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Speaker 1: You're listening to macconnorton Unleashed w n H five point.

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Speaker 2: Three right now, the world radio premiere of the new

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single from the Marches, Don't Fool Me twice.

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Speaker 3: Here stand out in the dark.

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Speaker 4: You know you sadly and I will have our sparking

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us sadly.

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Speaker 5: I know that is wrong.

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Speaker 4: Start on money keeps telling me, but no and not

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got into this.

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Speaker 3: No, say the things.

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Speaker 6: That you wanted to see. I try to say, trying.

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I mean time, I do it for yourself, ast me

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I passing, but we would knowing that that's somebody aunt,

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it's not ecis not.

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Speaker 3: It's not so much talking. I think it through holl

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meant stuff.

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Speaker 7: From me, But.

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Speaker 5: Don't fro me.

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Speaker 3: It's your person so around.

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Speaker 8: I know it's so they do the isolation in the crowd.

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Speaker 3: The blame is along on.

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Speaker 8: You and all I'm saying it because now you're feeling

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me was tough.

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Speaker 5: Now we're both going to this smell.

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Speaker 6: No, say the things that you're mister, try say every time.

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Speaker 3: I'll do it.

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Speaker 5: Fastly bad, fastly bad.

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Speaker 6: We must know its last show stop sids nothing so

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stalking away.

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Speaker 3: I think it's true to me.

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Speaker 5: Let stop for me don't do me little shows say.

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Speaker 3: Don't get a sitting show. No, don't make us see you,

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don't soon, no if you.

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Speaker 7: Because oh I love it.

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Speaker 2: That is the world radio premiere of the Marches new

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single Don't Fool Me Twice. You heard it here first

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on Matt Connorton Unleashed, and we are live from the

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studios of w m n H ninety five point three FM, Inglorious, Manchester,

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

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Go to Matt connorton dot com slash live for all

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your live streaming options, social media links, contact and posh archives,

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et cetera, et cetera. Today is Saturday, November twenty nine,

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twenty twenty five. Happy Thanksgiving Day weekend twenty twenty five.

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And I'm not alone.

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Speaker 3: Jimmy John Show guest.

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Speaker 2: Hope say that again. I said, good morning, sunshine, Yes,

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good morning, good morning. My brain is frozen. I was

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a little slow on the on the trigger there with

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the the micol this morning. Yeah, ye that a little chili.

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Definitely not ready. Definitely winter. It feels like winter for

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the first time this season. But so welcome everybody. So

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we have an exciting show for you coming up in

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just a few minutes. Let's see, we have Jack Adamant

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who is in Stockholm. He was going to be joining

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us via WhatsApp. And then in the second hour, Jeremiah

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Rouse from the Quality of Mercury, another great band who

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will be joining us in the second hour via Microsoft Teams.

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I believe he is in Pennsylvania. And then in the

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third hour today we have something very special for you.

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Our friend Brooklyn Mike is going to be coming in,

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coming in with his guitar and he's gonna play for us,

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and we're gonna talk and I get to actually do

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a proper interview with him. Looking forward to that because

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he's an interesting guy, very very talented. He's got quite

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the musical background, originally from from Brooklyn. He's a real

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New Yorker. Can you believe me? Yes, Yes, I love him? Yeah. Absolutely. Coincidentally,

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so if you happen to turn on the if you

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happen to turn on the radio, if you put the

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station on a bit before this show started, you might

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have heard the end of an old episode to the

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Morning Show with which coincidentally happened to have Brooklyn Mic

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on it. And right, that was funny. So a little

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bit of serendipity there. The Morning Show, of course with

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Peter White, which airs weekdays from seven to nine am

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here at wm ANDH, but on Saturday mornings from seven

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to nine, Peter airs a classic episode of the Morning Show,

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and the one that was airing this morning was from

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the end of twenty eighteen, so and it was and

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it was Brooklyn. Mike was the guest on in the

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in the last like the last half hour of the show,

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and and so that was Yeah, so that worked out perfectly.

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So we'll get to we had to hear him this morning,

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and we get to we get to see him today.

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He was on Retrospectrum Radio with us too last Friday night,

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and I think he's going to be on next Friday

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night as well. Not not last Friday as in last night,

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but a week ago Friday.

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Speaker 9: Okay, so you'll get through it.

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Speaker 2: But he's been he's been part of the extended family

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here at WMNH for a long time. So so great,

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great guy. We should mention too. So this is a

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big deal tonight. If for those of you listening live

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on Saturday, November twenty ninth, we've got a big event

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tonight at Terminus where actually New Hampshire Underground presents it.

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I guess it's the same thing at we talked about.

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Terminis a lot. It's such a great venue in Nashua.

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Our great friends Eleanor and Andre, they've been on the

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show talking about it a lot.

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Speaker 9: It is the pop punk, pop up, live music and

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arts mark and we're going to be there. Yeah, and

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I'm excited to see everybody else is going to be there.

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A lot of different vendors, a lot of different artists,

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music is coming in. What do we get Grim Island

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of Alaska.

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Speaker 2: Help me?

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Speaker 9: Oh, there's another being.

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Speaker 2: I was trying to think on what you're on. Yeah, yeah,

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on the tonight. And by the way, we should just

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clarify Grim as gr i am. It's a It's an

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abbreviation for something in an acronym. It's not the same

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Grim that we talk about on the show. Yeah, not

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our friend, not our friend Grim Rock from Pennsylvania. This

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is a band gr Im.

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Speaker 9: And if you want to look them up, it literally

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is G period R period, I period period.

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Speaker 2: So look up this band.

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Speaker 9: But the doors are going to open at seven, music's

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going to start at eight.

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Speaker 2: Yep, that's tonight fifteen dollars entry twenty dollars for the

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VIP lounge. But there's going to be many art vendors there,

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including Jenny Yes, Jenny will have a table there with

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her amazing art. Also Dennis Layton, our friend from the

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Gray Curtain who's been on the show a few times,

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and he's going to be there as well. Dennis Layton

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Art with Love from Faith, Elements and Fantasy, Brenda Drew

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designs Cosmo's creations, and of course Andre Dumont. Yes, yes,

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he's an amazing artist in his own right. So so

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that will be the art vendors. And of course as

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far as bands, yes.

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Speaker 9: And Prosperity Painting and miss sic and.

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Speaker 2: Oh okay Kelsey, I didn't know about those.

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Speaker 9: Uh, I'm sorry forgive me. The type is small and

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my eyes are being jerks today, so I'm out on

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a hard time seeing Chelsea photography. And also, oh oh,

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I wanted to make sure you know how to get

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there if it looked. It is located right in Nashua

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at one thirty four Haynes Street. That's the terminus underground

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you come down see Matt and I would love to

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see you. Definitely make sure you say hi to us,

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come check out the bands. They're going to be playing,

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lots of arts, lots of music.

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Speaker 2: It's going to be a fun evening.

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Speaker 9: And its doors are like I said, doors are opening

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good seven and this is an all ages show. Everybody

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is welcome.

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Speaker 2: Yeah, it's part of the holiday Stroll, the Winter's Stroll

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is that what they call it.

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Speaker 9: Yeah, through nash Or where they have different things going on.

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So yeah, I've expected it to be a few people there,

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so I'm looking forward to it. I hope you guys

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will come down and join Matt and I'd be great

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to see you. Definitely make sure you stop in and

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say hello to us.

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Speaker 2: Yes, So that will be tonight. So in just a

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couple of minutes, we're gonna be joined by Jack Adamant,

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great artist from He's originally from Italy, but I believe

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he now resides in Stockholm and we're gonna talk with him.

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I'm gonna play one of his songs going into the segment.

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This is probably my personal favorite. But everything he's got

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on his new album, which is called Helium and Low

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Voltage Wiring that's a mouthful, but it's a great album.

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It's on band camp if you want to check it out.

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I highly recommend it really really good. But I think

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we're gonna play this track. This is called Inconvenient Times.

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He kind of left it up to us as far

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as what to play, so I think we're gonna start

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with this, and then when we come back from the song,

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we'll have Jack with us via WhatsApp and I can't

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wait to talk to him. But I love his sound.

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Check this out. This is Inconvenient Times from Jack Adamant

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from the album Helium in Low Voltage Wiring.

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Speaker 10: Not afraid to share with that won your boss, well

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writtencing and live the lawn bar line.

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Speaker 7: Starting with a clucheit, mov into certain.

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Speaker 3: Nipple, dancing among the stars. These days are phasing a

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big change.

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Speaker 11: All the run.

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Speaker 3: We knew there was a dream of truth feeding.

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Speaker 12: Your eyes, bad stories in red wine under mal.

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Speaker 7: Sunshines, saying you say not enough to getting high in.

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Speaker 3: Your sassful fun.

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Speaker 13: Think of stays on und trains, open train you like,

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shaking your way out.

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Speaker 10: The clock is chasing your brass as you say, I

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wake up night, creating new memors to reveal how trouble you.

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Speaker 14: Are, how rows in the back of your hand.

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Speaker 3: That swep through the cracks. Luck of promise, the lettingers

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to long.

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Speaker 2: On this glane.

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Speaker 3: We knew there was a green or truth in your eyes.

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Speaker 15: That story is say wine and the mallows sound.

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Speaker 16: Shrags, Sorry, God listens lo wa high nostrust one morn

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console doesn't as strains open backcas.

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Speaker 5: To like shaving your way out.

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Speaker 16: Your fingers says.

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Speaker 3: To kick a bass post and connect.

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Speaker 10: Setting out the ceiling, buzzing off the world.

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Speaker 3: Getting high note just for fun.

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Speaker 16: More constrainstop not bodcake to like shaving your way out.

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Speaker 14: There's nothing worse riding where my mind, No lady go

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oh the way that started firing across those skies above.

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Speaker 17: Then fun missed the songs away, there's alone, there's no

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love left to go any side mister songs the one

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at the phone now sliding back from me.

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Speaker 7: Standing by the side.

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Speaker 12: Over row that grove me half way home, blame like

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a child and cry a loud and after restro to.

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Speaker 15: Go all I.

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Speaker 3: Heard when I was even born, FI classing faster the girls.

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Speaker 15: I never liked that sound.

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Speaker 18: It from missed chance Away that's so long there's a

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world left to go and the five mister Chance, the

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wall I look for.

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Speaker 19: I was lighting the black floor the wall I looked for,

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and I was sliding black from wall I look for,

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and I was sliding black.

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Speaker 11: The one I heard when I was.

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Speaker 20: Living born, fire worse, classroom, faster through the clouds.

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Speaker 2: And then I would like that.

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Speaker 7: Sound true.

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Speaker 20: The wall I heard when I was living Born, fire worse, crushy,

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faster through the clouds.

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Speaker 21: I'm never light that sound.

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Speaker 16: Wall I heard when I.

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Speaker 3: Fun, crushy, fun through the clouds.

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Speaker 21: I'm never light that sound to.

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Speaker 15: Du wall I.

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Speaker 3: Heard when I was even born.

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Speaker 2: I love it. That is back from me, and that

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is Jack Adamant and the name of the album, which

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is I want to make sure I get it right

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helium and low voltage wiring. Like I said, it's a mouthful,

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but I think we've got Jack on the line with us.

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H right, Jack, are you there? Hi, I'm here, Hey,

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welcome to the show. I love your sound. I want

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to tell you that right up front, really really good.

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So it's great to have you on.

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Speaker 15: Thanks, thanks, thanks for having me absolutely absolutely.

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Speaker 2: Now where are you joining us from? Are you in Stockholm?

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Is that correct?

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Speaker 15: That's correct?

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Speaker 2: Okay? And then so you're originally from Italy. Yeah, yeah, yeah, excellent, excellent.

243
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So what what uh what took you to Stockholm?

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Speaker 15: I think it was music related? Oh really, yeah, it

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was because of my previous band.

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Speaker 2: Oh okay.

247
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Speaker 15: One of the members of the band he moved here

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before me.

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Speaker 2: Oh okay, so then you moved you moved there for

250
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the band.

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Speaker 15: Yeah, yeah, that's correct.

252
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Speaker 2: Oh interesting. Well obviously you must like it there because

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you're now you're doing a solo thing. But but you're

254
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still there. So is it Is it a great place

255
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to live?

256
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Speaker 15: I think so? Yeah, although now he's getting like dark

257
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and cold?

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Speaker 2: Yeah, well same here. Yeah, I can relate. Yeah, absolutely absolutely.

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How long have you lived in Stockholm?

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Speaker 15: It's more than ten years now, Oh.

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Speaker 2: Okay, yeah, so you're used to the dark and cold

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by now. I would imagine if if you ever truly

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get used to it, you know, it gets dark and

264
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cold here, and and uh, we're right where we live.

265
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Where we live, we're in that time of year where

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it's dark at four o'clock in the afternoon, and it's like, uh,

267
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we never quite get used to it. But but uh,

268
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I feel your pain. How cold does it get there?

269
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I must get pretty cold?

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Speaker 15: Right this week is getting a little bit warmer, as

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you say, but it's been minus last week in snow.

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Oh yeah, well it's pretty fine.

273
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Speaker 2: Now, it's fine, but at least you're uh yeah, well

274
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you're making some great music from there, and that's that's wonderful.

275
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Can you tell us about So I'm really curious about

276
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the title. Like I said, it's a mouthful the title

277
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of the album helium in low voltage wiring. Uh what

278
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does that mean? I'm super curious.

279
00:19:53,119 --> 00:19:56,880
Speaker 15: It came pretty quick. I think we had a list

280
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with my drummer Jed and the bass player Vicks, both

281
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of them they're still based in Italy, and we were

282
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discussing about the title this new album, and we wanted

283
00:20:11,880 --> 00:20:16,119
to make a list, and on the top of the

284
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list there was this one Helium. Think. Yeah, in the

285
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beginning was just helium, and it was more like I

286
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was dreaming and all of a sudden, like I woke

287
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up and I was back to reality, and I was

288
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trying to describe the kind of feeling of dreaming, and

289
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you know, it's like weightless. Yeah, you feel light and

290
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there are no rules and you can dream about anything limitations,

291
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and then all of a sudden you woke up and

292
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the reality like put you down. But I think Ilium

293
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was more like the contrast between something that is like

294
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clothing and electric wires that's like ground that we know

295
00:21:13,119 --> 00:21:17,400
that's like eating, doesn't belong to any wires, to any

296
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kind of restriction. It was that kind of imagery or

297
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the picture of something floading being ground that there was

298
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like weird and at the same time was the right

299
00:21:31,839 --> 00:21:34,319
fit for the weirdness of this album.

300
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Speaker 2: Okay, okay, no, I like it.

301
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Speaker 22: I like it.

302
00:21:38,039 --> 00:21:40,039
Speaker 2: I was reading about you so is now? Is this

303
00:21:40,200 --> 00:21:42,880
true that you you started playing guitar when you were

304
00:21:42,920 --> 00:21:46,359
twelve and you began writing when you you were learning

305
00:21:46,440 --> 00:21:49,079
to mix on a on a tape recorder, that you

306
00:21:49,160 --> 00:21:50,839
wanted a street raffle? Is that true?

307
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Speaker 15: Yeah, that's true. That's true. Oh wow, funny memories.

308
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Speaker 2: Do you think you would have I mean, had that

309
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had you not won that recorder and the street raffle,

310
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do you think you would have you would have gone

311
00:22:02,920 --> 00:22:04,759
forward with your I mean that was literally the start

312
00:22:04,799 --> 00:22:07,559
of your recording career, right, Like, do you think that?

313
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Do you think you still would have found your way

314
00:22:09,640 --> 00:22:11,559
there to doing what you're doing now? Because it's so

315
00:22:11,680 --> 00:22:14,720
interesting now Sometimes these little moments you know that happened

316
00:22:14,759 --> 00:22:16,799
when we're kids. You know, they can they can set

317
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up a series of events in motion that shape your

318
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whole life and career.

319
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Speaker 15: I know, my parents they didn't really want me to

320
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buy a guitar. So I was already struggling there to

321
00:22:30,039 --> 00:22:33,519
find a way to either to buy a new guitar,

322
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to buy a guitar that was my first one, or

323
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to build my own guitar.

324
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Speaker 23: Yeah.

325
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Speaker 15: So I remember that I was like carving a hole

326
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in a biscuits tin. Yeah, and I was trying to

327
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make my own, my own guitar, but it was a

328
00:22:54,720 --> 00:22:57,440
kind of a failure. It didn't work out. Yeah, So

329
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the the easiest way was just to bag my parents

330
00:23:00,039 --> 00:23:03,920
and it's like, please, I'm going to behave at school,

331
00:23:03,960 --> 00:23:07,480
I'm gonna do whatever you asked me for, but just

332
00:23:07,559 --> 00:23:10,279
buy me a guitar. They were a little bit skeptical

333
00:23:10,319 --> 00:23:14,480
because you don't know how to play guitar. What what

334
00:23:14,599 --> 00:23:16,519
you have to do with your guitar? Just yeah, it's

335
00:23:16,640 --> 00:23:20,519
just my way to start learning and yeah and not

336
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being distructed, but to do something new.

337
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Speaker 23: Yeah.

338
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Speaker 2: Yeah. So they so obviously they ultimately relented, and I'm

339
00:23:27,440 --> 00:23:29,440
sure looking back, they're very glad that they did, or

340
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at least I would hope so right, So yeah, yeah,

341
00:23:35,200 --> 00:23:40,119
absolutely so. And then did you like growing up, did

342
00:23:40,200 --> 00:23:44,559
you kind of dabble in different genres or because I

343
00:23:44,640 --> 00:23:46,920
hear a, I definitely hear a mix of influences in

344
00:23:47,000 --> 00:23:50,279
your music. I'm really curious about about your you know,

345
00:23:50,359 --> 00:23:52,920
the process of you know, learning the guitar, and then like,

346
00:23:53,000 --> 00:23:54,880
what did you get into musically, what were some of

347
00:23:54,920 --> 00:23:57,279
your influences growing up? And while you were learning?

348
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Speaker 15: Uh we se in my English band, I was playing

349
00:24:01,279 --> 00:24:04,319
bass and singing and it was more like a hard

350
00:24:04,480 --> 00:24:10,160
rock band, but heavily inspired by bands like Dinosaur, Junior,

351
00:24:11,640 --> 00:24:17,519
nir Vana, and Mad Honey. I would saying, but I

352
00:24:17,640 --> 00:24:22,119
always like these songs that they really didn't fit the

353
00:24:22,599 --> 00:24:25,839
groove of the nature of this band. So I was

354
00:24:25,920 --> 00:24:28,880
planning to release them in a in some way or

355
00:24:28,960 --> 00:24:33,200
in some format, and that was like the reason why

356
00:24:33,319 --> 00:24:38,079
I started this solo project. And so the influences then

357
00:24:38,279 --> 00:24:42,640
changed a little bit. I was more liking to j

358
00:24:42,880 --> 00:24:48,160
Mask is like solo acoustic project that he had beside

359
00:24:48,599 --> 00:24:53,799
then beside Junior or a neutral milk hotel. This kind

360
00:24:53,839 --> 00:24:59,000
of like the first release that I had, like launch

361
00:24:59,039 --> 00:25:02,319
a twelve since me too and we were talking about

362
00:25:02,359 --> 00:25:06,799
twenty seventeen. The one was like a kind of five songs,

363
00:25:07,359 --> 00:25:14,319
uh stripped down. Yeah, And from there it's like I felt,

364
00:25:15,759 --> 00:25:18,279
I fact, there was something missing, Like I enjoyed the

365
00:25:18,319 --> 00:25:24,599
fact that like there was an epy acoustic and very intimate,

366
00:25:25,640 --> 00:25:27,880
but I felt that it was the sound was not

367
00:25:28,000 --> 00:25:31,680
really there was something need to be able to be

368
00:25:31,759 --> 00:25:35,000
evolved a little bit more. And then when you when

369
00:25:35,000 --> 00:25:39,559
I get in touch with my actual drummer Judd, and

370
00:25:39,759 --> 00:25:42,160
we started working on that on a new sound and

371
00:25:42,599 --> 00:25:50,799
more like inspired by Smashing Pumpings, moving into that kind

372
00:25:50,839 --> 00:25:53,480
of direction. We wanted to have like more heavy guitars

373
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and drums, like really in front of everything. We always

374
00:26:01,680 --> 00:26:04,799
like play. We always joke about like having the snare

375
00:26:04,960 --> 00:26:08,559
sound is at the same level of a voice the

376
00:26:08,680 --> 00:26:15,440
vocals right right and drastic. So that was the Still

377
00:26:15,519 --> 00:26:20,039
like I think it's still like grunge and alternative rock. Yeah,

378
00:26:20,160 --> 00:26:25,079
still like enjoy listening to Dinas Junior, Sebbadel or the

379
00:26:25,359 --> 00:26:29,119
Smashing Pumpkins and weub Nothings can be like a good

380
00:26:29,160 --> 00:26:32,319
influence too, or the Get Up Kids as well.

381
00:26:33,079 --> 00:26:37,039
Speaker 2: Yeah, it's definitely evocative of those bands. Yeah, I definitely

382
00:26:37,079 --> 00:26:42,200
hear the Dinosaur Junior influence absolutely so. Now the so

383
00:26:42,319 --> 00:26:46,160
the band you have now, are any of these members

384
00:26:46,240 --> 00:26:49,400
from from the band you were in before you went solo,

385
00:26:50,480 --> 00:26:51,680
any of the same people or.

386
00:26:54,359 --> 00:26:56,920
Speaker 15: I think maybe they were. One of them was one

387
00:26:56,960 --> 00:26:59,640
of the founders, but then he left the band okay

388
00:27:00,039 --> 00:27:03,000
later on, Okay, so the bass player of it. It

389
00:27:03,240 --> 00:27:07,119
was one of the founders of the bally Riano, my

390
00:27:07,240 --> 00:27:11,680
first like my first band, gotcha and they're still in Italy.

391
00:27:11,880 --> 00:27:14,440
So the only time that we actually have time to

392
00:27:15,079 --> 00:27:19,200
gig and to record and rehearse together is like when

393
00:27:19,720 --> 00:27:24,880
we are all like in the same place, and this

394
00:27:25,039 --> 00:27:28,359
usually ups upends like three four times a year. But yeah,

395
00:27:28,880 --> 00:27:30,240
we have managed far.

396
00:27:31,720 --> 00:27:34,119
Speaker 2: Yeah, I mean, you know, we live in a time

397
00:27:34,160 --> 00:27:37,440
obviously too where you know, you can as far as recording,

398
00:27:37,480 --> 00:27:40,480
you know, you can send tracks back and forth and whatnot,

399
00:27:40,559 --> 00:27:42,839
But do you restrict that to when those few times

400
00:27:42,839 --> 00:27:44,480
that you're actually able to get together or do you

401
00:27:44,559 --> 00:27:47,839
ever do you record remotely where you're sending tracks back

402
00:27:47,839 --> 00:27:50,119
and forth via dropbox or anything like that.

403
00:27:50,880 --> 00:27:53,720
Speaker 15: He has changed a little bit. It's not the same anymore.

404
00:27:53,759 --> 00:27:57,559
But I'll say we try to do everything when we

405
00:27:57,640 --> 00:28:00,920
are together, so it is more like the idea of

406
00:28:01,000 --> 00:28:04,559
the band and working together on the same on the

407
00:28:04,599 --> 00:28:09,279
same thing. After that we were we have released this

408
00:28:09,400 --> 00:28:12,759
new record. Now it's just the goal is mainly like

409
00:28:13,000 --> 00:28:16,079
rehearsing and play live yeah shows.

410
00:28:16,519 --> 00:28:16,720
Speaker 7: Yeah.

411
00:28:17,880 --> 00:28:21,279
Speaker 2: Now as far as playing live, because you know, because

412
00:28:21,319 --> 00:28:23,680
they're in Italy, I mean, do you do solo acoustic

413
00:28:23,759 --> 00:28:25,680
shows or do you play with another band or how

414
00:28:25,720 --> 00:28:28,920
does that work? I mean, are you actively playing live

415
00:28:29,000 --> 00:28:31,759
shows without the rest of the guys or how does that?

416
00:28:31,960 --> 00:28:32,599
How does that work?

417
00:28:33,440 --> 00:28:35,400
Speaker 15: Yeah? I enjoy doing doing both.

418
00:28:35,720 --> 00:28:35,920
Speaker 2: Yeah.

419
00:28:36,000 --> 00:28:38,400
Speaker 15: So it's like when when I'm there with them, then

420
00:28:38,480 --> 00:28:41,119
it's like it's the perfect time to play together. When

421
00:28:41,599 --> 00:28:44,440
when I'm one my own, then if there is any

422
00:28:44,559 --> 00:28:46,640
chance of playing live, then I can. I can do

423
00:28:46,759 --> 00:28:49,279
like a stripped down version of those songs and it

424
00:28:49,359 --> 00:28:50,000
works as well.

425
00:28:50,400 --> 00:28:53,440
Speaker 2: Yeah. Yeah, I would imagine that these songs work well

426
00:28:53,839 --> 00:28:59,359
if you're just doing a solo acoustic uh presentation. I

427
00:28:59,400 --> 00:29:02,599
would imagine. I mean, when you're writing these, do you

428
00:29:04,200 --> 00:29:07,119
I assume you start out as you and the guitar, right,

429
00:29:10,039 --> 00:29:10,759
it would be different.

430
00:29:10,799 --> 00:29:13,319
Speaker 15: I played bass, I play a little bit of ukulele.

431
00:29:13,920 --> 00:29:19,279
Speaker 2: You do you play the ukulele. Interesting, Oh, that's interesting

432
00:29:19,319 --> 00:29:22,319
too that you play the ukulele. That's wild.

433
00:29:24,440 --> 00:29:27,839
Speaker 15: Yeah, So then you can start from from any instrument.

434
00:29:27,920 --> 00:29:31,200
I can play a little bit of piano twos okay. Uh,

435
00:29:31,920 --> 00:29:36,279
it's not really like exclusively playing like the first chords

436
00:29:36,319 --> 00:29:39,359
and a guitar. So it can also be like humming

437
00:29:39,599 --> 00:29:43,079
a melody and then start writing the lyrics. So I

438
00:29:43,160 --> 00:29:46,119
don't really have I don't really have like a routine

439
00:29:46,359 --> 00:29:50,960
or a rule that I follow strictly every time. So

440
00:29:51,079 --> 00:29:53,359
it's like if I have, yeah, I would say the

441
00:29:53,599 --> 00:29:55,960
most important thing that I have a story or I

442
00:29:56,119 --> 00:30:01,880
heard something from from someone, or if me myself experiencing

443
00:30:02,119 --> 00:30:07,480
like something that uh there's a mark in me and uh,

444
00:30:08,240 --> 00:30:09,359
and then I start from there.

445
00:30:09,759 --> 00:30:09,960
Speaker 2: Yeah.

446
00:30:10,039 --> 00:30:12,759
Speaker 15: When when I usually like start on a guitar, I

447
00:30:12,960 --> 00:30:15,880
usually experiment a little bit with the with the tuning

448
00:30:16,200 --> 00:30:21,559
or staying away from like the normal chord shapes or

449
00:30:21,799 --> 00:30:25,480
the shapes or any chords can you use like a

450
00:30:25,640 --> 00:30:29,480
cape or Yeah. But just even if it sounds weird

451
00:30:29,880 --> 00:30:32,880
at the at the beginning, I don't care. Just for me,

452
00:30:32,920 --> 00:30:36,799
it's important that it doesn't sound. Uh, this sounds a

453
00:30:36,839 --> 00:30:40,240
little bit unusual. That's what what I'm I'm looking for.

454
00:30:41,319 --> 00:30:43,440
Speaker 2: Yeah, I get the impression that that's important to you

455
00:30:43,759 --> 00:30:46,880
is to be able to experiment and and create different sounds,

456
00:30:46,920 --> 00:30:51,119
different textures that you know that are maybe outside of

457
00:30:51,160 --> 00:30:54,680
the mainstream or because you know, instead of just kind

458
00:30:54,720 --> 00:30:57,119
of doing your standard sort of you know, three chord

459
00:30:57,200 --> 00:30:59,640
rock or whatever. Not that there's anything wrong with that, obviously,

460
00:30:59,720 --> 00:31:02,559
but but but it does seem like it's important. Even

461
00:31:02,640 --> 00:31:05,160
just listening to the album. Uh, you know, I listened

462
00:31:05,160 --> 00:31:07,240
to the whole thing all the way through, and and

463
00:31:07,440 --> 00:31:10,440
each song has unique elements that make them stand out,

464
00:31:10,519 --> 00:31:14,480
but they all form a very, very much a cohesive

465
00:31:15,079 --> 00:31:18,720
listening experience, which brings me to the question is there

466
00:31:18,920 --> 00:31:21,240
is there a theme to the album itself? I mean,

467
00:31:21,240 --> 00:31:23,319
you talked about the title, but what about the album itself?

468
00:31:23,319 --> 00:31:25,000
I mean, is there is there kind of a theme

469
00:31:25,119 --> 00:31:27,559
or a story running through the album? Because I kind

470
00:31:27,559 --> 00:31:29,960
of feel like there might be, but I'm not quite sure.

471
00:31:32,039 --> 00:31:34,880
Speaker 15: For so, Matt, I appreciate the commitment in going through

472
00:31:34,920 --> 00:31:37,119
the old album. Yeah you appreciate it.

473
00:31:37,240 --> 00:31:39,279
Speaker 2: Oh yeah, no, I love it. It's great.

474
00:31:40,599 --> 00:31:43,680
Speaker 15: But for sure there is like a team, and uh,

475
00:31:44,640 --> 00:31:48,079
when I'm I'm writing, I'm mean it's my meme mainly

476
00:31:48,160 --> 00:31:52,599
that he's writing these songs. And I always like having

477
00:31:52,720 --> 00:31:56,559
mind the idea of writing a full album, full record.

478
00:31:57,119 --> 00:32:01,680
So when I start writing she lines or the few

479
00:32:01,759 --> 00:32:05,319
chords for songs and many be the structure of songs,

480
00:32:05,880 --> 00:32:08,160
I always keep in mind like, Okay, this is going

481
00:32:08,200 --> 00:32:11,920
to end up in the record. So also it's like

482
00:32:12,039 --> 00:32:16,079
if the team is like depression or anxiety. So I

483
00:32:16,160 --> 00:32:19,160
already touched this theme on my in my previous songs

484
00:32:19,359 --> 00:32:22,440
for considering that it's gonna be in the in the

485
00:32:22,480 --> 00:32:24,799
same record. Next them is gonna be different and the

486
00:32:24,839 --> 00:32:26,799
same with the structure of the songs. It's like if

487
00:32:26,839 --> 00:32:29,920
I have already songs starting with the with the intro

488
00:32:30,240 --> 00:32:34,000
with a verse, then I try to have that kind

489
00:32:34,039 --> 00:32:38,160
of a variety so that it doesn't follow the same structure,

490
00:32:38,200 --> 00:32:42,920
and when someone goes to the the full record, it

491
00:32:43,000 --> 00:32:46,359
doesn't feel like Okay, now it's the same song over

492
00:32:46,440 --> 00:32:48,880
and over again. It just is boring, you know what

493
00:32:48,960 --> 00:32:49,200
I mean?

494
00:32:50,240 --> 00:32:52,559
Speaker 2: Yeah, no, that makes sense, that makes sense. Now, what

495
00:32:52,720 --> 00:32:55,039
what's kind of the future trajectory for you? You know,

496
00:32:55,119 --> 00:32:59,920
the album is great, I imagine you're you focused on

497
00:33:00,279 --> 00:33:03,079
on promoting the current album, but I'm curious, I mean,

498
00:33:03,119 --> 00:33:04,640
do you already have because you strike me as someone

499
00:33:04,640 --> 00:33:07,880
who's probably constantly writing. I'm sure you've got a lot

500
00:33:07,920 --> 00:33:10,079
of ideas, yes, for the next for the next album

501
00:33:10,200 --> 00:33:12,039
or the next ep already are you? Are you already

502
00:33:12,079 --> 00:33:14,200
thinking that far ahead? Are you kind of focused on

503
00:33:14,279 --> 00:33:16,480
the moment or what's what's kind of the short term

504
00:33:16,599 --> 00:33:18,480
or even the long term future for you.

505
00:33:20,000 --> 00:33:22,160
Speaker 15: Actually, we were discussing with the with the other guys

506
00:33:22,319 --> 00:33:25,519
about the promotion of this record, and now we are

507
00:33:26,079 --> 00:33:32,759
releasing like an acoustic version of Touching Nothing because as

508
00:33:32,799 --> 00:33:35,559
we as we said, some songs they were born like

509
00:33:36,079 --> 00:33:39,039
on an acoustic guitar, so it's nice to share also

510
00:33:39,720 --> 00:33:42,720
how they sounded in the in the very beginning before

511
00:33:42,880 --> 00:33:47,359
being produced. And then we have a lot of b

512
00:33:47,640 --> 00:33:52,160
sides as well. It's like we usually don't restrict ourselves

513
00:33:52,160 --> 00:33:54,960
and writing only ten songs for the record, and then

514
00:33:55,440 --> 00:33:58,680
you you're going to release the record, leave something missing

515
00:33:58,759 --> 00:34:00,559
or you need to change a song, and then you

516
00:34:00,640 --> 00:34:03,680
have to write like a last minute song. It's always

517
00:34:03,759 --> 00:34:06,599
good for us to have like plank your songs for

518
00:34:06,720 --> 00:34:08,840
the record and then deciding which one they will be

519
00:34:08,880 --> 00:34:11,119
in there in the in the in the record, right,

520
00:34:11,400 --> 00:34:14,840
So all those songs that they've been left behind, so

521
00:34:14,960 --> 00:34:17,199
we want to release them in like a kind of

522
00:34:17,360 --> 00:34:22,440
B side album in the future. Oh cool, So that's yeah,

523
00:34:22,840 --> 00:34:24,840
that would be it'll be cool.

524
00:34:24,880 --> 00:34:29,159
Speaker 2: Yeah, that's that's very cool. That's very cool. By the way, Jack,

525
00:34:29,239 --> 00:34:30,840
how do you say your last name, because I don't

526
00:34:30,840 --> 00:34:33,760
know if I'm saying it? Is it Adamant Adamin?

527
00:34:33,880 --> 00:34:34,840
Speaker 15: Yeah, that's correct Edamant?

528
00:34:34,880 --> 00:34:36,079
Speaker 2: Okay, good, I just want to make sure I was

529
00:34:36,119 --> 00:34:41,679
saying it correctly. Very good, Very good. Well where should

530
00:34:41,679 --> 00:34:43,639
people go to keep up with everything that you're doing?

531
00:34:43,639 --> 00:34:45,599
Where's the best place for people to go online to

532
00:34:45,639 --> 00:34:47,599
keep up with everything that Jack Adamant is doing.

533
00:34:49,360 --> 00:34:51,679
Speaker 15: We try to be a little bit everywhere because we

534
00:34:51,840 --> 00:34:55,199
never know where people can be more active. So we

535
00:34:55,280 --> 00:34:58,840
are on Instagram, we are like on Twitter, we are

536
00:34:58,920 --> 00:35:04,559
on Facebook of course, Spotify, YouTube or an Apple Music,

537
00:35:05,400 --> 00:35:07,920
a little bit everywhere. So yeah, we use like we

538
00:35:08,000 --> 00:35:11,599
have a distributor. So every time that we uphload our music,

539
00:35:12,840 --> 00:35:15,079
at least we hope that you will ended up in

540
00:35:15,159 --> 00:35:18,960
as many platforms as possible, so that people can easily

541
00:35:19,320 --> 00:35:20,559
find us and listen to.

542
00:35:20,599 --> 00:35:22,320
Speaker 2: Every music right absolutely.

543
00:35:22,599 --> 00:35:22,719
Speaker 15: Uh.

544
00:35:22,840 --> 00:35:27,639
Speaker 2: You know, there's there's a term that I like to use, discoverability.

545
00:35:27,840 --> 00:35:29,880
It's so important to have your music everywhere so that

546
00:35:29,960 --> 00:35:35,840
people can discover it. Absolutely that that's that's really the key. Well, Jack,

547
00:35:35,920 --> 00:35:37,639
thank you so much. This has been wonderful to talk

548
00:35:37,679 --> 00:35:39,199
with you. Like I said, I do love the album,

549
00:35:39,239 --> 00:35:41,199
and I'm also going to I haven't had a chance

550
00:35:41,280 --> 00:35:44,159
yet to listen to your your earlier work, but I

551
00:35:44,199 --> 00:35:46,360
am going to. It's all on band camp, which is

552
00:35:46,480 --> 00:35:49,920
very convenient, but I do. But I do encourage everyone

553
00:35:50,000 --> 00:35:53,519
to check out Helium and Low Voltage Wiring. Great great album,

554
00:35:53,599 --> 00:35:55,800
listen to it all the way through it. It really

555
00:35:55,960 --> 00:35:58,639
it's just really good. And like I said, each individual song,

556
00:35:59,079 --> 00:36:02,320
you know, it's it's it comes together. It forms a

557
00:36:02,400 --> 00:36:06,159
cohesive listening experience, but each song also has its own

558
00:36:06,239 --> 00:36:08,840
unique elements that I love, and it's just it's a

559
00:36:08,880 --> 00:36:11,840
great listen So I encourage everybody to check it out.

560
00:36:11,880 --> 00:36:14,280
But and I really appreciate you joining us, Jack, and

561
00:36:14,599 --> 00:36:16,360
we will definitely do this again in the future as

562
00:36:16,360 --> 00:36:18,760
soon as you have something new. We absolutely need to

563
00:36:18,800 --> 00:36:21,239
have you back because we really love what you're doing.

564
00:36:23,199 --> 00:36:26,239
Speaker 15: Thanks a lot, very appreciate absolutely.

565
00:36:26,320 --> 00:36:28,199
Speaker 2: I think I'm gonna close out our segment with this

566
00:36:28,400 --> 00:36:31,519
track Taught You Nothing. This is another favorite of mine

567
00:36:31,559 --> 00:36:33,519
from the album Anything. We should know about this song

568
00:36:33,639 --> 00:36:35,280
before before we play it.

569
00:36:36,639 --> 00:36:39,599
Speaker 15: Oh, that's a story of one of my best friends

570
00:36:39,679 --> 00:36:43,400
who moved to Sydney and uh oh yeah, he always

571
00:36:43,440 --> 00:36:48,280
had like such interesting stories about his life and tattoos

572
00:36:48,440 --> 00:36:50,679
and yeah, so.

573
00:36:52,159 --> 00:36:55,599
Speaker 2: So he moved to Sydney, Australia. That's a that's a

574
00:36:55,840 --> 00:36:59,639
that's a long way. Well, very good. Yeah, so we'll

575
00:36:59,719 --> 00:37:02,039
we'll we'll close out the segment with this, and but

576
00:37:02,159 --> 00:37:04,639
we'll let you go, Jack Adamant again, thank you so much,

577
00:37:04,719 --> 00:37:06,440
and we will talk to you again soon, I'm sure.

578
00:37:07,760 --> 00:37:07,960
Speaker 15: Yeah.

579
00:37:08,119 --> 00:37:10,880
Speaker 2: Bye now, all right, bye bye, all right. That is

580
00:37:11,000 --> 00:37:13,400
Jack Adamant. Make sure you check out his album Helium

581
00:37:13,440 --> 00:37:16,360
and Low Voltage Wiring. And let's play this again. This

582
00:37:16,519 --> 00:37:18,199
is another one of my favorites from the album. This

583
00:37:18,320 --> 00:37:19,199
is called Taught You Nothing.

584
00:37:29,239 --> 00:37:37,039
Speaker 10: Seriously drifting life salesphone noise feels to belong. The term

585
00:37:37,320 --> 00:37:42,719
means astray, police captured and compelled.

586
00:37:42,280 --> 00:37:47,519
Speaker 7: To drown towards well this yet to come.

587
00:37:49,159 --> 00:37:53,159
Speaker 17: I thought you enough thanks to so think you resilus

588
00:37:54,199 --> 00:37:55,599
Joe shape soon.

589
00:37:55,480 --> 00:37:56,360
Speaker 24: Disguy with.

590
00:38:00,199 --> 00:38:06,000
Speaker 20: From where you were gliding, Yeah, standing pomp to farm

591
00:38:06,320 --> 00:38:09,880
along the infants.

592
00:38:19,840 --> 00:38:21,239
Speaker 7: Vers a stand to face.

593
00:38:21,960 --> 00:38:27,880
Speaker 10: We'd experiencing views like her now tattoos in black and gray,

594
00:38:29,239 --> 00:38:33,239
and like Grelecy when you had him.

595
00:38:33,320 --> 00:38:36,920
Speaker 15: To screaming and smile and all.

596
00:38:39,760 --> 00:38:42,159
Speaker 5: I got seen enough things to.

597
00:38:42,360 --> 00:38:44,960
Speaker 3: So sick you as relation, Joe.

598
00:38:45,039 --> 00:38:47,159
Speaker 15: She stand the sky with a.

599
00:38:50,079 --> 00:38:54,039
Speaker 3: Fro from one you're griding, Yeah.

600
00:38:55,039 --> 00:38:59,119
Speaker 10: Standing prompt to palm along with infant bars.

601
00:39:00,000 --> 00:39:01,639
Speaker 3: The wadis suits.

602
00:39:02,400 --> 00:39:07,320
Speaker 13: You died in a bottom watching us the glide away

603
00:39:07,519 --> 00:39:08,199
from us.

604
00:39:10,000 --> 00:39:11,719
Speaker 3: A life bleak.

605
00:39:12,480 --> 00:39:16,400
Speaker 2: The sact same amount as we test the minds of.

606
00:39:16,519 --> 00:39:18,159
Speaker 3: Blon the shore.

607
00:39:20,079 --> 00:39:25,360
Speaker 2: I thought you enough to some sick resolution, Joe.

608
00:39:25,519 --> 00:39:27,920
Speaker 10: Ships in the skies all.

609
00:39:30,280 --> 00:39:33,519
Speaker 5: The fall far away we were gliding.

610
00:39:35,480 --> 00:39:41,679
Speaker 20: Stay found upon around it bart seamless lead.

611
00:39:41,599 --> 00:39:49,840
Speaker 10: Drifting like sails upon the waves, feels still belowst theterment histray.

612
00:40:00,079 --> 00:40:01,079
Speaker 5: She started.

613
00:40:02,360 --> 00:40:07,800
Speaker 10: Visiting much range, dressing orange blaziness to me and calls

614
00:40:07,880 --> 00:40:08,840
me with my old name.

615
00:40:09,159 --> 00:40:16,079
Speaker 7: Her skin needs moisturis man, can't you see.

616
00:40:17,400 --> 00:40:20,079
Speaker 3: What I think I can comfortably away.

617
00:40:19,760 --> 00:40:20,440
Speaker 15: From the shore.

618
00:40:20,760 --> 00:40:22,440
Speaker 5: We haven't got a lot of sign.

619
00:40:23,360 --> 00:40:27,360
Speaker 3: Was it for the bass more than you could have

620
00:40:27,639 --> 00:40:28,239
wished for.

621
00:40:30,039 --> 00:40:30,920
Speaker 24: Wish for.

622
00:40:33,800 --> 00:40:36,480
Speaker 7: Stars on the range.

623
00:40:36,719 --> 00:40:40,880
Speaker 19: Stars their fragments, glittery eyes.

624
00:40:41,079 --> 00:40:42,480
Speaker 3: They can not sica gloves.

625
00:40:42,920 --> 00:40:49,719
Speaker 23: Stars on the really stars they're fragments, fragments.

626
00:40:51,079 --> 00:40:52,320
Speaker 15: With glittery eyes.

627
00:40:55,119 --> 00:40:57,039
Speaker 3: After the sign, you see goods.

628
00:40:57,079 --> 00:41:00,800
Speaker 7: Every time she gets start sailing this losing go to clouds,

629
00:41:00,840 --> 00:41:01,639
one of the ladies.

630
00:41:01,719 --> 00:41:04,480
Speaker 5: She misses her hands and run see guitars.

631
00:41:04,599 --> 00:41:07,159
Speaker 16: Don't the mothers hear this?

632
00:41:07,320 --> 00:41:10,400
Speaker 23: Pas don't say him the light but as no sound

633
00:41:10,480 --> 00:41:14,400
like they would dicussing the wrong around the way or

634
00:41:14,480 --> 00:41:17,880
the room to day for on that o s the news.

635
00:41:18,639 --> 00:41:19,760
Speaker 7: This is why she.

636
00:41:20,039 --> 00:41:23,400
Speaker 18: Still in the calm ste this it may or pay

637
00:41:23,480 --> 00:41:24,480
many spaces.

638
00:42:02,920 --> 00:42:03,400
Speaker 7: This was.

639
00:42:05,239 --> 00:42:05,920
Speaker 16: She still.

640
00:43:00,840 --> 00:43:03,000
Speaker 7: I'm standing in the air shull.

641
00:43:05,079 --> 00:43:07,000
Speaker 3: I'm listening to the land.

642
00:43:09,320 --> 00:43:11,119
Speaker 5: And one the last girl.

643
00:43:13,440 --> 00:43:23,719
Speaker 7: I wad spell by Okay, I been.

644
00:43:26,280 --> 00:43:28,320
Speaker 5: Standing in their side.

645
00:43:30,440 --> 00:44:17,519
Speaker 22: Fasten the time, Ben, I'm coming a back, staying in

646
00:44:17,719 --> 00:44:18,920
the side.

647
00:44:21,280 --> 00:44:21,760
Speaker 25: See to you.

648
00:45:26,119 --> 00:45:28,000
Speaker 7: Seel me a god miss it?

649
00:45:30,320 --> 00:45:32,079
Speaker 3: What's father at the time.

650
00:45:35,719 --> 00:45:40,519
Speaker 7: He got he got to.

651
00:45:58,000 --> 00:45:58,039
Speaker 15: Be.

652
00:46:32,280 --> 00:46:37,559
Speaker 1: You're listening to Matt Connorton Unleashed on wm and Ah ninety.

653
00:46:37,400 --> 00:46:38,360
Speaker 3: Five point three.

654
00:46:49,800 --> 00:46:51,400
Speaker 26: Nana's Kitchen at Pizzeria.

655
00:46:52,360 --> 00:46:55,559
Speaker 3: From Nana's hands to your plate.

656
00:46:56,199 --> 00:47:02,159
Speaker 8: Traditional love and taste That's great, so from men, flavor

657
00:47:02,400 --> 00:47:03,320
so true.

658
00:47:06,079 --> 00:47:09,360
Speaker 3: Each bite us story made.

659
00:47:09,760 --> 00:47:10,320
Speaker 15: Just for you.

660
00:47:11,360 --> 00:47:15,119
Speaker 26: Six oh three two three two nine three six six

661
00:47:15,920 --> 00:47:24,239
Nana's Kitchen and Pizzerie fifteen yartmuth Dry Auburn, New Hampshire, Kichens.

662
00:47:28,719 --> 00:47:31,519
Speaker 27: The two greatest rock and roll bands of all time

663
00:47:31,679 --> 00:47:35,000
face off as the Chubb Theater hosts tributes to the

664
00:47:35,079 --> 00:47:39,480
Beatles and the Rolling Stone. Beatles Versus Stones, a musical

665
00:47:39,559 --> 00:47:42,199
Showdown comes to Chub Theater at the Capitol Center for

666
00:47:42,280 --> 00:47:46,239
the Arts on Thursday, December eleventh at seven thirty pm.

667
00:47:46,679 --> 00:47:49,760
Tickets can be purchased at the theater box office or

668
00:47:49,800 --> 00:47:54,400
online at CCANH dot com. The Capital Center for the

669
00:47:54,559 --> 00:47:58,000
Arts is located at forty four South Main Street, Conquered,

670
00:47:58,039 --> 00:47:58,599
New Hampshire.

671
00:47:58,840 --> 00:48:06,880
Speaker 11: The show was appropriate for all agents. Luigi's Pizza Barren Grill.

672
00:48:06,840 --> 00:48:12,000
Speaker 12: Under one Let's Praise a Slyesan hides with top and

673
00:48:12,119 --> 00:48:14,960
t all the Round Pizza Pizza.

674
00:48:14,679 --> 00:48:20,639
Speaker 11: Baro Mine Luigi's Pizza Barren Grill seven to twelve Valley Street, Manchester.

675
00:48:20,960 --> 00:48:23,800
Come on in or call six two two one zero

676
00:48:24,079 --> 00:48:29,119
two one Luigi, keeping the tradition alive since nineteen seventy five.

677
00:48:30,960 --> 00:48:35,360
Speaker 3: Pizza for every one. Come join a beast to night

678
00:48:36,320 --> 00:48:39,800
with each lye sense of it, everything feels so.

679
00:48:40,119 --> 00:48:45,519
Speaker 21: Right in times of crisis. You need a law firm

680
00:48:45,599 --> 00:48:48,760
that stands by your side. With over forty years of experience,

681
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Craig and Getzulis is dedicated to fighting for your rights.

682
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As former state prosecutors, our attorneys have the knowledge and

683
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trial experience to provide an aggressive defense against any charge,

684
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from d to homicides. If you've been injured, our compassionate

685
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team will assess your case and fight for the compensation

686
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you deserve. Serving all of New Hampshire, Craigan Getzulis is

687
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here when you need us most. Visit Craigatzulis dot com

688
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for a free consultation. Craigan getsulus, your advocates, your.

689
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Speaker 25: Allies, bring your kitchen to life with Queen Citycabinetry, Located

690
00:49:22,559 --> 00:49:26,000
at eighty seven Elm Street in the historic Sunbeam Wall

691
00:49:26,159 --> 00:49:29,880
in Manchester, open Monday through Friday nine am to five

692
00:49:30,039 --> 00:49:34,239
thirty pm, in Saturdays ten am to two pm. They

693
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can be reached at six oh three two two two

694
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to zero zero seven or on the web at Queen

695
00:49:41,199 --> 00:49:47,599
citycabinatree nh dot com. Come see the possibilities Queen Citycabinetry,

696
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another crowd sponsor of WMNH.

697
00:49:51,000 --> 00:49:53,800
Speaker 28: Hey everyone, there's Rob Azevedo, host of Grantite State of Mind,

698
00:49:53,840 --> 00:49:55,599
and I want to tell you about Pembroke City Limits

699
00:49:55,639 --> 00:49:57,199
in the historic Suncook Village.

700
00:49:57,440 --> 00:49:59,039
Speaker 11: PCL's an award winning bar.

701
00:49:59,159 --> 00:50:01,840
Speaker 28: Restaurant and mew music venue where there's live music five

702
00:50:01,920 --> 00:50:05,920
days a week and twice on Saturdays, everything from blues, country, folk, funk,

703
00:50:06,000 --> 00:50:08,280
and a whole lot of jazz. We have twelve craft

704
00:50:08,320 --> 00:50:10,639
beers on tap dedicated to the local brewers in the

705
00:50:10,719 --> 00:50:14,079
area and some of the friendliest bartenders around. Please come

706
00:50:14,159 --> 00:50:16,679
visit Pembrook City Limits at one thirty four Main Street,

707
00:50:16,760 --> 00:50:20,519
the historic sunk Cook Village, only six miles outside of Manchester.

708
00:50:20,920 --> 00:50:24,360
Open Tuesdays to Wednesdays four to ten, Thursday's a Sunday

709
00:50:24,559 --> 00:50:27,639
eleven to ten. Pembrook City Limits where it's all about

710
00:50:27,639 --> 00:50:28,079
the music.

711
00:50:28,320 --> 00:50:30,960
Speaker 11: Disneys Cafe is the place to put a smile on

712
00:50:31,039 --> 00:50:33,480
your face. Judy and the crew will take care of you,

713
00:50:33,679 --> 00:50:37,440
bring your appetite and treat your taste buds fry. Disney's

714
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Cafe is always a winning choice breakfast, lunch or supper

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Dizze's Cafe at eight sixty Elm Street in downtown Manchester.

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Dine in, take out or make a reservation call six

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oh three, six oh six two five three two, Eat,

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drink and be happy Dizzney's Cafe.

719
00:50:57,320 --> 00:51:00,079
Speaker 29: When it comes to keeping WMNH on the air and

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your own personal or business computer needs, trust growl Ind Computers,

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located on Elm Street in Manchester. Grolin handles computer repair,

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expenses here. Visit Groland dot com or call Grolling Computers

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at six zero three six four five zero one zero one.

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Speaker 3: Seven times out of ten. We listened to our music

729
00:51:41,039 --> 00:51:41,800
at night.

730
00:51:43,599 --> 00:51:46,800
Speaker 2: That's titled business program.

731
00:51:46,639 --> 00:51:50,679
Speaker 30: Late Night to Light with DJ Midas right here on WMNH, Manchester.

732
00:51:50,920 --> 00:51:55,440
Speaker 3: You want to know why because Saturdays and Sunday nights

733
00:51:55,519 --> 00:51:56,400
midnight to four.

734
00:51:56,280 --> 00:52:03,320
Speaker 31: Am, This hour on wm NH sponsored by CGI Business Solutions,

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located at five Dartmouth Drive in Auburn. They serve all

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your business needs including employee benefits, planning, corporate design and

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business administration, investments and wealth management and customized business insurance solutions.

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Their phone number is eight sixty six eight four one

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forty six hundred, or on the web at CGI Business

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Solutions dot com.

741
00:52:30,119 --> 00:52:33,639
Speaker 30: Behold the harmony of airwaves as you immerse yourself in

742
00:52:33,679 --> 00:52:39,159
the captivating frequencies of w MNHLP the sonic cards of Manchesters.

743
00:52:39,199 --> 00:52:41,880
They're transcending through the ether at ninety five point three

744
00:52:41,960 --> 00:52:45,679
megahertz frequency modulation or transmissions emanate from the z F

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one thousand ELM streets insur into the hearts of our

746
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creative realm at one nineteen Canal Street, where innovation and

747
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sound colowe. They're the improm mod of Manchester Public Television

748
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Service in the venerable city of Manchester, New Hampshire, USA.

749
00:53:00,360 --> 00:53:03,360
Enrich your auditory journey with the depth of our license

750
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to wesnon WESPT Your missives did w m n H

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ninety five three at gmail dot com or traverse the

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virtual corridors of w m n Hradio dot or engage

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with our sonic vibrations by communing with us through the

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digital channels or radio beconds, eager to enthrall you with

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its mesmerizing kidence and envelop you with a symphony of

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foundless auditories.

757
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Speaker 7: Won dude, w MNH rip the novels.

758
00:53:34,760 --> 00:53:40,719
Speaker 1: You're listening to Mattconnorton Unleashed on WMNH ninety five point.

759
00:53:40,599 --> 00:53:44,599
Speaker 2: Three right now, the world radio premiere of the new

760
00:53:44,719 --> 00:53:48,000
single from the Marches. Don't fool me twice.

761
00:54:00,039 --> 00:54:00,840
Speaker 5: I'm saying.

762
00:54:05,639 --> 00:54:07,840
Speaker 3: Here, you know, stand out in the dark.

763
00:54:08,199 --> 00:54:13,639
Speaker 4: You know Seraly and I will en, I spark and

764
00:54:15,000 --> 00:54:18,480
certainly and all that is wrong.

765
00:54:18,400 --> 00:54:23,440
Speaker 3: Start A buddy keeps saving me. But no, not God

766
00:54:23,559 --> 00:54:24,519
into this.

767
00:54:25,159 --> 00:54:32,519
Speaker 5: You no say the things that she wanted to show.

768
00:54:33,119 --> 00:54:34,880
Speaker 3: Are trying to trust.

769
00:54:34,920 --> 00:54:40,320
Speaker 6: Trying every time to yourself pass me by passing, but

770
00:54:40,920 --> 00:54:41,840
were knowing.

771
00:54:41,719 --> 00:54:42,920
Speaker 3: That there's somebody an't you.

772
00:54:43,840 --> 00:54:46,159
Speaker 5: It's not the saddest not it's had.

773
00:54:46,280 --> 00:54:48,320
Speaker 3: It's too much time to do anything, and I think

774
00:54:48,400 --> 00:54:52,039
it only want stop for me, But.

775
00:54:54,679 --> 00:54:56,119
Speaker 5: Don't fo me.

776
00:54:56,400 --> 00:55:07,880
Speaker 8: It's a present so theround. I know it's so do

777
00:55:08,519 --> 00:55:10,400
The isolation in.

778
00:55:10,559 --> 00:55:14,880
Speaker 4: The crowd of blamees al on you and all I'm

779
00:55:15,039 --> 00:55:18,480
saying it because now you're feeling me.

780
00:55:18,599 --> 00:55:19,239
Speaker 5: It was tough.

781
00:55:19,519 --> 00:55:22,320
Speaker 3: Now we're both going to do this.

782
00:55:22,800 --> 00:55:23,199
Speaker 30: Smile.

783
00:55:27,800 --> 00:55:29,079
Speaker 5: No, say the things that.

784
00:55:29,320 --> 00:55:33,800
Speaker 6: Showed to try shops like every time.

785
00:55:33,840 --> 00:55:34,280
Speaker 7: I'll do it.

786
00:55:36,360 --> 00:55:40,920
Speaker 5: Beastly lastly. But we won't know a things on your show.

787
00:55:41,599 --> 00:55:43,400
Speaker 3: It's not the sadness nothing.

788
00:55:44,559 --> 00:55:45,559
Speaker 5: Stop reading.

789
00:55:45,840 --> 00:55:47,719
Speaker 3: I think it through for me.

790
00:55:47,880 --> 00:55:49,000
Speaker 5: What's not going?

791
00:55:52,519 --> 00:56:24,199
Speaker 3: Don't don't know me sing o control. No, don't missus

792
00:56:24,760 --> 00:56:27,760
because you don't want to know.

793
00:56:28,519 --> 00:56:35,719
Speaker 6: If you're read, you a shame.

794
00:56:37,639 --> 00:56:40,519
Speaker 3: Is a ruse. No, don't go.

795
00:56:42,320 --> 00:56:47,480
Speaker 6: Don't saying you got trouble. Don't be testing me because

796
00:56:47,719 --> 00:56:49,440
you don't want to.

797
00:56:52,159 --> 00:56:52,880
Speaker 5: Play away.

798
00:56:53,480 --> 00:56:57,840
Speaker 7: Oh you know me.

799
00:57:24,280 --> 00:57:27,320
Speaker 24: When Mattso wakes up in the morning, he gets into

800
00:57:27,440 --> 00:57:31,440
the shower and to the top of his lungs, he sings,

801
00:57:35,679 --> 00:57:36,239
I do what.

802
00:57:36,400 --> 00:57:38,440
Speaker 2: I want because I can't.

803
00:57:40,159 --> 00:57:41,079
Speaker 16: All right, back to

804
00:57:41,199 --> 00:57:44,960
Speaker 3: The radio show now, all the best Jerry