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Speaker 1: Questing Beast is the name of the band and we're

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going to talk to them in a moment. They are

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in studio with us. Welcome everybody. This is Matt Connorton

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Unleashed and we are live from the studios of wm

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NH ninety five point three FM and Glorious of Manchester,

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New Hampshire. And of course you can also stream the show.

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Go to Matt connorton dot com slash live for all

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of your live streaming options, social media links, contact infoshow archives,

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et cetera, et cetera. Today is Saturday, October nineteen, twenty

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twenty four, and we've got a big show for you today.

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We have Questing Beast second hour. We've got Temple Mountain

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is coming Back. Third hour, we have Dead by Wednesday.

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Lots of today's action packed. So Jenny is not here

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with me this week, but she'll be back next week.

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But without further ado, joining us in studio here is

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Shane and Jane from Questing Beast. Welcome, thanks for having us.

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So is it just the two of you? Is this

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the band? Is the the two of you?

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Speaker 2: No, So as far as right now our full band.

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We also have Jane's older brother Joe as our singer.

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Oh okay, and then we have a drummer who's not

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related to any of us, but he's kind of like

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having a grandpa and an uncle in the same person.

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Speaker 1: Okay, what does that mean? Collaborate if you would. I mean,

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you know, we're not in the South, so this you know,

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I'm confused.

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Speaker 3: Well, he's fun and goofy like your uncle.

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Speaker 2: Okay, but in many ways it's very old like your grandpa.

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Speaker 1: Okay, that makes sense, gotcha, gotcha.

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Speaker 4: And that's his Christian He's great.

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Speaker 3: Yeh. He's a phenomenal drummer.

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Speaker 4: Phenomenal drummer.

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Speaker 1: Well, very good. So so what what do you What

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do you each do in the band?

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Speaker 3: We both play guitar, You both play guitar.

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Speaker 1: Okay, very cool. And you've got a big show tonight.

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We should plug that right off the top. You're going

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to be playing at.

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Speaker 3: Terminus, correct, Yeah, Nashua with let's.

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Speaker 1: See Dad Harrison, the Degans, the Gray Curtain, Horror and

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Able Blood all great bands. Actually, out of all those bands,

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so the Nigans, we have not had them on the

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show yet, but everyone else has been on the show.

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Speaker 3: Cool.

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Speaker 1: Nice, Yeah, we had the Great Curtain Horror and able

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Blood jeeseus was that last week. It becomes a blur,

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but yeah, yeah, all all great bands and and able

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Blood has actually been on the show a few times now.

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Speaker 3: We played our first gig with them.

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Speaker 1: Oh with abel Blood. Oh very cool. Yeah, yeah, that's awesome.

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That song Titan's Grip and we'll we'll play more later.

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But really it takes you on a journey, lots of

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lots of cool changes in it and very very complex.

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But let me let me start with this because I

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kind of have a little bit of an idea just

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from googling Questing Beast. But what what what is that?

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What is Questing Beast? Where does the name come from?

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Speaker 2: So the name comes from Arthurian legend. I saw it

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on a magic card and I was like, that's epic.

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That's an epic name. It's a great name for a band.

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And I did some recent found out is from the

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Arthurian legend. Read the legend, was like, I don't want

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to write that story. That story has been written and

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it's got nothing to do with anything that I want

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to write music about. So I came up with a

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different story that's kind of about the birth of the

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questing piece. So I gave it like its own origin

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story and everything, okay, And I basically had that outline,

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and then we sort of wrote songs based on where

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we thought it would fit, like within the storyline.

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Speaker 1: So the story came first, and then the songs came yes,

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based on the story.

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Speaker 4: Yes.

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Speaker 2: I think that the only song that that may not

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be true for is call the North, because that was

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the first one that we wrote. Oh and we had

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just gotten together and we're like, oh yeah, big riffs,

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here we go. Yeah, And so I was like that

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song specifically, I was like, what does this make me

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feel like? I was like, this makes me feel like

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I'm actually going on like a long expedition somewhere. So

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it felt to me like that one specifically, I was like,

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this is about going to a place, so like called

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the North. It seems like a good, good game, you know.

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Speaker 1: Okay, But the rest of the songs are based on

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the story or the outline of the story.

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Speaker 3: Yeah, yeah, yeah, did did.

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Speaker 1: The story change at all?

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Speaker 3: Oh?

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Speaker 1: Yeah, you know, as you're as you're writing these songs,

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I can see how that might happen. Where As the

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songs as you're writing them, and they kind of evolve

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and form. The story itself changed as well.

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Speaker 2: Oh yeah, and the story is still changing. The idea

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is that we want this to be like a trilogy,

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oh okay, and so like we're constantly thinking about, like

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still analyzing like the first album even to be like,

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you know, how does this dictate where we go on

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the second album?

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Speaker 3: You know, And.

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Speaker 2: It's it's a really interesting way to write, but it

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is also increase. I mean, I understand why, like all

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the Game of Thrones books aren't done, you know, yeah,

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I'm just doing it with an album. This is like

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nine pages of text maybe, you know.

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Speaker 1: Yeah, yeah, no, I can imagine. And the songs themselves

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are complex, I mean, is that the most challenging part

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of it is creating the music to go with the story.

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Speaker 5: So kind of because the story dictates so much of

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what like our musical decision making is yeah, and not

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just lyrically right lyrics is an entire other realm of

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added layers of description to the story. The music itself

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is so dictated by what we're trying to convey in

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each song as a story point that the music itself,

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so you say, it sounds like going on a journey

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and that's because the music itself is telling a huge

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bit of story.

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Speaker 4: Yeah, I mean.

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Speaker 5: It's not not every song is telling so much as

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far as information goes, but it's so much world building,

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and we're trying to convey so many little nuanced emotions

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and basically explaining something through music. So it came out

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everything was just so much challenge. Like we would get

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something down we felt like it explained what we wanted

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to do. Then we'd listen to it and be like, well,

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this doesn't sound amazing musically, Okay, so we have to

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change it now to sound it kind of sound amazing musically,

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but now we feel like it doesn't convey what we

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wanted to say in the story. You can see how

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if you're not careful, we would go back to the

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drawing board on either the music or the story too

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many times to where like sometimes we had to stop

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and just like fall back. Some stuff happened naturally, this

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song being one of them.

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Speaker 4: I didn't want to write this song.

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Speaker 5: What do you mean I didn't want to write this

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song because we already had I think we had.

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Speaker 3: We had six songs.

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Speaker 5: Yeah, we had six songs, and I felt like it

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was good, you know, with the addition of the two

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instrumentals on the album, it would have been eight songs, right, No, no, no,

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it would have been So we wrote two more after that, right,

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because then we wrote Beneath thread Leaves too. But yeah,

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I didn't want to write this song because I just

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felt like, Okay, we're good, We've written enough. This is

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our first album. And I actually remember sitting down with

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a little bit of what he wrote and just everything

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became so complex, so quick, and I was angry the

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whole time I wrote. I was like, dang it, this

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is going to be so complex.

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Speaker 3: This is awesome. Damn.

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Speaker 1: Yeah, I would imagine too. You see, I've played in

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a lot of bands, but nothing, I never played in

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anything like this. You know, every band I ever played

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and it was you know, verse course, you know, your

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standard thing. Yeah, and uh so I've always been kind

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of fascinated by I mean, just what must go into

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writing the songs and then learning the songs and then

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rehearsing the songs.

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Speaker 3: Are definitely two different things.

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Speaker 1: Yeah, oh yeah, I can imagine. Yeah, I mean, you

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must have to rehearse quite a bit, right for the

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live shows, because every week you've got to be it

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you know. I mean, if you're if you're a punk

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band and you're playing three cores words and you make

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a mistake, nobody even notice it. Well with what you're doing.

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If somebody makes a mistake, it's it's probably hard to

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even hide that, right.

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Speaker 2: Yeah, there's certain points in different songs where it's almost

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like you're you're like surfing on a razor's edge, you

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know what I mean, and like if you fall off,

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it is not easy to get back on.

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Speaker 1: I can imagine, yeah, you know.

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Speaker 2: Yeah, And we also have like the added challenge of

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not having a live bass player right now. Okay, so

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our drummer plays to a click track. Yeah, so we

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have like bass tracks at the moment. But it allows

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us to do cool things like it automatically like switches

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out the synth patch that we're using as we're playing

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and stuff like that. So oh wow, it allows us

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to like use all these different sense that we made

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for the record live too.

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Speaker 5: Okay, Yeah, it makes it a little bit easier. Recording

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and learning and playing are just a whole three separate things.

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For this recording is so bit by bit, sentence by

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sentence based. If you think about it in terms of

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writing a story, it's like writing sentence by sentence, let

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alone lyrics. I don't even get in on lyrics. I'm

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more on the music side of things. I contributed one

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lyric to this whole album, truly, and so yeah, like

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writing it just is so intensive. And I mean, what,

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it took us two almost three years to just write this.

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Any music that we're going to write that's expanding on

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this is going to take us probably a similar timeframe.

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But then learning it is like, Okay, now that we

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have the finished product and all the riffs are what

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they're going to be, and all the orders of everything

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is pretty much decided on, now try to learn all

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that while standing up, switching effects and doing backing vocals.

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And then sometimes you're like, oh, I can't, you know,

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we have to figure out, you know, delegate, who's going

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to play what. Sometimes sometimes we need to put something

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in a backing track because there's too many parts, okay.

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Speaker 4: Stuff like that. So it's a whole puzzle.

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Speaker 1: You know.

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Speaker 2: Yeah, like the beginning of Titans Grip, we don't hire

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three dudes to come up and play play that harmony

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at the.

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Speaker 4: Beginning would be great. We don't have it, Like, yeah, yeah.

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Speaker 1: So who plays bass on the on the studio tracks?

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Does one of you do that or no?

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Speaker 2: So we got a guy. His name is Chase Bryant.

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He plays in a band called war Bringer. They're like

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an l a thrash band. Say yeah, they're great, I love.

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Speaker 5: Them, shouts out Chase, nicest guy, amazing bass player. Played

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the whole album on fretless bass in two days.

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Speaker 3: Yeah, figure style. He's a absolute monster.

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Speaker 5: Absolute monster, absolute great guy. Super super happy to have

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him just doing his thing.

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Speaker 4: It was awesome.

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Speaker 1: That's another thing that I'm always because I'm a bass player,

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but I've never played a fretless and that always impresses

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me too.

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Speaker 3: Oh yeah, yeah.

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Speaker 2: I mean a lot of people when I tell him

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that he's playing fretless on it, they can't even tell

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because it's just so in tune, you know.

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Speaker 1: Yeah. Yeah. Our friend Lacey, who I am in the

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U in the chat room says, uh, that's why so

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much can be lost in studio work. So clinical And

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oh I see Jenny is in there as well. Hello,

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good morning. Yeah. So when you like, do you play

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these live before you record them or do you do you? Okay,

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so you don't, you don't go into the studio and

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then once that's done, start playing.

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Speaker 3: Them live or well we do, we do.

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Speaker 2: We like demo out all the tracks, so we've got

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Ableton on my computer at the practice space and we

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just record on that the demo version, send that off

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to the studio that we actually want to record it.

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We went to matt Oaks Studio in Austin and recorded

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with Benny Grotto, who did a great job.

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Speaker 1: Yeah. Everything, everything sounds amazing.

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Speaker 2: Yeah, but so it sometimes we kind of play it

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live before we put it into the demos, but most

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of the time we get the demos done, we get

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that to a point where we like it, and then

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that's when we start the learning processes. Okay, and then

249
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we go in and record for real cities. Yeah, and

250
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going to the Big Boys studio. Yeah, but I what,

251
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I forgot what your name was, But who said something

252
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about studios being clinical and.

253
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Speaker 3: Oh yeah, lazy, yeah, lazy.

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Speaker 2: So there's definitely I think one or two. There's there's

255
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certain things that I think can be kind of sporadic

256
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when you're like actually composing and stuff like that, and

257
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there's certain things that are like difficult to replicate non

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spur of the moment.

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Speaker 1: Yeah.

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Speaker 3: Like, for example, there's a version of the.

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Speaker 2: Corruption solo that I had had a long time ago

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that I kind of wish I had still had for like,

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it was just a specific recording where I was like

264
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in my room with the amp and it was like

265
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super feedbacky yeah, and it like it sounded terrible but

266
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awesome because of how like I don't know rat it sounded,

267
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you know what I mean?

268
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Speaker 3: Yeah, and so like it.

269
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Speaker 2: And it's always like very minute details like that, you

270
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know what I mean. It's not like, oh, this song

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is ruined because we recorded in a good space, you.

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Speaker 1: Know, right right? No, that makes sense? How I mean

273
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how many hours do you think? Probably hard to put

274
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a number on it, but like like just just learning

275
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to play one of these songs proficiently, I mean that's.

276
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Speaker 3: I can tell you.

277
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Speaker 2: I don't know about that all the songs, I mean,

278
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some of them are easier than others.

279
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Speaker 3: Yeah, but I.

280
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Speaker 2: Can tell you that the Beneath Red Leaves, So the

281
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Beneath Red Leaves solo specifically took me so long. I

282
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probably every day leading up to going into play that

283
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in the studio for like two weeks at least, spent

284
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like two hours a day, just like ripping through that thing,

285
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trying to get it down.

286
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Speaker 3: Kidding, Oh yeah, it's hard.

287
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Speaker 4: That song taught me.

288
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Speaker 5: That song taught me how to play rhythm guitar differently,

289
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really yeah, one hundred percent.

290
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Speaker 4: I play things.

291
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Speaker 5: I play that song differently and more efficiently than I

292
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did when we went and recorded it. Taught me like

293
00:14:16,080 --> 00:14:21,519
deficiencies in how I played certain things. Really yeah, So

294
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talk about a learning process, like I learned the song,

295
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but then I kept learning from it for about a

296
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year to where I am now with it. Yeah, same

297
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with him, honestly, Like it informs us so much about

298
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our ability because you can write something right piece by piece,

299
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and you can make a demo and then when you

300
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go to play it all at once, all the way through,

301
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you really like find out about yourself.

302
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Speaker 1: I could imagine that.

303
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Speaker 5: Yeah, yeah, you know, going from playing all this rhythm

304
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to lead and he's you know, playing all.

305
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Speaker 4: The lead and it's crazy.

306
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Speaker 1: So wow. Yeah. Have you ever written something where or

307
00:14:55,440 --> 00:15:00,559
or just had an idea where you you know, you

308
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maybe you record it and everything so you're committed to it,

309
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and then you kind of a moment where you go, jeez,

310
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I don't know I'm kind of regretting this one a

311
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little bit.

312
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Speaker 3: Yeah really yeah, yeah, yeah.

313
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Speaker 2: We we edit super hard. Who we cut things that

314
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we don't like and try and or like try and

315
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make it work better.

316
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Speaker 5: Yeah.

317
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Speaker 2: I think that one of the things that we really

318
00:15:22,080 --> 00:15:27,279
want to focus on going forward is, like I don't know,

319
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just getting better at making sure everything fits together. Well yeah, yeah,

320
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not that I don't think that the stuff on the

321
00:15:35,360 --> 00:15:37,960
first record fits together well, you know, song by song,

322
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But I think that there's always room for improvement, sure,

323
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you know.

324
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Speaker 1: And how important is it to you as players when

325
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you when you play live to to replicate exactly like

326
00:15:52,159 --> 00:15:54,440
do you try to replicate exactly note for note what's

327
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on the recordings? Or do the songs breathe a little.

328
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Speaker 3: Bit or how do there's not really a lot of

329
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breathing room.

330
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Speaker 2: There's a lot of very specific harmony that's going on

331
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and stuff like that, you know what I mean. So yeah,

332
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And that's not to say that there aren't places where

333
00:16:07,720 --> 00:16:09,399
we could incorporate.

334
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Speaker 5: Some sure, yeah, but I'd say as far as NOE choice,

335
00:16:13,279 --> 00:16:19,559
it's never different. As far as certain stylistic things, we

336
00:16:19,679 --> 00:16:22,759
goof off a little bit here and there, but it's

337
00:16:22,919 --> 00:16:26,360
we're still playing pretty much what's written. Okay, almost, i'd

338
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say ninety nine percent.

339
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Speaker 1: Yeah, okay, okay, if you're just joining us, we have

340
00:16:31,720 --> 00:16:34,480
Questioning Beasts here with us live in studio on the

341
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Saturday morning, and I think we should play another track.

342
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I'd love to hear another one, So we'll play this

343
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so at Crater's Edge.

344
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Speaker 4: Oh yeah, what?

345
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Speaker 1: What? What should we know? Anything? We should know about

346
00:16:44,960 --> 00:16:46,320
this specifically before we hear it.

347
00:16:49,200 --> 00:16:51,039
Speaker 2: No, I want I want people in the comments to

348
00:16:51,080 --> 00:16:54,679
try and guess what the footsteps are. Okay, okay, what's

349
00:16:54,720 --> 00:16:55,480
making that sound?

350
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Speaker 3: People?

351
00:16:56,200 --> 00:16:59,000
Speaker 1: Okay, all right, So well that's a clue then, so

352
00:16:59,080 --> 00:17:00,799
they're not actual foot steps.

353
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Speaker 3: That's correct.

354
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Speaker 1: Okay, all right, I'll pay attention. Listen closely, everybody. All right.

355
00:17:06,720 --> 00:17:09,640
So this is Questing Beast and this song is called

356
00:17:09,680 --> 00:17:54,160
at Creator's Edge. Grazed nice.

357
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Speaker 6: Will never cause me. I'm calling a chaos your bel

358
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and goose but gone when the stars from thes you can,

359
00:18:12,720 --> 00:18:16,519
I'm like, this is mos fun.

360
00:18:17,200 --> 00:18:24,119
Speaker 3: You want a joints in a moment of for me

361
00:18:25,079 --> 00:18:25,799
story s.

362
00:18:27,319 --> 00:18:32,359
Speaker 6: Coo stinking birds, spose of black dingy.

363
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Speaker 1: Or sing go my days that thing of my grands.

364
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Speaker 3: From as clim that's my face colast.

365
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Speaker 6: Thing about strength waste, my falls off face thing mean.

366
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Speaker 4: My dista not c breckord my life.

367
00:18:56,400 --> 00:19:04,160
Speaker 6: I squirky ways us all the water of the stars,

368
00:19:04,440 --> 00:19:14,599
rat sippy rads my stairs never do not curl bar

369
00:19:15,400 --> 00:20:01,279
scars shed bloody he knows w undrouste Man.

370
00:20:21,400 --> 00:20:23,000
Speaker 3: No, it went down a little too.

371
00:20:24,240 --> 00:20:27,480
Speaker 5: Why a god, I'm drinking a child? Why do you

372
00:20:27,680 --> 00:20:29,680
go to the chor troll start?

373
00:20:29,759 --> 00:20:31,680
Speaker 3: I'm turning about child the chop, but time.

374
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Speaker 5: Drinking my time to chop time.

375
00:21:11,920 --> 00:21:17,400
Speaker 1: That is at creator's edge by questing beasts. We have

376
00:21:17,759 --> 00:21:21,839
two members of the band. There's those footsteps again. All right,

377
00:21:21,880 --> 00:21:23,160
where do the footsteps come from?

378
00:21:25,200 --> 00:21:25,359
Speaker 6: Oh?

379
00:21:25,839 --> 00:21:28,200
Speaker 3: I can't but oh no, I just hadn't started yet.

380
00:21:29,759 --> 00:21:31,599
Speaker 1: I thought it looked like it looked like your mouth

381
00:21:31,680 --> 00:21:32,559
was moving, and I'm like, oh no.

382
00:21:32,720 --> 00:21:34,799
Speaker 3: I I was trying to think of how I want

383
00:21:34,839 --> 00:21:35,839
to approach the answer.

384
00:21:36,000 --> 00:21:39,559
Speaker 1: Gotcha, gotcha? I didn't see any guesses in the chat room.

385
00:21:39,759 --> 00:21:44,079
Speaker 2: So well, it came from a box of rocks. What

386
00:21:44,200 --> 00:21:47,119
you're hearing is a box of rocks, really cardboard box

387
00:21:47,400 --> 00:21:49,440
with a bunch of rocks inside of it. It's some

388
00:21:49,559 --> 00:21:50,960
advanced studio equipment.

389
00:21:51,160 --> 00:21:58,599
Speaker 1: Oh very good, very good. Let's see in the chat room. Oh,

390
00:21:58,720 --> 00:22:01,440
Hans Smith from the Ban and Sepsis was saying that

391
00:22:01,720 --> 00:22:05,359
the instrumentals make him feel like he's on an adventure

392
00:22:05,440 --> 00:22:05,960
on the sea.

393
00:22:06,680 --> 00:22:07,519
Speaker 4: Oh very nice.

394
00:22:08,039 --> 00:22:11,480
Speaker 1: Yeah, yeah nice. Lacey says a strong Queen's Reich vibe.

395
00:22:12,799 --> 00:22:14,440
Is that one of your influences Queen's Reke.

396
00:22:14,839 --> 00:22:18,480
Speaker 5: I wouldn't say specifically, but love Queen's Reke.

397
00:22:18,720 --> 00:22:20,799
Speaker 4: Yeah, yeah, and that's a huge compliment.

398
00:22:20,960 --> 00:22:24,880
Speaker 1: Yeah, absolutely absolutely, let's see. I saw somebody else in

399
00:22:24,960 --> 00:22:25,319
here too.

400
00:22:25,519 --> 00:22:25,680
Speaker 3: Oh.

401
00:22:25,799 --> 00:22:28,400
Speaker 1: B pen Art is in the chat room, big supporter

402
00:22:28,480 --> 00:22:30,880
of the show. Hello, nice to see you in there.

403
00:22:31,240 --> 00:22:36,480
And also Mariam Bannish joins us in the chat room. Yeah,

404
00:22:36,680 --> 00:22:39,160
tell tell me more about influences I imagine, I mean

405
00:22:39,480 --> 00:22:42,319
a lot of a lot of prog and really complex

406
00:22:42,359 --> 00:22:44,359
stuff for both of you, I would, I would.

407
00:22:44,119 --> 00:22:46,640
Speaker 2: Guess, yeah, yeah, sure, I'm just gonna do a quick

408
00:22:46,839 --> 00:22:52,079
top five. So for me, like, my favorite two bands

409
00:22:52,119 --> 00:22:55,400
are Death Clock and Queens of the Stone Age. Yeah,

410
00:22:56,000 --> 00:22:58,880
and so I feel like my guitar playing is kind

411
00:22:58,880 --> 00:23:03,200
of like some where in between those two sort of bands.

412
00:23:03,640 --> 00:23:08,079
But outside of that, I mean Baroness is Great Master

413
00:23:08,200 --> 00:23:11,960
Don as well. Both of those bands I think were

414
00:23:12,000 --> 00:23:14,960
actually very influential to me throughout the writing process of

415
00:23:15,000 --> 00:23:17,200
this first one, just as far as their ability to

416
00:23:17,960 --> 00:23:21,400
take these big, sprawling concepts, like from start to finish

417
00:23:21,599 --> 00:23:24,920
on these records, you know, in their own ways.

418
00:23:24,960 --> 00:23:26,720
Speaker 3: And I guess I have to think of I said five.

419
00:23:26,920 --> 00:23:27,680
Speaker 1: You did say five.

420
00:23:27,839 --> 00:23:33,240
Speaker 3: Yeah, there is another one, I know for sure. I

421
00:23:33,279 --> 00:23:34,359
don't know, just various.

422
00:23:35,720 --> 00:23:37,880
Speaker 2: There's lots of stuff, to be honest with you, Like,

423
00:23:38,240 --> 00:23:40,759
I'm all over the place as far as like listening

424
00:23:40,799 --> 00:23:46,279
to like technical death metal and like all these various things. Yeah, Jane,

425
00:23:46,279 --> 00:23:47,599
why don't you take over while I think of what

426
00:23:47,680 --> 00:23:48,559
a definitive five?

427
00:23:50,720 --> 00:23:51,160
Speaker 4: I'd say.

428
00:23:51,200 --> 00:23:55,440
Speaker 5: Early on, when I first started getting into progressive music

429
00:23:55,599 --> 00:24:00,640
was high school, and my big three would be Dream Theater,

430
00:24:03,000 --> 00:24:08,640
Rush and Porcupine Tree. Okay, and just as far as

431
00:24:08,720 --> 00:24:10,559
progressive music goes. And I was in a band in

432
00:24:10,680 --> 00:24:13,680
high school where we didn't cover any dream Theater, but

433
00:24:15,440 --> 00:24:19,960
that was my aspiration, you know. I was in a

434
00:24:20,000 --> 00:24:24,119
band with this guy Adam Susie, amazing drummer, shouts out

435
00:24:24,160 --> 00:24:29,279
Adam Susie, and we just covered these prog songs, and

436
00:24:29,519 --> 00:24:33,000
that's a huge influence on me. I religiously listened to

437
00:24:34,640 --> 00:24:37,200
Dream Theater Rush. I grew up on Rush. My mom

438
00:24:37,279 --> 00:24:39,960
introduced me to Rush when I was really young. And

439
00:24:40,039 --> 00:24:44,559
then the heavier side of things I started to get into.

440
00:24:44,880 --> 00:24:46,839
Like I started off with some like metalcore bands. I

441
00:24:46,880 --> 00:24:49,440
think my earliest like real heavy band influence was a

442
00:24:49,519 --> 00:24:52,799
band called as Blood Runs Black, an old metal core band.

443
00:24:53,799 --> 00:24:59,720
But I started to really get into more technical death

444
00:24:59,759 --> 00:25:01,680
metal and stuff like that when I got into college.

445
00:25:01,720 --> 00:25:05,160
But I come from a very diverse background, Like I

446
00:25:05,240 --> 00:25:07,920
was a jazz musician growing up, and I love hip hop.

447
00:25:08,079 --> 00:25:09,799
I made a lot of hip hop too, so I

448
00:25:10,079 --> 00:25:15,680
really yeah for sure, and that was a humongous portion

449
00:25:16,160 --> 00:25:19,559
of my education in music. You know what I mean,

450
00:25:21,200 --> 00:25:26,039
was all those influences so huge love for hip hop,

451
00:25:26,160 --> 00:25:29,759
huge love for technical death metal. I'd say the band

452
00:25:29,839 --> 00:25:32,559
that really bridged the gap for me when I was

453
00:25:32,680 --> 00:25:36,839
young between all that progue stuff and the more heavy

454
00:25:36,920 --> 00:25:41,839
stuff was a band called Born of Osyris. And that's

455
00:25:41,920 --> 00:25:44,279
when I learned about like Jason Richardson as a guitar

456
00:25:44,400 --> 00:25:47,680
player and started to kind of you know, all my

457
00:25:47,720 --> 00:25:53,359
favorite vetters played the same guitars now and really got

458
00:25:53,440 --> 00:25:56,119
into a lot of that stuff. So huge influence on me,

459
00:25:56,400 --> 00:26:00,599
those guys John Patrucci obviously, but all that stuff.

460
00:26:00,880 --> 00:26:03,599
Speaker 2: Yeah, I thought of my number five. Okay, it's definitely

461
00:26:03,680 --> 00:26:06,440
war Bringer. Okay, cool, Okay, I don't know why that

462
00:26:06,480 --> 00:26:07,119
took me so long.

463
00:26:08,279 --> 00:26:12,920
Speaker 1: Well, it's early, very good, very good if you are

464
00:26:13,000 --> 00:26:15,880
just joining us. Of course, we do have Questing Beasts

465
00:26:15,880 --> 00:26:18,839
here with us, live in studio and they're playing a

466
00:26:18,839 --> 00:26:21,759
big show tonight. Of course, our friends at Terminus Underground

467
00:26:21,960 --> 00:26:27,559
in Nashua. Let's see this is the show has a

468
00:26:27,599 --> 00:26:32,279
specific name, the Haunted hallo oh, hollowed and haunted. Yes,

469
00:26:32,559 --> 00:26:34,640
to make sure to make sure I got the name right. Yeah,

470
00:26:34,720 --> 00:26:36,440
Terminus is a great place. Have you been there yet?

471
00:26:36,839 --> 00:26:37,480
Speaker 3: No, not yet.

472
00:26:37,680 --> 00:26:39,960
Speaker 1: I tell everybody the same thing. When you walk in,

473
00:26:40,079 --> 00:26:42,319
it's like walking into a different world when you walk

474
00:26:42,359 --> 00:26:45,640
into that room, specifically stoked. It's really cool.

475
00:26:45,759 --> 00:26:48,680
Speaker 2: Apparently they're decorating it all up and stuff, or they

476
00:26:48,720 --> 00:26:50,799
were last night and everything, so it should be all

477
00:26:50,880 --> 00:26:52,680
good to go now. So it's gonna look awesome in

478
00:26:52,680 --> 00:26:53,119
there tonight.

479
00:26:53,279 --> 00:26:55,880
Speaker 1: Yeah, Yeah, there you go. Yeah, that's gonna be tonight.

480
00:26:56,119 --> 00:26:59,680
Questing Beast along with Dad Harrison, The Vegans, The Gray Curtain,

481
00:26:59,759 --> 00:27:04,319
Her and Able Blood. Tickets are twenty dollars. You can

482
00:27:04,400 --> 00:27:07,319
get them you have to go to Midnight Creatives Collective

483
00:27:07,680 --> 00:27:13,680
dot com. Tickets are available there, and that is show

484
00:27:13,720 --> 00:27:14,799
starts at eight pm.

485
00:27:15,160 --> 00:27:18,680
Speaker 4: So I think show starts at six?

486
00:27:19,319 --> 00:27:19,880
Speaker 1: Oh does it?

487
00:27:20,119 --> 00:27:20,319
Speaker 4: Yes?

488
00:27:20,440 --> 00:27:20,559
Speaker 5: Oh?

489
00:27:21,200 --> 00:27:22,400
Speaker 3: Yeah, I think doors are six.

490
00:27:22,920 --> 00:27:26,200
Speaker 1: Oh I'm sorry, yeah, I was looking at the wrong thing. Yeah,

491
00:27:26,200 --> 00:27:27,599
all the right doors are five. Yeah.

492
00:27:27,839 --> 00:27:28,680
Speaker 4: Music starts at six.

493
00:27:28,759 --> 00:27:28,839
Speaker 5: Oh.

494
00:27:29,160 --> 00:27:31,000
Speaker 1: It's good you corrected me, because yeah, we don't want

495
00:27:31,000 --> 00:27:32,119
people showing up there late.

496
00:27:32,920 --> 00:27:35,720
Speaker 4: Is paying attention, You're welcome, exactly, exactly.

497
00:27:36,720 --> 00:27:38,599
Speaker 1: Yeah, and you know there's a lot of bands, so

498
00:27:38,799 --> 00:27:40,599
it's good that it's starting early. That makes sense.

499
00:27:40,720 --> 00:27:44,279
Speaker 2: Oh yeah, and we're we're actually opening this one, which

500
00:27:44,319 --> 00:27:46,640
is are, which is nice because we'll be able to

501
00:27:47,440 --> 00:27:51,160
get there set up immediately and then hang out forever.

502
00:27:51,839 --> 00:27:53,279
Speaker 3: Do you that's right?

503
00:27:54,799 --> 00:27:55,039
Speaker 6: Is there?

504
00:27:55,480 --> 00:27:57,960
Speaker 1: Do you have a complex set up?

505
00:27:59,440 --> 00:27:59,640
Speaker 3: Yeah?

506
00:27:59,640 --> 00:28:03,200
Speaker 2: I mean so all four of us do vocals, and

507
00:28:03,319 --> 00:28:09,519
then we've got the computer that our drummer like triggers

508
00:28:09,640 --> 00:28:12,559
all the tracks from and everything. Yeah, it's kind of

509
00:28:12,599 --> 00:28:14,680
it's kind of a pain, I can imagine. Yeah, I

510
00:28:14,759 --> 00:28:16,279
mean it's a pain for us.

511
00:28:18,160 --> 00:28:19,640
Speaker 5: I mean, if we cut out a vocal, it would

512
00:28:19,640 --> 00:28:21,960
still just be three vocals and then a few xlrs

513
00:28:22,039 --> 00:28:24,440
to the house. But like it's more of a pain

514
00:28:24,519 --> 00:28:26,640
for us, then it should be more of a pain

515
00:28:26,720 --> 00:28:28,000
for us than any sound guy.

516
00:28:29,599 --> 00:28:30,039
Speaker 4: O girl.

517
00:28:30,240 --> 00:28:32,720
Speaker 3: But that has not been the case so far.

518
00:28:32,880 --> 00:28:40,759
Speaker 1: Yeah, right right, Yeah, I can see how. Yeah, I

519
00:28:41,200 --> 00:28:44,359
can imagine, you know. And I think usually when it's

520
00:28:44,400 --> 00:28:45,799
when it's a band with kind of a you know,

521
00:28:45,839 --> 00:28:48,880
a really complex, sophisticated sound, there's usually more to it,

522
00:28:49,279 --> 00:28:51,880
like I said, you know, compared to say, for example,

523
00:28:51,960 --> 00:28:52,680
just a punk band.

524
00:28:52,720 --> 00:28:52,880
Speaker 3: You know.

525
00:28:53,079 --> 00:28:54,880
Speaker 4: Yeah, when we.

526
00:28:54,960 --> 00:29:00,119
Speaker 5: Get booked on gigs like that, we do feel a

527
00:29:00,319 --> 00:29:03,440
unique kind of pressure, especially if we're right in the

528
00:29:03,519 --> 00:29:07,880
middle of the bill. Oh yeah, just because and it's

529
00:29:08,000 --> 00:29:09,839
and it's not like we're not quick, and it's not

530
00:29:10,000 --> 00:29:11,960
like we haven't done this before, you know.

531
00:29:12,279 --> 00:29:13,440
Speaker 3: Yeah, and we have.

532
00:29:13,799 --> 00:29:18,519
Speaker 5: I couldn't have streamlined. I set up our ableton session

533
00:29:18,880 --> 00:29:20,799
that has the click track, that has all of our

534
00:29:20,880 --> 00:29:23,079
sins on it, that has all of the bass tracks

535
00:29:23,119 --> 00:29:25,839
on it, and we have some simple stuff. We just

536
00:29:25,920 --> 00:29:27,160
have to run cables to the house.

537
00:29:27,240 --> 00:29:29,599
Speaker 4: That's it. We have to set up all the hard stuff.

538
00:29:29,480 --> 00:29:33,160
Speaker 5: Right right, and it's a huge brain puzzle for me,

539
00:29:33,480 --> 00:29:37,000
you know, to like troubleshoot stuff in real time, yeah

540
00:29:37,200 --> 00:29:41,079
if anything's wrong, and then also set up my own

541
00:29:41,119 --> 00:29:42,960
guitar stuff in my own microphone and make sure I

542
00:29:43,000 --> 00:29:44,400
can hear myself and all that good stuff.

543
00:29:44,400 --> 00:29:45,240
Speaker 1: Oh no doubt. Yeah.

544
00:29:45,279 --> 00:29:45,440
Speaker 4: Yeah.

545
00:29:45,799 --> 00:29:47,880
Speaker 1: Does that ever happen where something goes wrong on the

546
00:29:47,960 --> 00:29:51,039
tech end and you got to, like you said, troubleshoot

547
00:29:51,240 --> 00:29:52,720
on the spot in real time.

548
00:29:52,960 --> 00:29:56,720
Speaker 5: Thankfully, we've It's pretty funny. I think we have nine

549
00:29:57,240 --> 00:30:00,559
of those issues at home when we're practicing thing, yeah,

550
00:30:00,960 --> 00:30:01,880
which is nice.

551
00:30:02,039 --> 00:30:04,720
Speaker 1: Good good. Yeah, Well that's that's what how it should go.

552
00:30:05,000 --> 00:30:07,160
Speaker 2: Yeah, yeah, And I think it's all set up at

553
00:30:07,160 --> 00:30:10,240
this point so well as far as like like something

554
00:30:10,359 --> 00:30:13,359
really tragic would have to happen to like move the

555
00:30:13,559 --> 00:30:16,039
click track so it's like not in the right spot

556
00:30:16,319 --> 00:30:19,160
or something like that. Yeah, So I think it's I

557
00:30:19,240 --> 00:30:21,599
think we've got it pretty solid at this point.

558
00:30:21,880 --> 00:30:22,079
Speaker 1: Yeah.

559
00:30:22,480 --> 00:30:26,400
Speaker 2: I think there's also, like I said, you know, there's

560
00:30:26,440 --> 00:30:28,640
always improvements to be made, especially once you start thinking

561
00:30:28,680 --> 00:30:31,000
about like gear, you know, I mean, that's an endless

562
00:30:31,200 --> 00:30:33,519
rabbit hole that'll leave you homeless if you go too far.

563
00:30:35,000 --> 00:30:40,119
Speaker 1: Yep, yep, well said, well said, Now what is uh

564
00:30:40,480 --> 00:30:44,000
so this this album here, this has not been out

565
00:30:44,079 --> 00:30:45,559
that long, right, this is relatively new.

566
00:30:45,680 --> 00:30:48,839
Speaker 3: Yeah, it came out in June, in June. Okay, okay

567
00:30:49,240 --> 00:30:50,839
new to everybody else. Yeah.

568
00:30:51,079 --> 00:30:54,400
Speaker 1: Yeah, are you already thinking about the next one? In

569
00:30:54,559 --> 00:30:56,559
terms of like, are you already writing for it?

570
00:30:56,799 --> 00:31:00,359
Speaker 2: Or uh yeah, yeah, I mean we're always writing. Yeah,

571
00:31:00,480 --> 00:31:03,200
I mean we play guitar. I play guitar personally at

572
00:31:03,319 --> 00:31:05,200
least like like three hours a day is like a

573
00:31:05,240 --> 00:31:10,279
bad day for me, and so I'm writing on an accident,

574
00:31:10,640 --> 00:31:10,799
you know.

575
00:31:11,119 --> 00:31:11,319
Speaker 1: Yeah.

576
00:31:11,839 --> 00:31:15,160
Speaker 4: And then we're also purpose right.

577
00:31:17,640 --> 00:31:21,119
Speaker 5: At least once to a couple of times a week.

578
00:31:21,240 --> 00:31:24,640
Right now, we're definitely back in the we're back in

579
00:31:24,680 --> 00:31:25,000
the shop.

580
00:31:25,400 --> 00:31:28,400
Speaker 2: This is like gonna be our last show I think

581
00:31:28,440 --> 00:31:30,839
for this year, and you know, we'll have a bunch

582
00:31:30,880 --> 00:31:32,880
of stuff to announce for next year obviously and everything

583
00:31:32,920 --> 00:31:35,920
when the time comes. But we're gonna take this like

584
00:31:36,039 --> 00:31:39,559
hibernation time. I think is like a nice writing period,

585
00:31:40,039 --> 00:31:42,440
you know, just to kind of hang out and not

586
00:31:42,559 --> 00:31:44,839
necessarily even think about the first.

587
00:31:44,640 --> 00:31:47,640
Speaker 4: Record for a little bit, right, right, maybe play it.

588
00:31:47,759 --> 00:31:48,200
That's about it.

589
00:31:48,279 --> 00:31:50,720
Speaker 1: Play it some right, right, Yeah, you're gonna have to

590
00:31:50,799 --> 00:31:53,599
even even during your your hibernation period, shall we say

591
00:31:53,640 --> 00:31:55,000
you're gonna you're still gonna have to play it or

592
00:31:55,000 --> 00:31:56,240
because you don't want to risk forget.

593
00:31:56,079 --> 00:32:00,839
Speaker 3: Any Yeah, you definitely got to keep the cold stoked.

594
00:32:02,720 --> 00:32:07,480
Speaker 5: The upkeep on this stuff is unlike anything I've ever had,

595
00:32:07,880 --> 00:32:11,440
you know, I can imagine. Yeah, it's impossible for me

596
00:32:11,799 --> 00:32:15,200
to store certain things in a spot in my brain

597
00:32:15,319 --> 00:32:18,680
that's gonna stay forever unless I play it all the time.

598
00:32:20,519 --> 00:32:21,759
There's so much stuff up here.

599
00:32:21,920 --> 00:32:25,640
Speaker 1: So yeah, yeah, no, that makes sense. That makes sense.

600
00:32:25,759 --> 00:32:27,119
Do you play the full album live?

601
00:32:27,599 --> 00:32:27,839
Speaker 3: We have?

602
00:32:28,480 --> 00:32:31,000
Speaker 2: Yeah, we did it at our release show. Okay, we

603
00:32:31,119 --> 00:32:34,519
did it front to back. I wouldn't mind doing that again.

604
00:32:34,680 --> 00:32:36,920
But a lot of the times it seems, I don't know,

605
00:32:37,000 --> 00:32:39,440
it doesn't seem like the most pertinent way to get

606
00:32:39,480 --> 00:32:41,079
through a show. And a lot of times we're only

607
00:32:41,119 --> 00:32:42,799
getting like half hour sets and stuff like that.

608
00:32:43,160 --> 00:32:45,920
Speaker 1: Yeah, yeah, what is it? Because some of some of

609
00:32:45,960 --> 00:32:46,880
the songs are pretty long.

610
00:32:46,960 --> 00:32:49,240
Speaker 5: But yeah, right, what does a clock out at you know,

611
00:32:49,400 --> 00:32:52,880
forty three minutes? It's not that bad as a whole

612
00:32:52,960 --> 00:32:55,519
there's a lot of like interlude stuff. Yeah, and as

613
00:32:55,559 --> 00:32:57,599
far as what we're playing, it's probably closer to like

614
00:32:57,720 --> 00:32:58,400
forty minutes.

615
00:32:58,680 --> 00:32:58,960
Speaker 1: Okay.

616
00:32:59,079 --> 00:33:03,400
Speaker 5: The issue is to play this album in the time

617
00:33:03,480 --> 00:33:07,119
span that's outlined as it is for everybody to listen

618
00:33:07,200 --> 00:33:08,640
to live.

619
00:33:08,759 --> 00:33:10,920
Speaker 4: Is you know, pretty exhausting.

620
00:33:11,119 --> 00:33:12,000
Speaker 1: Yeah, I can imagine.

621
00:33:12,440 --> 00:33:15,559
Speaker 5: Yeah, you need like a few minutes in between to

622
00:33:15,680 --> 00:33:18,079
take a deep breath. And because we do go song

623
00:33:18,240 --> 00:33:20,480
to songs sometimes, oh yeah, oh for sure.

624
00:33:20,680 --> 00:33:20,880
Speaker 1: Yeah.

625
00:33:21,319 --> 00:33:23,759
Speaker 3: I don't think that the album itself is in the

626
00:33:23,839 --> 00:33:26,359
best order for a live show though, yes.

627
00:33:26,680 --> 00:33:30,279
Speaker 1: Okay, so it's in the order for the story obviously,

628
00:33:30,359 --> 00:33:32,839
but not necessarily for the live show, correct.

629
00:33:32,920 --> 00:33:33,119
Speaker 3: Yeah.

630
00:33:33,200 --> 00:33:35,279
Speaker 2: Yeah, yeah, it's like it's like a good vibe to

631
00:33:35,319 --> 00:33:38,519
listen to, but it's it's like awkward to play through

632
00:33:38,720 --> 00:33:39,799
in that order, I think.

633
00:33:40,079 --> 00:33:44,319
Speaker 1: Okay, no, that makes sense. Uh yeah, Hans Smith and

634
00:33:44,359 --> 00:33:47,160
the chat says, let the hibernation begin. Yeah, well, I

635
00:33:47,240 --> 00:33:48,480
mean that is what a lot of bands do though,

636
00:33:48,519 --> 00:33:50,440
at at least in this part of the country, you know,

637
00:33:50,640 --> 00:33:53,880
in the winter, you know, focusing on writing and recording exactly.

638
00:33:53,880 --> 00:33:54,720
Speaker 3: I mean, what am I going to do?

639
00:33:54,880 --> 00:33:57,599
Speaker 2: Go drive, you know, five hours to play for fifty

640
00:33:57,680 --> 00:34:01,160
bucks in New York. It wants to like snow outside, Like, yeah,

641
00:34:01,440 --> 00:34:03,680
it's gonna be cold, I'm gonna smash my fingers while

642
00:34:03,720 --> 00:34:04,279
it's cold.

643
00:34:04,720 --> 00:34:06,000
Speaker 3: Who wants to do that? You know?

644
00:34:06,240 --> 00:34:10,079
Speaker 1: Yeah, that's something I don't miss about There are things

645
00:34:10,119 --> 00:34:11,719
that I miss about playing live, but that's one of

646
00:34:11,760 --> 00:34:14,159
the things I don't miss is is doing shows in

647
00:34:14,199 --> 00:34:16,760
the winter and and you know, if the weather's bad,

648
00:34:16,840 --> 00:34:18,159
and then you know, and then you don't know is

649
00:34:18,199 --> 00:34:19,800
it gonna be canceled? A You're gonna get there and

650
00:34:19,880 --> 00:34:20,880
find out it's canceled.

651
00:34:20,920 --> 00:34:21,480
Speaker 3: It's right.

652
00:34:21,760 --> 00:34:24,039
Speaker 1: There's a lot that that goes with it that can

653
00:34:24,119 --> 00:34:29,760
be quite miserable. Yeah, no, exactly, Well we will, we'll

654
00:34:29,800 --> 00:34:32,039
begin to wrap up, we'll play I was thinking we

655
00:34:32,480 --> 00:34:34,360
to end the segment. Maybe we'll play corruption.

656
00:34:35,000 --> 00:34:36,639
Speaker 4: Oh sure, Oh that would be amazing.

657
00:34:36,760 --> 00:34:38,079
Speaker 1: Yeah, yeah, I like this one a lot.

658
00:34:38,920 --> 00:34:39,199
Speaker 4: Thank you.

659
00:34:39,559 --> 00:34:43,440
Speaker 1: So of course, uh oh, where should people go to

660
00:34:43,599 --> 00:34:45,559
find you online? What's the best place to go? Because

661
00:34:45,559 --> 00:34:48,320
if you just google questing beast a lot comes up.

662
00:34:48,400 --> 00:34:51,639
Speaker 2: So if you google questing Beast banned, We've got a

663
00:34:51,679 --> 00:34:55,000
website up and we'll have a online store there within

664
00:34:55,079 --> 00:34:58,719
the next week. Excellent we just got vinyl in so

665
00:34:59,280 --> 00:35:01,320
we're gonna be trying they get rid of that as

666
00:35:01,360 --> 00:35:02,480
soon as we possibly can.

667
00:35:02,599 --> 00:35:03,760
Speaker 1: Oh, very good, very good.

668
00:35:03,840 --> 00:35:05,159
Speaker 3: Yeah, Yeah, it's awesome.

669
00:35:05,400 --> 00:35:05,960
Speaker 1: Yeah yeah.

670
00:35:05,960 --> 00:35:09,440
Speaker 5: And you can find us on any social media Facebook, Instagram,

671
00:35:09,639 --> 00:35:12,599
you can stream those. Yeah, you can stream our music

672
00:35:14,119 --> 00:35:17,480
basically anywhere, Spotify, Apple Music, even Title if you want

673
00:35:17,480 --> 00:35:19,320
to listen to some high quality audio.

674
00:35:19,559 --> 00:35:21,519
Speaker 1: Excellent, excellent, very good.

675
00:35:21,639 --> 00:35:22,440
Speaker 3: Shout out to title.

676
00:35:22,719 --> 00:35:26,239
Speaker 1: Yeah, yes, yes, and we'll remind everybody, of course, the

677
00:35:26,400 --> 00:35:30,519
Hallowed and Haunted Halloween Show tonight and Questing Beasts opening

678
00:35:31,320 --> 00:35:34,599
doors open at five, the show goes to midnight and

679
00:35:35,039 --> 00:35:38,119
also with Dead Harrison, The Egans Able, Blood Horror, and

680
00:35:39,199 --> 00:35:43,679
The Gray Curtain. So I have a great show tonight. Thanks, sure,

681
00:35:43,679 --> 00:35:47,159
it'll go fantastically. Yeah and uh and and thank you

682
00:35:47,280 --> 00:35:48,760
so much for coming in. This has been great.

683
00:35:49,400 --> 00:35:50,239
Speaker 3: Thank you for having us.

684
00:35:50,360 --> 00:35:53,199
Speaker 1: Absolutely, I'm definitely a fan, So I really like, really

685
00:35:53,320 --> 00:35:53,960
like what you're doing.

686
00:35:54,039 --> 00:35:54,079
Speaker 6: So