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<v Speaker 1>Hey, this is Ryan. I've loved Spouse Dowards and loves

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<v Speaker 1>Spials and that's some really exciting news to share. Review.

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<v Speaker 1>This past August eleventh, we released the twenty five year

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<v Speaker 1>anniversary of our classic nineteen ninety eight album Flux. In fact,

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<v Speaker 1>we've released it on the exact date of the twenty

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<v Speaker 1>fifth anniversary. So I thought i'd take a few bonutes

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<v Speaker 1>to talk to you about Flux Deluxe Edition, out now

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<v Speaker 1>on all digital platforms. So in addition to this being

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<v Speaker 1>a completely new remastering of the original nine Flux tracks,

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<v Speaker 1>I think the most exciting part of this remastered release

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<v Speaker 1>are the dozen bonus tracks, most of which have never

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<v Speaker 1>seen the live day ever before. So fortunately for all

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<v Speaker 1>you love Spouse Dowards fans out there, and for me,

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<v Speaker 1>I've been storing all my DAT tapes. Those are digital

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<v Speaker 1>audio tapes. That's what we used to mix down our

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<v Speaker 1>albums onto back then. So yeah, Angie my partner in life,

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<v Speaker 1>she's my wife and and my singer and loves Spiles.

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<v Speaker 1>She actually was going through the tapes and found the

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<v Speaker 1>original nine songs for Flux, you know, the nine chorus songs.

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<v Speaker 1>But in addition to that, she found a plethora of

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<v Speaker 1>unreleased songs from the Flux. There are all these songs

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<v Speaker 1>that for some reason or another didn't make it to

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<v Speaker 1>Flux or any other like you know, remixes or anything

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<v Speaker 1>like that. And I'm figuring, well, why let these songs

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<v Speaker 1>is like, die on these dat tapes and never have

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<v Speaker 1>anyone hear them? Because I was surprised. I haven't heard

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<v Speaker 1>most of these songs since nineteen ninety eight, and I

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<v Speaker 1>was shocked about how good these songs were, and I

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<v Speaker 1>was really excited to share these with you guys. So

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<v Speaker 1>speaking of these old dat tapes as Flux Deluxe addition,

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<v Speaker 1>almost never happened. These old dat tapes from the late

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<v Speaker 1>nineties have I guess totally been dying over time. And

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<v Speaker 1>maybe my old DAT machine. Yeah, I've saved my same

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<v Speaker 1>digital audio tape machines. I'll take a picture this big, old,

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<v Speaker 1>crazy looking thing. Anyway, I was having tons of technical

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<v Speaker 1>issues getting the songs transferred from the DAT machine over

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<v Speaker 1>to the computer in which I was going to master

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<v Speaker 1>them on. There's all problem. I had problems with the

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<v Speaker 1>tapes themselves, problem with the DAT machine. In fact, I

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<v Speaker 1>had to go to a friend of ours, Nick thank

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<v Speaker 1>you so much for loaning me your dat machine, and

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<v Speaker 1>I transferred some songs using his different brand of dat machine.

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<v Speaker 1>But yeah, long story shore, yeah it this is Harry.

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<v Speaker 1>It was several times when I thought, wow, I'm going

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<v Speaker 1>to get most of the songs, but I'm kno gonna

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<v Speaker 1>get all of them. But I was persistent. I wanted

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<v Speaker 1>to make sure I got this done and got it

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<v Speaker 1>done right, and all the songs are here safely, so

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<v Speaker 1>if all my dat tapes and machines die, now everything's good.

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<v Speaker 1>Back in nineteen ninety eight, I went up to visit

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<v Speaker 1>my good friend and master and engineer Robert Rich and

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<v Speaker 1>he mastered the album. I was sitting there with him

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<v Speaker 1>learning how he does it, and I've picked up stuff

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<v Speaker 1>over the years. I've had him mastered most of my

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<v Speaker 1>albums since then. So fortunately for me, I had those

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<v Speaker 1>original nine mastered mixes of Roberts to use as my

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<v Speaker 1>reference for beginning this remastered reissue of Flux, And I

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<v Speaker 1>have to say it's very challenging to try to match

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<v Speaker 1>up or even dare try to improve what Robert did,

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<v Speaker 1>because he did such a fine on the nineteen ninety

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<v Speaker 1>eight mastering. So my job was not to like say

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<v Speaker 1>I'm gonna make it even better or anything like that.

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<v Speaker 1>I just tried to make a really nice mastering for

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<v Speaker 1>the modern digital world, you know, full of streaming, and

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<v Speaker 1>you know this is not a CD release. Yeah, this

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<v Speaker 1>has to be a digital only release. There's just way

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<v Speaker 1>too many minutes with all the extra bonus tracks for

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<v Speaker 1>this to fit on any digital medium. It's one hundred

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<v Speaker 1>and forty seven minutes in total, so I won't fit

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<v Speaker 1>on CD, I won't fit on vinyl or cassette, so

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<v Speaker 1>this will forever remain a digital only release. Similarly to

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<v Speaker 1>how I took the original audio for the nine Flux

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<v Speaker 1>tracks and just tried to make slight improvements for the

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<v Speaker 1>modern age, same thing happened with the cover art. If

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<v Speaker 1>you've seen the photo, the original nineteen ninety eight cover

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<v Speaker 1>photo from Stuart Goo, you've seen it on like any

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<v Speaker 1>of the streaming platforms. I don't know what happened, but

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<v Speaker 1>somehow it's all murky on these platforms. It's just not

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<v Speaker 1>very crisp or beautiful. So one thing Angie strived for

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<v Speaker 1>with this reissue is to prove that situation, and I

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<v Speaker 1>think she's done a wonderful job. It looks fantastic in

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<v Speaker 1>all the streaming platforms. Angie actually tried to get me

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<v Speaker 1>to make this Fluxury Master five years ago for the

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<v Speaker 1>twentieth anniversary. But anyway, here we are twenty five, hey,

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<v Speaker 1>five more or five better? Right? Anyway, When we were

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<v Speaker 1>going through the tracks a few years back, I found

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<v Speaker 1>some of the audio sounds and samples that we used

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<v Speaker 1>in the original recordings, and the one that had the

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<v Speaker 1>most complete files was the song known as I'll Always

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<v Speaker 1>Love You, and I said, Wow, I'm so glad this

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<v Speaker 1>bassline is here, because this is no way I could

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<v Speaker 1>recreate that and some of the other sounds. So I

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<v Speaker 1>pulled them into my digital audio workstation and started playing

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<v Speaker 1>with it because it's so fun to have those original

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<v Speaker 1>files back to work with. And that started our new

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<v Speaker 1>remake of that song, which we call now just misunderstood

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<v Speaker 1>me an Angie reinterpreting an old love Spirals Dowart's classic,

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<v Speaker 1>keeping true to the spirit of the original song and

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<v Speaker 1>putting our own new, unique interpretations into it. I'm super

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<v Speaker 1>happy with how it came out. Another little known fact

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<v Speaker 1>is that this flux remaster almost had two fewer songs.

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<v Speaker 1>When I thought I was done, I handed it over

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<v Speaker 1>to Angie, showed her all the songs all my work. Said, wait,

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<v Speaker 1>there's you left out two of them. I said, oh, yeah,

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<v Speaker 1>I know exactly what you're talking about. I had those files,

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<v Speaker 1>but I didn't remaster them because I thought they were

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<v Speaker 1>already out there in the world. Two songs were already

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<v Speaker 1>on Love Spirals Downwards Temporal, which was like a album

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<v Speaker 1>released in two thousand, kind of a career retrospective. But

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<v Speaker 1>as she said, well, you know, if you want this

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<v Speaker 1>to be the complete Flux everything, you should get those

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<v Speaker 1>on there. Because I was aware she was right. Not

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<v Speaker 1>everyone owned Temporal. Not everyone was aware of these two songs.

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<v Speaker 1>I mean, Temporal's kind of been out of print for

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<v Speaker 1>a while. So yeah, now we have the full complete

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<v Speaker 1>Flux bibliography here. I of the many bonus tracks on

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<v Speaker 1>Flux Deluxe Edition, there's one that totally stands out, totally

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<v Speaker 1>unique is Siffing from all the rest because it was

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<v Speaker 1>not recorded in our studio during the Flux era. It

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<v Speaker 1>was a song we performed live at the Project festival

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<v Speaker 1>in Chicago, and we performed this song from Flux before

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<v Speaker 1>Flux even came out. So this is the first time

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<v Speaker 1>anyone outside of our bedroom studio ever heard the song.

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<v Speaker 1>And speaking of our nineteen ninety seven nineteen ninety eight

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<v Speaker 1>Low Spirals Downwards studio, I should mention Flox stands out

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<v Speaker 1>as the album where I started making music in a

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<v Speaker 1>completely different manner than I had to for all my

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<v Speaker 1>years prior to that. As the first year I started

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<v Speaker 1>introducing some digital audio technology into the recording setup, so

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<v Speaker 1>I was able to like cut kind of what people

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<v Speaker 1>just take for granted now on their computers, doing some

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<v Speaker 1>copy and pasting of vocals and other instruments. So allowed

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<v Speaker 1>us to get way more creative and experimental with how

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<v Speaker 1>we produce music. In the old days, you know, we

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<v Speaker 1>had eight tracks of tape, that's what we had, and

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<v Speaker 1>you put a mic in front of the singer letters singing,

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<v Speaker 1>and that's it. If you want another part, you got it,

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<v Speaker 1>layer another part on top. So for Flux were able

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<v Speaker 1>just to record little bits if we wanted to, or

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<v Speaker 1>big chunks either way. We could process them anyway. Well,

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<v Speaker 1>we could paste them all over, we could loop them.

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<v Speaker 1>I could find something for she recorded eight months ago

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<v Speaker 1>and put it on a brand new song we're working on.

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<v Speaker 1>So yeah, Flux technological breakthrough for us. And speaking of

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<v Speaker 1>reusing vocals that were recorded in the past, I used

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<v Speaker 1>them that recorded in the way distant past back in

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<v Speaker 1>nineteen ninety two when we were working on Arder the

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<v Speaker 1>song Sunset Bell, that's the song that closes out the

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<v Speaker 1>nine core songs on Flux, I took some of Jennifer

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<v Speaker 1>Ryan's vocals off there and prosed us them in a

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<v Speaker 1>new way and produce the nineteen ninety eight version of

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<v Speaker 1>Sunset Bell from that. I'm sure something many people wonder

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<v Speaker 1>about Flux is why is Kristin Perry Suzanne's sister on

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<v Speaker 1>two of the songs. It's a really simple reason. And

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<v Speaker 1>those were two songs that I was excited about. I

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<v Speaker 1>really wanted them to be on Flux, But for some

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<v Speaker 1>reason or another, Suzanne had some creative blockages with those songs.

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<v Speaker 1>She just really couldn't come up with anything that she

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<v Speaker 1>was satisfied with. But I didn't want those songs to

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<v Speaker 1>die and become these weird bonus tracks or anything like that.

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<v Speaker 1>So anyway, I was determined they had to come out.

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<v Speaker 1>I knew they were great songs, so I had worked

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<v Speaker 1>with her sister before before Love Spiles Downwards Hard we

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<v Speaker 1>made a song or two, so I said, all right,

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<v Speaker 1>Kristin's we want to try working on a couple of

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<v Speaker 1>songs with me that Suzanne had trouble with, and that's

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<v Speaker 1>how that came about. One interesting fact about Flux, the

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<v Speaker 1>song Psyche featuring Kristin Perry was played quite prominently on

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<v Speaker 1>the TV show Dawson's Creek, and that was the first

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<v Speaker 1>time I ever had any music of mine played on

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<v Speaker 1>major television. I remember back when Flux came out in

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<v Speaker 1>nineteen ninety eight, there was a bit of anxiety releasing that,

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<v Speaker 1>both for me and for Project Records, because it was

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<v Speaker 1>quite different than anything I've released before, and vastly different

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<v Speaker 1>from anything like Projects known for. You know, they're known

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<v Speaker 1>for like you know, ambient, thereo, gothic, and this is

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<v Speaker 1>like a pop, drum and bass kind of influenced record.

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<v Speaker 1>So unfortunately, at the time it did really well. It

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<v Speaker 1>was one of our best selling albums as Low Spols Dours,

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<v Speaker 1>and right now in the modern digital streaming age, it's

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<v Speaker 1>our most popular, most streamed record. Another cool Flux tidbit

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<v Speaker 1>is that last year DJ Boardlord played our song Alicia

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<v Speaker 1>on their Early Hours DJ mix on Apple Music. And

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<v Speaker 1>speaking of DJs, this is my first release ever on

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<v Speaker 1>the DJ sites Juno Download and Beatport. You see like

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<v Speaker 1>guitar sitting there behind me. That's my Ivanez Tomman. I

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<v Speaker 1>think I got around nineteen ninety six nineteen ninety seven,

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<v Speaker 1>and that is the main guitar I used on Flux.

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<v Speaker 1>So I really hope you learned a few new things

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<v Speaker 1>about Flux and low Spiles dours that I really help

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<v Speaker 1>you check out this Flux Deluxe Edition that I spent

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<v Speaker 1>so much time on. I've been talked about how many

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<v Speaker 1>months I spent working on this to get it polished,

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<v Speaker 1>sounding beautifully. All the songs transferred, like I said, safely

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<v Speaker 1>so that we can all enjoy these songs for the

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<v Speaker 1>recipe turney as long as, like all the streaming service

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<v Speaker 1>pay their bills right, keep the electricity on. So any guys,

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<v Speaker 1>thanks for listening, Thanks for being fans all these years,

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<v Speaker 1>and we had a great time with the listening party

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<v Speaker 1>on band camp, seeing so many faces or names that

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<v Speaker 1>we haven't seen in so long. People have been following

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<v Speaker 1>us for literally decades, and it means a lot to

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<v Speaker 1>me that I've been able to be a part of

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<v Speaker 1>your lives musically all these years, in decades. That's really

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<v Speaker 1>what keeps me going. That's all hits Versundi guys, so

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<v Speaker 1>thanks so much, keep listening, make sure you subscribe to

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<v Speaker 1>our social media our channel here, and we'll see you

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<v Speaker 1>soon with some more love spoules of downwards content