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Speaker 1: W M N h rips the normals.

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Speaker 2: We're back from the grounds.

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Speaker 3: Strass the name.

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Speaker 4: The whites of the creature sack his name.

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Speaker 5: Real mutilation is a very.

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Speaker 3: It's shot taste like red skin, smell.

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Speaker 5: Doun and grab up and strung.

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Speaker 3: Out in paper. How did you place so I just

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come back?

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Speaker 5: I hate joke.

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Speaker 3: It's map skin, take frett skin.

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Speaker 5: Lead eat me too, should mean that's today?

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Speaker 3: Should a shop ain't back that choice. It's like your sensation.

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Speaker 5: Cree chop chop, chump, creat chump shop shop stretching it.

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Speaker 6: The white chosky.

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Speaker 3: Get you in thish on the line and you put

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tell us.

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Speaker 6: On the don't two of your.

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Speaker 5: Eyes, but your right teas is about all those fine Wow.

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The shop taste like ens, shreds and rubbers. Struggle the

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pay boy happen you got sun? Just come back.

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Speaker 7: This man skins a friskin leading me to to do

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that's to make SI suthing.

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Speaker 3: My things can just lack of sensation, shake me away.

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Speaker 8: Show me any other a good line of your creature

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as being its culture.

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Speaker 3: Of mind to distract us the rest of the tab.

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Since the sons of mine face the man's rain in

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my shoes.

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Speaker 9: It's win behind me and there's when behind you, but

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not drunk upon sat strads right you bag, give me

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see quest.

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Speaker 10: I love it, especially the ending. That's really cool. You

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kind of don't expect that. The track is called Creature Culture.

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The band is Brides, another great band from the UK,

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and we are in our number two Newmarrow dose of

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Matt Connorton Unleashed and let's see who we have here

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via WhatsApp from the band Brides, Hello, welcome to the show.

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Speaker 1: Hello, thank you so much for having us on.

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Speaker 10: Absolutely absolutely okay, So who do we have with us?

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Please identify yourselves. Tell us who you are and what

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you do in the band.

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Speaker 1: So my name is Joe. I do the singing and

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play the rhythm sole. Hi.

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Speaker 11: My name is Alex and I play the leads and

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to some backing vocals as well.

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Speaker 1: Okay, and between the two of us we write all

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the songs.

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Speaker 10: Oh, very good, okay, so Joe and Alex yep, yeah, okay,

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Well guys, yeah, welcome. It's wonderful to talk with you.

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I really like the I really like the EP. I

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listen to the whole thing online. And now how do

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you how do you pronounce the title. What's the correct pronunciation.

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Speaker 1: It's pronounced letche. It's milk in Spanish.

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Speaker 10: Oh okay.

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Speaker 1: And we started that because I had a roommate who

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he's got an absolute phobia of people that drink milk.

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I'm a man that likes a little glass of milk

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every now and again.

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Speaker 10: Sure, I used to.

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Speaker 1: Come into the room pronouncing that, but that have a

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big old pinea letche and it make his skin crawl.

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And from there we just decided that was a good

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enough name for the album.

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Speaker 10: That's funny. I yeah, I used to drink a lot

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of milk when I was a kid, and now the

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thought of drinking milk is kind of repulsive to me.

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But but he had a he had a total phobia

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of it. That's funny. Uh yeah, yeah. So I'm really

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curious to know more about about these songs and and

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kind of what your inspirations are. And I'm glad that

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I'm talking to the two members who who write everything

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because it is so interesting. We're gonna play after our conversation.

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We're gonna play. You also asked us to play We're

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out of Gravy, and I also don't but I'm actually

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gonna play two songs at the end because I'm gonna

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play that, but I'm also gonna play because you picked it.

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But there's another song from the EP that I'm also

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gonna play, uh selfishly at the end because I love

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it so much. But I'll wait till at the end

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of our conversation ask you about that song. But yeah, yeah, no,

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I love the whole thing. It's so cool and it's different,

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you know, it's it's not something that you tend to

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hear on the radio. You've You've got a style and

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a sound that I think is unique. But I am

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curious about uh, I'm curious abou out influences sonically because

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I was reading online I saw I saw both Weezer

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and The Wiggles mentioned in the same sentence. I don't

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know if that's accurate or not, but I'm very curious.

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Speaker 1: I mean, with with regards to the guitars and the bass,

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I think we get a lot of inspiration from bands

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like Weezer, my Bloody Valentine.

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Speaker 11: The best band of all time that's radio Head as well.

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Speaker 1: Sot a lot of driven guitars from that. But lyrically,

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I mean, we we have we don't consider ourselves a

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comedy BANDO.

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Speaker 11: I say, we like, we like, we like funny bits,

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we have fun as well.

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Speaker 1: And I think that's what we like about the Wiggles,

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the fact that they can turn these just really simple

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concepts like a fruit salad into a banger that everyone

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is screaming.

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Speaker 11: Yeah, so with Wiggles, with the Dicky's energy.

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Speaker 1: Yeah, yeah, we like we like to think of ourselves

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as the Wiggles. But for gamers, oh.

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Speaker 10: That's great, that's great. And I so I get a

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sense too that these songs are kind of about celebrating

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individuality and and and different and some of some of

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that I might be getting from the song that I

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haven't mentioned the name of yet that I love so

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much that I'm gonna play later. But and I also

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kind of get that from the cover art too. Uh well,

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let's start actually, let's start there. So tell me about

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the cover art for the EP. Who drew that and

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what does it mean.

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Speaker 1: The cover art was designed by a very very good

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friend of mine, Richie Over at the Institute of Free Design,

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And the cover art came about because when we were

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on holiday, maybe about four years ago, we got these

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old beer boxes and for whatever reason. We played a

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chilly game. We turn them into robot heads.

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Speaker 10: Yeah, we did it.

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Speaker 1: We were going to throw them away and I just

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thought they were and there. You know, one day, one day,

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this piece of you know, rubbish is going to come

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in great use. And then we were we were debating

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what to do for the album cover. We knew it

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was going to be good. Let chain and I had

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to have something milk related. We liked the idea of

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all of us riding on the back of a cow.

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Speaker 12: But beyond that we needed to sort of capture the

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We had to get like little propters. So you know,

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on the on the cow, we're all sat on the cow,

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and then I'm at the front as well. We all

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like to do our silly little poses.

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Speaker 1: And to ride a cow. Yeah, we have a stunt

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cow to be able to ride for the reference images,

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so it's all of us balancing precariously on an amp.

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Speaker 5: Oh.

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Speaker 1: We then sent to the artists and said, can you

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just do this but pretend we're on a cow instead,

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and then yeah, So we just wanted to get this

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sense because the album was quite distorted and quite spacious,

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so we wanted to get this sort of grandiose sense

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to it, And I think the easiest way we saw that,

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combined with the robot head is what if there was

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a huge robot assessing the cow for whatever the farious reason?

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Speaker 10: Yep.

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Speaker 1: And I think on perhaps a future release, we might

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get a sequel image to that showing what might happen

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next between the robot and the cow.

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Speaker 10: Okay, okay, I like that idea. Yeah, so I encourage

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people who haven't seen it go online and check out

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this cover and yeah, the robot, the guy with the

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robot head is holding the cow. I actually didn't realize

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it was a cow when I first looked at it.

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I had to kind of study it to even even

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figure that out. I was like, oh, yeah, I think

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that is a cow that they're sitting on. Yeah, so

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that's that's very cool. Do you have You must have

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got a lot of questions about the cover, right, I

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assume people ask you all the time.

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Speaker 11: Yeah, that was a lot with a lot of fire.

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Speaker 12: People seem to really be liking it, which is obviously great,

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but then the comments to be bad about the cover

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is actually I expected that.

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Speaker 13: Yeah.

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Speaker 1: We thought people were just looking at it and think, oh,

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that's pretty cool, But people have really wanted to know

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the rationale behind it. Yeah, I think we're lucky enough

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to be able to work with just challenged artists who

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did this for us. And I mean we We've got

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a gig on the thirteenth September, our next headline show,

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and for that, the same person who designed Richie, the

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same person design the cover, has designed some tarot cards

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that will be giving out to the audience members with

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some of our faces on them and some artwork relating

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to the songs.

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Speaker 5: Oh wow.

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Speaker 1: And we've we've made little milk cartons as well to

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give out and the book Yeah yeah, it's got a

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little robot head key chain in it and the couple

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of sweeties. So yeah, we've we've leaned very hard into

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this whole milk and robot thing, just because so many

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people that come back so interested in it. I will

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make the most situation.

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Speaker 10: I think that's the first time anyone's ever used a

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sentence like that on the show. We've leaned very hard

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into this milk and robot thing.

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Speaker 1: I'm only to be able to bring that to No.

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Speaker 10: I love it. I think that it is so cool

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if you can do something that you know that that

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makes you stand out, but also creates this kind of

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you know, over time, because I assume you're a relatively

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new band, right, yeah.

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Speaker 1: Yeah, we had our first concert in January this year.

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Speaker 10: Really, oh yeah, okay, so you're very new. So over time,

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you know, as long as you continue to to do

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this type of thing with the cover and the you

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know and and you know, these concepts that you know,

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a mythology will kind of build around the band and

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if that makes sense, and I it is definitely what

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for Yeah, yeah, And I think that's a great thing

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to have because you know, it creates interest and it

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it uh, you know, if if you can even pull

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you know, you might pull some people in who are

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just kind of interested in the image and what does

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it all mean, and then they they listen to the

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music and then they're they're you know, then they become

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permanent fans because of the music. But but yeah, having

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having something that kind of pulls people in, I think

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is a great strategy. And it's and it's underused. It's

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it's not something a lot of artists really do. If anything,

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a lot of artists try to kind of fit in

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with whatever is going on at the time.

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Speaker 1: I think there's a big trend towards at the moment,

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especially with the big push for marketability on social media

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and everything, a lot of people put an image of

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themselves as the cover image because I helped boost engagement

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and everything.

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Speaker 10: Sure, but you know, you know, being admirers.

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Speaker 1: Of the Beatles and Pixies and radiohead bands with really

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iconic front images, we just the Yeah, we just we

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just wanted something that lived up to the scope at

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least what we thought of the record. And I'm really

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really happy to just come about that.

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Speaker 10: Well, yeah, absolutely so. In terms of the songs themselves,

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I mean, are you are you? I mean I kind

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of might have been reading into it a little bit.

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I don't know what are the songs supposed to be about.

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I mean, is there a cohesive theme or is it?

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Is it just it seems like you're there's almost these

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different like each song almost to me is kind of

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like its own character in some sort of story that

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I don't quite understand. Again, I don't know if I'm

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reading too much into it. Tell me if I am.

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Speaker 11: But really, yeah, well definitely they all kind of they're

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all like, so how we do it?

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Speaker 2: Is?

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Speaker 11: Me and Joe, We like we come up with the

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songs like on our own, and then we come together.

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Then we put them together.

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Speaker 12: I give any input or he gives any input back

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to me, and then but they're they're all very like

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individual to us personally, Like with lyrics, there's a lot

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of a lot of things going on each one.

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Speaker 1: I think we like to take like quite personal subject

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matters and given a bit of a larger than life persona,

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which is which we've done through sort of characterizing each

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one of these songs. I mean, one of our tracks,

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Common Inferno is all about two clones who fall in

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love with each other and face the consequences for that.

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Rebecca is about an angel that likes to have a

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bit of a drink. And they're all based on people

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we know really in real life who have had big

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influences on us.

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Speaker 11: Yeah, and we've.

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Speaker 1: Dressed them up enough so that those people don't necessarily

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know we're singing about them.

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Speaker 10: Well, now, I'm curious, has anyone ever come to you

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and said is it or asked you is that song

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about me? Or did I have anything to do with

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inspiring that song? Is that happened?

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Speaker 1: Unfortunately we will be shot by a couple of people.

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But I will say every person we have ever met

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called Rebecca and the people at home another one of

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our tracks called Rebecca. Everyone we've ever met named Rebecca

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has reached out and said, oh my god, I can't

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believe you wrote this song about me. I started off

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denying it, saying, oh, no, it's unrelated, but in the

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end I just thought, oh, well, they're going to listen

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to it. Yeah, of course it's about about you. I

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are honored that you let us write this about you.

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Speaker 11: We aim for a sold out gig just with people

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named Rebecca there.

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Speaker 10: That would be great. That would be great. So the

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album sounds really good. Where do you guys record?

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Speaker 1: We recorded in two different studios. We did the drums

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in a place called Arc, which we've had a lot

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of experience with recording there. But then for the rest

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of the track of the guitars and bass and vocals

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and all the fun little sounds you here in the background,

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we recorded at Brier Street Studios in Liverpool. Newer studio,

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but it was absolutely fantastic. I had a really really

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good atmosphere and energy. The owner was super super nice,

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and we were lucky enough to work with just the

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best producer in the World Rory Valentine, and he.

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Speaker 11: Taught me how to make coffee there as well.

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Speaker 1: He did. He taught you had to make a proper coffee. Yeah,

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I had a screen properly into the mic without clipping it.

291
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We've been really really lucky to work with the people

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we have.

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Speaker 12: Especially like there's a distortion layer on Common Inferno as well,

294
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like just working that for a just as well, just

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just being able to just blast that and just.

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Speaker 1: Yeah, get it perfect. If you listen carefully, you'll find

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a lot of the distortion layers are just Alex screaming

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into his.

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Speaker 14: Guitar pickups that the feedback really yeah, yeah, yeah, So

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I like tune it so it's so it's in key

301
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and then just like scream into it, run around the room,

302
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smash it on the wall or something, and then just.

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Speaker 1: Try and get as much as many mangled sounds as

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we're good.

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Speaker 10: That's interesting. That's interesting.

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Speaker 1: Took some perfecting to get right, but we got there

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in the end, and then a lot of the little

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background sounds and monsters. This was again we were lucky

309
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to work with Rory, who's who've been game for anything.

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He if you listen in the right headphone nice and quiet.

311
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He delivers a speech about an evil monster destroying reality

312
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that took a lot of time to get right because

313
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we were all just you know, wetting ourselves laughing through it.

314
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Speaker 11: But that's when we were kind of like we were

315
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linking in that that robot theme.

316
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Speaker 1: Yeah, yeah, again, trying to bring it all back together. So,

317
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I mean to go back to an earlier question, I

318
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think the common theme of the release is just sort

319
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of desperation, not in the negative sense, not in a

320
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sad sense, but I feel, especially when you're younger, you're

321
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just in such a hurry to get everything done because

322
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you feel at the time slipping away from you and

323
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whether that relates to you, you know, getting into a

324
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relationship that might not be the best just because it's

325
00:16:20,360 --> 00:16:22,960
the most comfortable thing, or going a bit crazy on

326
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the old on the old beveroonies for a week or two. Yeah,

327
00:16:27,639 --> 00:16:29,919
is that sort of annic behind it, And I think

328
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we've tried to capture that, and as I say, take

329
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the Wiggles inspiration as well and make it a bit fun.

330
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Speaker 10: I'm curious, when you write these songs, do they end

331
00:16:41,200 --> 00:16:43,120
up do any of these for example, on this EP,

332
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did any of them come out differently in a significant

333
00:16:46,120 --> 00:16:50,120
way than what you had in mind or expected when

334
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you went in.

335
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Speaker 12: Yeah, so definitely, because me and Job that we've been

336
00:16:55,639 --> 00:16:58,559
writing them for like two two and a half years

337
00:16:58,600 --> 00:17:01,799
to two and a half years, will say, But we

338
00:17:02,200 --> 00:17:07,720
initially had like a full horn section the way we wanted.

339
00:17:07,480 --> 00:17:08,599
Speaker 11: To incorporate into it.

340
00:17:08,839 --> 00:17:12,920
Speaker 12: Really I didn't think it was Yeah, we did get

341
00:17:13,880 --> 00:17:16,799
a trumpet in, yeah, well, but I think we just

342
00:17:16,799 --> 00:17:17,720
didn't think it was bible.

343
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Speaker 11: Really, it wasn't really the sound we were going for.

344
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Speaker 12: But for this one, maybe later down the line, but

345
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for this plus, like we realized probably like a year

346
00:17:27,119 --> 00:17:29,200
ago that it was going to be like, well, I

347
00:17:29,240 --> 00:17:31,000
don't know how you describe it, but it's like punk.

348
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Speaker 5: Yeah.

349
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Speaker 1: I think Cozer and James that sorry. Coz are our

350
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basis and James our drummer. Joining was a big influence

351
00:17:36,039 --> 00:17:37,799
because we were originally going to go for more of

352
00:17:37,920 --> 00:17:39,799
a jazzier route, but once we got them in the band,

353
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James smashes the kit hard than anyone ever, is amazing,

354
00:17:43,599 --> 00:17:47,440
has these thundering basslines, So it just sort of pivoted

355
00:17:48,240 --> 00:17:51,400
more into sort of a psychedelic hard rock thing without

356
00:17:51,440 --> 00:17:53,839
a lot of effort. It just sort of came out

357
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naturally that way. Yeah, and specific songwise, I mean, Rebecca

358
00:17:56,680 --> 00:17:58,640
used to be I want to Attract Rebecca used to

359
00:17:58,680 --> 00:18:04,079
be three separate songs. We're all perfectly fine, and we

360
00:18:04,240 --> 00:18:06,000
just thought, and they're all right, we don't have any

361
00:18:06,039 --> 00:18:07,559
of them. What if we just took the best bits

362
00:18:07,599 --> 00:18:09,680
of each of them, let's slam them into each other.

363
00:18:09,839 --> 00:18:11,079
And it ended up working right.

364
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Speaker 11: Yeah, similarly all Teapot was very different.

365
00:18:14,680 --> 00:18:16,319
Speaker 1: Yeah, Teapot started very very different.

366
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Speaker 11: That was originally just that riff over and over again.

367
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But yeah, I think we were having enough over and

368
00:18:20,839 --> 00:18:21,240
over again.

369
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Speaker 1: They can't be with us today because they're hugely influential

370
00:18:26,640 --> 00:18:29,000
on the sound of the EP, but they were. They

371
00:18:29,039 --> 00:18:32,400
were a big influence into an impact into why we

372
00:18:32,519 --> 00:18:34,920
sort of went a bit heavier than we intended originally.

373
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Speaker 10: Sure, sure, So I'm really curious, who about the live show?

374
00:18:37,960 --> 00:18:38,920
What is the live show?

375
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Speaker 5: Like?

376
00:18:39,480 --> 00:18:42,119
Speaker 10: I mean, do you do you wear uh you know,

377
00:18:42,359 --> 00:18:45,519
cardboard robot heads or like the show?

378
00:18:48,119 --> 00:18:51,720
Speaker 1: Okay, so a lot of the lives. So my I

379
00:18:51,839 --> 00:18:53,720
love singing on stage and I love playing guitar on

380
00:18:53,720 --> 00:18:57,359
stage and running about like a fool. I hate talking

381
00:18:57,440 --> 00:18:59,759
on stage so very very much. I'm no good at

382
00:18:59,799 --> 00:19:02,640
it frees up. So the goal with our sets has

383
00:19:02,680 --> 00:19:05,720
always been to transition from one song into the other

384
00:19:06,119 --> 00:19:09,240
as smoothly as possible, which means for the live show

385
00:19:09,279 --> 00:19:11,559
we have quite a lot of these sort of soundscaping sections.

386
00:19:12,799 --> 00:19:14,759
I mean both they're really good to listen to, and

387
00:19:14,839 --> 00:19:16,880
they let us use off our big fancy pedal boards

388
00:19:16,880 --> 00:19:19,839
and our micro sequences and all the hologram stuff. But

389
00:19:20,279 --> 00:19:22,160
it's not it's not. It is a lot of that.

390
00:19:22,359 --> 00:19:24,559
Speaker 11: But Joe does put his like big boy pants on

391
00:19:24,640 --> 00:19:26,319
sometimes and does talk to the audience.

392
00:19:28,400 --> 00:19:30,000
Speaker 1: But yeah, all these soundscapes, I mean, they they worked

393
00:19:30,000 --> 00:19:31,000
really well for changing.

394
00:19:32,079 --> 00:19:33,440
Speaker 12: And we all we all kind of talk to each

395
00:19:33,440 --> 00:19:36,839
other as well there as well. But the yeah, it's

396
00:19:36,920 --> 00:19:40,400
just like live shows, just high energy. Joe's running around,

397
00:19:40,920 --> 00:19:42,400
I'm on the floor.

398
00:19:42,640 --> 00:19:44,799
Speaker 1: I like coming into the crowd to say to everyone.

399
00:19:45,240 --> 00:19:45,480
Speaker 10: Yeah.

400
00:19:46,079 --> 00:19:49,160
Speaker 1: We like it to feel like everyone is just hanging

401
00:19:49,200 --> 00:19:51,400
out with the band. So when we do eventually have

402
00:19:51,480 --> 00:19:53,680
to talk, rather than doing these sort of little speeches,

403
00:19:54,079 --> 00:19:55,920
we just like to have a chat amongst ourselves, have

404
00:19:56,000 --> 00:19:58,640
a little laugh, and people have been responding really well

405
00:19:58,680 --> 00:20:00,960
to it. We're we're booking s across the country at

406
00:20:00,960 --> 00:20:03,880
the moment, with more on the way, so keep an

407
00:20:03,920 --> 00:20:06,799
eye out. If your fancy coming to watch us, they

408
00:20:06,799 --> 00:20:07,240
will make.

409
00:20:07,119 --> 00:20:09,559
Speaker 10: All way over to you, outstanding, I would love that.

410
00:20:10,599 --> 00:20:12,960
So you're kind of an obvious question, but where does

411
00:20:13,000 --> 00:20:16,880
the name come from? Brides or see?

412
00:20:17,039 --> 00:20:19,400
Speaker 12: Joel'll tell you something. So the pub we go to

413
00:20:19,599 --> 00:20:22,240
is called the Bride Well, that's just the one that

414
00:20:22,319 --> 00:20:25,240
me and Joe have always gone to. And then Brian,

415
00:20:25,559 --> 00:20:28,759
I think it came from them.

416
00:20:29,720 --> 00:20:31,680
Speaker 1: Or something, and I like to say we were going

417
00:20:31,759 --> 00:20:35,359
to be called Grooms, but that had some some negative connotations.

418
00:20:35,519 --> 00:20:37,440
Speaker 10: Okay, so we pivoted.

419
00:20:38,440 --> 00:20:38,599
Speaker 13: Yeah.

420
00:20:38,680 --> 00:20:40,839
Speaker 1: No, we are named after the pub of the Bride Cup,

421
00:20:40,880 --> 00:20:44,160
which we have been drinking and writing songs in since

422
00:20:44,359 --> 00:20:45,599
we moved this city pretty much.

423
00:20:46,400 --> 00:20:50,799
Speaker 15: Okay, okay, there it's a fairly it's the semi famous

424
00:20:50,839 --> 00:20:51,720
pub around Liverpool.

425
00:20:52,680 --> 00:20:54,039
Speaker 1: I just called Frankie Goes to Hollywood.

426
00:20:54,559 --> 00:20:57,680
Speaker 10: Oh yes, yes, So the pub.

427
00:20:57,599 --> 00:20:59,680
Speaker 1: Originally used to be some rehearsal rooms and that was

428
00:20:59,720 --> 00:21:02,240
the rooms where Frankie Goes the Hollywood was formed. There's

429
00:21:02,359 --> 00:21:05,519
a little bit of history to it. And yeah, it's

430
00:21:05,559 --> 00:21:07,079
got a plaque of Frankie up at the moment. So

431
00:21:07,119 --> 00:21:09,079
I'm hoping one day there can be a plaque a

432
00:21:09,079 --> 00:21:11,759
little old Me and Alex watching over all the patrons

433
00:21:11,799 --> 00:21:12,119
of the bar.

434
00:21:12,559 --> 00:21:14,920
Speaker 11: Yeah, and a free pint would be nice.

435
00:21:14,960 --> 00:21:18,519
Speaker 10: Yeah, yeah, Oh that's cool. Yeah. In America, Frankie Osa

436
00:21:18,559 --> 00:21:20,720
Hollywood is best known for the song Relaxed.

437
00:21:21,079 --> 00:21:22,680
Speaker 1: That was incredible.

438
00:21:23,039 --> 00:21:25,519
Speaker 10: That was their huge hit over here, and I feel

439
00:21:25,559 --> 00:21:27,039
like there might have been one or two others, but

440
00:21:27,160 --> 00:21:29,839
that's like the big, big one that Americans are most

441
00:21:29,920 --> 00:21:34,599
familiar with. Oh that's that's cool, I think, yeah.

442
00:21:34,480 --> 00:21:35,920
Speaker 1: I think that's what made it big over here as well.

443
00:21:36,160 --> 00:21:38,240
I would like to say we've got a bit of

444
00:21:38,279 --> 00:21:41,000
Frankie about us, not necessarily musically, but only in the

445
00:21:41,079 --> 00:21:44,240
sense that my hips to be moving around quite a

446
00:21:44,279 --> 00:21:46,960
lot on stage, and if I be more confident, I

447
00:21:47,000 --> 00:21:52,039
might whip out the gim mask. But yes, that new question.

448
00:21:52,119 --> 00:21:52,960
Speaker 2: We we do wear that.

449
00:21:53,079 --> 00:21:57,240
Speaker 1: We do wear the robot heads and one step.

450
00:21:57,039 --> 00:22:00,240
Speaker 10: Down from the okay, okay, maybe save the gip ask

451
00:22:00,319 --> 00:22:02,000
for you know, if you do the show with all

452
00:22:02,039 --> 00:22:03,519
the Rebecca's or something. I don't know.

453
00:22:05,480 --> 00:22:08,079
Speaker 1: If we ever make it to the US, we'll tell

454
00:22:08,160 --> 00:22:10,799
the Rebecca only show all in gimp mask and you'll

455
00:22:10,839 --> 00:22:12,160
be the guest of honor. We assure you.

456
00:22:12,519 --> 00:22:19,000
Speaker 10: I would love that. I think sounds great. That's a

457
00:22:19,039 --> 00:22:21,480
great idea. That's a great idea. Are you guys playing

458
00:22:21,480 --> 00:22:22,880
a lot of shows? It sounds like you are right

459
00:22:22,920 --> 00:22:25,000
you said you're starting book shows across the country.

460
00:22:24,759 --> 00:22:28,839
Speaker 1: There, Yes, So we've got Liverpool headline on the thirteenth.

461
00:22:29,000 --> 00:22:30,759
Speaker 15: Then we've got a few more Liverpool shows this year,

462
00:22:31,240 --> 00:22:32,519
Manchester show this year.

463
00:22:32,720 --> 00:22:38,279
Speaker 1: And then we're moving to London, Glasgow, Sheffield in early

464
00:22:38,400 --> 00:22:41,000
next year. Excellent, and we might start walking to boys

465
00:22:41,039 --> 00:22:41,559
the next EP.

466
00:22:42,000 --> 00:22:45,279
Speaker 10: Don't tell anyone, oh okay, okay. By the way, so

467
00:22:45,720 --> 00:22:48,279
I'm always curious about this what went into the decision

468
00:22:48,359 --> 00:22:51,279
to record an EP, because, as you know, a lot

469
00:22:51,319 --> 00:22:54,839
of artists now, especially new artists, they might just do singles,

470
00:22:55,079 --> 00:22:57,319
or they might do a full album, or they might

471
00:22:57,359 --> 00:22:59,720
do an EP. Was there anything that went into that?

472
00:23:00,359 --> 00:23:01,759
Was it just a number of songs that you had

473
00:23:01,799 --> 00:23:03,920
ready or what went into the decision to make an EP?

474
00:23:05,519 --> 00:23:05,720
Speaker 13: Yeah?

475
00:23:05,839 --> 00:23:09,799
Speaker 12: Well I think we have got an album planned like

476
00:23:10,519 --> 00:23:12,799
further down the line. Obviously, it takes a bit more

477
00:23:13,839 --> 00:23:17,160
like for resources and time to fully commit to it,

478
00:23:17,200 --> 00:23:19,400
and we do have a theme, a proper theme that

479
00:23:19,519 --> 00:23:19,960
we have set.

480
00:23:20,799 --> 00:23:23,000
Speaker 11: Yeah, yeah, obviously we do with the EPs.

481
00:23:23,240 --> 00:23:25,119
Speaker 12: But I mean, you could be a six song EP,

482
00:23:25,319 --> 00:23:26,839
so you I mean, you could get away with calling

483
00:23:26,839 --> 00:23:28,480
an album, but it's not like an album.

484
00:23:28,559 --> 00:23:31,599
Speaker 11: To us is a it's like a full journey start

485
00:23:31,680 --> 00:23:32,119
to finish.

486
00:23:32,799 --> 00:23:34,039
Speaker 1: We didn't want to do an album ntil we were

487
00:23:34,079 --> 00:23:35,359
ready to fully get it, and we didn't want to

488
00:23:35,400 --> 00:23:37,720
do singles only because as you, I mean, you've listened

489
00:23:37,759 --> 00:23:40,079
to the EP, I hope you'd agree that there's it's

490
00:23:40,160 --> 00:23:43,119
quite a varied yeah sound. Oh, we didn't want to

491
00:23:43,119 --> 00:23:45,759
put out any one song that pigeonholed us. We thought

492
00:23:45,799 --> 00:23:48,559
we'd put out a good selection that showed a bit

493
00:23:48,599 --> 00:23:53,000
of our range. And also we just have so many songs.

494
00:23:53,400 --> 00:23:56,680
We've got these where the next we'll hopefully be producing

495
00:23:56,720 --> 00:23:59,960
another EP within I'm not going to say how long.

496
00:24:00,119 --> 00:24:03,400
I'm getting the look, I can't say how long. Before

497
00:24:03,480 --> 00:24:08,000
long that will include another seven or eight songs which

498
00:24:08,079 --> 00:24:10,880
will be combined with this EP. That will be the

499
00:24:10,920 --> 00:24:14,160
totality of everything me and Alex wrote together before we

500
00:24:14,279 --> 00:24:18,119
hired James and Kozer. So once we have that out

501
00:24:18,119 --> 00:24:19,400
of the way we've started working on the.

502
00:24:20,160 --> 00:24:24,160
Speaker 12: Album and which we were all doing together, like, well,

503
00:24:24,160 --> 00:24:26,160
obviously they've all come up with their own parts, but

504
00:24:26,200 --> 00:24:30,839
they're all like, we're just jamming the songs from the start, Yeah.

505
00:24:30,759 --> 00:24:33,400
Speaker 1: Working through, working different instruments in. We've got introduced in

506
00:24:33,480 --> 00:24:35,680
the keyboard and Alex has been getting really good on

507
00:24:35,680 --> 00:24:36,240
the saxophone.

508
00:24:36,279 --> 00:24:40,759
Speaker 11: Avenue Mate, Neighbors to.

509
00:24:43,319 --> 00:24:44,039
Speaker 4: Go, We've got.

510
00:24:45,640 --> 00:24:48,039
Speaker 1: Mandolin. Yeah. Even at this show on the thirteenth, we're

511
00:24:48,039 --> 00:24:50,880
bringing in the Madeline Slide. I'll be ripping the back

512
00:24:51,079 --> 00:24:51,599
Zoo solo.

513
00:24:51,920 --> 00:24:52,240
Speaker 10: Nice.

514
00:24:53,839 --> 00:24:56,160
Speaker 1: We just want to keep these gigs high energy as

515
00:24:56,160 --> 00:24:59,519
we can, especially for our fans who've been to a

516
00:24:59,559 --> 00:25:02,359
lot of us. It's good to keep things fresh for them.

517
00:25:02,880 --> 00:25:05,319
Speaker 12: Yeah, definitely, because yeah, because we do a lot of

518
00:25:05,319 --> 00:25:07,400
half of our shows as well, and with the ep

519
00:25:07,640 --> 00:25:10,119
be and six songs, we try to get them all

520
00:25:10,200 --> 00:25:11,839
on and then we might only get time for like

521
00:25:12,079 --> 00:25:14,599
one or two that they haven't sinned, but with dicilms

522
00:25:14,960 --> 00:25:15,480
like an hour.

523
00:25:15,359 --> 00:25:18,759
Speaker 11: And yeah, yeah, so we can fully we well it's great,

524
00:25:18,960 --> 00:25:20,960
it's a great set. But I say so myself.

525
00:25:20,960 --> 00:25:23,119
Speaker 1: I think so, oh yeah, we didn't need to go

526
00:25:23,240 --> 00:25:26,920
off our range and get more people interested in compacy

527
00:25:26,960 --> 00:25:28,480
us live where they can see the rest of our songs.

528
00:25:28,640 --> 00:25:28,839
Speaker 5: Yeah.

529
00:25:29,039 --> 00:25:32,680
Speaker 10: Absolutely. Where should people go online? Where's the best place

530
00:25:32,720 --> 00:25:34,160
for people to go to keep up with everything that

531
00:25:34,240 --> 00:25:35,000
you guys are doing.

532
00:25:36,359 --> 00:25:38,519
Speaker 11: The Instagram, for sure, or the TikTok.

533
00:25:38,680 --> 00:25:41,599
Speaker 1: Yeah, the Instagram, the TikTok. We're on Twitter as well,

534
00:25:41,640 --> 00:25:45,400
but sparsely use it, and we are at that band

535
00:25:45,519 --> 00:25:50,519
bride on everything on YouTube, Twitter, TikTok. And speaking of YouTube,

536
00:25:50,759 --> 00:25:53,400
there is a music video for Creature Culture that will

537
00:25:53,440 --> 00:25:56,839
be dropping at three pm tomorrow, three pm GMT. So

538
00:25:58,119 --> 00:26:03,079
your time, Okay, I do, of course, I know my

539
00:26:03,200 --> 00:26:05,119
time conversions off my heart.

540
00:26:05,400 --> 00:26:07,519
Speaker 10: You did say it with confidence. It sounds like, you know,

541
00:26:07,680 --> 00:26:10,839
so that's good. Look forward to I look forward to

542
00:26:10,839 --> 00:26:13,720
seeing that. That's very cool. Okay. So in a moment,

543
00:26:14,480 --> 00:26:17,200
and I really appreciate you guys joining us today, we're

544
00:26:17,200 --> 00:26:21,599
gonna play oh yeah, absolutely. We're actually going to play

545
00:26:21,640 --> 00:26:23,400
two songs. But so the first one is the one

546
00:26:23,440 --> 00:26:25,480
that you asked us to play to end the segment,

547
00:26:25,519 --> 00:26:29,880
which is We're out of gravy. So the obvious question

548
00:26:30,039 --> 00:26:31,920
before we play that one, I want to know, like,

549
00:26:32,559 --> 00:26:34,480
is this literally about running out of gravy or what

550
00:26:34,599 --> 00:26:35,319
what is this about?

551
00:26:37,480 --> 00:26:40,200
Speaker 12: Yeah, when I came up with the title, it was

552
00:26:40,319 --> 00:26:42,680
literally just me running out of gravy when I was

553
00:26:42,720 --> 00:26:44,000
trying to put it on some chicken.

554
00:26:44,279 --> 00:26:44,440
Speaker 10: Yeah.

555
00:26:44,640 --> 00:26:48,920
Speaker 12: Then then it kind of it went from there with

556
00:26:49,039 --> 00:26:52,079
the you know, the whole gravy train metaphor and okay,

557
00:26:52,400 --> 00:26:55,480
just personal things in my in my life, and I

558
00:26:55,640 --> 00:26:58,200
was reading I was also reading the Clockwook Orange as

559
00:26:58,240 --> 00:27:01,279
well as I just finished reading it. Yeah, and yeah,

560
00:27:01,359 --> 00:27:03,160
I just thought I had the you know that some

561
00:27:03,319 --> 00:27:06,640
components that I could put together just to make make

562
00:27:06,680 --> 00:27:07,519
a little tune out of it.

563
00:27:07,680 --> 00:27:09,640
Speaker 1: So yeah, but that brings on to a good point.

564
00:27:09,759 --> 00:27:12,079
Most of our songs are just start tend to start

565
00:27:12,119 --> 00:27:14,440
with the song title we think sounds quite amusing, and

566
00:27:14,559 --> 00:27:17,240
then from there we'll try and uh base it in

567
00:27:17,799 --> 00:27:18,599
some sort of reality.

568
00:27:18,880 --> 00:27:21,000
Speaker 10: Interesting, So you start with the title A lot of

569
00:27:21,039 --> 00:27:22,119
the time, that's interesting.

570
00:27:22,319 --> 00:27:25,559
Speaker 1: I helped people, the theme helps people. The theme Yeah, yeah,

571
00:27:26,279 --> 00:27:27,680
can help me try and get me more creative.

572
00:27:28,000 --> 00:27:30,400
Speaker 10: Yeah, no, that that makes sense. So we're gonna play

573
00:27:30,440 --> 00:27:31,880
that one in a moment. And the one I'm gonna

574
00:27:31,920 --> 00:27:34,240
sneak in after that too, is the one that ends

575
00:27:34,319 --> 00:27:37,160
the EP. Hideous monsters and the people that love them.

576
00:27:37,319 --> 00:27:40,240
I love the song. I enjoyed the I enjoyed the

577
00:27:40,400 --> 00:27:43,160
entire EP, but this one really really kind of speaks

578
00:27:43,200 --> 00:27:45,319
to me and anything we should know about this one.

579
00:27:47,240 --> 00:27:50,279
Speaker 15: This was written a time in my life when I

580
00:27:50,400 --> 00:27:54,240
started getting back into the dating and I had had

581
00:27:54,279 --> 00:27:55,920
some it's had some issues about how I look like,

582
00:27:56,000 --> 00:27:58,200
and I just wanted to write a song for myself

583
00:27:58,359 --> 00:28:02,480
that encouraged me to get out there and see what

584
00:28:02,559 --> 00:28:04,799
the world has to offer despite my own reservations.

585
00:28:05,519 --> 00:28:07,599
Speaker 1: I just remember I was at.

586
00:28:07,519 --> 00:28:09,400
Speaker 11: Work and then Joe he just sent me a text

587
00:28:09,400 --> 00:28:11,039
saying that he's made a He's made a new one.

588
00:28:11,079 --> 00:28:12,960
And then I was like, I think I was a

589
00:28:13,000 --> 00:28:18,359
bit tired, and I came around and he got it.

590
00:28:18,440 --> 00:28:21,720
Speaker 12: He'd like recording on his laptop, just like a little demo,

591
00:28:22,240 --> 00:28:24,559
and then yeah, just it all just started coming from there,

592
00:28:24,599 --> 00:28:24,920
and I was.

593
00:28:24,920 --> 00:28:26,000
Speaker 11: Just super impressed. It was.

594
00:28:26,160 --> 00:28:28,799
Speaker 1: I think we probably spent maybe seven eight hours just

595
00:28:28,839 --> 00:28:31,240
sat in my room in thirty degree heat with no

596
00:28:31,400 --> 00:28:34,599
windows trying to finish that song. Oh wow, and then

597
00:28:35,359 --> 00:28:38,000
getting Coocer and James on it as well just propelled.

598
00:28:37,599 --> 00:28:40,359
Speaker 12: It into that was a huge The baseline in the

599
00:28:40,480 --> 00:28:44,880
verses on that is it's brilliant from Okay, and I'm

600
00:28:44,920 --> 00:28:45,400
glad you like.

601
00:28:45,440 --> 00:28:48,480
Speaker 1: That song as well because speaking of music videos, oh

602
00:28:48,559 --> 00:28:49,079
yes we are.

603
00:28:49,200 --> 00:28:51,240
Speaker 11: We are in the process of recording the video for

604
00:28:51,319 --> 00:28:51,960
that one as well.

605
00:28:52,079 --> 00:28:53,359
Speaker 1: Oh wow, that's likely to be.

606
00:28:54,480 --> 00:28:57,960
Speaker 11: Yeah, my directorial debut will be We're all very proud

607
00:28:58,000 --> 00:28:58,119
of you.

608
00:28:58,960 --> 00:29:02,160
Speaker 10: Oh very cool. That is awesome. Okay, okay, well that

609
00:29:02,279 --> 00:29:04,559
is excellent to here. So we're gonna play those tracks

610
00:29:04,599 --> 00:29:06,720
in a moment, so i'll let you guys go. Joe

611
00:29:06,759 --> 00:29:08,680
and Alex, thank you so much, both of you for

612
00:29:08,799 --> 00:29:15,400
joining us today. This has been wonderful, absolutely absolutely, yes, yes,

613
00:29:15,480 --> 00:29:17,759
and we will do this again in the future, especially

614
00:29:17,799 --> 00:29:20,079
as you're releasing new music. So so we'll have you

615
00:29:20,160 --> 00:29:22,359
back on but guys, thank you again so much and

616
00:29:22,440 --> 00:29:25,680
we'll talk to you soon. Thank you, you got it.

617
00:29:25,720 --> 00:29:27,960
Bye bye, all right, wonderful. So that was Joe and

618
00:29:28,119 --> 00:29:31,920
Alex from the band Brides, and so let's listen to

619
00:29:31,960 --> 00:29:33,799
these again. We're gonna play two of these, so we're

620
00:29:33,839 --> 00:29:37,799
gonna finish well, we're gonna finish the segment with first

621
00:29:37,839 --> 00:29:39,880
with We're Out of Gravy, another great track from the

622
00:29:39,960 --> 00:29:43,000
EP la if I'm saying that correctly. And and then

623
00:29:43,039 --> 00:29:45,160
we're also gonna play Hideous Monsters and the People that

624
00:29:45,279 --> 00:29:48,039
love them, partly me just being selfish because I love

625
00:29:48,119 --> 00:29:51,079
that song so much, so we're gonna give those both

626
00:29:51,160 --> 00:29:51,960
of these a spin.

627
00:29:52,799 --> 00:29:53,279
Speaker 5: And uh.

628
00:29:53,480 --> 00:29:56,599
Speaker 10: And then if you are listening live on Saturday, coming

629
00:29:56,680 --> 00:29:59,480
up in the third hour, Pulsifier, a great band from

630
00:29:59,519 --> 00:30:01,400
Portland is gonna be here with us in studio. So

631
00:30:01,559 --> 00:30:03,839
we have a lot left to go on today's show.

632
00:30:03,880 --> 00:30:06,519
But here's a couple of tracks from Brides and we're

633
00:30:06,559 --> 00:30:08,799
gonna play this one next. This is called We're out

634
00:30:08,839 --> 00:30:09,559
of Gravy.

635
00:30:17,880 --> 00:30:19,079
Speaker 6: At the station.

636
00:30:22,839 --> 00:30:31,839
Speaker 9: As we're already out of vacation, and the tracks that

637
00:30:32,079 --> 00:30:35,119
lead out from the side of my hands to the

638
00:30:35,359 --> 00:30:40,920
carriage as we wait for the ending of marriage of

639
00:30:41,119 --> 00:30:43,920
the outspy of passage.

640
00:30:45,559 --> 00:30:50,000
Speaker 3: Do we get off this train at least by the.

641
00:30:50,119 --> 00:30:51,759
Speaker 5: Words I don't know.

642
00:30:53,160 --> 00:30:54,000
Speaker 16: It must be low.

643
00:30:54,160 --> 00:30:55,839
Speaker 5: We can all this last.

644
00:30:55,599 --> 00:31:02,000
Speaker 17: One time track by.

645
00:31:00,359 --> 00:31:02,720
Speaker 5: This time, So it's not a conducted I just can't

646
00:31:02,799 --> 00:31:11,200
sac the bat apony, it's true. The other one a ticket.

647
00:31:11,799 --> 00:31:13,279
It's your money.

648
00:31:14,759 --> 00:31:15,039
Speaker 1: Like you.

649
00:31:16,720 --> 00:31:20,759
Speaker 5: Well, it's true. Others it's here.

650
00:31:20,799 --> 00:31:24,480
Speaker 3: An extracting anything astricting me.

651
00:31:24,640 --> 00:31:29,960
Speaker 5: I'm retire again. I resell you again.

652
00:31:33,000 --> 00:31:34,160
Speaker 17: I retire again.

653
00:31:37,119 --> 00:31:38,279
Speaker 6: I return again.

654
00:31:41,119 --> 00:31:43,759
Speaker 5: I'm night the cot be carefull down to bring.

655
00:31:43,640 --> 00:31:46,000
Speaker 3: Me to her this capstic but that wain.

656
00:31:46,599 --> 00:31:50,359
Speaker 17: Pray school ways don't be tell me thot some about

657
00:31:50,400 --> 00:31:50,880
this guy.

658
00:31:51,079 --> 00:31:53,519
Speaker 5: I phone me. I got out. I'm finally got say

659
00:31:53,599 --> 00:32:00,279
I basted, I fab done t me side. It's true

660
00:32:00,680 --> 00:32:06,680
mother again, it's you know my money missing anyone any

661
00:32:06,799 --> 00:32:14,440
wonder It's true. They say I'm missing. They are turning

662
00:32:14,519 --> 00:32:20,079
me up for a over again. I return again.

663
00:32:23,079 --> 00:32:31,440
Speaker 8: I'm fret over again, unret over over forever again. I

664
00:32:31,680 --> 00:32:37,279
recover Its trying around me up veryazing, your ways.

665
00:32:37,119 --> 00:32:40,000
Speaker 5: Up and no way up and crazy.

666
00:32:40,519 --> 00:32:42,680
Speaker 3: So now's something I don't worry if.

667
00:32:42,559 --> 00:32:43,720
Speaker 5: You've got that frenzy.

668
00:32:43,799 --> 00:32:57,519
Speaker 2: But you guys, I'm very.

669
00:33:02,759 --> 00:34:10,960
Speaker 5: Suss.

670
00:34:11,000 --> 00:34:12,039
Speaker 1: It tastes.

671
00:34:13,800 --> 00:34:16,360
Speaker 5: Gambling, a tempt out of tak.

672
00:34:18,079 --> 00:34:18,639
Speaker 6: Your voice.

673
00:34:18,679 --> 00:34:20,320
Speaker 10: Good on you got you al.

674
00:34:22,239 --> 00:34:27,320
Speaker 3: I suppose your teeth fall you about them.

675
00:34:27,199 --> 00:34:35,039
Speaker 4: For your lips, want them back tomb and I set

676
00:34:35,199 --> 00:34:40,079
to them for the long hole. You'll cover the cabb

677
00:34:40,320 --> 00:34:41,559
tees brown.

678
00:34:42,719 --> 00:34:45,519
Speaker 5: And will wail here they got set for.

679
00:35:24,400 --> 00:35:26,280
Speaker 9: My god, He's grown.

680
00:35:28,920 --> 00:35:30,079
Speaker 3: A times cruel.

681
00:35:30,159 --> 00:35:32,239
Speaker 6: Lots of fields.

682
00:36:29,840 --> 00:36:37,960
Speaker 3: Not no time, It's time.

683
00:36:39,480 --> 00:36:55,480
Speaker 5: Expanse time, It's time. Yes, say no some time? What

684
00:36:57,920 --> 00:36:59,360
speex time.

685
00:37:10,119 --> 00:37:12,000
Speaker 1: You are listening to w M and H.

686
00:37:14,079 --> 00:37:15,039
Speaker 16: World premiere.

687
00:37:19,199 --> 00:37:21,079
Speaker 12: Hey, my name is Santino Dimanti and this is my

688
00:37:21,199 --> 00:37:23,719
new single, Summer in the Sky out now thanks to

689
00:37:23,800 --> 00:37:25,360
Hatchet Ax and Saw Records.

690
00:37:25,760 --> 00:37:27,880
Speaker 1: You heard it here first on ninety five point three

691
00:37:28,039 --> 00:37:29,199
F M w m n.

692
00:37:29,400 --> 00:37:38,920
Speaker 6: H Sound So Long by Edition. That's Wresting.

693
00:37:39,400 --> 00:37:43,599
Speaker 18: In the sun So running colors the world with the

694
00:37:43,800 --> 00:37:45,199
sound of the music.

695
00:37:47,719 --> 00:37:52,239
Speaker 6: And I'm running out that's.

696
00:37:53,599 --> 00:38:13,400
Speaker 5: So And it's the sky.

697
00:38:19,119 --> 00:38:20,880
Speaker 1: So s.

698
00:38:29,000 --> 00:38:35,159
Speaker 6: So go away with the dream the sunset, rode to

699
00:38:35,360 --> 00:38:36,519
it and.

700
00:38:36,880 --> 00:38:42,000
Speaker 18: Dress the disu perfect time did dreams that the day

701
00:38:42,119 --> 00:38:51,000
wants molded the Strange Sad Season, stream en star sas

702
00:38:51,159 --> 00:39:18,280
the b S sun In SnO sol Sto.

703
00:39:24,039 --> 00:39:59,639
Speaker 5: S stop so Stop so spo.

704
00:40:15,079 --> 00:40:18,719
Speaker 10: And now exclusively on w m n H ninety five

705
00:40:18,760 --> 00:40:22,719
point three FM. Matt Connorton Unleashed presents the world radio

706
00:40:22,880 --> 00:40:27,000
premiere of the new single from Ryan Redwood, The back Room,

707
00:40:27,679 --> 00:40:28,239
a rest of.

708
00:40:28,440 --> 00:40:36,239
Speaker 19: Ratio project for the Soul and Man, I'll go wherever.

709
00:40:36,079 --> 00:40:38,519
Speaker 3: My bady it takes me now.

710
00:40:39,679 --> 00:40:47,199
Speaker 19: And Yeah, no lay out this time, No place to whiskey.

711
00:40:49,559 --> 00:40:52,920
Keep on using my man now every day.

712
00:40:58,480 --> 00:41:06,440
Speaker 6: Every day we day, what day.

713
00:41:12,360 --> 00:41:32,800
Speaker 7: Dreep watching, I sat dream bouncing bay saginawe dreaming sound.

714
00:41:33,599 --> 00:41:35,960
Speaker 1: To the south mutue.

715
00:41:37,119 --> 00:41:43,639
Speaker 5: Team you know region over other region.

716
00:41:45,159 --> 00:41:50,440
Speaker 20: Tever recover region, welcoming over again.

717
00:42:01,719 --> 00:42:03,079
Speaker 5: She put it one.

718
00:42:03,039 --> 00:42:04,960
Speaker 3: Food inside of the other.

719
00:42:05,760 --> 00:42:06,599
Speaker 6: She sold it.

720
00:42:06,719 --> 00:42:09,920
Speaker 3: Catch do so much reman.

721
00:42:10,360 --> 00:42:14,840
Speaker 5: And this job so tack jump at it its own.

722
00:42:15,920 --> 00:42:19,639
Speaker 3: We had it sound to process of God.

723
00:42:20,239 --> 00:42:21,599
Speaker 9: Give it a space.

724
00:42:24,559 --> 00:42:33,719
Speaker 3: Dreamt sad dream bouncing.

725
00:42:35,360 --> 00:42:39,119
Speaker 5: Play sam again, t.

726
00:42:41,960 --> 00:42:43,079
Speaker 6: Fl job.

727
00:42:44,360 --> 00:42:51,800
Speaker 5: Said to the side, must over again.

728
00:42:53,719 --> 00:42:56,079
Speaker 2: We'll put another weekends.

729
00:42:57,320 --> 00:42:59,000
Speaker 3: For every weekend.

730
00:43:01,039 --> 00:43:02,880
Speaker 2: Welcome over again.

731
00:43:36,519 --> 00:43:37,039
Speaker 9: The dream.

732
00:43:37,199 --> 00:43:45,599
Speaker 5: By watching, I saw the tree got to the.

733
00:43:47,519 --> 00:43:59,320
Speaker 20: Way st JOm side to decide down.

734
00:43:59,320 --> 00:44:33,280
Speaker 5: The music stop stop them again.

735
00:44:36,199 --> 00:44:36,800
Speaker 3: And now.

736
00:44:37,039 --> 00:44:39,920
Speaker 10: A w M n H ninety five point three f

737
00:44:40,039 --> 00:44:45,159
M exclusive, Matt Connorton Unleashed presents the world radio premiere

738
00:44:45,639 --> 00:44:49,960
of the new single from White Ash Round we Go.

739
00:45:22,960 --> 00:45:24,159
Speaker 5: I'm moming today.

740
00:45:24,440 --> 00:45:26,239
Speaker 6: He don't know where I'll move it.

741
00:45:26,440 --> 00:45:34,239
Speaker 5: Tad gives a moving but I didn't know what.

742
00:45:37,440 --> 00:45:42,639
Speaker 21: Won't you be too mad to please to revict be back.

743
00:45:45,320 --> 00:45:50,199
Speaker 5: If we were least whereto my defence.

744
00:45:53,239 --> 00:46:01,599
Speaker 17: I'm about mad in a in ay Mo, won't you

745
00:46:02,559 --> 00:46:03,519
get it too mad?

746
00:46:03,960 --> 00:46:04,119
Speaker 22: Pa?

747
00:46:04,199 --> 00:46:06,360
Speaker 23: Surely was farm.

748
00:46:08,920 --> 00:46:19,280
Speaker 5: Gooden? What you see it? Wat? You get it too mad?

749
00:46:20,079 --> 00:46:21,719
Speaker 2: Ulyask me far.

750
00:46:33,800 --> 00:46:35,719
Speaker 5: You fata side you fantashit?

751
00:46:36,119 --> 00:46:37,000
Speaker 6: You are mad?

752
00:46:37,719 --> 00:46:40,880
Speaker 5: You see that you oper? Can't you see the light hat?

753
00:46:41,880 --> 00:46:44,519
Speaker 8: All the things that have kicked up from the hat

754
00:46:45,760 --> 00:46:47,559
want your heart or lie?

755
00:46:47,800 --> 00:46:48,519
Speaker 5: Don't lie?

756
00:46:56,639 --> 00:46:57,599
Speaker 17: Don't lad.

757
00:47:00,119 --> 00:47:07,199
Speaker 5: As we god go to give it too bad. That's

758
00:47:07,760 --> 00:47:09,159
last back.

759
00:47:11,920 --> 00:47:17,000
Speaker 23: For Let you see now.

760
00:47:19,760 --> 00:47:22,199
Speaker 5: Go to give me too mad?

761
00:47:23,480 --> 00:47:33,280
Speaker 21: Last give it too mad, give it too mad, Give

762
00:47:33,360 --> 00:47:35,559
it to me. I'll give it too mad.

763
00:47:36,960 --> 00:47:41,360
Speaker 17: Give it too mad, give it too mad, give.

764
00:47:41,199 --> 00:47:44,599
Speaker 5: It to me, give give it back.

765
00:47:47,800 --> 00:47:48,159
Speaker 1: We go.

766
00:47:51,199 --> 00:47:59,440
Speaker 17: Go to give it too bad, last bad.

767
00:48:02,599 --> 00:48:03,480
Speaker 5: Let's just see.

768
00:48:06,960 --> 00:48:21,000
Speaker 16: Your Luigi's Pizza Bar and grill.

769
00:48:21,079 --> 00:48:22,199
Speaker 10: For every one.

770
00:48:22,920 --> 00:48:26,320
Speaker 6: Let's raise a slyes on, hide with top and to

771
00:48:26,320 --> 00:48:27,360
all the ground.

772
00:48:27,920 --> 00:48:29,079
Speaker 5: It's a pizza.

773
00:48:28,840 --> 00:48:34,800
Speaker 24: Barr mind Luigi's Pizza Bar and Grill, seven twelve Valley Street, Manchester.

774
00:48:35,079 --> 00:48:37,960
Come on in or call six two two one zero

775
00:48:38,199 --> 00:48:43,239
two one. Luigi, keeping the tradition alive since nineteen seventy five.

776
00:48:45,119 --> 00:48:49,480
Speaker 3: Pizza for every one, Come join a piece to night.

777
00:48:50,440 --> 00:48:52,000
Speaker 5: With each slice, sense of it.

778
00:48:52,719 --> 00:48:54,400
Speaker 17: Everything feels so right.

779
00:48:57,559 --> 00:48:59,800
Speaker 25: In times of crisis, you need a law firm that's

780
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stay by your side. With over forty years of experience,

781
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Craigan Getsulis is dedicated to fighting for your rights. As

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former state prosecutors, our attorneys have the knowledge and trial

783
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experience to provide an aggressive defense against any charge, from

784
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DUIs to homicides. If you've been injured, our compassionate team

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will assess your case and fight for the compensation you deserve.

786
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Serving all of New Hampshire, Craigan Getzulis is here when

787
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you need us most. Visit Craigatzulis dot com for a

788
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free consultation. Craigan getzulis your advocates, your allies.

789
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Speaker 26: I'll bring your kitchen to life with Queen City Cabinetry,

790
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located at eighty seven Elm Street in the historic Sunbeam

791
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Wall in Manchester, open Monday through Friday nine am to

792
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five thirty pm, in Saturdays ten am to two pm.

793
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They can be reached at six h three two two

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two to zero zero seven. We're on the web at

795
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Queen Citycabinetry NH dot com. Come see the possibility. Is

796
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Queen City Cabinet Treatment. Another crowd sponsor of w mnh.

797
00:50:05,159 --> 00:50:07,960
Speaker 27: Hey everyone, there's Rob Azevedo host a granite state of Mind,

798
00:50:07,960 --> 00:50:09,719
and I want to tell you about Pembrooke City Limits

799
00:50:09,760 --> 00:50:13,079
and the Historic Suncook Village. PCL is an award winning bar,

800
00:50:13,280 --> 00:50:16,280
restaurant and music venue where there's live music five days

801
00:50:16,280 --> 00:50:20,079
a week and twice on Saturdays, everything from blues, country, folk, funk,

802
00:50:20,159 --> 00:50:22,400
and a whole lot of jazz. We have twelve craft

803
00:50:22,480 --> 00:50:24,760
beers on tap dedicated to the local brewers in the

804
00:50:24,840 --> 00:50:27,199
area and some of the friendliest bartenders around.

805
00:50:27,719 --> 00:50:28,679
Speaker 16: Please come visit.

806
00:50:28,519 --> 00:50:30,960
Speaker 27: Pembrook City Limits at one thirty four Main Street, the

807
00:50:31,119 --> 00:50:34,639
historic sunk Cook Village, only six miles outside of Manchester.

808
00:50:35,079 --> 00:50:38,480
Open Tuesdays to Wednesdays four to ten Thursday's a Sunday

809
00:50:38,679 --> 00:50:39,400
eleven to ten.

810
00:50:39,800 --> 00:50:42,800
Speaker 16: Pembrook City Limits where it's all about the music. Disneys

811
00:50:42,880 --> 00:50:45,599
Cafe is the place to put a smile on your face.

812
00:50:45,760 --> 00:50:48,000
Judy and the crew will take care of you, bring

813
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your appetite and treat your taste buds.

814
00:50:50,679 --> 00:50:50,880
Speaker 2: Fry.

815
00:50:51,199 --> 00:50:55,719
Speaker 24: Disney's Cafe is always a winning choice breakfast, lunch, or supper.

816
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Disney's Cafe at eight sixty Elm Street in downtown Achester

817
00:51:00,960 --> 00:51:03,800
dine in take out or make a reservation call six

818
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oh three, six oh six two five three to two, Eat,

819
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drink and be happy Dizze's Cafe.

820
00:51:11,480 --> 00:51:12,079
Speaker 10: When it comes to.

821
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Speaker 28: Keeping WMNH on the air and your own personal or

822
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business computer needs, trust growl In Computers, located on Elm

823
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Street in Manchester. Grollin handles computer repair, virus removal and

824
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custom built systems. Are you looking for budget friendly options?

825
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offer tailored on site solutions no unnecessary expenses here. Visit

827
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Grolin dot com or call Grolling Computers at six zero

828
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three six four five zero.

829
00:51:39,159 --> 00:51:40,199
Speaker 1: One zero one.

830
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Speaker 28: Your tech, your way, Trust groll In Computers.

831
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Speaker 23: N seven times out of ten we listened to our

832
00:51:54,599 --> 00:51:56,119
music at nice.

833
00:51:57,719 --> 00:52:01,119
Speaker 19: That's on the title Late.

834
00:52:01,039 --> 00:52:03,440
Speaker 24: Night to Light with DJ mitis right here on w

835
00:52:03,719 --> 00:52:05,360
MNH Manchester.

836
00:52:05,920 --> 00:52:10,679
Speaker 1: Because Saturdays and Sunday nights midnight to four am.

837
00:52:12,000 --> 00:52:17,440
Speaker 29: This hour on wm NH is sponsored by CGI Business Solutions,

838
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located at five Dartmouth Drive in Auburn. They serve all

839
00:52:21,920 --> 00:52:26,400
your business needs including employee benefits, planning, corporate design and

840
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business administration, investments and wealth management and customized business insurance solutions.

841
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Their phone number is eight sixty six eight four to

842
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one forty six hundred, or on the web at CGI

843
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Business Solutions dot com.

844
00:52:44,239 --> 00:52:47,760
Speaker 13: Behold the harmony of airwaves as you immerse yourself in

845
00:52:47,840 --> 00:52:52,239
the captivating frequencies of w m NHLP their sunnic hordeats

846
00:52:52,280 --> 00:52:54,800
of Manchester is the transcending.

847
00:52:54,239 --> 00:52:54,760
Speaker 16: Through the ether.

848
00:52:55,159 --> 00:52:58,920
Speaker 13: Ninety five point three megahertz frequency modulation were transmissions M

849
00:52:58,960 --> 00:53:01,800
and A from the ZNFM one thousand Elm Streets insure

850
00:53:01,840 --> 00:53:04,440
into the hearts of our creative realm at one nineteen

851
00:53:04,519 --> 00:53:05,760
Canal Street, where.

852
00:53:05,679 --> 00:53:07,519
Speaker 3: Innovation in sound collode.

853
00:53:08,119 --> 00:53:11,280
Speaker 13: They're the impro moder of Manchester Public Television Service in

854
00:53:11,320 --> 00:53:15,000
the venerable city of Manchester, New Hampshire, USA. Enrich your

855
00:53:15,119 --> 00:53:18,760
auditory journey with the depth of our license to WESN'DSPT

856
00:53:18,800 --> 00:53:21,360
Your missives did w m n H ninety five three

857
00:53:21,440 --> 00:53:25,000
at gmail dot com or traverse the virtual corridors of

858
00:53:25,239 --> 00:53:29,559
wmnhradio dot org. Engage with our sonic vibrations by communing

859
00:53:29,599 --> 00:53:33,000
with us through the digital channels or radio beconds eager

860
00:53:33,119 --> 00:53:36,039
to enthrall you with its mesmerizing kittens and develop you

861
00:53:36,119 --> 00:53:38,320
with a symphony of foundless auditories.

862
00:53:38,360 --> 00:53:45,880
Speaker 1: Won dude, w MNH rip the novels.

863
00:53:49,000 --> 00:53:54,039
Speaker 13: You're listening to Mattconnorton unleashed on WM and H ninety

864
00:53:54,119 --> 00:53:55,320
five point three.

865
00:54:23,159 --> 00:54:29,000
Speaker 6: School to.

866
00:54:37,679 --> 00:55:07,800
Speaker 30: School when they hear the crown, it has been decided.

867
00:55:08,159 --> 00:55:12,719
Speaker 23: I love the mind for his wrong was someone who

868
00:55:12,880 --> 00:55:20,639
lost before even fuck moving confidence till time forward without fear,

869
00:55:21,079 --> 00:55:23,800
have to follow clear victory is so.

870
00:55:24,079 --> 00:55:28,159
Speaker 31: Far chance to break me. I will not be changed.

871
00:55:28,440 --> 00:55:30,880
High close binding Thames spear.

872
00:55:30,639 --> 00:55:39,239
Speaker 3: As wild had to under stop, so I no longer

873
00:55:39,400 --> 00:55:41,519
say my shid.

874
00:55:41,679 --> 00:55:46,960
Speaker 17: All I dream way but does not follows me.

875
00:55:48,440 --> 00:55:56,199
Speaker 32: To from careful less fight ok to coming when this

876
00:55:57,039 --> 00:55:59,360
pless long the hell.

877
00:55:59,400 --> 00:56:05,920
Speaker 22: Names sitting stuck to me, wor cry little here your

878
00:56:06,079 --> 00:56:13,239
for cry, little pray your poor cry, scream, cry your

879
00:56:13,400 --> 00:56:33,039
poor cry, carry.

880
00:56:32,920 --> 00:56:36,360
Speaker 33: Out come quest as long as it takes till the

881
00:56:36,480 --> 00:56:42,920
day truth jumnas not as sinless as you knew back then.

882
00:56:43,480 --> 00:56:48,559
Speaker 30: I serve each time I baking again, unnerst.

883
00:56:48,199 --> 00:56:52,599
Speaker 5: Me put allways prepared, sore camppares through armor.

884
00:56:52,920 --> 00:56:55,079
Speaker 31: Aware that's sound.

885
00:56:55,199 --> 00:56:59,679
Speaker 23: Ever's the band should cry when you're here, But that's

886
00:56:59,760 --> 00:57:04,000
more and I turn I had to look so.

887
00:57:04,920 --> 00:57:13,559
Speaker 34: So I ain't no thensy my shidl you away dns

888
00:57:13,760 --> 00:57:14,880
thout bottles me.

889
00:57:16,000 --> 00:57:19,360
Speaker 3: Well from careful mass FIGHTE a.

890
00:57:19,639 --> 00:57:21,840
Speaker 6: Cattle she riend of me.

891
00:57:23,239 --> 00:57:27,440
Speaker 17: When this burles long well.

892
00:57:27,480 --> 00:57:42,519
Speaker 31: Pay cities have to me, Lo is a call to battle, cub.

893
00:57:42,599 --> 00:57:44,960
Speaker 5: It'll fight to survive.

894
00:57:46,079 --> 00:57:48,840
Speaker 31: Time has come to make choice.

895
00:57:49,920 --> 00:57:54,079
Speaker 23: How you live before you die, how.

896
00:57:54,079 --> 00:57:56,480
Speaker 3: You live before you.

897
00:58:29,119 --> 00:58:31,840
Speaker 5: So I had to listen.

898
00:58:32,840 --> 00:58:39,360
Speaker 17: So my God, I'll go see my child lunding away.

899
00:58:39,840 --> 00:58:45,800
Speaker 34: When Don in this sad follows me two from stray

900
00:58:45,880 --> 00:58:53,480
from this fight PoCA too well made. When this is

901
00:58:53,679 --> 00:59:00,599
one their name cities after me walk, I'm.

902
00:59:05,159 --> 00:59:08,599
Speaker 5: Welc up and stop up.

903
00:59:12,159 --> 00:59:12,199
Speaker 11: What