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Speaker 1: W m n H ripped the novels.

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Speaker 2: Quoting mid Nights my elliptical ma saw you have no idea.

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Speaker 1: The tempts to.

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Speaker 3: Which we go.

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Speaker 4: And when we'll face a gun is scored a paper abuse,

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But who can.

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Speaker 2: Bid you go spend like noxious? Seeing that grief a

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lad to say to herself to save a lam well

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these sasa by a hot.

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Speaker 1: S see holt in turn.

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Speaker 5: Including the.

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Speaker 4: Way shots power start and marry your dad to talk

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to to corruption, turn on in too hard and aunt

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to build and finally cracks at school.

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Speaker 5: Ray how fire slace.

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Speaker 6: When last carry, time to change.

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Speaker 7: Ties ties.

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Speaker 8: Home time you're including to me.

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Speaker 9: John, That is the Comets tale. The band is questing

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Beast and we have Jane and Shane here with us

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live in studio on this Saturday morning. Welcome everybody. We

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have entered our number three New Marrow trace of Matt

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Connorton unleashed and we're live from the studios of w

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m n H ninety five point three FM, Inglorious Manchester,

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New Hampshire, where it is apparently snowing outside right now

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on this day, March twenty nine, twenty twenty five. I

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was not expecting that were you. No, no, did you

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actually turn my microphone on? It's on, it's on, Yes,

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I know, right, so of course grow Yeah, that's exactly

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that was exactly my word for it. But at least

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we know it will it'll, it'll melt. Oh that's true. Yeah.

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Our birdcam you can birdcam there. They're probably somewhere, probably

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probably probably heading south going up. Well we came back.

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Speaker 3: Too soon, premature, yeah, migration, yes, yes.

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Speaker 9: I'm sure. I'm sure it is confusing to them. But yeah,

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so so here we are, of course on this Saturday,

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and we have Jane and Shane with us from Questing

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Beasts by the way, So I love that track. The

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Comets Tail definitely gets the blood pumping. And as I

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like to say, if that didn't get your blood pumping

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on a Saturday morning, check your pulse, you might be dead.

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But good stuff, good stuff.

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Speaker 3: Yeah, yeah, no, it's a fun, fun intro song.

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Speaker 7: Gets our blood pumping pretty much every time we play.

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Speaker 9: Yeah, do you play that to open the show or yeah?

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Speaker 3: Generally you do?

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Speaker 9: Yeah, okay, very good. Now when we had you on

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the last time, so what how how long ago it

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becomes a blur to me? Yeah, it was, I mean

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it wasn't a year ago, right.

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Speaker 3: Or no, it would have been right before the Halloween show, right,

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so October ish, not that long Yeah, yeah, not crazy

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long ago, but long enough that it feels relatively significant.

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Speaker 8: Yeah.

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Speaker 1: Yeah.

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Speaker 9: So what's been going on since the last time we

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had John? I know, I know, you've got a big

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show coming up tomorrow for those listening live of course

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at Terminus Underground.

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Speaker 3: Yeah, absolutely sure. So yeah, yeah, so we're getting back

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into playing playing out again. You know, last time we

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were here, we're talking about how we kind of went

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into hibernation for the winter. We totally did that. It

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was great and we're out better than ever, ready to

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start playing more gigs again.

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Speaker 9: Excellent And what so what were you doing during that

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hibernation period? I mean, were you did you take a

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break from the band, or were you writing and recording

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or what was what was going on?

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Speaker 3: We're doing a lot of writing, and also we're planning

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for our upcoming first ever tour that April twenty fifth.

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We're basically going on a quick week long run down

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to Baltimore and back up.

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Speaker 9: Congratulations on that. That's awesome, thanks, Yeah, very cool, exciting.

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Speaker 3: Yeah, it's been great. H our buddy who's playing bass

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for us now, Dan se Lance. He helped us book

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a out of these gigs, and he's also stepping into

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the live role of playing bass for us, which is

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awesome and because those are some pretty big shoes to fill,

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you know, the guy that we had record for us,

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Chase Brian's absolute monster. So for Dan to come in

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and be able to pick it up has been really great.

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Speaker 9: Yeah. Is uh the track that we just heard, which

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is from what's the name of the album again, because

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you guys have a whole u birth that's right, That's right?

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Is that so that's what the previous bass player?

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Speaker 8: Right?

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Speaker 9: Or or is y?

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Speaker 3: Yeah?

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Speaker 7: Yeah, all the recordings were done with Chase Bryant okay,

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Ye Bryant okay, and then he so he so you

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recorded with you, but was not in a position to like,

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was he ever? Was he ever officially in the band?

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Speaker 3: Or was he just basically a hired gun? Yeah? I

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mean he lives he lives in la He plays in

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a band called war war Bringer.

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Speaker 7: But I heard, yeah, he's a he's a busy guy.

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Speaker 9: He's not just in that.

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Speaker 7: He's playing with a few other bands. I don't know.

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I we follow him on social media, Like he's on

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tour with war Bringer right now, I think.

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Speaker 3: Every but he's got like eight other projects out there, yeah,

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my favorite of which being Father Daddy Blues Band, No kidding, Yeah.

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Speaker 5: Cool.

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Speaker 9: How did you How did you come to work with

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him him being as busy as he is. How did

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that come about?

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Speaker 3: We were essentially just kind of racking our brains, like

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trying to find somebody local, and we got sick of

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doing it, and we're like, I bet we could find

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somebody else for money. And I was like, this guy

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is a perfect example of what I want the bass

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playing to sound like. And so I just hit him

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up on Instagram and we started talking. Yeah, and he

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had me send him to the demos and he was

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a fan of the demos, and uh yeah, we were

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able to work something out.

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Speaker 9: When when you first contacted him, was it kind of like, uh, well,

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I don't know, I don't know if he's if he's

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gonna have time or be interested, but I'm going to

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give it a shot and then it works.

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Speaker 3: Out or oh yeah, absolutely total shot in the dark.

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Speaker 9: Yeah.

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Speaker 3: Yeah, I mean I don't expect anything of to come

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from anything, especially like you know, just messaging people on Instagram.

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Speaker 8: You know what I mean.

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Speaker 3: It's like you just throwing stuff out into the ether

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and hoping you get something back. Yeah yeah, yeah, And

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so for it to come back around it's nice. You know,

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every once in a while it does.

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Speaker 9: You never know, it's always it's always worth a try

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because you never know. And it worked out phenomenally well.

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Speaker 3: So yeah, basic playing came out awesome. He reported his

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parts in like two days, no kidding, Oh yeah, incredible.

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Speaker 9: Yeah, you never know.

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Speaker 7: You throw it out there, you don't know what's going

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to happen.

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Speaker 3: Yeah, exactly, absolutely.

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Speaker 9: So, so what was that a matter of just kind

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of sending the tracks back and forth.

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Speaker 3: And essentially yeah, I mean, dudes were pro so. I

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mean he pretty much had everything under his fingers by

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the time he came out here, which is convenient because

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we only had like, you know, eighteen hours between when

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he came out here and played with us for the

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first time and when he needed to get in the studio.

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Speaker 9: Okay, wow, yeah it was.

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Speaker 7: It was a good time.

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Speaker 9: Yeah. Yeah, no, that's fantastic. That's fantastic. So the uh so,

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the new what's his name again, the new new bass

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player or the current bass.

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Speaker 3: Player Dan Selan. He plays in Ice Giant, he plays

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in Annilist Monday, he plays in Perennial Quest. Yeah, he

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plays in other bands too. There's a bunch of them.

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Speaker 9: I've heard of Ice Giant. Yeah, so he's so well,

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so he's also a busy guy. But yeah, but geographically

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he's available.

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Speaker 8: Yeah.

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Speaker 7: And the nice thing is he seems to be I

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don't know if this is just like a point of pride,

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but he seems to be really enjoying conquering the music

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and learning the parts, you know what I mean. He's

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like posting himself working through some of it on his

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Instagram stories like that, and it made me feel pretty

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pretty awesome. Yeah, just because you know, we play the

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music all the time. For somebody else to try it

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out and get fulfillment out of trying to learn it

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made me like, yeah, yeah.

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Speaker 9: Well that's yeah, I mean, that's that's tremendous validation, right,

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I mean, you know, obviously you get the validation if

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you play it for other people, if you play it

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live and people react positively to it, you know, that's

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that's fantastic, right, But to also get that validation of

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somebody wants to learn the songs and really commits, you know,

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commits to learning them. I mean, that's that's fantastic. That's

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that's great. How long has he been in the band nowand.

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Speaker 3: He just played his first gig with us on Saturday?

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So if you've done we've done like three practices with

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him or something.

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Speaker 9: Oh, so he's very new.

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Speaker 3: Yeah, okay, it's a pretty new development as far as

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our live show goes and everything.

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Speaker 9: Yeah.

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Speaker 3: Yeah, but we were talking to him for a while

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because of the whole tour situation and everything, but so

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like it was gonna happen eventually. But yeah, I don't know,

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he's really been doing a great job I think. So.

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Speaker 9: Yeah, yeah, excellent. Now for the tour, are you is

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there another band or other bands that you've teamed up

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with for the tour or you know, because there's different

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ways to approach it, right you know.

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Speaker 3: Yeah. So our main tour mates are a band called

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Moon Tomb from Rhode Island.

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Speaker 9: Mood Moon Toom. Yeah that's a cool name.

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Speaker 3: I like that. Yeah, they're cool guys. We picked them

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because they're such pals that you know, we couldn't we

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couldn't have thought of like a better three dudes to

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go out on the road with nice and so we

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hit them up and they were super open to it

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and everything. And there's I think a total of like

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twenty something different local bands. Because one of the shows

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is a is a festival. Oh really, Yeah, the New

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York show is a it's the Long Island Doom Festival,

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Okay at mister Berry's, which so that kind of ups

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those numbers a bunch. But so we're super excited to

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go out and beat a bunch of these bands. Yeah,

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some of these cool shows are gonna be in some

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really cool places too, so yeah, it would be a

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good time.

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Speaker 9: How many dates are you playing?

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Speaker 3: Seven dates in eight days?

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Speaker 9: Okay?

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Speaker 3: Okay, so we get a nice day off in the middle,

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we might go to Hershey Park hit some roller coasters.

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Speaker 9: Who nice? You should Yes, you definitely should have.

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Speaker 3: We've been talking about it.

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Speaker 7: I'm feeling up to it. I don't know, I haven't

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been to a theme parking a long time.

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Speaker 9: Yeah, I haven't either.

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Speaker 3: When I was a kid, we went to Hershey Park

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for like the eighth grade DC trip and the park

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itself was closed down, but I always wanted to go

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and hit those roller coasters. But I did get a

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five pound chocolate bar while I was there.

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Speaker 9: Yeah, five pound chocolate bar. Ooh, that sounds like a

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lot of It was a lot of work. It's a

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lot of chocolate. But the roller coasters. I love roller coasters.

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Speaker 3: Oh yeah, it's my favorite type of ride. Yeah, like

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the stuff those ones that are like just like the

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big post where you sit on you know what I mean,

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and it goes like all the way up. I'm not

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a fan of that type of stuff, but on any

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roller coaster.

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Speaker 9: Oh yeah, me too, Me too. When I was a kid,

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I remember being terrified of going on one that went

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up down until I until I did it, and it

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happened so quick that you know, you don't even know

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your upside.

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Speaker 3: After what I mean.

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Speaker 9: But yeah, yeah, no, I love I love roller coasters. Yeah,

241
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so you should definitely do that. And are you Are

242
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you playing the same set every night as far as

243
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you know, or your time is going to kind of

244
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vary where you have to kind of work with it.

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Speaker 3: Some of the shows are four band bills and some

246
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of them are five band bills, so we'll be able

247
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to get an extra song or two on the shorter bills. Yeah,

248
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but I mean we've only got the one record. Yeah,

249
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we're not unveiling any of that new material until the

250
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time is right. Uh, pretty much will be songs from

251
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the first record in various orders.

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Speaker 9: Okay, yeah, yeah, but you have so you do have

253
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new material you're working on.

254
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Speaker 3: Oh yeah, oh yes, oh yeah, pretty much. We took

255
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so between when we finished writing the first record and

256
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when we finished recording it, which was about I don't know,

257
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maybe nine month period, we were just working on really

258
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hammering those songs down, and so we didn't write anything

259
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during that time. So it was kind of like this

260
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big there's like a big rush of like creativity when

261
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we you know, played the final note in the studio

262
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and we went home and we're like, what do we

263
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do now? Yeah, we've been working pretty hard and I'm

264
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really excited about the new stuff.

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Speaker 9: Excellent. Is it in the same vein? Is it?

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Speaker 8: Yeah?

267
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Speaker 7: It's definitely similar style, for sure, but I think we

268
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delved even farther into each kind of individual element that

269
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we're bringing to it, So it's kind of, you know,

270
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even more thematic. Even more, we spent even more time

271
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paying attention to the different you know, flares and genres

272
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and influences you know what I mean. So there's a

273
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lot of variety, Like there's a lot of variety in

274
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the first record, but what we're working on is kind

275
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of expanding upon each little bit of that variety, I think,

276
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and so each song kind of feels pretty unique, but

277
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also there's a pretty substantial common thread between all of it,

278
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which is something on the first record too. So yeah,

279
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it's been pretty cool. We're not we're kind of throwing

280
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caution to the wind for a few things, and we're

281
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just kind of trying whatever we want to do. There's

282
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some pretty funny ideas that we've just totally ran with.

283
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So yeah, it's like it's like our sound two point zero.

284
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Speaker 9: Okay, okay, cool.

285
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Speaker 3: Yeah, it's basically it's a huge expansion on the first record.

286
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I think it's it's basically everything we did, but we

287
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went in every direction a little bit further.

288
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Speaker 9: Yeah, and.

289
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Speaker 3: Yeah, it's I don't know, it's exciting.

290
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Speaker 9: Is a thematically similar in terms of lyrics.

291
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Speaker 3: Or we're not done the lyrics yet, so it's okay,

292
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So the music comes first, right, Yeah, Yeah, So I

293
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mean we kind of have like a storyline and then

294
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we build the music off of the storyline. Okay, and

295
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then the lyrics are kind of like the very final thread. Okay,

296
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I think so it's like that's like really the last

297
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eyes to dot in the tease to cross or okay lyrics.

298
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Speaker 9: Okay, okay, cool, cool. Obviously we talked about it the

299
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last time you were here. But does birth have a

300
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is there a story to it?

301
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Speaker 3: Yeah?

302
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Speaker 9: Or a particular theme? Well, I know there's a theme,

303
00:17:29,279 --> 00:17:32,000
but I couldn't remember how how defined the actual story

304
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was or if it was kind of more just a

305
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loose concept.

306
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Speaker 3: So it's it's kind of both actually, right, So it's

307
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very defined to us, like we know the storyline. It's

308
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like this very defined thing, but we purposefully at this

309
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point like like the lyrics are kind of esoteric, right,

310
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because like you can go really far in the direction

311
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of like wanting to write a good story, but after

312
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a certain point you're taking away from like the quality

313
00:17:59,079 --> 00:18:02,279
of the song, right, Like we don't need a billion

314
00:18:02,400 --> 00:18:05,240
details about like a guy's armor as he's coming up

315
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over the crest of the hill, you know what I mean,

316
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Like you just filled up half of your verse describing

317
00:18:10,759 --> 00:18:13,000
this and so like and what I wanted to do

318
00:18:13,440 --> 00:18:14,759
or what we wanted to do is kind of have

319
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it be a more like personalized thing, right where anybody

320
00:18:20,559 --> 00:18:23,039
can go in and like read the lyrics and try

321
00:18:23,079 --> 00:18:26,160
and derive like what the legitimate story is. But it's

322
00:18:26,200 --> 00:18:28,960
more important, I think, from my perspective, for people to

323
00:18:29,039 --> 00:18:32,160
be able to derive their own meaning from it, Okay, Right, So,

324
00:18:32,319 --> 00:18:35,079
like I would really like to, at one point or

325
00:18:35,119 --> 00:18:37,480
another figure out how to do a comic book to

326
00:18:37,680 --> 00:18:40,359
like tell the legitimate story like straight up, you know

327
00:18:40,400 --> 00:18:45,319
what I mean. But I also don't want to like

328
00:18:46,839 --> 00:18:48,839
go to people who have maybe derived their own meaning

329
00:18:48,880 --> 00:18:51,519
from the songs and be like, you're wrong, this is

330
00:18:51,599 --> 00:18:53,599
what it means, you know what I mean, because it's

331
00:18:53,680 --> 00:18:55,200
like that's kind of a slap in the face, and

332
00:18:55,359 --> 00:19:02,000
like I wouldn't I feel like you're whatever your meaning ism.

333
00:19:01,200 --> 00:19:03,319
Speaker 9: Which is how it's supposed to be, right with music

334
00:19:03,480 --> 00:19:05,359
or with any kind of art. Really, it's what you

335
00:19:06,480 --> 00:19:08,559
we might have talked I've talked about this with a

336
00:19:08,599 --> 00:19:10,599
few people on the show. We might have talked about

337
00:19:10,640 --> 00:19:14,039
this before, but I know that I've experienced that where

338
00:19:14,079 --> 00:19:16,319
it's kind of like, you know, a song means something

339
00:19:16,359 --> 00:19:20,039
to you, and then you read an interview with the

340
00:19:20,079 --> 00:19:22,599
person who wrote the lyrics and they talk about what

341
00:19:22,720 --> 00:19:25,880
it means and you kind of go, oh, that's different

342
00:19:25,960 --> 00:19:28,559
than what it meant to me, And then there's that

343
00:19:28,799 --> 00:19:32,079
weirdness of oh, now I kind of feel differently about it,

344
00:19:32,160 --> 00:19:32,680
you know what I mean?

345
00:19:33,440 --> 00:19:39,559
Speaker 7: Yeah, absolutely, Yeah, I think for our music specifically, Yeah,

346
00:19:39,559 --> 00:19:43,200
I think that would be a pretty funny instance because

347
00:19:43,839 --> 00:19:47,519
it's so specific. So you know, there's so much left

348
00:19:47,640 --> 00:19:52,079
to interpretation in the lyrics that if and when, you know,

349
00:19:52,200 --> 00:19:56,279
inevitably we do have a concrete representation of what the

350
00:19:56,319 --> 00:20:01,880
whole story is. You know, We've said it before. This

351
00:20:02,079 --> 00:20:06,960
was part one of a concept of a few albums

352
00:20:06,960 --> 00:20:09,160
that we're planning on releasing recently.

353
00:20:09,200 --> 00:20:10,759
Speaker 3: Won't make a trilogy, Yeah, we want.

354
00:20:10,640 --> 00:20:12,799
Speaker 7: To make a trilogy, and so you know we're working

355
00:20:12,880 --> 00:20:16,759
on installment two of that. So it's expanding upon, uh,

356
00:20:17,039 --> 00:20:20,359
this storytelling universe, you know what I mean. So it

357
00:20:20,359 --> 00:20:22,599
would be pretty funny for us to just drop all

358
00:20:22,640 --> 00:20:26,799
that information and have people, you know, kind of learn

359
00:20:26,880 --> 00:20:32,200
what it is. I think I'm gonna speak a little

360
00:20:32,240 --> 00:20:39,519
bit on lyrically for the first album, there's some very

361
00:20:39,640 --> 00:20:42,839
literal world building. So the song we just listened to,

362
00:20:43,079 --> 00:20:49,720
there's some very literal, you know, pre you know, description

363
00:20:50,240 --> 00:20:54,759
of what's going on some exposition, Yeah, exposition exactly, And

364
00:20:56,160 --> 00:20:59,720
it's not really up for interpretation when you sit down

365
00:20:59,759 --> 00:21:01,319
and read it, you know what I mean, It basically

366
00:21:01,400 --> 00:21:03,839
tells you, you know, what's going to happen. Yeah, and

367
00:21:03,960 --> 00:21:06,680
then you know all the other things beyond that, when

368
00:21:06,720 --> 00:21:09,880
we're singing about emotions and you know, things happening, it's

369
00:21:09,960 --> 00:21:13,400
it's all pretty up for interpretation. And I think we

370
00:21:13,759 --> 00:21:17,480
want to make music that is true to what we're

371
00:21:17,519 --> 00:21:21,200
trying to do story wise, and then also is up

372
00:21:21,240 --> 00:21:24,920
for interpretation and receivable to someone who knows nothing about

373
00:21:25,640 --> 00:21:27,799
the story as much as possible. And I think we've

374
00:21:27,839 --> 00:21:31,960
tried to dive into that even more so, Okay, on

375
00:21:32,119 --> 00:21:35,240
our current writing lyrically anyway.

376
00:21:35,519 --> 00:21:39,480
Speaker 9: Yeah, No, that's very cool. I look forward to, uh,

377
00:21:39,880 --> 00:21:42,279
you know when eventually, I mean you probably at this point,

378
00:21:42,640 --> 00:21:44,160
do you have any kind of an eta on when

379
00:21:45,160 --> 00:21:46,799
when you might start recording the next one?

380
00:21:46,880 --> 00:21:50,200
Speaker 3: Or yeah, I don't know, like a year or I

381
00:21:50,240 --> 00:21:54,039
don't know, one hundred years, somewhere between those two.

382
00:21:54,319 --> 00:21:56,240
Speaker 9: Somewhere somewhere between one and one hundred.

383
00:21:58,240 --> 00:22:00,880
Speaker 3: Yeah, I mean I wish I could have that crystal Ball.

384
00:22:00,960 --> 00:22:02,359
But you never know what's going to happen, you know.

385
00:22:02,519 --> 00:22:05,160
I mean we it took forever to get the first one,

386
00:22:05,240 --> 00:22:07,480
and I think we've got a more streamlined process at

387
00:22:07,519 --> 00:22:09,920
this point, but yeah, you know, anything could happen.

388
00:22:10,160 --> 00:22:13,079
Speaker 9: So but so, but you both talked about a trilogy.

389
00:22:13,200 --> 00:22:17,039
Does that mean that you've already got the you've got

390
00:22:17,079 --> 00:22:18,720
the whole story mapped out already, or.

391
00:22:19,039 --> 00:22:22,759
Speaker 3: Like big story points that we want to hit mapped out. Yeah,

392
00:22:22,759 --> 00:22:25,200
But I mean it's it's cool to leave like certain

393
00:22:25,279 --> 00:22:28,799
things open, right because like, for example, on the first record,

394
00:22:29,319 --> 00:22:33,440
we had finished the record, I just did air quotes

395
00:22:33,440 --> 00:22:37,519
for anybody listening, Yeah, and we had like six songs,

396
00:22:37,720 --> 00:22:40,200
and I was like, it doesn't feel right, you know,

397
00:22:40,440 --> 00:22:43,160
And so I was like, we got to write two

398
00:22:43,240 --> 00:22:46,319
more songs, and we ended up doing Beneath Red Leaves

399
00:22:46,920 --> 00:22:50,680
and Titans Grip, which have ended up being two of

400
00:22:50,720 --> 00:22:53,920
the most popular questioning beat songs at this point, and

401
00:22:55,839 --> 00:22:57,720
nobody else wanted to write them. But I was like,

402
00:22:57,799 --> 00:23:00,200
look the story, we can add some more detail else

403
00:23:00,240 --> 00:23:03,400
into the story, and these riffs rule, I don't see

404
00:23:03,400 --> 00:23:06,119
why anybody could be opposed to it. And then everybody

405
00:23:06,279 --> 00:23:08,319
was mad when we were recording them, and so it

406
00:23:08,400 --> 00:23:09,359
came out awesome.

407
00:23:10,079 --> 00:23:13,640
Speaker 7: Mostly me, I was mostly angry in doing it.

408
00:23:14,759 --> 00:23:15,319
Speaker 9: I don't know why.

409
00:23:15,400 --> 00:23:18,759
Speaker 7: I was just like, all right, well you want some

410
00:23:18,880 --> 00:23:23,480
more guitar, you're gonna get it. Yeah, And it came

411
00:23:23,519 --> 00:23:25,960
out with a good So you were able to channel

412
00:23:26,000 --> 00:23:29,000
that anger, yeah a little bit. Yeah, it feels feels

413
00:23:29,039 --> 00:23:32,359
really epic. Titans Script is actually our current most stream

414
00:23:32,480 --> 00:23:36,680
song on Spotify. We passed like four thousand streams today,

415
00:23:36,759 --> 00:23:37,680
I think, which cool.

416
00:23:37,759 --> 00:23:43,559
Speaker 9: Congratulations. Yeah, that's great, interesting metric, but but no, it

417
00:23:43,640 --> 00:23:47,079
matters though. Those metrics do matter. No, that's very cool,

418
00:23:47,200 --> 00:23:50,880
very cool. Do you have anything that you play currently

419
00:23:51,000 --> 00:23:53,440
that's not on this first album when you play live

420
00:23:53,559 --> 00:23:53,759
or no.

421
00:23:54,200 --> 00:23:57,759
Speaker 3: No, we've talked about doing some covers and stuff, which

422
00:23:57,880 --> 00:24:01,240
is now a lot more of possibility that we've got

423
00:24:01,480 --> 00:24:03,599
Dan in the live setup because we were just playing

424
00:24:03,680 --> 00:24:06,559
to like recorded bass tracks before, you know, from the record,

425
00:24:07,200 --> 00:24:11,279
and so opportunities for that are kind of more available now.

426
00:24:11,359 --> 00:24:13,039
So I mean, I'd be down to explore that kind

427
00:24:13,039 --> 00:24:15,039
of stuff for sure, But for the most part, were

428
00:24:15,039 --> 00:24:17,119
just playing stuff from the record and trying to promote

429
00:24:17,160 --> 00:24:18,640
that we've got a ton of vinyl that we need

430
00:24:18,720 --> 00:24:22,720
to get rid of. So what do you mean, oh,

431
00:24:22,920 --> 00:24:24,200
just like vinyl records.

432
00:24:24,400 --> 00:24:24,599
Speaker 9: Yeah.

433
00:24:24,799 --> 00:24:27,200
Speaker 3: Yeah, we're trying to play the songs that are on

434
00:24:27,240 --> 00:24:30,119
the on the record for people to try and entice

435
00:24:30,160 --> 00:24:31,720
them into buying it.

436
00:24:31,920 --> 00:24:33,119
Speaker 9: Yeah, I got you.

437
00:24:33,440 --> 00:24:35,559
Speaker 7: I got many copies that we have.

438
00:24:37,599 --> 00:24:45,759
Speaker 9: You could be so we have less of them. Was

439
00:24:45,839 --> 00:24:50,039
that hard playing with with bass tracks live? Was that challenging?

440
00:24:50,480 --> 00:24:52,599
Speaker 3: H I mean the process of like setting up the

441
00:24:53,200 --> 00:24:55,680
ableton session and everything was and that's why I had

442
00:24:55,759 --> 00:25:01,640
Jane do it. And uh but uh yeah, I mean

443
00:25:01,680 --> 00:25:03,440
once it's all been set up, it's not that bad.

444
00:25:03,519 --> 00:25:06,599
You know, a drummer is kind of a machine. Okay,

445
00:25:06,799 --> 00:25:09,720
so having him played to a metronome is pretty easy.

446
00:25:09,759 --> 00:25:12,319
As far as getting everybody else locked.

447
00:25:12,079 --> 00:25:14,839
Speaker 9: In, it wasn't It wasn't weird for him, or maybe

448
00:25:14,920 --> 00:25:16,119
or maybe it was, but he adapted.

449
00:25:16,519 --> 00:25:18,240
Speaker 3: He adapted pretty well. I don't think that there was

450
00:25:18,319 --> 00:25:20,839
like a huge problem for him. You know, each each

451
00:25:20,920 --> 00:25:23,039
song has kind of its own counting and everything. I

452
00:25:23,119 --> 00:25:25,240
think that was the only like learning curve.

453
00:25:25,440 --> 00:25:26,759
Speaker 9: Okay, yeah, gotcha.

454
00:25:27,319 --> 00:25:30,839
Speaker 7: He's he kind of takes most things in stride. If

455
00:25:30,839 --> 00:25:34,480
I'm going to be honest, we threw a lot at him, really. Yeah,

456
00:25:34,519 --> 00:25:35,559
We're like, hey, you gotta.

457
00:25:35,400 --> 00:25:37,680
Speaker 3: Do this, this and this, and he's got a hard job.

458
00:25:37,839 --> 00:25:40,559
Speaker 7: Yeah, he's got one of the hardest jobs in the

459
00:25:40,640 --> 00:25:41,279
house for sure.

460
00:25:41,519 --> 00:25:41,720
Speaker 9: Yeah.

461
00:25:42,720 --> 00:25:46,240
Speaker 3: He's back there singing too. Oh he is, okay, Oh yeah,

462
00:25:46,359 --> 00:25:47,359
some backup vocals there.

463
00:25:48,519 --> 00:25:51,200
Speaker 9: That always impresses me. Your drummers who can sing while

464
00:25:51,200 --> 00:25:52,960
they play, you know, because drums is the most you know,

465
00:25:53,000 --> 00:25:55,599
you're using all four of your looms. It's the most physical. Yeah.

466
00:25:55,880 --> 00:25:58,599
Speaker 3: And he's doing like harmonies, like the chorus harmonies on

467
00:25:58,680 --> 00:25:59,880
like tip scrip and stuff.

468
00:26:00,079 --> 00:26:00,440
Speaker 9: That's great.

469
00:26:00,519 --> 00:26:02,240
Speaker 3: Oh yeah, dude, he's He's crazy.

470
00:26:02,440 --> 00:26:07,359
Speaker 7: Watching him do it too. I Mean, there's a there's

471
00:26:07,480 --> 00:26:09,559
one part I think it's in the second course of

472
00:26:09,640 --> 00:26:12,319
Titans Grip where I'm looking at him when we're in practice,

473
00:26:12,319 --> 00:26:14,839
I'll just be looking at him. He's leaned over, you know,

474
00:26:14,920 --> 00:26:17,160
to the mic to try to sing, and the arms

475
00:26:17,160 --> 00:26:19,559
are going and he's playing so much complex stuff on

476
00:26:19,640 --> 00:26:22,440
the drums and he's just keeping his head here, yeah,

477
00:26:22,559 --> 00:26:25,559
and nailing the note too, and then he just finishes

478
00:26:25,640 --> 00:26:27,559
and looks at the rest of us. Pretty much every time.

479
00:26:27,640 --> 00:26:29,680
Then he knows well we'll look at him and just

480
00:26:29,759 --> 00:26:32,480
give him an affirming nod of yeah, that was on,

481
00:26:33,720 --> 00:26:36,480
and he just always goes, you know, some iteration of like,

482
00:26:37,240 --> 00:26:39,200
you know, lips out, like you know, heck.

483
00:26:39,319 --> 00:26:39,480
Speaker 8: Yeah.

484
00:26:42,000 --> 00:26:45,400
Speaker 9: Very cool. Oh, by the way, you're getting some love

485
00:26:45,440 --> 00:26:47,920
in the chat room here, Bradley Hurley says, can't say

486
00:26:48,000 --> 00:26:50,599
enough great things about this band. I'm a huge fan

487
00:26:50,680 --> 00:26:54,720
of this band. And Jane Oh shouts out Bradley, what's up.

488
00:26:55,279 --> 00:26:58,519
Very very nice, thank you for chiming in there, Bradley, excellent.

489
00:26:58,440 --> 00:26:59,039
Speaker 7: Thank you, Bradley.

490
00:26:59,680 --> 00:27:02,119
Speaker 9: Yeah, yeah, oh, we were talking. We had an interesting

491
00:27:02,200 --> 00:27:05,480
conversation off here two about lyrics, circling back to lyrics

492
00:27:05,519 --> 00:27:07,640
for a moment because you know, I was commenting now

493
00:27:07,720 --> 00:27:09,680
it's it's nice when I you know, I don't mind

494
00:27:09,799 --> 00:27:13,839
making radio edits for our guests, but it's nice when

495
00:27:13,839 --> 00:27:15,599
I don't have to and I never have to make

496
00:27:15,640 --> 00:27:17,839
any radio edits requesting beasts, which is nice.

497
00:27:18,240 --> 00:27:21,599
Speaker 3: Because we don't hit the swearing. Yeah, what's interesting about this.

498
00:27:21,720 --> 00:27:24,200
I think that's a very like conscious decision on our part,

499
00:27:24,279 --> 00:27:27,000
because it's like, I don't know, you can throw a

500
00:27:27,079 --> 00:27:29,720
ton of swears into a song if you want to. Yeah,

501
00:27:30,000 --> 00:27:31,759
like I don't know, personally, it's like a very weak

502
00:27:31,880 --> 00:27:35,240
creative decision. I mean there's so many words, you know

503
00:27:36,359 --> 00:27:39,880
that like I don't know, choosing to swear for like

504
00:27:40,079 --> 00:27:42,920
edginess sake is like kind of weak to me. And

505
00:27:43,359 --> 00:27:48,599
what's funny is that I that idea kind of came

506
00:27:48,680 --> 00:27:55,319
from with Corey uh, what's his name, Slipknot Corey Taylor, Yeah,

507
00:27:55,640 --> 00:27:57,880
because he made that switch. And when I was like

508
00:27:58,000 --> 00:28:00,960
super young and angsty, I remember being like that's lab

509
00:28:01,039 --> 00:28:03,400
You're not gonna swear anymore. And then I got older

510
00:28:03,559 --> 00:28:06,200
and I started like kind of like, you know, listening

511
00:28:06,279 --> 00:28:09,680
to the Slipknot sort of evolution, like the maturity and

512
00:28:09,759 --> 00:28:12,039
like the lyric writing and stuff, and you know, I

513
00:28:12,119 --> 00:28:13,960
mean you go back and listen to that first record

514
00:28:14,000 --> 00:28:16,480
and some of it's like headbanger stuff, but yeah, a

515
00:28:16,559 --> 00:28:18,400
lot of it like I don't know, spit it out,

516
00:28:18,519 --> 00:28:20,039
like I really want to go and listen to that

517
00:28:20,119 --> 00:28:21,559
right now. Yeah, I don't.

518
00:28:21,960 --> 00:28:27,440
Speaker 7: Yeah, good song, great song, Like I don't know.

519
00:28:27,920 --> 00:28:30,119
Speaker 9: Sometimes what catches me off guard is when it's like,

520
00:28:31,160 --> 00:28:33,160
you know, it's one thing, if it's if it's metal,

521
00:28:33,319 --> 00:28:35,960
certain kinds of metal or hip hop, but if you

522
00:28:36,039 --> 00:28:38,319
hear you know, just a singer songwriter and they've got

523
00:28:38,400 --> 00:28:41,680
like the S word just in there. It's like, you know,

524
00:28:41,799 --> 00:28:44,559
because it's like, oh, you're a singer songwriter, but ooh

525
00:28:44,599 --> 00:28:45,400
you're edgy.

526
00:28:45,799 --> 00:28:47,319
Speaker 3: Right, you know.

527
00:28:48,559 --> 00:28:49,680
Speaker 7: Variety is the spice.

528
00:28:50,519 --> 00:28:52,359
Speaker 3: And that's not to say that I think as like

529
00:28:52,440 --> 00:28:56,039
a blanket rule, like swearing in songs bad or lazy,

530
00:28:56,160 --> 00:28:57,359
you know what I mean? But I do you think

531
00:28:57,400 --> 00:29:03,000
it's a tool that like should be used at certain points,

532
00:29:03,440 --> 00:29:06,599
Like like my buddy Joe plays in this band called

533
00:29:06,799 --> 00:29:12,759
Dirt Byre and he's got the song called Fentanyl, and uh,

534
00:29:12,920 --> 00:29:15,480
there's this really powerful part when he first comes in

535
00:29:15,960 --> 00:29:19,240
to this one line. He says, you keep fing around,

536
00:29:19,759 --> 00:29:22,279
And I'm like, it's super powerful because of what he's

537
00:29:22,279 --> 00:29:24,119
talking about, you know what I mean. Sure, but like

538
00:29:24,519 --> 00:29:26,720
I don't know, a lot of times I'm like, it

539
00:29:27,200 --> 00:29:28,279
doesn't have that same effect.

540
00:29:28,519 --> 00:29:32,200
Speaker 9: Right right by the way, Jane looks like you're getting

541
00:29:32,240 --> 00:29:38,839
some familial love in the chat room. Mommy loves you, Janey, Shelley.

542
00:29:39,039 --> 00:29:40,000
That's your your mom.

543
00:29:40,079 --> 00:29:43,000
Speaker 7: That's very nice, very nice, Thank you mother.

544
00:29:43,240 --> 00:29:43,920
Speaker 3: We love Shelley.

545
00:29:44,119 --> 00:29:45,680
Speaker 7: Yeah, I love you too.

546
00:29:46,079 --> 00:29:48,960
Speaker 9: No, that's great. Actually, the subject came up to with

547
00:29:49,079 --> 00:29:52,480
our first guests today. Uh, waiting for Z. We're on

548
00:29:52,559 --> 00:29:54,000
and we're talking about it's nice one when you have

549
00:29:54,039 --> 00:29:58,319
supportive family members. Also, oh, I missed this comment earlier.

550
00:29:58,640 --> 00:30:00,680
Kyle Gatto is in the chat room man says more

551
00:30:00,720 --> 00:30:05,279
than Matt, what's good brother, welcome Kyle. Yeah, I mean

552
00:30:05,400 --> 00:30:08,079
it's it's Uh. I also think though, too, it would

553
00:30:08,119 --> 00:30:11,440
be weird because of the style and the genre of

554
00:30:11,519 --> 00:30:13,440
the music that you do. Sure it would actually it

555
00:30:13,480 --> 00:30:16,720
would be strange word in there, you know.

556
00:30:16,920 --> 00:30:19,359
Speaker 3: Yeah, I mean, nobody's thinking of like I don't know,

557
00:30:19,960 --> 00:30:24,920
mid century or like medieval times, and like you know,

558
00:30:25,000 --> 00:30:28,680
everybody's running around with like swearing a whole bunch. I

559
00:30:28,680 --> 00:30:30,519
don't know. It feels like it should be more like

560
00:30:30,759 --> 00:30:35,000
regal and like hoity toity and you know, almost have

561
00:30:35,119 --> 00:30:38,519
a bit of a curtsy just embedded in the lyrics,

562
00:30:38,559 --> 00:30:40,920
you know what I mean. I feel like there's like

563
00:30:40,960 --> 00:30:45,519
a certain level of like, I don't know, fanciful that

564
00:30:45,880 --> 00:30:47,680
it like needs.

565
00:30:47,880 --> 00:30:49,519
Speaker 9: No, I know, I know what you mean. Although if

566
00:30:49,519 --> 00:30:52,160
you watch like some some of the Monty Python movies

567
00:30:52,240 --> 00:30:54,680
that are period pieces, it seems like there was a

568
00:30:54,720 --> 00:30:58,839
lot of swearing back then, but absolutely, yeah, no, I

569
00:30:58,920 --> 00:31:00,799
know what you mean though, Yeah, I think I think

570
00:31:01,319 --> 00:31:04,119
profanity would be very awkward in your music. You know,

571
00:31:04,119 --> 00:31:06,799
it would almost be like, I don't know, there's I

572
00:31:07,000 --> 00:31:11,440
think that genre it just it doesn't fit. But no,

573
00:31:11,640 --> 00:31:13,839
so I and I think it's great that you're you're

574
00:31:14,240 --> 00:31:17,559
so conscientious about the lyrics that you you know, use

575
00:31:17,880 --> 00:31:21,119
you know, there's so many words, you know, the English language,

576
00:31:21,160 --> 00:31:22,799
we have so many words, you know, so why not

577
00:31:22,960 --> 00:31:23,519
be creative?

578
00:31:23,599 --> 00:31:26,440
Speaker 3: Yeah exactly, I mean we spent so much time arguing

579
00:31:26,480 --> 00:31:31,880
about like the sourus related really opinions. Oh yeah, when

580
00:31:31,880 --> 00:31:35,680
we're writing lyrics. So when we write lyrics, generally it's me,

581
00:31:36,559 --> 00:31:40,319
our drummer and our vocalists all working together. Sometimes Jane's

582
00:31:40,400 --> 00:31:43,440
into Jane generally helps more with like the melodic elements

583
00:31:43,519 --> 00:31:46,839
of like the vocals and like the rhythmic elements of everything.

584
00:31:47,559 --> 00:31:49,799
But as far as like the lyrics goes, it's like

585
00:31:49,880 --> 00:31:51,799
the three of us generally kind of going back and

586
00:31:51,920 --> 00:31:53,599
forth about what the best way to say like what

587
00:31:53,680 --> 00:31:57,000
we're trying to convey is, yeah, and so it prevents

588
00:31:57,039 --> 00:32:00,400
it from like being kind of like over ing in

589
00:32:00,680 --> 00:32:03,079
like one person's style. You know and we get this

590
00:32:03,240 --> 00:32:06,920
kind of cool average. I think that works out really

591
00:32:06,960 --> 00:32:10,079
well and represents the band as a whole. Yeah, pretty beautifully.

592
00:32:10,240 --> 00:32:12,640
Speaker 9: Yeah, No, I think that's I think that's really cool.

593
00:32:13,359 --> 00:32:15,880
I think we should play another track from the from

594
00:32:15,920 --> 00:32:18,160
the album you did send me another one that you

595
00:32:18,200 --> 00:32:18,880
wanted to highlight.

596
00:32:19,960 --> 00:32:22,319
Speaker 3: I think beneath Red Leaves, right, was it?

597
00:32:23,079 --> 00:32:26,200
Speaker 9: Let's see I'm looking. Uh yes, beneath Red Leaves. Fantastic.

598
00:32:26,519 --> 00:32:28,880
Yeah we can. We can give that a spin, and

599
00:32:28,960 --> 00:32:30,839
then at the end of the show we'll probably play

600
00:32:30,839 --> 00:32:32,759
another one from the album. I have your do you have?

601
00:32:32,799 --> 00:32:34,839
Because I do have the album pulled up and I

602
00:32:34,960 --> 00:32:38,079
love love your music. I think it's really good. Absolutely,

603
00:32:38,480 --> 00:32:40,759
so I check this out. This is called Beneath Red

604
00:32:40,839 --> 00:32:43,039
Leaves and the band is questing Beast.

605
00:33:44,319 --> 00:33:48,400
Speaker 10: I wend it back you thro was gone, I say,

606
00:33:48,440 --> 00:33:54,200
good as tack. I see the piece pea so bad,

607
00:33:55,319 --> 00:33:57,039
pas see too back now.

608
00:34:00,400 --> 00:34:05,160
Speaker 4: Seek the time s not said leave the most the hide.

609
00:34:09,440 --> 00:34:10,880
Speaker 10: Its faces has called he.

610
00:34:11,159 --> 00:34:11,920
Speaker 5: Used to all.

611
00:34:12,280 --> 00:34:15,960
Speaker 10: We got frock, wort, spill the snow with snorty kill,

612
00:34:16,159 --> 00:34:17,519
got five soul.

613
00:34:17,840 --> 00:34:18,719
Speaker 5: Got broad.

614
00:34:20,320 --> 00:34:22,679
Speaker 10: The coming seel not too long.

615
00:34:22,840 --> 00:34:24,800
Speaker 1: We got bron Smeros.

616
00:34:24,840 --> 00:34:27,400
Speaker 3: This field, disky is this will Clive.

617
00:34:27,519 --> 00:34:30,159
Speaker 5: My rides were got broadwise.

618
00:34:41,719 --> 00:34:44,960
Speaker 3: A fine let seal song get.

619
00:34:44,840 --> 00:34:48,119
Speaker 4: His way and Spike swim heels go grass courts his

620
00:34:48,239 --> 00:34:51,239
shield and nightfall he escaping nor.

621
00:34:51,400 --> 00:34:52,480
Speaker 5: Me the jack.

622
00:35:02,519 --> 00:35:07,400
Speaker 4: I wanted time stumping it through the door, No fa back,

623
00:35:09,679 --> 00:35:12,000
I see be overt in the.

624
00:35:12,119 --> 00:35:20,559
Speaker 11: Man sending me for scares you you know at that

625
00:35:20,800 --> 00:35:28,000
time say nothing, He's.

626
00:35:27,920 --> 00:35:32,760
Speaker 10: Thanks, You's call me a swom yet by now yourself

627
00:35:32,880 --> 00:35:35,400
when shuts killed, don f soul?

628
00:35:35,760 --> 00:35:36,400
Speaker 8: Okay that.

629
00:35:38,440 --> 00:35:44,159
Speaker 10: The coming su you liever that by final course comment

630
00:35:44,239 --> 00:35:48,320
our line you bead to die g brothers.

631
00:36:35,960 --> 00:36:48,239
Speaker 5: So okay, right, okay.

632
00:36:54,760 --> 00:36:54,960
Speaker 1: Kay.

633
00:37:12,239 --> 00:37:16,039
Speaker 9: That is beneath red Leaves. The band is questing Bees

634
00:37:16,119 --> 00:37:18,880
and that is from their album Birth That is so good.

635
00:37:19,159 --> 00:37:20,800
And they're gonna be playing if you are listening live

636
00:37:20,840 --> 00:37:22,920
on Saturday, they're gonna be tomorrow night. They're going to

637
00:37:23,000 --> 00:37:26,599
be Sunday night at Terminus Underground. What time does that

638
00:37:26,679 --> 00:37:27,400
show start?

639
00:37:27,800 --> 00:37:30,000
Speaker 3: The doors are at six o'clock. I believe we are

640
00:37:30,119 --> 00:37:32,519
on at seven. We're opening up that show.

641
00:37:32,800 --> 00:37:34,039
Speaker 9: Well, who else is on the show with you?

642
00:37:34,159 --> 00:37:37,679
Speaker 3: Do you know? Off Dog eight Dog and Sunset Electric?

643
00:37:37,880 --> 00:37:40,039
Speaker 9: Oh nice? Yeah, we've had we've had both bands on

644
00:37:40,119 --> 00:37:42,159
the show. Oh cool Dog eight Dog was with us

645
00:37:42,280 --> 00:37:45,000
a couple of weeks ago. Actually, yeah, really really cool.

646
00:37:45,159 --> 00:37:46,400
Oh yeah, they're they're amazing.

647
00:37:48,559 --> 00:37:48,719
Speaker 1: Now.

648
00:37:49,199 --> 00:37:52,320
Speaker 9: So a song like that, I mean, does that take

649
00:37:52,360 --> 00:37:54,480
a while for that to come together?

650
00:37:54,559 --> 00:37:56,400
Speaker 3: I mean in terms of just honestly, that was probably

651
00:37:56,440 --> 00:37:58,960
one of the faster ones, was it. Yeah, So that

652
00:37:59,119 --> 00:38:01,320
was one of the last two that we wrote, right,

653
00:38:01,440 --> 00:38:03,800
the ones that we had mentioned before we started playing,

654
00:38:04,880 --> 00:38:07,679
and I had had that rift the main riff that

655
00:38:09,000 --> 00:38:12,880
button't it for a little bit, and Jane, I think,

656
00:38:12,960 --> 00:38:16,239
had had that intro kind of written out from something

657
00:38:16,320 --> 00:38:19,760
that we had messed around with during practice, and so

658
00:38:19,840 --> 00:38:23,199
we essentially just like fused those two things together, came

659
00:38:23,320 --> 00:38:25,320
up with the solo section, and I had a little

660
00:38:25,400 --> 00:38:30,719
alternate version that became the outro, and uh, yeah, we

661
00:38:30,920 --> 00:38:32,440
knocked that thing out I think in a day.

662
00:38:32,599 --> 00:38:33,000
Speaker 9: No kidding.

663
00:38:33,159 --> 00:38:35,239
Speaker 7: Yeah, solo section chords.

664
00:38:36,239 --> 00:38:37,360
Speaker 3: The solo took forever to write.

665
00:38:37,440 --> 00:38:40,320
Speaker 7: Yeah, for a long time. I would say the solo

666
00:38:40,400 --> 00:38:45,519
section chords and the fast like thrashy part probably one

667
00:38:45,559 --> 00:38:49,639
of my proudest moments. Also, so having an awesome guitar

668
00:38:49,679 --> 00:38:51,119
solo on top of it, too, and that was like

669
00:38:51,639 --> 00:38:53,320
the cherry on top. That was like the last thing

670
00:38:53,400 --> 00:38:58,159
for the song. That song, that song is super hard

671
00:38:58,239 --> 00:38:58,800
to play live.

672
00:38:58,920 --> 00:39:00,599
Speaker 3: Yeah, that's probably the hardest on the record.

673
00:39:01,119 --> 00:39:03,119
Speaker 7: Yeah, yeah, it's so fun.

674
00:39:03,360 --> 00:39:06,840
Speaker 9: Yeah yeah, I'm fascinated by that because I you know,

675
00:39:06,920 --> 00:39:09,280
I I'm a musician. I used to play in some bands,

676
00:39:09,320 --> 00:39:12,199
but I never played in anything that did anything that

677
00:39:13,000 --> 00:39:17,519
you know, with time changes and you know, demanding. Yeah, yeah, exactly, so,

678
00:39:18,639 --> 00:39:22,800
so I'm very impressed. Yeah that's uh, that's that's really good. Oh.

679
00:39:22,960 --> 00:39:25,119
By the way, in the chat room, so Bradley Hurley

680
00:39:25,320 --> 00:39:29,719
uh said to your mom, Oh you should know your

681
00:39:29,840 --> 00:39:32,599
daughter has helped my recovery and life so much for

682
00:39:32,719 --> 00:39:34,639
the better. Oh so very nice.

683
00:39:35,400 --> 00:39:35,679
Speaker 3: Thank you.

684
00:39:36,039 --> 00:39:38,440
Speaker 9: You're getting a lot of love in there. That is awesome.

685
00:39:38,599 --> 00:39:42,320
That is awesome. And then so when does the now

686
00:39:42,320 --> 00:39:43,440
when does the tours start again?

687
00:39:44,760 --> 00:39:47,159
Speaker 3: April twenty fifth is the first day of Horror playing

688
00:39:47,719 --> 00:39:51,400
Ralph's Okay in rock Yeah, that one is going to

689
00:39:51,440 --> 00:39:59,639
be with so Moontomb obviously, Horror, Perennial Quest and mercury

690
00:39:59,679 --> 00:40:00,480
Burns first.

691
00:40:01,039 --> 00:40:03,920
Speaker 9: Oh okay great yeah yeah, yeah, we had mercury Burns

692
00:40:03,960 --> 00:40:05,480
first on a couple of months ago, and we've had

693
00:40:05,559 --> 00:40:08,960
Horror on too. So yeah, that's that's that's really strong.

694
00:40:09,320 --> 00:40:11,519
That's great. Now with the with the tour, will this

695
00:40:11,719 --> 00:40:14,199
be your your first time traveling out of New England

696
00:40:14,320 --> 00:40:15,239
with the band? Yeah?

697
00:40:15,360 --> 00:40:17,559
Speaker 3: Oh yeah yeah. Well the furthest we've gone up to

698
00:40:17,679 --> 00:40:21,239
this point is that we played out in Connecticut at

699
00:40:21,320 --> 00:40:24,119
some point last year. Okay, but yeah, this will be

700
00:40:24,159 --> 00:40:27,800
the furthest out we've gone in Maryland, I think in Baltimore.

701
00:40:28,000 --> 00:40:31,239
Speaker 9: Okay, yeah, we're in Baltimore. What's what venue do you

702
00:40:31,280 --> 00:40:31,719
do you remember?

703
00:40:32,000 --> 00:40:34,679
Speaker 3: Yeah? We're playing the Depot Okay in Baltimore.

704
00:40:34,840 --> 00:40:41,719
Speaker 9: Okay, nice? Nice? And then, uh, do you have so

705
00:40:43,960 --> 00:40:46,440
who's is it just the four of you now live

706
00:40:46,559 --> 00:40:48,280
now that you have a live bass player?

707
00:40:48,360 --> 00:40:49,400
Speaker 3: Is it five of us?

708
00:40:49,519 --> 00:40:50,159
Speaker 9: There's five of you?

709
00:40:51,159 --> 00:40:56,079
Speaker 3: Oh yeah, so we've got lead singer, two guitars, bass player,

710
00:40:56,199 --> 00:40:57,159
drummer okay.

711
00:40:58,039 --> 00:41:00,639
Speaker 9: And then so so before you would play with bass tracks,

712
00:41:00,679 --> 00:41:02,960
did you always have a live drummer. Yeah, yeah, you

713
00:41:03,039 --> 00:41:05,800
did always have a live drummer. Okay, all right, that

714
00:41:05,880 --> 00:41:07,320
makes sense. So it's just a bass player that you

715
00:41:07,400 --> 00:41:10,079
didn't have before officially, Okay, got it.

716
00:41:10,119 --> 00:41:12,079
Speaker 3: And it's a lot easier to get away with not

717
00:41:12,199 --> 00:41:14,039
having a live bassis than a live drummer.

718
00:41:15,599 --> 00:41:17,800
Speaker 9: I'm a bass player, so that makes me sad. But

719
00:41:19,159 --> 00:41:22,159
but no, I understand though, because bass players are hard

720
00:41:22,199 --> 00:41:23,360
to find sometimes.

721
00:41:22,960 --> 00:41:25,400
Speaker 3: They really are, and they're in such high demand, you

722
00:41:25,480 --> 00:41:27,199
know what I mean. Like, I don't know, if I

723
00:41:27,280 --> 00:41:29,760
if I wanted to be a career musician, I definitely

724
00:41:29,840 --> 00:41:32,039
would pick up, like, you know, like a higher gun

725
00:41:32,119 --> 00:41:34,559
type guy. Bass or drums is like what you want

726
00:41:34,599 --> 00:41:35,320
to do, you know.

727
00:41:35,559 --> 00:41:38,079
Speaker 9: Yeah. My theory about yeah, because drummers are hard to

728
00:41:38,119 --> 00:41:41,239
find too, and in fact, we've seen you know, Jenny

729
00:41:41,320 --> 00:41:43,239
knows this. We've had so many bands on the show

730
00:41:43,280 --> 00:41:46,199
where the drummer specifically is in like ten different projects.

731
00:41:46,880 --> 00:41:49,000
And my theory about that is, you know, when you're

732
00:41:49,000 --> 00:41:51,599
growing up and you first you become interested interested in

733
00:41:51,679 --> 00:41:54,599
playing an instrument, and you have the conversation with parents,

734
00:41:54,920 --> 00:41:57,599
you know, I want to play drums, They're going to

735
00:41:57,639 --> 00:41:58,920
try to talk you out of that, oh for sure,

736
00:41:59,039 --> 00:42:01,159
because nobody wants live drums in their h you know,

737
00:42:01,239 --> 00:42:02,159
in their attic or whatever.

738
00:42:02,320 --> 00:42:04,199
Speaker 3: No, especially if it's being played by somebody who doesn't

739
00:42:04,239 --> 00:42:05,039
know how to do it right.

740
00:42:05,119 --> 00:42:07,800
Speaker 9: Exactly. Yeah, that's the worst. Yeah, drums or the tuba,

741
00:42:08,000 --> 00:42:10,320
or probably the two that your your parents are going

742
00:42:10,400 --> 00:42:12,440
to try to actively talk you out of, like, well,

743
00:42:12,480 --> 00:42:13,440
do you really want to play that?

744
00:42:13,880 --> 00:42:15,280
Speaker 3: Are you sure you want the violin?

745
00:42:15,719 --> 00:42:16,400
Speaker 8: Right? Oh?

746
00:42:16,519 --> 00:42:20,199
Speaker 9: Violin? Yeah, that one could be a problem too, but

747
00:42:20,559 --> 00:42:24,840
uh yeah, so yeah, drums and uh, drums and drummers

748
00:42:24,840 --> 00:42:26,840
and bass players are usually the hardest to find.

749
00:42:26,920 --> 00:42:30,480
Speaker 7: So you're bringing up some some childhood memories of me

750
00:42:31,320 --> 00:42:34,679
setting up a secondhand drum set in my parents' basement. Really,

751
00:42:34,760 --> 00:42:38,000
oh yeah, and since my mom is probably still watching,

752
00:42:38,079 --> 00:42:41,079
I wonder if she remembers opening the door to the

753
00:42:41,119 --> 00:42:44,639
basement and yelling down to me to please stop.

754
00:42:44,920 --> 00:42:45,360
Speaker 9: Oh really?

755
00:42:47,159 --> 00:42:47,360
Speaker 8: Yeah?

756
00:42:49,800 --> 00:42:52,559
Speaker 9: Oh man, did you did you continue to play drums

757
00:42:52,719 --> 00:42:54,199
or my?

758
00:42:55,559 --> 00:42:55,599
Speaker 10: Not?

759
00:42:55,800 --> 00:42:58,440
Speaker 7: I I never really played drum set, so it's funny.

760
00:42:58,480 --> 00:43:01,880
Actually my trajectory he as a musician. I started on piano,

761
00:43:02,079 --> 00:43:05,239
and then I started playing percussion in like middle school,

762
00:43:06,559 --> 00:43:08,960
middle school band and stuff like that, and then I

763
00:43:09,079 --> 00:43:12,599
started playing marching percussion in high school. So I played

764
00:43:13,960 --> 00:43:18,559
I played like xylophone and stuff like that, like pit

765
00:43:18,639 --> 00:43:21,440
percussion for marching band. And then also during concert season

766
00:43:21,480 --> 00:43:24,159
I would play pit percussion, but during marching band season

767
00:43:24,199 --> 00:43:26,599
I would play snare drum, but I think I was

768
00:43:26,639 --> 00:43:28,280
when I was a senior, I was marching snare, but

769
00:43:28,360 --> 00:43:31,440
I marched some other things in parades too. But I

770
00:43:31,519 --> 00:43:33,440
picked up guitar in high school at the same time.

771
00:43:35,400 --> 00:43:38,360
The drumming didn't really come with me in any sense

772
00:43:38,400 --> 00:43:41,519
of the word after I graduated high school.

773
00:43:41,719 --> 00:43:43,840
Speaker 9: Yeah. Yeah, Oh, by the way, your mom says in

774
00:43:43,920 --> 00:43:47,559
the chat room, that's a lie. She's an eyes yelling

775
00:43:47,599 --> 00:43:48,920
at you. I guess to stop.

776
00:43:48,960 --> 00:43:55,320
Speaker 7: All right, Well, maybe you know, all right, maybe some

777
00:43:55,480 --> 00:44:01,360
selective memory on one or both parties. I do firmly

778
00:44:01,840 --> 00:44:03,760
and I will have a firm stance on the fact

779
00:44:03,800 --> 00:44:07,599
that it was not the preferred okay situation.

780
00:44:07,320 --> 00:44:12,480
Speaker 9: Okay, understood, understood. Yeah, but that is an unusual trajectory though.

781
00:44:12,480 --> 00:44:14,159
I think you're right in terms of because I feel

782
00:44:14,239 --> 00:44:16,119
like I forget who we were talking about this with.

783
00:44:16,280 --> 00:44:18,559
But I feel like most most people who play drums,

784
00:44:18,599 --> 00:44:20,800
who play other instruments as well drum, they usually get

785
00:44:20,840 --> 00:44:23,239
to drums at the end, you know, like they like

786
00:44:23,320 --> 00:44:25,719
they start on guitar, bass, or piano or whatever, and

787
00:44:25,800 --> 00:44:29,320
then eventually they get to drums. But it sounds like you, well,

788
00:44:29,320 --> 00:44:31,679
you started on piano, right, but then Yeah, but drums

789
00:44:31,840 --> 00:44:32,559
was early.

790
00:44:32,960 --> 00:44:35,079
Speaker 7: Yeah, drum drums were early. I think I started on

791
00:44:36,519 --> 00:44:38,760
I think I started on piano when I was like seven. Yeah,

792
00:44:39,599 --> 00:44:44,440
and I still play piano. I still, I still play

793
00:44:44,519 --> 00:44:49,039
piano pretty regularly. But yeah, I think it's interesting. I

794
00:44:49,360 --> 00:44:52,920
think I started picking up percussion in fifth grade.

795
00:44:53,000 --> 00:44:53,199
Speaker 1: Maybe.

796
00:44:53,239 --> 00:44:55,679
Speaker 7: I think I was eleven or twelve when I started

797
00:44:55,679 --> 00:44:59,079
picking it up, so, you know, only another five years later,

798
00:45:01,239 --> 00:45:04,880
and I kind of did things in stages. I left

799
00:45:06,039 --> 00:45:09,039
a lot of piano behind as far as my main

800
00:45:09,159 --> 00:45:14,840
focus once I kind of got into high school. My

801
00:45:14,920 --> 00:45:17,440
mom will also agree with this. I stopped actually really

802
00:45:17,559 --> 00:45:21,599
practicing for my lessons, so I would learn stuff that

803
00:45:21,679 --> 00:45:23,000
I was playing. You know, I was in the school

804
00:45:23,039 --> 00:45:25,079
jazz band and stuff like that, so I would practice

805
00:45:25,119 --> 00:45:30,199
that stuff kind of. But I stopped taking formal piano

806
00:45:30,320 --> 00:45:34,960
lessons when I was maybe fourteen. I don't blame her whatsoever.

807
00:45:35,159 --> 00:45:38,239
She didn't want to support me doing it if I

808
00:45:38,440 --> 00:45:40,880
wasn't actually going to practice any of the material. And

809
00:45:41,079 --> 00:45:43,880
I had Yeah, I was like, I don't want to

810
00:45:43,960 --> 00:45:48,000
learn classical music, like I want to play cool stuff, right,

811
00:45:49,119 --> 00:45:51,480
I want to play guitar now, you know.

812
00:45:51,719 --> 00:45:55,239
Speaker 3: Yeah, not rebel, yeah, real rebel.

813
00:45:56,199 --> 00:46:00,639
Speaker 7: It really only served to hold me back really in

814
00:46:00,760 --> 00:46:03,559
the future. I'm fortunate enough that I was able to

815
00:46:03,639 --> 00:46:06,280
like get back into everything kind of universally, you know

816
00:46:06,320 --> 00:46:08,360
what I mean. I ended up playing drums.

817
00:46:09,400 --> 00:46:10,119
Speaker 9: No, it's not true.

818
00:46:10,159 --> 00:46:11,960
Speaker 7: I did play drums in a band when I was

819
00:46:12,039 --> 00:46:15,639
in college and we were not good really yeah, a

820
00:46:15,760 --> 00:46:19,559
little punk band, you know. But yeah it served me

821
00:46:19,679 --> 00:46:22,519
well as far as all the other things that I did, yeah,

822
00:46:22,679 --> 00:46:25,599
you know, musically, but yeah, very interesting. I'm back into

823
00:46:25,639 --> 00:46:28,360
piano pretty regularly now, you know. I play guitar every week,

824
00:46:29,360 --> 00:46:32,320
but no drumming. They hate it when I get on

825
00:46:32,400 --> 00:46:33,079
the drum sets.

826
00:46:33,639 --> 00:46:36,159
Speaker 3: Yeah, yeah, it's bad.

827
00:46:37,960 --> 00:46:40,800
Speaker 9: But actually starting on piano though, that's good because I've

828
00:46:40,840 --> 00:46:43,559
heard a lot of I've heard so many music teachers

829
00:46:43,599 --> 00:46:49,360
and instructors and even Berkeley professors say that ideally, when

830
00:46:49,559 --> 00:46:52,320
when you're young and you're starting out getting into music,

831
00:46:52,800 --> 00:46:56,119
that's the ideal place. Keyboard, any kind of keyboard, is

832
00:46:56,199 --> 00:46:59,000
the ideal place to start in terms of building blocks

833
00:46:59,559 --> 00:47:02,480
for learning how to play music. Like that's like the

834
00:47:02,719 --> 00:47:05,159
single best place to start is learning how to play

835
00:47:05,199 --> 00:47:05,719
a keyboard.

836
00:47:06,039 --> 00:47:08,960
Speaker 3: Yeah, I would agree with that. I mean yeah, because

837
00:47:08,960 --> 00:47:10,840
it's just up and it's just up and down. There's

838
00:47:10,880 --> 00:47:13,719
none of this like dumb sideways stuff where like you're

839
00:47:13,719 --> 00:47:17,639
repeating the same exact note like on guitar. You know, there's, however,

840
00:47:17,719 --> 00:47:20,400
many different places to play each note that's like in

841
00:47:20,519 --> 00:47:21,679
the same exact octave.

842
00:47:21,880 --> 00:47:22,679
Speaker 8: You know that.

843
00:47:22,800 --> 00:47:25,800
Speaker 3: It's like, I don't know, there's it's a lot more

844
00:47:25,880 --> 00:47:29,800
open to interpretation than I think that playing like piano

845
00:47:29,960 --> 00:47:32,360
or something like that is. And so it's really easy

846
00:47:32,440 --> 00:47:37,320
to see the more linear nature of music in that

847
00:47:37,480 --> 00:47:39,800
way and trying to like figure out a guitar fret

848
00:47:39,840 --> 00:47:40,239
board and be.

849
00:47:40,320 --> 00:47:45,480
Speaker 9: Like exactly only and what's that right, right? Yeah, yeah, exactly.

850
00:47:45,519 --> 00:47:47,199
And I guess there's research to these shows that are

851
00:47:47,239 --> 00:47:50,239
really it's the fastest way to train your brain to

852
00:47:50,400 --> 00:47:52,920
understand music and understand music theory and everything is just

853
00:47:53,079 --> 00:47:55,840
learning on the keyboard, but which I didn't do, unfortunately,

854
00:47:55,880 --> 00:47:56,480
I wish I had.

855
00:47:56,559 --> 00:47:58,559
Speaker 3: But yeah, I mean it would even give you like

856
00:47:58,639 --> 00:48:01,039
a really good rhythmic foundain if you wanted to switch

857
00:48:01,079 --> 00:48:03,320
over to like drums or something like that. A lot

858
00:48:03,360 --> 00:48:06,199
of people consider it to be a pretty percussive instrument itself.

859
00:48:06,119 --> 00:48:09,280
Speaker 9: Right right, Yeah, exactly, Well that might explain your trajectory

860
00:48:09,320 --> 00:48:10,119
there in the beginning with.

861
00:48:10,719 --> 00:48:14,239
Speaker 7: It definitely does. It's everything. It was an easy you

862
00:48:14,320 --> 00:48:19,639
know bridge, Yeah, it's everything. It's it's melody, harmony, uh,

863
00:48:20,079 --> 00:48:22,360
you know, bassline me, you know what I mean. Yeah,

864
00:48:24,519 --> 00:48:27,719
I definitely because of that, I'd say my biggest strength

865
00:48:28,159 --> 00:48:32,039
in this band would be composition, you know. It's It's

866
00:48:32,119 --> 00:48:37,199
interesting my technique and my proficiency on the instrument on

867
00:48:37,320 --> 00:48:41,039
guitar has had to develop. I mean, I've become an

868
00:48:41,239 --> 00:48:43,760
infinitely better guitar player than I was when we first

869
00:48:43,800 --> 00:48:49,559
started writing music in like twenty nineteen. My my actual

870
00:48:49,800 --> 00:48:53,960
playing was just so behind every step of the way

871
00:48:54,000 --> 00:48:57,039
when I was learning guitar. But my main skill is

872
00:48:57,239 --> 00:48:59,840
being able to take I call it piano brain, you know,

873
00:49:00,000 --> 00:49:02,360
whenever we're doing anything, I just I got the visual

874
00:49:02,440 --> 00:49:06,320
piano in the sky okay, okay, and I kind of

875
00:49:06,400 --> 00:49:09,960
have to translate from guitar to piano in my mind

876
00:49:10,000 --> 00:49:10,960
and then back to guitar.

877
00:49:11,320 --> 00:49:11,519
Speaker 9: Yeah.

878
00:49:11,719 --> 00:49:15,760
Speaker 7: It makes communicating with him not great sometimes, and and

879
00:49:15,880 --> 00:49:18,239
everybody else too. This stuff going on in my brain

880
00:49:18,360 --> 00:49:22,400
is sometimes hard to explain, but giving the opportunity to

881
00:49:22,519 --> 00:49:24,519
put it down and then explain it in terms of

882
00:49:24,639 --> 00:49:28,960
everyone's individual instrument and understanding. I've been told I do

883
00:49:29,039 --> 00:49:32,400
a good job and it's probably my biggest I would

884
00:49:32,400 --> 00:49:35,360
say it's probably my biggest attribute and contribution other than

885
00:49:35,440 --> 00:49:38,639
like the technical side of things, okay, as far as

886
00:49:38,800 --> 00:49:42,559
like tech actual technology, yeah, and setting that stuff up.

887
00:49:42,679 --> 00:49:45,960
So yeah, you know, let me just talk about myself.

888
00:49:45,719 --> 00:49:46,039
Speaker 9: For a bit.

889
00:49:48,440 --> 00:49:48,559
Speaker 1: Now.

890
00:49:48,679 --> 00:49:51,760
Speaker 9: That's uh no, that that's very interesting, And yeah, I

891
00:49:51,800 --> 00:49:54,800
think everything you says you said, they're really bolsters that

892
00:49:55,159 --> 00:49:57,519
idea that you know, learning on the keyboard is the

893
00:49:57,559 --> 00:49:58,239
best way to start.

894
00:49:58,840 --> 00:49:59,440
Speaker 7: Well, what about you?

895
00:49:59,639 --> 00:50:01,159
Speaker 9: And by o way, if you're just joining us, we

896
00:50:01,199 --> 00:50:03,920
were joined by questing beast. Here in studio, we have

897
00:50:04,039 --> 00:50:06,559
Jane and Shane here and so I'm curious about your

898
00:50:06,599 --> 00:50:07,719
trajectory now, Shane.

899
00:50:08,440 --> 00:50:10,320
Speaker 3: So I had almost none of that. I always wanted

900
00:50:10,360 --> 00:50:12,719
to play guitar. When I was seven, I got appetite

901
00:50:12,760 --> 00:50:15,800
for destruction and I would be listening to that and

902
00:50:15,880 --> 00:50:18,000
be like, how are they making these sounds happen? It

903
00:50:18,159 --> 00:50:23,760
was the first time I remember hearing like stereo guitar

904
00:50:23,960 --> 00:50:27,079
parts and noticing that like each guitar was doing totally

905
00:50:27,159 --> 00:50:31,159
different things, and so that so more than like even

906
00:50:31,280 --> 00:50:34,639
like you know, slashes soloing being you know great or whatever.

907
00:50:35,119 --> 00:50:38,519
It was the interaction between the guitars, like the riffs

908
00:50:38,840 --> 00:50:42,159
and the way that the playing the two different things

909
00:50:42,239 --> 00:50:45,519
culminated in this one new thing that's ultimately way better

910
00:50:45,840 --> 00:50:48,280
than the individual things on its own, always really spoke

911
00:50:48,360 --> 00:50:51,039
to me. And so when I inevitably started picking up

912
00:50:51,079 --> 00:50:56,199
guitar at like twelve years old, that I started going

913
00:50:56,239 --> 00:50:59,639
towards rock and roll, like immediately. Yeah, And Jane and

914
00:50:59,679 --> 00:51:03,239
I started writing music together when we were like fifteen, Yeah,

915
00:51:03,519 --> 00:51:05,800
And it was funny because I had taken I had

916
00:51:05,960 --> 00:51:08,880
a guitar teacher at the time who had kind of

917
00:51:09,079 --> 00:51:10,960
like burnt me out on it because it was like

918
00:51:11,280 --> 00:51:12,960
I didn't feel like I was really learning a lot

919
00:51:13,000 --> 00:51:15,880
of stuff, and I felt like, you know, very stagnant.

920
00:51:15,920 --> 00:51:17,360
So I stopped playing for a while, and then one

921
00:51:17,440 --> 00:51:20,119
day I was like trying to figure out something that

922
00:51:20,199 --> 00:51:21,320
I was hearing in my head. I was like, oh,

923
00:51:21,320 --> 00:51:24,280
I wonder how you play that, And I didn't play

924
00:51:24,280 --> 00:51:26,639
it right at all. I played a totally new thing,

925
00:51:27,320 --> 00:51:30,599
and I was like, that's not the thing I was

926
00:51:30,639 --> 00:51:33,280
looking for, but it's pretty cool on its own. And

927
00:51:33,880 --> 00:51:37,000
I ended up talking to Jane at that point and

928
00:51:37,039 --> 00:51:38,639
being like, hey, I came up with this thing, like

929
00:51:39,159 --> 00:51:41,400
do you want to write the rest of it with me?

930
00:51:42,000 --> 00:51:45,159
Speaker 9: And yeah, and that was so that was really the

931
00:51:45,239 --> 00:51:48,880
beginning of sure, yeah, of all this right, Oh yeah, wow,

932
00:51:49,079 --> 00:51:50,000
yeah a long time ago.

933
00:51:50,199 --> 00:51:52,039
Speaker 7: Yeah, fifteen years later.

934
00:51:52,400 --> 00:51:53,719
Speaker 3: Wow, it sounds a.

935
00:51:53,760 --> 00:51:56,079
Speaker 7: Lot different than it did when we were hanging out,

936
00:51:57,119 --> 00:52:01,320
just playing through a couple tiny little in his bedroom.

937
00:52:01,559 --> 00:52:06,519
Speaker 9: Yeah, I can imagine, Yeah, I can imagine. Well before

938
00:52:06,519 --> 00:52:07,880
we run out of time. So I want to make

939
00:52:07,880 --> 00:52:10,960
sure we remind everybody about you know two things. Of course,

940
00:52:11,000 --> 00:52:13,199
you know that you got the big show tomorrow night

941
00:52:13,280 --> 00:52:16,360
at Terminus Underground in Nashua, and then and the tour

942
00:52:16,840 --> 00:52:19,679
and uh and also too where people can go online

943
00:52:19,719 --> 00:52:21,000
to keep up with everything that you're doing.

944
00:52:21,199 --> 00:52:23,559
Speaker 3: Absolutely, if you're on Instagram, you can find us at

945
00:52:23,719 --> 00:52:27,199
Questing Beasts. There's no punctuation or anything. We really lucked

946
00:52:27,199 --> 00:52:29,639
out on that screen name there. We're also on Facebook.

947
00:52:30,039 --> 00:52:33,440
Those are like the two primary social places that we're at.

948
00:52:34,639 --> 00:52:37,079
We stream our music everywhere and we've got the link

949
00:52:37,159 --> 00:52:40,719
tree on the Instagram page and on the Facebook page,

950
00:52:40,800 --> 00:52:44,800
so it's very easily accessible. You can find our music anywhere.

951
00:52:45,000 --> 00:52:48,639
Speaker 9: And yeah, excellent, excellent. Yeah, so be a terminus tomorrow

952
00:52:48,719 --> 00:52:51,400
night and then the tour starts. What was it start date?

953
00:52:51,679 --> 00:52:55,960
Speaker 3: April fifth, Yeah, at Ralph's Rock Diner.

954
00:52:56,079 --> 00:52:58,320
Speaker 9: Yeah, yeah, congratulations on that.

955
00:52:58,440 --> 00:53:00,519
Speaker 3: That's amazing, thank you. Yeah, we're stoked for that.

956
00:53:00,840 --> 00:53:03,800
Speaker 9: That's amazing. And in a moment, we'll play one more

957
00:53:03,880 --> 00:53:06,519
track from Birth to close out the segment. But Jenny,

958
00:53:06,559 --> 00:53:09,039
do you want to remind people to give people your

959
00:53:09,079 --> 00:53:11,519
website because you've been up to a lot as always,

960
00:53:12,039 --> 00:53:12,840
trouble as usual.

961
00:53:12,960 --> 00:53:15,159
Speaker 7: You can check it all out at Gencoffee dot com.

962
00:53:15,320 --> 00:53:18,159
J E N N c O f f uy dot com.

963
00:53:18,800 --> 00:53:22,039
Speaker 9: Excellent, excellent, Jane and Shane, thank you both so much

964
00:53:22,079 --> 00:53:23,840
for joining us. Thank you, it has been wonderful. And

965
00:53:24,000 --> 00:53:27,159
what should we I'll let you pick. Well, we'll play

966
00:53:27,199 --> 00:53:28,960
one more track from Birth to close out the show.

967
00:53:29,000 --> 00:53:30,280
What should we? What should we play?

968
00:53:30,760 --> 00:53:30,880
Speaker 1: Uh?

969
00:53:31,400 --> 00:53:32,360
Speaker 3: You want to do corruption?

970
00:53:33,119 --> 00:53:33,400
Speaker 9: Corruption?

971
00:53:33,519 --> 00:53:35,039
Speaker 3: It's one of the heavier ones. I'm trying to push

972
00:53:35,079 --> 00:53:36,960
it out there. It's the it's like the only song

973
00:53:37,039 --> 00:53:39,159
that hasn't hit like a thousand on Spotify.

974
00:53:39,320 --> 00:53:40,199
Speaker 9: Yet, oh no kidding.

975
00:53:40,280 --> 00:53:41,639
Speaker 3: And also I'm trying to I want to do a

976
00:53:41,719 --> 00:53:44,400
side project where I do death metal vocals. So if

977
00:53:44,440 --> 00:53:46,480
you didn't a death metal band and you need a vocalist,

978
00:53:47,199 --> 00:53:47,960
you call me up.

979
00:53:48,159 --> 00:53:50,840
Speaker 9: All right, all right, and let's see if we can

980
00:53:51,119 --> 00:53:52,599
push some streams on this track.

981
00:53:52,800 --> 00:53:53,840
Speaker 3: Absolutely sounds great.

982
00:53:53,840 --> 00:53:55,800
Speaker 9: All right, So we'll close out with this, and if

983
00:53:55,840 --> 00:53:57,880
you miss any part of today's show, it will be

984
00:53:57,960 --> 00:53:59,360
up in just a little bit at w M and

985
00:53:59,480 --> 00:54:02,679
H radio dot org and my website Matt Connorton dot com.

986
00:54:02,760 --> 00:54:04,800
And here it is. This is called Corruption. This is

987
00:54:04,880 --> 00:54:08,320
from the album is Birth, and the band is Question Beasts.

988
00:54:30,440 --> 00:54:33,679
Speaker 6: Scribe their stop talk, I shot in my mind, I

989
00:54:33,800 --> 00:54:35,840
still diagrams and fellows how long.

990
00:54:35,719 --> 00:54:40,320
Speaker 8: As my thoughts guts back died. She's told a trainer, No,

991
00:54:40,440 --> 00:54:53,159
look one side, I ain't married. I'm going.

992
00:54:54,519 --> 00:55:04,239
Speaker 3: St the full on around sun Sho.

993
00:55:06,679 --> 00:55:07,559
Speaker 1: It's see.

994
00:55:10,960 --> 00:55:11,920
Speaker 5: I don't where.

995
00:55:13,679 --> 00:55:20,039
Speaker 10: Bird Boats Such Pad, stop Car, Don't Away, take you

996
00:55:20,239 --> 00:55:27,079
back Car Roads First, take about Such and stop Card,

997
00:55:27,360 --> 00:56:31,960
Don't Wait, Take you Back Car Roads, Rise, Where came Back,

998
00:56:32,800 --> 00:56:39,960
full of Through three times, Fall Shot only Tree and

999
00:56:40,280 --> 00:56:46,159
the Ball, Flash Shot, Stop Car Down Away, take Back

1000
00:56:46,480 --> 00:57:11,480
Car tepagle boys at Baker.

1001
00:57:15,119 --> 00:57:15,840
Speaker 1: Rob black.

1002
00:57:17,880 --> 00:57:18,719
Speaker 3: Like black die.

1003
00:57:20,559 --> 00:57:23,760
Speaker 1: Try by the way, wish.

1004
00:58:06,280 --> 00:58:15,679
Speaker 6: Spries, let's call the crimson bills.

1005
00:58:15,719 --> 00:58:16,320
Speaker 1: So long as my.

1006
00:58:16,480 --> 00:58:21,679
Speaker 6: Eyes gets to the side wood through cocaondus cocotta birds

1007
00:58:21,719 --> 00:58:26,079
across local little child and the cruise or us to

1008
00:58:26,280 --> 00:58:27,400
Joy and the mess.

1009
00:58:27,440 --> 00:58:28,320
Speaker 1: All all the.

1010
00:58:28,480 --> 00:58:34,880
Speaker 6: Pasperis outside to start very Bno, all, let's try that first,

1011
00:58:36,360 --> 00:58:38,039
your suffering.

1012
00:58:37,559 --> 00:58:44,880
Speaker 4: And shine.

1013
00:58:48,599 --> 00:58:53,360
Speaker 5: Shot see.

1014
00:58:58,480 --> 00:59:04,760
Speaker 1: Bring them in the back. Don't look up.

1015
00:59:04,920 --> 00:59:10,639
Speaker 10: So you'll turn to go sn the boat sun stuff.

1016
00:59:11,559 --> 00:59:15,039
Don't go away that sore horbat