21,880 --> 00:20:24,279
this track, but with with your music, with the quality

408
00:20:24,319 --> 00:20:27,240
of Mercury. Because obviously I'm sure you don't want to

409
00:20:27,240 --> 00:20:30,319
wait another nine years until the next one. But I mean,

410
00:20:30,759 --> 00:20:33,200
do you have do you have plans for the next

411
00:20:33,240 --> 00:20:36,279
album or are you obviously in the moment you're focused

412
00:20:36,319 --> 00:20:39,039
on this one, But I mean, are you already thinking

413
00:20:39,079 --> 00:20:41,680
about songs for the next the next record, or where

414
00:20:41,680 --> 00:20:42,200
are you with that?

415
00:20:42,440 --> 00:20:44,240
Speaker 3: Yeah, I'm not sure if I'm gonna do another record

416
00:20:44,319 --> 00:20:47,079
right away. You know, I just started recording a new song.

417
00:20:47,119 --> 00:20:49,440
I want to release a single, oh, in the next

418
00:20:49,480 --> 00:20:50,079
few months.

419
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Speaker 1: So good.

420
00:20:51,160 --> 00:20:52,720
Speaker 3: I'm going to do a single, and then I have

421
00:20:52,759 --> 00:20:55,759
an idea for an EP that I want to do.

422
00:20:56,880 --> 00:21:00,559
Some things that have already recorded but want to recreate,

423
00:21:00,799 --> 00:21:03,440
you know, older things that I've I liked in my

424
00:21:03,519 --> 00:21:06,200
shelved a long time ago that I want to kind

425
00:21:06,200 --> 00:21:08,359
of give new life to and do an EP.

426
00:21:08,960 --> 00:21:11,480
Speaker 1: Oh. Very nice. Yeah, there's so many different ways to

427
00:21:11,519 --> 00:21:14,640
release music now, and so many different strategies you can use.

428
00:21:14,720 --> 00:21:17,279
And I think the album format is great for what

429
00:21:17,279 --> 00:21:19,440
you're doing because obviously all these songs, you know, there's

430
00:21:19,519 --> 00:21:22,480
there's a theme, there's a story here with everything. But

431
00:21:22,480 --> 00:21:25,200
but releasing singles is great too. And you know, as

432
00:21:25,240 --> 00:21:27,319
soon as the next singles ready, we'd love to play

433
00:21:27,319 --> 00:21:28,680
it here and have you back on the show to

434
00:21:28,720 --> 00:21:30,440
talk about it, because you know, we really like what

435
00:21:30,480 --> 00:21:33,039
you're doing a lot. But No, that's great. I'm glad

436
00:21:33,039 --> 00:21:35,480
you're I'm glad you're already working on uh on something new.

437
00:21:35,599 --> 00:21:39,440
So that's fantastic. That's good to hear. Jeremiah, where should

438
00:21:39,440 --> 00:21:40,559
people go online to?

439
00:21:40,680 --> 00:21:40,759
Speaker 2: UH?

440
00:21:40,799 --> 00:21:42,200
Speaker 1: Where's the best place to go to keep up with

441
00:21:42,200 --> 00:21:43,079
everything that you're doing?

442
00:21:43,519 --> 00:21:43,720
Speaker 3: UH?

443
00:21:43,839 --> 00:21:46,640
Speaker 1: Be it with the quality of mercury or or anything

444
00:21:46,640 --> 00:21:48,920
else you want people to be aware of and know about.

445
00:21:50,480 --> 00:21:53,279
Speaker 2: Yeah, I'm most active on Facebook.

446
00:21:53,279 --> 00:21:56,880
Speaker 3: I'm not real great at social media, but I'm most

447
00:21:56,920 --> 00:21:59,359
active on Facebook. If you want to listen to my music,

448
00:21:59,359 --> 00:22:01,519
I always try to people to go to band camp first.

449
00:22:01,519 --> 00:22:04,720
Speaker 2: But yeah, music's available on all the streaming platforms.

450
00:22:05,240 --> 00:22:10,759
Speaker 1: So yeah, yeah, band Camp is a great resource. And yeah,

451
00:22:10,799 --> 00:22:13,039
the album is the album is there and it sounds great.

452
00:22:13,079 --> 00:22:15,480
A lot of people don't know too. Something people don't

453
00:22:15,519 --> 00:22:17,519
realize about band camp is you actually get a higher

454
00:22:17,599 --> 00:22:20,200
quality You'll get a higher quality file if you get

455
00:22:20,200 --> 00:22:21,920
it from band camp then if you're just say, streaming

456
00:22:21,960 --> 00:22:24,799
it on YouTube or something like that. And I've noticed

457
00:22:24,799 --> 00:22:27,240
that people don't seem to realize that. But that's one

458
00:22:27,240 --> 00:22:29,000
of the reasons that band camp is so great. So

459
00:22:29,640 --> 00:22:31,480
I like to direct people there. Absolutely.

460
00:22:31,559 --> 00:22:34,480
Speaker 3: Yeah, and then you know, I have vinyl for sale.

461
00:22:34,519 --> 00:22:37,039
Oh you do my first Yeah, my first album. And

462
00:22:37,079 --> 00:22:39,640
then there's pre orders for this record, so I will

463
00:22:39,680 --> 00:22:43,799
be releasing a vinyl Oh hopefully, I'm waiting. You know,

464
00:22:44,920 --> 00:22:46,960
the pressing companies are all backed up all the time,

465
00:22:46,960 --> 00:22:48,640
but I'm hoping to have those in hand by the

466
00:22:48,720 --> 00:22:50,240
end of December early January.

467
00:22:50,359 --> 00:22:53,319
Speaker 1: Oh, that is so cool, very cool. Yeah, that's awesome.

468
00:22:53,400 --> 00:22:55,519
I love to hear that is. Are you also doing

469
00:22:55,519 --> 00:22:57,599
physical CDs physical discs of.

470
00:22:58,039 --> 00:23:00,720
Speaker 2: No no CDs so it's just digital in the vinyl.

471
00:23:00,839 --> 00:23:04,559
Speaker 1: Yeah, I think that's really cool, very very cool, excellent.

472
00:23:04,599 --> 00:23:07,680
Well listen, Jeremiah, thank you so much. We're gonna play

473
00:23:07,720 --> 00:23:10,400
this track, Ganymede in just a moment. We'll let you go.

474
00:23:10,559 --> 00:23:12,880
But like I said, when you've got the next single ready,

475
00:23:13,440 --> 00:23:15,200
please come back. We'd love to have you back on

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to play it and talk about it. And like I said,

477
00:23:17,720 --> 00:23:20,559
we're fast fans here. I love your sound, I love

478
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everything you're doing, so we definitely want to stay in touch.

479
00:23:23,559 --> 00:23:25,279
Speaker 2: Well, I appreciate you, Matt, thanks for having me on.

480
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It was a great time.

481
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Speaker 1: Absolutely, we'll talk to you soon, my friend. Take care bye,

482
00:23:28,440 --> 00:23:31,240
take care. All right. That was Jeremiah Rouse and the

483
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project is the Quality of Mercury and we're gonna play

484
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this track. So this was the first single from the

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album The Voyager, and this is called Ganymede.