Speaker 1: Questing Beast is the name of the band and we're
going to talk to them in a moment. They are
in studio with us. Welcome everybody. This is Matt Connorton
Unleashed and we are live from the studios of wm
NH ninety five point three FM and Glorious of Manchester,
New Hampshire. And of course you can also stream the show.
Go to Matt connorton dot com slash live for all
of your live streaming options, social media links, contact infoshow archives,
et cetera, et cetera. Today is Saturday, October nineteen, twenty
twenty four, and we've got a big show for you today.
We have Questing Beast second hour. We've got Temple Mountain
is coming Back. Third hour, we have Dead by Wednesday.
Lots of today's action packed. So Jenny is not here
with me this week, but she'll be back next week.
But without further ado, joining us in studio here is
Shane and Jane from Questing Beast. Welcome, thanks for having us.
So is it just the two of you? Is this
the band? Is the the two of you?
Speaker 2: No, So as far as right now our full band.
We also have Jane's older brother Joe as our singer.
Oh okay, and then we have a drummer who's not
related to any of us, but he's kind of like
having a grandpa and an uncle in the same person.
Speaker 1: Okay, what does that mean? Collaborate if you would. I mean,
you know, we're not in the South, so this you know,
I'm confused.
Speaker 3: Well, he's fun and goofy like your uncle.
Speaker 2: Okay, but in many ways it's very old like your grandpa.
Speaker 1: Okay, that makes sense, gotcha, gotcha.
Speaker 4: And that's his Christian He's great.
Speaker 3: Yeh. He's a phenomenal drummer.
Speaker 4: Phenomenal drummer.
Speaker 1: Well, very good. So so what what do you What
do you each do in the band?
Speaker 3: We both play guitar, You both play guitar.
Speaker 1: Okay, very cool. And you've got a big show tonight.
We should plug that right off the top. You're going
to be playing at.
Speaker 3: Terminus, correct, Yeah, Nashua with let's.
Speaker 1: See Dad Harrison, the Degans, the Gray Curtain, Horror and
Able Blood all great bands. Actually, out of all those bands,
so the Nigans, we have not had them on the
show yet, but everyone else has been on the show.
Speaker 3: Cool.
Speaker 1: Nice, Yeah, we had the Great Curtain Horror and able
Blood jeeseus was that last week. It becomes a blur,
but yeah, yeah, all all great bands and and able
Blood has actually been on the show a few times now.
Speaker 3: We played our first gig with them.
Speaker 1: Oh with abel Blood. Oh very cool. Yeah, yeah, that's awesome.
That song Titan's Grip and we'll we'll play more later.
But really it takes you on a journey, lots of
lots of cool changes in it and very very complex.
But let me let me start with this because I
kind of have a little bit of an idea just
from googling Questing Beast. But what what what is that?
What is Questing Beast? Where does the name come from?
Speaker 2: So the name comes from Arthurian legend. I saw it
on a magic card and I was like, that's epic.
That's an epic name. It's a great name for a band.
And I did some recent found out is from the
Arthurian legend. Read the legend, was like, I don't want
to write that story. That story has been written and
it's got nothing to do with anything that I want
to write music about. So I came up with a
different story that's kind of about the birth of the
questing piece. So I gave it like its own origin
story and everything, okay, And I basically had that outline,
and then we sort of wrote songs based on where
we thought it would fit, like within the storyline.
Speaker 1: So the story came first, and then the songs came yes,
based on the story.
Speaker 4: Yes.
Speaker 2: I think that the only song that that may not
be true for is call the North, because that was
the first one that we wrote. Oh and we had
just gotten together and we're like, oh yeah, big riffs,
here we go. Yeah, And so I was like that
song specifically, I was like, what does this make me
feel like? I was like, this makes me feel like
I'm actually going on like a long expedition somewhere. So
it felt to me like that one specifically, I was like,
this is about going to a place, so like called
the North. It seems like a good, good game, you know.
Speaker 1: Okay, But the rest of the songs are based on
the story or the outline of the story.
Speaker 3: Yeah, yeah, yeah, did did.
Speaker 1: The story change at all?
Speaker 3: Oh?
Speaker 1: Yeah, you know, as you're as you're writing these songs,
I can see how that might happen. Where As the
songs as you're writing them, and they kind of evolve
and form. The story itself changed as well.
Speaker 2: Oh yeah, and the story is still changing. The idea
is that we want this to be like a trilogy,
oh okay, and so like we're constantly thinking about, like
still analyzing like the first album even to be like,
you know, how does this dictate where we go on
the second album?
Speaker 3: You know, And.
Speaker 2: It's it's a really interesting way to write, but it
is also increase. I mean, I understand why, like all
the Game of Thrones books aren't done, you know, yeah,
I'm just doing it with an album. This is like
nine pages of text maybe, you know.
Speaker 1: Yeah, yeah, no, I can imagine. And the songs themselves
are complex, I mean, is that the most challenging part
of it is creating the music to go with the story.
Speaker 5: So kind of because the story dictates so much of
what like our musical decision making is yeah, and not
just lyrically right lyrics is an entire other realm of
added layers of description to the story. The music itself
is so dictated by what we're trying to convey in
each song as a story point that the music itself,
so you say, it sounds like going on a journey
and that's because the music itself is telling a huge
bit of story.
Speaker 4: Yeah, I mean.
Speaker 5: It's not not every song is telling so much as
far as information goes, but it's so much world building,
and we're trying to convey so many little nuanced emotions
and basically explaining something through music. So it came out
everything was just so much challenge. Like we would get
something down we felt like it explained what we wanted
to do. Then we'd listen to it and be like, well,
this doesn't sound amazing musically, Okay, so we have to
change it now to sound it kind of sound amazing musically,
but now we feel like it doesn't convey what we
wanted to say in the story. You can see how
if you're not careful, we would go back to the
drawing board on either the music or the story too
many times to where like sometimes we had to stop
and just like fall back. Some stuff happened naturally, this
song being one of them.
Speaker 4: I didn't want to write this song.
Speaker 5: What do you mean I didn't want to write this
song because we already had I think we had.
Speaker 3: We had six songs.
Speaker 5: Yeah, we had six songs, and I felt like it
was good, you know, with the addition of the two
instrumentals on the album, it would have been eight songs, right, No, no, no,
it would have been So we wrote two more after that, right,
because then we wrote Beneath thread Leaves too. But yeah,
I didn't want to write this song because I just
felt like, Okay, we're good, We've written enough. This is
our first album. And I actually remember sitting down with
a little bit of what he wrote and just everything
became so complex, so quick, and I was angry the
whole time I wrote. I was like, dang it, this
is going to be so complex.
Speaker 3: This is awesome. Damn.
Speaker 1: Yeah, I would imagine too. You see, I've played in
a lot of bands, but nothing, I never played in
anything like this. You know, every band I ever played
and it was you know, verse course, you know, your
standard thing. Yeah, and uh so I've always been kind
of fascinated by I mean, just what must go into
writing the songs and then learning the songs and then
rehearsing the songs.
Speaker 3: Are definitely two different things.
Speaker 1: Yeah, oh yeah, I can imagine. Yeah, I mean, you
must have to rehearse quite a bit, right for the
live shows, because every week you've got to be it
you know. I mean, if you're if you're a punk
band and you're playing three cores words and you make
a mistake, nobody even notice it. Well with what you're doing.
If somebody makes a mistake, it's it's probably hard to
even hide that, right.
Speaker 2: Yeah, there's certain points in different songs where it's almost
like you're you're like surfing on a razor's edge, you
know what I mean, and like if you fall off,
it is not easy to get back on.
Speaker 1: I can imagine, yeah, you know.
Speaker 2: Yeah, And we also have like the added challenge of
not having a live bass player right now. Okay, so
our drummer plays to a click track. Yeah, so we
have like bass tracks at the moment. But it allows
us to do cool things like it automatically like switches
out the synth patch that we're using as we're playing
and stuff like that. So oh wow, it allows us
to like use all these different sense that we made
for the record live too.
Speaker 5: Okay, Yeah, it makes it a little bit easier. Recording
and learning and playing are just a whole three separate things.
For this recording is so bit by bit, sentence by
sentence based. If you think about it in terms of
writing a story, it's like writing sentence by sentence, let
alone lyrics. I don't even get in on lyrics. I'm
more on the music side of things. I contributed one
lyric to this whole album, truly, and so yeah, like
writing it just is so intensive. And I mean, what,
it took us two almost three years to just write this.
Any music that we're going to write that's expanding on
this is going to take us probably a similar timeframe.
But then learning it is like, Okay, now that we
have the finished product and all the riffs are what
they're going to be, and all the orders of everything
is pretty much decided on, now try to learn all
that while standing up, switching effects and doing backing vocals.
And then sometimes you're like, oh, I can't, you know,
we have to figure out, you know, delegate, who's going
to play what. Sometimes sometimes we need to put something
in a backing track because there's too many parts, okay.
Speaker 4: Stuff like that. So it's a whole puzzle.
Speaker 1: You know.
Speaker 2: Yeah, like the beginning of Titans Grip, we don't hire
three dudes to come up and play play that harmony
at the.
Speaker 4: Beginning would be great. We don't have it, Like, yeah, yeah.
Speaker 1: So who plays bass on the on the studio tracks?
Does one of you do that or no?
Speaker 2: So we got a guy. His name is Chase Bryant.
He plays in a band called war Bringer. They're like
an l a thrash band. Say yeah, they're great, I love.
Speaker 5: Them, shouts out Chase, nicest guy, amazing bass player. Played
the whole album on fretless bass in two days.
Speaker 3: Yeah, figure style. He's a absolute monster.
Speaker 5: Absolute monster, absolute great guy. Super super happy to have
him just doing his thing.
Speaker 4: It was awesome.
Speaker 1: That's another thing that I'm always because I'm a bass player,
but I've never played a fretless and that always impresses
me too.
Speaker 3: Oh yeah, yeah.
Speaker 2: I mean a lot of people when I tell him
that he's playing fretless on it, they can't even tell
because it's just so in tune, you know.
Speaker 1: Yeah. Yeah. Our friend Lacey, who I am in the
U in the chat room says, uh, that's why so
much can be lost in studio work. So clinical And
oh I see Jenny is in there as well. Hello,
good morning. Yeah. So when you like, do you play
these live before you record them or do you do you? Okay,
so you don't, you don't go into the studio and
then once that's done, start playing.
Speaker 3: Them live or well we do, we do.
Speaker 2: We like demo out all the tracks, so we've got
Ableton on my computer at the practice space and we
just record on that the demo version, send that off
to the studio that we actually want to record it.
We went to matt Oaks Studio in Austin and recorded
with Benny Grotto, who did a great job.
Speaker 1: Yeah. Everything, everything sounds amazing.
Speaker 2: Yeah, but so it sometimes we kind of play it
live before we put it into the demos, but most
of the time we get the demos done, we get
that to a point where we like it, and then
that's when we start the learning processes. Okay, and then
we go in and record for real cities. Yeah, and
going to the Big Boys studio. Yeah, but I what,
I forgot what your name was, But who said something
about studios being clinical and.
Speaker 3: Oh yeah, lazy, yeah, lazy.
Speaker 2: So there's definitely I think one or two. There's there's
certain things that I think can be kind of sporadic
when you're like actually composing and stuff like that, and
there's certain things that are like difficult to replicate non
spur of the moment.
Speaker 1: Yeah.
Speaker 3: Like, for example, there's a version of the.
Speaker 2: Corruption solo that I had had a long time ago
that I kind of wish I had still had for like,
it was just a specific recording where I was like
in my room with the amp and it was like
super feedbacky yeah, and it like it sounded terrible but
awesome because of how like I don't know rat it sounded,
you know what I mean?
Speaker 3: Yeah, and so like it.
Speaker 2: And it's always like very minute details like that, you
know what I mean. It's not like, oh, this song
is ruined because we recorded in a good space, you.
Speaker 1: Know, right right? No, that makes sense? How I mean
how many hours do you think? Probably hard to put
a number on it, but like like just just learning
to play one of these songs proficiently, I mean that's.
Speaker 3: I can tell you.
Speaker 2: I don't know about that all the songs, I mean,
some of them are easier than others.
Speaker 3: Yeah, but I.
Speaker 2: Can tell you that the Beneath Red Leaves, So the
Beneath Red Leaves solo specifically took me so long. I
probably every day leading up to going into play that
in the studio for like two weeks at least, spent
like two hours a day, just like ripping through that thing,
trying to get it down.
Speaker 3: Kidding, Oh yeah, it's hard.
Speaker 4: That song taught me.
Speaker 5: That song taught me how to play rhythm guitar differently,
really yeah, one hundred percent.
Speaker 4: I play things.
Speaker 5: I play that song differently and more efficiently than I
did when we went and recorded it. Taught me like
deficiencies in how I played certain things. Really yeah, So
talk about a learning process, like I learned the song,
but then I kept learning from it for about a
year to where I am now with it. Yeah, same
with him, honestly, Like it informs us so much about
our ability because you can write something right piece by piece,
and you can make a demo and then when you
go to play it all at once, all the way through,
you really like find out about yourself.
Speaker 1: I could imagine that.
Speaker 5: Yeah, yeah, you know, going from playing all this rhythm
to lead and he's you know, playing all.
Speaker 4: The lead and it's crazy.
Speaker 1: So wow. Yeah. Have you ever written something where or
or just had an idea where you you know, you
maybe you record it and everything so you're committed to it,
and then you kind of a moment where you go, jeez,
I don't know I'm kind of regretting this one a
little bit.
Speaker 3: Yeah really yeah, yeah, yeah.
Speaker 2: We we edit super hard. Who we cut things that
we don't like and try and or like try and
make it work better.
Speaker 5: Yeah.
Speaker 2: I think that one of the things that we really
want to focus on going forward is, like I don't know,
just getting better at making sure everything fits together. Well yeah, yeah,
not that I don't think that the stuff on the
first record fits together well, you know, song by song,
But I think that there's always room for improvement, sure,
you know.
Speaker 1: And how important is it to you as players when
you when you play live to to replicate exactly like
do you try to replicate exactly note for note what's
on the recordings? Or do the songs breathe a little.
Speaker 3: Bit or how do there's not really a lot of
breathing room.
Speaker 2: There's a lot of very specific harmony that's going on
and stuff like that, you know what I mean. So yeah,
And that's not to say that there aren't places where
we could incorporate.
Speaker 5: Some sure, yeah, but I'd say as far as NOE choice,
it's never different. As far as certain stylistic things, we
goof off a little bit here and there, but it's
we're still playing pretty much what's written. Okay, almost, i'd
say ninety nine percent.
Speaker 1: Yeah, okay, okay, if you're just joining us, we have
Questioning Beasts here with us live in studio on the
Saturday morning, and I think we should play another track.
I'd love to hear another one, So we'll play this
so at Crater's Edge.
Speaker 4: Oh yeah, what?
Speaker 1: What? What should we know? Anything? We should know about
this specifically before we hear it.
Speaker 2: No, I want I want people in the comments to
try and guess what the footsteps are. Okay, okay, what's
making that sound?
Speaker 3: People?
Speaker 1: Okay, all right, So well that's a clue then, so
they're not actual foot steps.
Speaker 3: That's correct.
Speaker 1: Okay, all right, I'll pay attention. Listen closely, everybody. All right.
So this is Questing Beast and this song is called
at Creator's Edge. Grazed nice.
Speaker 6: Will never cause me. I'm calling a chaos your bel
and goose but gone when the stars from thes you can,
I'm like, this is mos fun.
Speaker 3: You want a joints in a moment of for me
story s.
Speaker 6: Coo stinking birds, spose of black dingy.
Speaker 1: Or sing go my days that thing of my grands.
Speaker 3: From as clim that's my face colast.
Speaker 6: Thing about strength waste, my falls off face thing mean.
Speaker 4: My dista not c breckord my life.
Speaker 6: I squirky ways us all the water of the stars,
rat sippy rads my stairs never do not curl bar
scars shed bloody he knows w undrouste Man.
Speaker 3: No, it went down a little too.
Speaker 5: Why a god, I'm drinking a child? Why do you
go to the chor troll start?
Speaker 3: I'm turning about child the chop, but time.
Speaker 5: Drinking my time to chop time.
Speaker 1: That is at creator's edge by questing beasts. We have
two members of the band. There's those footsteps again. All right,
where do the footsteps come from?
Speaker 6: Oh?
Speaker 3: I can't but oh no, I just hadn't started yet.
Speaker 1: I thought it looked like it looked like your mouth
was moving, and I'm like, oh no.
Speaker 3: I I was trying to think of how I want
to approach the answer.
Speaker 1: Gotcha, gotcha? I didn't see any guesses in the chat room.
Speaker 2: So well, it came from a box of rocks. What
you're hearing is a box of rocks, really cardboard box
with a bunch of rocks inside of it. It's some
advanced studio equipment.
Speaker 1: Oh very good, very good. Let's see in the chat room. Oh,
Hans Smith from the Ban and Sepsis was saying that
the instrumentals make him feel like he's on an adventure
on the sea.
Speaker 4: Oh very nice.
Speaker 1: Yeah, yeah nice. Lacey says a strong Queen's Reich vibe.
Is that one of your influences Queen's Reke.
Speaker 5: I wouldn't say specifically, but love Queen's Reke.
Speaker 4: Yeah, yeah, and that's a huge compliment.
Speaker 1: Yeah, absolutely absolutely, let's see. I saw somebody else in
here too.
Speaker 3: Oh.
Speaker 1: B pen Art is in the chat room, big supporter
of the show. Hello, nice to see you in there.
And also Mariam Bannish joins us in the chat room. Yeah,
tell tell me more about influences I imagine, I mean
a lot of a lot of prog and really complex
stuff for both of you, I would, I would.
Speaker 2: Guess, yeah, yeah, sure, I'm just gonna do a quick
top five. So for me, like, my favorite two bands
are Death Clock and Queens of the Stone Age. Yeah,
and so I feel like my guitar playing is kind
of like some where in between those two sort of bands.
But outside of that, I mean Baroness is Great Master
Don as well. Both of those bands I think were
actually very influential to me throughout the writing process of
this first one, just as far as their ability to
take these big, sprawling concepts, like from start to finish
on these records, you know, in their own ways.
Speaker 3: And I guess I have to think of I said five.
Speaker 1: You did say five.
Speaker 3: Yeah, there is another one, I know for sure. I
don't know, just various.
Speaker 2: There's lots of stuff, to be honest with you, Like,
I'm all over the place as far as like listening
to like technical death metal and like all these various things. Yeah, Jane,
why don't you take over while I think of what
a definitive five?
Speaker 4: I'd say.
Speaker 5: Early on, when I first started getting into progressive music
was high school, and my big three would be Dream Theater,
Rush and Porcupine Tree. Okay, and just as far as
progressive music goes. And I was in a band in
high school where we didn't cover any dream Theater, but
that was my aspiration, you know. I was in a
band with this guy Adam Susie, amazing drummer, shouts out
Adam Susie, and we just covered these prog songs, and
that's a huge influence on me. I religiously listened to
Dream Theater Rush. I grew up on Rush. My mom
introduced me to Rush when I was really young. And
then the heavier side of things I started to get into.
Like I started off with some like metalcore bands. I
think my earliest like real heavy band influence was a
band called as Blood Runs Black, an old metal core band.
But I started to really get into more technical death
metal and stuff like that when I got into college.
But I come from a very diverse background, Like I
was a jazz musician growing up, and I love hip hop.
I made a lot of hip hop too, so I
really yeah for sure, and that was a humongous portion
of my education in music. You know what I mean,
was all those influences so huge love for hip hop,
huge love for technical death metal. I'd say the band
that really bridged the gap for me when I was
young between all that progue stuff and the more heavy
stuff was a band called Born of Osyris. And that's
when I learned about like Jason Richardson as a guitar
player and started to kind of you know, all my
favorite vetters played the same guitars now and really got
into a lot of that stuff. So huge influence on me,
those guys John Patrucci obviously, but all that stuff.
Speaker 2: Yeah, I thought of my number five. Okay, it's definitely
war Bringer. Okay, cool, Okay, I don't know why that
took me so long.
Speaker 1: Well, it's early, very good, very good if you are
just joining us. Of course, we do have Questing Beasts
here with us, live in studio and they're playing a
big show tonight. Of course, our friends at Terminus Underground
in Nashua. Let's see this is the show has a
specific name, the Haunted hallo oh, hollowed and haunted. Yes,
to make sure to make sure I got the name right. Yeah,
Terminus is a great place. Have you been there yet?
Speaker 3: No, not yet.
Speaker 1: I tell everybody the same thing. When you walk in,
it's like walking into a different world when you walk
into that room, specifically stoked. It's really cool.
Speaker 2: Apparently they're decorating it all up and stuff, or they
were last night and everything, so it should be all
good to go now. So it's gonna look awesome in
there tonight.
Speaker 1: Yeah, Yeah, there you go. Yeah, that's gonna be tonight.
Questing Beast along with Dad Harrison, The Vegans, The Gray Curtain,
Her and Able Blood. Tickets are twenty dollars. You can
get them you have to go to Midnight Creatives Collective
dot com. Tickets are available there, and that is show
starts at eight pm.
Speaker 4: So I think show starts at six?
Speaker 1: Oh does it?
Speaker 4: Yes?
Speaker 5: Oh?
Speaker 3: Yeah, I think doors are six.
Speaker 1: Oh I'm sorry, yeah, I was looking at the wrong thing. Yeah,
all the right doors are five. Yeah.
Speaker 4: Music starts at six.
Speaker 5: Oh.
Speaker 1: It's good you corrected me, because yeah, we don't want
people showing up there late.
Speaker 4: Is paying attention, You're welcome, exactly, exactly.
Speaker 1: Yeah, and you know there's a lot of bands, so
it's good that it's starting early. That makes sense.
Speaker 2: Oh yeah, and we're we're actually opening this one, which
is are, which is nice because we'll be able to
get there set up immediately and then hang out forever.
Speaker 3: Do you that's right?
Speaker 6: Is there?
Speaker 1: Do you have a complex set up?
Speaker 3: Yeah?
Speaker 2: I mean so all four of us do vocals, and
then we've got the computer that our drummer like triggers
all the tracks from and everything. Yeah, it's kind of
it's kind of a pain, I can imagine. Yeah, I
mean it's a pain for us.
Speaker 5: I mean, if we cut out a vocal, it would
still just be three vocals and then a few xlrs
to the house. But like it's more of a pain
for us, then it should be more of a pain
for us than any sound guy.
Speaker 4: O girl.
Speaker 3: But that has not been the case so far.
Speaker 1: Yeah, right right, Yeah, I can see how. Yeah, I
can imagine, you know. And I think usually when it's
when it's a band with kind of a you know,
a really complex, sophisticated sound, there's usually more to it,
like I said, you know, compared to say, for example,
just a punk band.
Speaker 3: You know.
Speaker 4: Yeah, when we.
Speaker 5: Get booked on gigs like that, we do feel a
unique kind of pressure, especially if we're right in the
middle of the bill. Oh yeah, just because and it's
and it's not like we're not quick, and it's not
like we haven't done this before, you know.
Speaker 3: Yeah, and we have.
Speaker 5: I couldn't have streamlined. I set up our ableton session
that has the click track, that has all of our
sins on it, that has all of the bass tracks
on it, and we have some simple stuff. We just
have to run cables to the house.
Speaker 4: That's it. We have to set up all the hard stuff.
Speaker 5: Right right, and it's a huge brain puzzle for me,
you know, to like troubleshoot stuff in real time, yeah
if anything's wrong, and then also set up my own
guitar stuff in my own microphone and make sure I
can hear myself and all that good stuff.
Speaker 1: Oh no doubt. Yeah.
Speaker 4: Yeah.
Speaker 1: Does that ever happen where something goes wrong on the
tech end and you got to, like you said, troubleshoot
on the spot in real time.
Speaker 5: Thankfully, we've It's pretty funny. I think we have nine
of those issues at home when we're practicing thing, yeah,
which is nice.
Speaker 1: Good good. Yeah, Well that's that's what how it should go.
Speaker 2: Yeah, yeah, And I think it's all set up at
this point so well as far as like like something
really tragic would have to happen to like move the
click track so it's like not in the right spot
or something like that. Yeah, So I think it's I
think we've got it pretty solid at this point.
Speaker 1: Yeah.
Speaker 2: I think there's also, like I said, you know, there's
always improvements to be made, especially once you start thinking
about like gear, you know, I mean, that's an endless
rabbit hole that'll leave you homeless if you go too far.
Speaker 1: Yep, yep, well said, well said, Now what is uh
so this this album here, this has not been out
that long, right, this is relatively new.
Speaker 3: Yeah, it came out in June, in June. Okay, okay
new to everybody else. Yeah.
Speaker 1: Yeah, are you already thinking about the next one? In
terms of like, are you already writing for it?
Speaker 2: Or uh yeah, yeah, I mean we're always writing. Yeah,
I mean we play guitar. I play guitar personally at
least like like three hours a day is like a
bad day for me, and so I'm writing on an accident,
you know.
Speaker 1: Yeah.
Speaker 4: And then we're also purpose right.
Speaker 5: At least once to a couple of times a week.
Right now, we're definitely back in the we're back in
the shop.
Speaker 2: This is like gonna be our last show I think
for this year, and you know, we'll have a bunch
of stuff to announce for next year obviously and everything
when the time comes. But we're gonna take this like
hibernation time. I think is like a nice writing period,
you know, just to kind of hang out and not
necessarily even think about the first.
Speaker 4: Record for a little bit, right, right, maybe play it.
That's about it.
Speaker 1: Play it some right, right, Yeah, you're gonna have to
even even during your your hibernation period, shall we say
you're gonna you're still gonna have to play it or
because you don't want to risk forget.
Speaker 3: Any Yeah, you definitely got to keep the cold stoked.
Speaker 5: The upkeep on this stuff is unlike anything I've ever had,
you know, I can imagine. Yeah, it's impossible for me
to store certain things in a spot in my brain
that's gonna stay forever unless I play it all the time.
There's so much stuff up here.
Speaker 1: So yeah, yeah, no, that makes sense. That makes sense.
Do you play the full album live?
Speaker 3: We have?
Speaker 2: Yeah, we did it at our release show. Okay, we
did it front to back. I wouldn't mind doing that again.
But a lot of the times it seems, I don't know,
it doesn't seem like the most pertinent way to get
through a show. And a lot of times we're only
getting like half hour sets and stuff like that.
Speaker 1: Yeah, yeah, what is it? Because some of some of
the songs are pretty long.
Speaker 5: But yeah, right, what does a clock out at you know,
forty three minutes? It's not that bad as a whole
there's a lot of like interlude stuff. Yeah, and as
far as what we're playing, it's probably closer to like
forty minutes.
Speaker 1: Okay.
Speaker 5: The issue is to play this album in the time
span that's outlined as it is for everybody to listen
to live.
Speaker 4: Is you know, pretty exhausting.
Speaker 1: Yeah, I can imagine.
Speaker 5: Yeah, you need like a few minutes in between to
take a deep breath. And because we do go song
to songs sometimes, oh yeah, oh for sure.
Speaker 1: Yeah.
Speaker 3: I don't think that the album itself is in the
best order for a live show though, yes.
Speaker 1: Okay, so it's in the order for the story obviously,
but not necessarily for the live show, correct.
Speaker 3: Yeah.
Speaker 2: Yeah, yeah, it's like it's like a good vibe to
listen to, but it's it's like awkward to play through
in that order, I think.
Speaker 1: Okay, no, that makes sense. Uh yeah, Hans Smith and
the chat says, let the hibernation begin. Yeah, well, I
mean that is what a lot of bands do though,
at at least in this part of the country, you know,
in the winter, you know, focusing on writing and recording exactly.
Speaker 3: I mean, what am I going to do?
Speaker 2: Go drive, you know, five hours to play for fifty
bucks in New York. It wants to like snow outside, Like, yeah,
it's gonna be cold, I'm gonna smash my fingers while
it's cold.
Speaker 3: Who wants to do that? You know?
Speaker 1: Yeah, that's something I don't miss about There are things
that I miss about playing live, but that's one of
the things I don't miss is is doing shows in
the winter and and you know, if the weather's bad,
and then you know, and then you don't know is
it gonna be canceled? A You're gonna get there and
find out it's canceled.
Speaker 3: It's right.
Speaker 1: There's a lot that that goes with it that can
be quite miserable. Yeah, no, exactly, Well we will, we'll
begin to wrap up, we'll play I was thinking we
to end the segment. Maybe we'll play corruption.
Speaker 4: Oh sure, Oh that would be amazing.
Speaker 1: Yeah, yeah, I like this one a lot.
Speaker 4: Thank you.
Speaker 1: So of course, uh oh, where should people go to
find you online? What's the best place to go? Because
if you just google questing beast a lot comes up.
Speaker 2: So if you google questing Beast banned, We've got a
website up and we'll have a online store there within
the next week. Excellent we just got vinyl in so
we're gonna be trying they get rid of that as
soon as we possibly can.
Speaker 1: Oh, very good, very good.
Speaker 3: Yeah, Yeah, it's awesome.
Speaker 1: Yeah yeah.
Speaker 5: And you can find us on any social media Facebook, Instagram,
you can stream those. Yeah, you can stream our music
basically anywhere, Spotify, Apple Music, even Title if you want
to listen to some high quality audio.
Speaker 1: Excellent, excellent, very good.
Speaker 3: Shout out to title.
Speaker 1: Yeah, yes, yes, and we'll remind everybody, of course, the
Hallowed and Haunted Halloween Show tonight and Questing Beasts opening
doors open at five, the show goes to midnight and
also with Dead Harrison, The Egans Able, Blood Horror, and
The Gray Curtain. So I have a great show tonight. Thanks, sure,
it'll go fantastically. Yeah and uh and and thank you
so much for coming in. This has been great.
Speaker 3: Thank you for having us.
Speaker 1: Absolutely, I'm definitely a fan, So I really like, really
like what you're doing.
Speaker 6: So