1 00:00:00,320 --> 00:00:03,160 Speaker 1: What a great song that is Hurricane by the Deep Hour, 2 00:00:03,399 --> 00:00:07,000 and we have joining us via WhatsApp the man behind 3 00:00:07,160 --> 00:00:09,640 the Deep Hour, Brian o'glanby. Let's see if we got 4 00:00:09,679 --> 00:00:10,919 him here, Brian, are you there. 5 00:00:11,759 --> 00:00:13,439 Speaker 2: I'm here? Yeah, can you hear me? Okay? 6 00:00:13,599 --> 00:00:16,640 Speaker 1: Absolutely? You sound great And yeah, I love that song. 7 00:00:16,719 --> 00:00:17,719 That's really incredible. 8 00:00:18,559 --> 00:00:19,800 Speaker 2: Great, thank you very much. 9 00:00:19,960 --> 00:00:25,079 Speaker 3: Yeah, that's a real heartfelt song, a real beldr of 10 00:00:25,079 --> 00:00:27,600 a tune we think anyway, So yeah, I'm. 11 00:00:27,399 --> 00:00:29,239 Speaker 2: Really glad you enjoyed it, and thank you for having 12 00:00:29,239 --> 00:00:30,079 me on the show. Oh. 13 00:00:30,120 --> 00:00:34,119 Speaker 1: Absolutely, no, I'm excited to talk to you the track officially, 14 00:00:34,159 --> 00:00:36,679 it's out on the twentieth, correct February twentieth. 15 00:00:36,960 --> 00:00:39,079 Speaker 2: Yeah, the twenty the February is the launch day for 16 00:00:39,119 --> 00:00:41,479 the song. For the track itself. 17 00:00:41,039 --> 00:00:47,439 Speaker 3: Worldwide, okay, every download and every streaming platform available. So okay, 18 00:00:47,560 --> 00:00:50,960 we were excited about the whole concept. 19 00:00:50,560 --> 00:00:50,719 Speaker 2: You know. 20 00:00:51,840 --> 00:00:55,560 Speaker 1: Yeah, I want to know more about the song itself. 21 00:00:56,159 --> 00:00:58,280 You know, it's got kind of almost like a cinematic 22 00:00:58,320 --> 00:01:02,240 vibe to it, really, the way it kind of builds, 23 00:01:02,240 --> 00:01:06,079 and you know, I'd like to know more about more 24 00:01:06,120 --> 00:01:08,359 about what it means. It's you know, I mean One 25 00:01:08,359 --> 00:01:12,200 of the wonderful things about UH music and lyrics is, 26 00:01:12,280 --> 00:01:15,120 you know, everything can kind of mean something different to 27 00:01:15,159 --> 00:01:18,040 each person who who hears it and may take something 28 00:01:18,079 --> 00:01:20,719 different from it. But I kind of get the impression 29 00:01:20,760 --> 00:01:24,040 that this is there's something deeper here that might not 30 00:01:24,200 --> 00:01:26,480 be a parent or obvious to someone who's just trying 31 00:01:26,480 --> 00:01:29,200 to interpret the lyrics on a surface level. So I 32 00:01:29,239 --> 00:01:31,120 was wondering if you could share more about what the 33 00:01:31,200 --> 00:01:33,519 lyrics of the track mean or or if it's talking 34 00:01:33,560 --> 00:01:36,200 about some some sort of specific experience. 35 00:01:38,040 --> 00:01:42,560 Speaker 3: Well, absolutely, I mean, as you know yourself, music is 36 00:01:42,920 --> 00:01:46,319 a very expressive medium, very it's it's an artful medium, 37 00:01:46,599 --> 00:01:49,719 and indeed as you as you express to yourself, it's 38 00:01:50,519 --> 00:01:53,359 you know, you can you can be very cinematic and 39 00:01:53,560 --> 00:01:58,120 very visual with you know, with with text as well 40 00:01:58,159 --> 00:02:04,640 as the melodic, you know content of a track. Hurricane 41 00:02:04,959 --> 00:02:12,479 is is a very deep personal kind of message that 42 00:02:12,560 --> 00:02:15,319 the whole track came about and was influenced by a 43 00:02:15,680 --> 00:02:19,199 very deep, heavy conversation I had with with a good 44 00:02:19,199 --> 00:02:20,159 friend of mine. 45 00:02:20,560 --> 00:02:23,560 Speaker 2: Who he seemed a bit troubled. 46 00:02:23,560 --> 00:02:26,400 Speaker 3: So I was asking him, you know, come on with friends, 47 00:02:26,800 --> 00:02:29,319 let me know what's bothering you. And he let this 48 00:02:29,439 --> 00:02:35,080 whole secret out of the bag about this series of 49 00:02:35,159 --> 00:02:39,120 letters that he that he'd found from was written from 50 00:02:39,120 --> 00:02:42,159 one one family member to the to the other obviously 51 00:02:42,280 --> 00:02:46,960 his mother and further, you know, came above water later on. 52 00:02:47,800 --> 00:02:52,280 And these letters were they were, they were like basically 53 00:02:52,280 --> 00:02:53,199 a cry for help. 54 00:02:53,599 --> 00:02:55,159 Speaker 2: And it seems that the letter and. 55 00:02:57,080 --> 00:03:00,599 Speaker 3: As as the the the issue of them, stick abuse 56 00:03:00,639 --> 00:03:04,240 domestic violence never never sees the whole. The whole letters 57 00:03:04,240 --> 00:03:06,439 were like a quite for help from you know, from 58 00:03:06,479 --> 00:03:10,840 the other family member. Now, this obviously is a very 59 00:03:11,599 --> 00:03:17,120 hard hitting and you know sometimes taboo and unspoken issue 60 00:03:18,479 --> 00:03:21,960 you know in in households and relationships, et cetera, like that, 61 00:03:22,000 --> 00:03:22,840 which which will. 62 00:03:22,719 --> 00:03:26,280 Speaker 2: Really affect every family member involved. You know. 63 00:03:27,000 --> 00:03:29,280 Speaker 3: Now these things have been going on for years and 64 00:03:29,759 --> 00:03:34,199 never really it was never really spoken about until these 65 00:03:34,280 --> 00:03:37,800 letters were were you know, dug out and found, and 66 00:03:38,439 --> 00:03:42,520 which I suppose is a bit too late. It is 67 00:03:42,560 --> 00:03:47,960 a very very deepened and hard hitting issue. So I 68 00:03:48,120 --> 00:03:51,919 found within that, excuse me, within that, within that that 69 00:03:51,919 --> 00:03:56,000 that story that needed to be expressed in a much 70 00:03:56,039 --> 00:04:03,319 more artful and deeper melodic manner, as you say, cinematic, 71 00:04:03,639 --> 00:04:07,560 And that's that's how the the initial song came about. 72 00:04:07,759 --> 00:04:09,520 And that's that's what it was written about, you know, 73 00:04:09,639 --> 00:04:12,159 So it is it is a very deep message. 74 00:04:11,800 --> 00:04:17,079 Speaker 1: You know absolutely. Now your friend who told you, well, 75 00:04:17,120 --> 00:04:19,120 I'm curious did he actually show you the letters or 76 00:04:19,160 --> 00:04:20,720 did he just tell you about them? 77 00:04:21,800 --> 00:04:24,079 Speaker 3: He had them with him when when we when we 78 00:04:24,120 --> 00:04:27,199 had the conversation, but he couldn't find it within himself 79 00:04:27,240 --> 00:04:28,439 to to to drag. 80 00:04:28,319 --> 00:04:30,199 Speaker 2: Them out of the envelope, drag him out of his pocket. 81 00:04:30,199 --> 00:04:33,399 Speaker 3: You know, I did prompt that, but obviously that's something 82 00:04:33,519 --> 00:04:36,959 so deep, so personal, and I think it was it 83 00:04:37,040 --> 00:04:39,439 was very personal for him to share the story initially, 84 00:04:40,040 --> 00:04:41,879 so I didn't think, you want, I didn't actually see 85 00:04:41,879 --> 00:04:44,040 the letters, so did you know kind of kept them 86 00:04:44,040 --> 00:04:45,480 to himself, you know, sure? 87 00:04:45,560 --> 00:04:48,480 Speaker 1: And then did you tell him that you were going 88 00:04:48,480 --> 00:04:52,319 to write a song about this or And I'm curious too, obviously, 89 00:04:52,399 --> 00:04:53,560 I mean, I assume he's heard. 90 00:04:53,399 --> 00:04:58,560 Speaker 3: It, right, Yeah, obviously, with something so as deep as 91 00:04:58,680 --> 00:05:02,199 personal as that, I kind kind of you know, I 92 00:05:02,360 --> 00:05:04,360 searched within him, you know, I asked, you know, I 93 00:05:04,360 --> 00:05:07,279 asked for his blessing basically, if if, if, if he 94 00:05:07,319 --> 00:05:13,600 wouldn't mind me actually, you know, producing a song with 95 00:05:13,720 --> 00:05:15,040 that issue in mind. 96 00:05:15,079 --> 00:05:15,279 Speaker 2: You know. 97 00:05:16,759 --> 00:05:20,639 Speaker 3: Obviously you know that the names are are hidden to 98 00:05:20,639 --> 00:05:23,920 to protect the innocence that kind of way. So yeah, 99 00:05:24,040 --> 00:05:26,920 I I you know, I was I was looking look 100 00:05:26,959 --> 00:05:31,279 for a bit of acknowledgement from from my friend, you 101 00:05:31,279 --> 00:05:33,040 know that they didn't mind me doing this, you know, 102 00:05:33,839 --> 00:05:35,839 so yeah, he knew about it, you know. 103 00:05:36,199 --> 00:05:38,759 Speaker 1: And then what was his uh when he heard it, 104 00:05:38,839 --> 00:05:40,680 I mean, what what was his reaction? 105 00:05:42,680 --> 00:05:43,120 Speaker 2: Tears? 106 00:05:45,160 --> 00:05:47,920 Speaker 3: And initially he was, yeah, tears, and then obviously it 107 00:05:48,000 --> 00:05:51,720 was a bit of hugging down and you know, it 108 00:05:51,759 --> 00:05:53,879 was a bit of soul searching to you know, to 109 00:05:53,879 --> 00:05:59,000 actually write the song and pinpoint the melody parts of 110 00:05:59,040 --> 00:06:04,720 it to get the message over in an aulln aggressive 111 00:06:04,759 --> 00:06:09,720 manner like it's almost sweet, you know, as you said, cinematic. 112 00:06:09,759 --> 00:06:16,199 You know, there's enough aggression in issues like this without 113 00:06:16,399 --> 00:06:18,480 you know, some kind of a hard hitting heavy metal 114 00:06:18,560 --> 00:06:23,040 zone back up that kind of violence, you know. But no, 115 00:06:23,160 --> 00:06:25,000 there was there was There was tears, and there was 116 00:06:25,000 --> 00:06:26,800 a few hogs, and there was a lot of thank yous, 117 00:06:26,879 --> 00:06:30,000 and and it was yeah, it pretty hard. 118 00:06:29,800 --> 00:06:32,279 Speaker 1: You know, I feel like, and this is something that 119 00:06:32,319 --> 00:06:34,000 comes up a lot on the show as we talk 120 00:06:34,040 --> 00:06:37,839 about taking terrible things, you know, traumas and tragedies and 121 00:06:38,399 --> 00:06:40,360 all of it, all the things that happen in life 122 00:06:40,639 --> 00:06:45,480 that are negative and creating something from that that is positive. 123 00:06:45,519 --> 00:06:48,040 And you know, when you when you take something negative 124 00:06:48,079 --> 00:06:52,000 and you create art, whether it be music or visual 125 00:06:52,120 --> 00:06:54,800 art or whatever, it is anything that you can you know, 126 00:06:55,240 --> 00:06:59,319 take and then create something that not only helps helps 127 00:06:59,360 --> 00:07:01,079 you if it's thing that happened to you, and then 128 00:07:01,120 --> 00:07:03,360 you're using it as almost a sort of therapy, right 129 00:07:03,399 --> 00:07:06,000 to work through it, to create something, but also has 130 00:07:06,040 --> 00:07:08,720 the effect of helping other people who can then connect 131 00:07:08,720 --> 00:07:10,600 with that. You know, other people who might hear the 132 00:07:10,600 --> 00:07:14,319 song or who might hear this conversation or other conversations 133 00:07:14,360 --> 00:07:16,439 that you've had about the song, and then they can 134 00:07:17,040 --> 00:07:19,160 they can kind of get get that same thing out 135 00:07:19,160 --> 00:07:20,920 of it and maybe it helps them in some way. 136 00:07:20,959 --> 00:07:24,399 And as you mentioned too, this is such an unfortunately, 137 00:07:24,439 --> 00:07:29,720 such a common problem domestic violence, and so this is 138 00:07:29,800 --> 00:07:32,240 this is pretty relatable stuff for a lot of people. 139 00:07:32,279 --> 00:07:36,040 But but I think that anytime you can take from that, 140 00:07:36,680 --> 00:07:39,120 you know, you can create something that is positive and 141 00:07:39,319 --> 00:07:41,399 put something out into the world that is positive as 142 00:07:41,439 --> 00:07:43,879 a result of it. It's almost like a like transferring 143 00:07:43,879 --> 00:07:46,360 that energy a little bit from negative to positive. And 144 00:07:46,439 --> 00:07:48,480 so I think it's great and I think, like I said, 145 00:07:48,519 --> 00:07:52,120 I mean, the song itself is absolutely incredible. And I 146 00:07:52,240 --> 00:07:54,399 did want to ask you too about a couple of 147 00:07:54,399 --> 00:07:56,560 the people who are on the track with you, because 148 00:07:56,560 --> 00:08:00,240 you've got a couple of of hetty or maybe more 149 00:08:00,240 --> 00:08:02,279 than a couple, I'm not sure, but some heavy hitters 150 00:08:02,279 --> 00:08:04,920 here who who helped you record this? Correct? 151 00:08:06,000 --> 00:08:10,600 Speaker 3: Absolutely, yeah, Now getting back to what you know what 152 00:08:10,639 --> 00:08:12,079 you what you said there a second ago. 153 00:08:13,000 --> 00:08:15,240 Speaker 2: The you know, the message in there is. 154 00:08:17,720 --> 00:08:19,680 Speaker 3: It had and I felt that it had to be 155 00:08:20,519 --> 00:08:22,519 you know, portrayed in a positive manner. 156 00:08:23,800 --> 00:08:26,800 Speaker 2: Hence the you know, the melody of the song itself. 157 00:08:26,959 --> 00:08:29,040 Speaker 3: You know, there's no kind of miners in there, and 158 00:08:29,160 --> 00:08:30,600 it's all kind of in a in a in a. 159 00:08:30,879 --> 00:08:31,800 Speaker 2: An uplifting key. 160 00:08:33,440 --> 00:08:36,279 Speaker 3: So yeah, the art and music has a way of 161 00:08:36,320 --> 00:08:40,600 delivering something that you can you know, you'll be a 162 00:08:40,639 --> 00:08:43,399 bit shy, are a bit find. 163 00:08:43,200 --> 00:08:47,000 Speaker 2: It very difficult to speak about. It's portrayed. 164 00:08:47,720 --> 00:08:49,919 Speaker 3: You know, these issues are portrayed in this song. And 165 00:08:50,120 --> 00:08:54,080 now I purposely didn't resolve the song. The song doesn't 166 00:08:54,080 --> 00:08:58,919 have any answers. The song is pointing out it's a voice, 167 00:08:59,080 --> 00:09:01,600 you know, it's the point out the issues and and 168 00:09:01,720 --> 00:09:04,799 getting that slamming that home to a lot of people 169 00:09:05,279 --> 00:09:07,840 and prompting them to talk about it themselves, really, you know. 170 00:09:08,879 --> 00:09:12,279 And so yeah, music and art has a way of 171 00:09:12,440 --> 00:09:13,840 it always finds a way of. 172 00:09:13,799 --> 00:09:15,879 Speaker 2: Doing that, which is beautiful. 173 00:09:15,919 --> 00:09:20,399 Speaker 3: And every you embark on something like this, it's unpredictable 174 00:09:20,399 --> 00:09:24,159 where it's going to go, and that that's a fascination 175 00:09:24,440 --> 00:09:28,600 and and also a drive, you know, an inspiration drive 176 00:09:28,639 --> 00:09:29,360 to keep you going. 177 00:09:30,159 --> 00:09:36,279 Speaker 2: Right. Yeah, we we during production on this song. And 178 00:09:36,399 --> 00:09:38,080 thank you by the way, for the for the for 179 00:09:38,159 --> 00:09:41,919 the huge compliments for that map. That really really means 180 00:09:41,960 --> 00:09:42,480 a lot to me. 181 00:09:43,080 --> 00:09:45,600 Speaker 1: Than you Absolutely great, great song. 182 00:09:46,399 --> 00:09:47,759 Speaker 2: Thank you so much. That's great. 183 00:09:47,840 --> 00:09:49,399 Speaker 3: You know, it's really great to hear that, you know, 184 00:09:49,440 --> 00:09:52,519 because I mean, this song is it's it's the worldwide 185 00:09:52,559 --> 00:09:55,600 debut and I've I've had, you know, only a few 186 00:09:55,639 --> 00:10:00,799 reactions about the song, you know, so so hearing that 187 00:10:00,840 --> 00:10:03,799 from the likes of yourself is to me is mind blowing. 188 00:10:05,240 --> 00:10:08,120 Speaker 2: But touching on what you said as well about the you. 189 00:10:08,080 --> 00:10:12,840 Speaker 3: Know, the the guys that that played on the record 190 00:10:12,879 --> 00:10:15,440 and on the album with me. The album is coming 191 00:10:15,480 --> 00:10:20,120 out sometime we think in the summer. This particular track 192 00:10:20,279 --> 00:10:25,320 was the first one that the producer Wayne. 193 00:10:25,159 --> 00:10:29,960 Speaker 2: Sheehy H myself. We we we got the demo down 194 00:10:30,000 --> 00:10:30,200 of it. 195 00:10:30,480 --> 00:10:34,799 Speaker 3: I mean we're thinking, well, this needs it needs something 196 00:10:35,440 --> 00:10:41,879 very very strong. Didn't particularly we didn't want particularly looking 197 00:10:41,919 --> 00:10:43,759 for any anyone, you know. 198 00:10:43,759 --> 00:10:47,600 Speaker 2: To to to to achieve that. We're looking for a 199 00:10:47,600 --> 00:10:49,399 particular sound, particular style. 200 00:10:50,000 --> 00:10:54,000 Speaker 3: Now. Jerry Lennard is a good friend of Wayne, my producer, 201 00:10:54,519 --> 00:10:57,440 and we've all you know, worked in the studio since together. 202 00:10:59,480 --> 00:11:01,799 Jerry lenn It is the guy that you hear with 203 00:11:02,039 --> 00:11:07,879 with these ghostly guitar lines, you know almost at the 204 00:11:07,960 --> 00:11:11,799 real you know, they're they're really beautiful and bring a 205 00:11:11,840 --> 00:11:13,919 real gorgeous if. 206 00:11:13,960 --> 00:11:14,759 Speaker 2: You know, kind of. 207 00:11:16,440 --> 00:11:20,080 Speaker 3: I could have put it now, it's almost levitation. 208 00:11:19,960 --> 00:11:21,799 Speaker 2: That you feel when you when you're listening to it. 209 00:11:21,879 --> 00:11:24,879 Speaker 1: You know, that's a that's a really that's a good 210 00:11:24,879 --> 00:11:27,320 way of putting it. You know, I wouldn't have thought 211 00:11:27,360 --> 00:11:30,799 of that, but uh, but yeah, you're right now that 212 00:11:30,840 --> 00:11:33,879 you use that word, that is that is perfect levitation. 213 00:11:34,120 --> 00:11:40,000 Speaker 3: Yeah, yeah, it's the melodic the melodic path. Jerry took 214 00:11:40,559 --> 00:11:44,960 when we presented this song to him and Jerry. 215 00:11:43,840 --> 00:11:46,320 Speaker 2: He's a great characters. He's a real, real good guy. 216 00:11:46,399 --> 00:11:50,120 Speaker 3: And I was absolutely moon when he agreed after left 217 00:11:50,120 --> 00:11:52,399 and listening to the demo of the track and he said, yeah, 218 00:11:52,399 --> 00:11:54,639 what a great track lads. You know I want to 219 00:11:54,639 --> 00:11:56,919 be involved, you know. So I was bowled over. I 220 00:11:56,919 --> 00:12:00,000 couldn't you know. It's it was a bit hard for 221 00:12:00,080 --> 00:12:02,960 me to to actually actually digest that and accept it. 222 00:12:03,559 --> 00:12:05,559 Speaker 2: But once we got working on it. 223 00:12:06,000 --> 00:12:09,519 Speaker 3: We we all realized at the time what it was 224 00:12:09,519 --> 00:12:11,600 going to what was going to happen here, you know, 225 00:12:12,240 --> 00:12:15,600 with this track. And now Jerry for for your listeners 226 00:12:15,600 --> 00:12:19,639 out there, Jerry is his background. He was David Bowie's 227 00:12:20,279 --> 00:12:24,879 musical director and guitar player, guitarist and co writer I 228 00:12:24,919 --> 00:12:29,080 believe on some some tracks for I think about the 229 00:12:29,080 --> 00:12:31,879 bones of about twenty years he was with with David 230 00:12:31,960 --> 00:12:36,039 Bowie touring and recording and you know, his musical partner 231 00:12:36,080 --> 00:12:37,360 there for for so long. 232 00:12:37,559 --> 00:12:37,759 Speaker 1: Yeah. 233 00:12:38,399 --> 00:12:41,399 Speaker 3: Oh, to have that integrity and they have that depth 234 00:12:41,840 --> 00:12:44,759 on on my records, you know, on my album and 235 00:12:45,039 --> 00:12:50,039 this this track in particular to me, was yeah, the 236 00:12:50,159 --> 00:12:53,879 greatest accolade I could ever have musically I could ever achieve, 237 00:12:53,960 --> 00:13:01,159 you know, so delighted with that. So not only Jerry, 238 00:13:02,360 --> 00:13:05,159 but we presented the track again to to Rob him 239 00:13:05,159 --> 00:13:11,759 alone or Robbie's fantastic, warm, floating baselines, you know, and 240 00:13:12,159 --> 00:13:16,120 Robbie Malone has been a co writer and musical partner 241 00:13:16,200 --> 00:13:19,960 with David Gray again for over twenty five years. So 242 00:13:20,080 --> 00:13:23,960 to have the caliber of these musicians on on my 243 00:13:24,080 --> 00:13:28,519 track was, you know, it just it. It took me 244 00:13:28,519 --> 00:13:31,159 to a different realm, Matt, you know, so it's very 245 00:13:31,159 --> 00:13:33,440 emotional when we when we find doing the final mix 246 00:13:33,519 --> 00:13:33,960 on the track. 247 00:13:34,480 --> 00:13:37,159 Speaker 2: Yeah, Producer Wayne Wayne p. 248 00:13:37,279 --> 00:13:41,720 Speaker 3: She this is all recorded in his his fantastic studios, 249 00:13:42,240 --> 00:13:46,360 Ocean Studios, Ireland. That's right down on the on the 250 00:13:46,720 --> 00:13:51,200 southern tip of Ireland in County Cork, next up New York, that. 251 00:13:51,240 --> 00:13:51,879 Speaker 2: That kind of way. 252 00:13:51,919 --> 00:13:56,360 Speaker 3: So it's it's a very very open space and wide 253 00:13:56,360 --> 00:14:02,559 open for creativity and you know, no distractions whatsoever. And 254 00:14:03,120 --> 00:14:05,720 this whole, the whole album, the whole you know, record 255 00:14:05,759 --> 00:14:08,960 has created in that in that you know, that product 256 00:14:09,120 --> 00:14:12,000 production space in in Wayne's studio. And Wayne has a 257 00:14:12,039 --> 00:14:15,399 beautiful history He's worked with with some of the biggest 258 00:14:15,440 --> 00:14:18,240 artists on the planet, you know, Like I've just mentioned 259 00:14:18,360 --> 00:14:21,559 Jerry and Robbie there, but Wayne has also worked with 260 00:14:22,080 --> 00:14:23,759 the Hot House Flowers. 261 00:14:23,279 --> 00:14:25,399 Speaker 2: And Ronnie Wood. 262 00:14:25,519 --> 00:14:28,600 Speaker 3: He was Ronnie Woods drummer on on few of Ronnie's albums. 263 00:14:28,679 --> 00:14:33,080 They're great friends, you know. So Cactus World News back 264 00:14:33,080 --> 00:14:37,200 in the eighties, and and countless countless. 265 00:14:37,840 --> 00:14:40,759 Speaker 2: You know artists that that that that Wayne's worked with. 266 00:14:41,559 --> 00:14:44,240 Speaker 3: So he brought that wealth and and all that that 267 00:14:44,240 --> 00:14:50,480 that beauty and depth of production value. Yeah, the old record, 268 00:14:50,559 --> 00:14:53,080 you know, so delighted, absolutely delighted. 269 00:14:53,159 --> 00:14:53,440 Speaker 2: Yeah. 270 00:14:53,559 --> 00:14:57,120 Speaker 1: Now, now, did Wayne also produce the one, the first single? 271 00:14:58,440 --> 00:15:02,240 Speaker 3: Yes, Yeah, Wayneane produced every track on the album. 272 00:15:02,279 --> 00:15:05,039 Speaker 2: It's the albums, it's ten tracks. 273 00:15:05,080 --> 00:15:08,120 Speaker 3: At the moment, we're working on another one, another track 274 00:15:08,240 --> 00:15:11,279 because the album hasn't been released yet. We're still toying 275 00:15:11,320 --> 00:15:13,840 with the idea of putting maybe one, maybe two tracks 276 00:15:13,840 --> 00:15:18,799 on there. So but yes, Wayne, Wayne produced every every 277 00:15:18,840 --> 00:15:21,159 track on the album, and he did produce the one 278 00:15:21,879 --> 00:15:25,519 you know, so sorry, yeah. 279 00:15:25,480 --> 00:15:27,120 Speaker 1: Oh, I was just gonna say that's a great track too. 280 00:15:27,120 --> 00:15:28,919 We're actually going to play that at the end of 281 00:15:28,919 --> 00:15:32,000 our conversation. I kind of bookend the segment. But yeah, 282 00:15:32,039 --> 00:15:33,600 that's that's another really great song. 283 00:15:34,440 --> 00:15:37,240 Speaker 2: Oh wow, thank you very much. Let's yeah, keep these 284 00:15:37,279 --> 00:15:38,519 compliments coming all over them. 285 00:15:38,559 --> 00:15:43,080 Speaker 1: You know, well, you know I'm of Irish descent, so 286 00:15:43,120 --> 00:15:46,759 you know we have to we have to unite. 287 00:15:46,879 --> 00:15:48,559 Speaker 2: Yeah, let's hold hands and jump up and down in 288 00:15:48,559 --> 00:15:49,360 the air. That's great. 289 00:15:51,279 --> 00:15:54,440 Speaker 1: But yeah, the one, uh you You've got a lot 290 00:15:54,480 --> 00:15:56,440 of success with that, right is this? Was it number 291 00:15:56,440 --> 00:15:59,039 one on the Irish iTunes Rock and Maine charts? Is 292 00:15:59,039 --> 00:15:59,600 that correct? 293 00:16:00,720 --> 00:16:01,440 Speaker 2: Yes? It was. 294 00:16:01,519 --> 00:16:09,440 Speaker 3: Actually it was number one on the main Irish iTunes charts, unfortunately, 295 00:16:09,600 --> 00:16:13,039 edging Taylor Swift from the top position, which I was 296 00:16:13,159 --> 00:16:15,720 kind of proud about. You know, I thought it was 297 00:16:15,799 --> 00:16:19,000 very funny, brilliant, and yes it was number one for 298 00:16:19,240 --> 00:16:25,360 I think the week. And you know, I kept hopping 299 00:16:25,360 --> 00:16:27,159 over when I was when I was looking at these charts, 300 00:16:27,200 --> 00:16:30,399 I kept hopping over through the different scales and different 301 00:16:30,440 --> 00:16:35,240 genres actually of of the iTunes and and and. 302 00:16:35,720 --> 00:16:39,039 Speaker 2: Normal usual indigenous charts, you know, and. 303 00:16:40,720 --> 00:16:42,720 Speaker 3: I looked and it was, Yeah, it was number one 304 00:16:43,120 --> 00:16:45,360 on the rock charts as well, and you know, it 305 00:16:45,480 --> 00:16:47,440 stayed there for such a long time. 306 00:16:47,480 --> 00:16:47,960 Speaker 2: It was great. 307 00:16:48,000 --> 00:16:51,080 Speaker 3: It's great to have that success. Huge surprise for me. 308 00:16:51,159 --> 00:16:53,440 You know, because I mean I was up against some 309 00:16:53,519 --> 00:16:55,200 of the biggest artistans. 310 00:16:54,919 --> 00:16:58,440 Speaker 2: On the planet. Yeah. And then the next thing, I 311 00:16:58,440 --> 00:17:00,840 got a phone call from from friends of. 312 00:17:00,799 --> 00:17:04,799 Speaker 3: Mine in Amsterdam, so hey, you number two in in 313 00:17:04,519 --> 00:17:05,599 in the Netherlands. 314 00:17:06,000 --> 00:17:08,200 Speaker 2: I'm like, oh my god, what's happening here? You know? 315 00:17:09,359 --> 00:17:15,599 Speaker 3: That's fantastic, absolutely, And yeah, I'm hoping to hoping to 316 00:17:15,680 --> 00:17:18,319 generate the same success with with Hurricane. 317 00:17:19,440 --> 00:17:21,039 Speaker 1: And then can you talk to you a little bit 318 00:17:21,039 --> 00:17:22,759 about the one about you know what, what's kind of 319 00:17:22,759 --> 00:17:24,920 the message behind that. It's kind of got a vibe 320 00:17:24,960 --> 00:17:27,440 about you know, unity and change and so forth. But 321 00:17:27,799 --> 00:17:30,240 I mean, am I right about that? Am I interpreting 322 00:17:30,240 --> 00:17:30,839 that correctly? 323 00:17:31,400 --> 00:17:32,440 Speaker 2: Yes? Absolutely? 324 00:17:32,720 --> 00:17:35,640 Speaker 3: The one was written again as a as a as 325 00:17:35,680 --> 00:17:38,279 a a prayer. 326 00:17:37,960 --> 00:17:39,119 Speaker 2: For hope and unity. 327 00:17:40,079 --> 00:17:42,480 Speaker 3: I suppose in a bit of a fractured world at 328 00:17:42,519 --> 00:17:45,799 the moment where leadership seems to be a bit of 329 00:17:45,799 --> 00:17:50,160 a shadow that people are avoiding, and it's it's kind 330 00:17:50,200 --> 00:17:57,240 of a search for a positive, good, forward thinking, sincere leader, 331 00:17:58,200 --> 00:18:04,160 you know, you know, which I suppose politically, which I 332 00:18:04,200 --> 00:18:07,240 try to keep away from politics in my music because 333 00:18:07,279 --> 00:18:12,200 it's too aidd and too niche, you know. But but 334 00:18:12,279 --> 00:18:15,359 we do need positive leadership. And this is a it's 335 00:18:15,440 --> 00:18:18,319 it's almost a prayer. It's almost written as a prayer, 336 00:18:18,440 --> 00:18:21,480 but it is. It's a cry for hope and unity. 337 00:18:21,599 --> 00:18:24,839 And you know, let's let's let's take let's take each 338 00:18:24,839 --> 00:18:27,640 other and take each other into the future with a 339 00:18:27,680 --> 00:18:30,599 great with a great leader. And it's a question as well, 340 00:18:30,880 --> 00:18:34,759 you know, and the question is who is the one? 341 00:18:35,559 --> 00:18:37,680 Speaker 2: Who will be the one? Are you going to be 342 00:18:37,720 --> 00:18:40,559 the one? Am I going to be the one to 343 00:18:40,640 --> 00:18:41,920 save the world? You know? 344 00:18:41,960 --> 00:18:44,279 Speaker 3: And that's basically the message in the song there. You know, 345 00:18:44,839 --> 00:18:47,960 it could be could be anyone, It could be anyone. 346 00:18:48,960 --> 00:18:49,200 Speaker 2: You know. 347 00:18:50,599 --> 00:18:53,519 Speaker 1: Yeah, we we will play that in a few minutes. 348 00:18:53,599 --> 00:18:55,720 I do want to ask you too about the meaning 349 00:18:55,839 --> 00:18:58,160 of and I'm sure you this is a question you 350 00:18:58,359 --> 00:19:01,680 probably get tired of answering. This country asked this question 351 00:19:01,839 --> 00:19:04,559 all the time. But the meaning of the Deep Hour? What? 352 00:19:04,559 --> 00:19:04,640 Speaker 2: What? 353 00:19:04,759 --> 00:19:07,279 Speaker 1: Where does the name of the Deep Hour come from? 354 00:19:07,559 --> 00:19:12,440 Speaker 3: The Deep Hour is somewhere between an angelic feeling and catatonia. 355 00:19:14,119 --> 00:19:14,960 Speaker 2: That explains it. 356 00:19:15,000 --> 00:19:20,240 Speaker 3: You know, now, when I when I say this, I 357 00:19:20,240 --> 00:19:22,920 think you'll understand this, man, you know, with your your 358 00:19:23,000 --> 00:19:26,839 history of you know, hypnotherapy, et cetera. But the deep 359 00:19:26,960 --> 00:19:31,039 hour is a state of mind that you have no 360 00:19:31,119 --> 00:19:35,440 control over. And this happens in the middle of the night, 361 00:19:36,519 --> 00:19:40,240 when you're in the depths of your sleep. And that's 362 00:19:40,279 --> 00:19:44,039 when when when dreaming, the you know, the the the 363 00:19:44,039 --> 00:19:49,440 the the art of dreaming comes in la. Now you 364 00:19:49,559 --> 00:19:52,920 read the deepest of your sleep. You know, this doesn't last, 365 00:19:53,160 --> 00:19:55,640 This condition doesn't last all night. It probably lasts about 366 00:19:55,680 --> 00:19:56,039 an hour. 367 00:19:56,960 --> 00:20:01,519 Speaker 2: And that's that is the state of mind that I 368 00:20:01,599 --> 00:20:05,160 want this music to to to create. 369 00:20:04,880 --> 00:20:08,200 Speaker 3: Within the for the listener, you know, for the consumer, Yes, 370 00:20:08,319 --> 00:20:12,680 it's basically like nearly a catatonic state of you know, 371 00:20:12,839 --> 00:20:15,279 dream world, but. 372 00:20:15,720 --> 00:20:19,759 Speaker 2: Great dreams, you know, nice dreams. So that's where that's 373 00:20:19,799 --> 00:20:20,640 the name of the deep. 374 00:20:20,880 --> 00:20:22,960 Speaker 3: That's where that comes from, is the deepest hour in 375 00:20:23,000 --> 00:20:27,680 the night where you touch upon your dream dream scenes 376 00:20:27,759 --> 00:20:28,319 really you. 377 00:20:28,279 --> 00:20:32,119 Speaker 1: Know, okay, okay, very good. Yes. And then so the 378 00:20:32,279 --> 00:20:35,440 album through your Eyes, do you have because I know 379 00:20:35,640 --> 00:20:37,319 you said you've got another track that you're going to 380 00:20:37,359 --> 00:20:40,119 be adding to it, do you have any kind of 381 00:20:40,119 --> 00:20:42,960 an eta on one that might be I know, sometime 382 00:20:43,000 --> 00:20:44,759 in twenty twenty six, I assume. 383 00:20:45,119 --> 00:20:46,680 Speaker 2: It will be. Yeah, we. 384 00:20:48,039 --> 00:20:53,640 Speaker 3: The plan is is is releasing in kind of calculated increments, 385 00:20:53,640 --> 00:20:56,240 you know, So the one late last year because I 386 00:20:56,319 --> 00:20:59,160 really wanted to drop a single in twenty twenty five, 387 00:21:00,000 --> 00:21:06,400 and obviously the Hurricane now and I'm progressing with with 388 00:21:06,599 --> 00:21:11,400 pr and you know, radio and awareness of these tracks. 389 00:21:12,079 --> 00:21:14,200 So the next track to come out after that will 390 00:21:14,240 --> 00:21:17,359 be These Are My Streets. Let's track all These Are 391 00:21:17,359 --> 00:21:20,920 My Streets, which will be coming out the start of April. 392 00:21:21,039 --> 00:21:24,519 So I wanted three or four singles to be released 393 00:21:24,559 --> 00:21:27,480 from the album before I actually drop drop the album, 394 00:21:27,519 --> 00:21:32,319 you know, getting back to your question, I think after 395 00:21:32,359 --> 00:21:39,359 the fourth single, which will probably be May, the album 396 00:21:39,359 --> 00:21:42,240 should come out, so it'll be early summer. I think 397 00:21:42,839 --> 00:21:47,079 Used to Arrival will be early summer hopefully fingers crossed. 398 00:21:47,200 --> 00:21:50,240 Speaker 1: Yeah, yeah, excellent, excellent. Well, well, we'll certainly have you 399 00:21:50,319 --> 00:21:53,039 back on you know, to to talk about it when 400 00:21:53,079 --> 00:21:54,920 when you're ready and everything, because like I said, I mean, 401 00:21:55,359 --> 00:21:57,720 you know, obviously we've only heard these Well we're gonna 402 00:21:57,720 --> 00:21:59,680 play with the one in just a moment, but but 403 00:21:59,759 --> 00:22:02,039 these two songs are so great, so I can't wait 404 00:22:02,079 --> 00:22:03,440 to hear the rest of it. I think it's going 405 00:22:03,519 --> 00:22:05,599 to be really, really good. And you know what, I 406 00:22:05,799 --> 00:22:09,359 really I really like your approach to songwriting and the 407 00:22:09,400 --> 00:22:11,880 messaging and all of it I think is great. So 408 00:22:12,680 --> 00:22:14,519 and again, the new single The Hurricane will be out 409 00:22:14,559 --> 00:22:16,960 of course February twentieth, just in a few days. And 410 00:22:17,440 --> 00:22:19,920 love that such a great track. I'm very honored that 411 00:22:19,960 --> 00:22:22,119 we got to do the radio premiere of it here 412 00:22:22,160 --> 00:22:26,640 on the show. But Brian, this has been wonderful. Where 413 00:22:27,759 --> 00:22:30,319 for our listeners, where should they go? Where's the best 414 00:22:30,359 --> 00:22:33,039 place to go online to keep up with everything that 415 00:22:33,079 --> 00:22:35,039 you're doing with the Deep Hower. 416 00:22:36,440 --> 00:22:40,400 Speaker 3: Yeah, well, please follow me on Facebook, the Deep Hower 417 00:22:40,599 --> 00:22:44,880 on Facebook, Instagram obviously the same, the Deep Hower and 418 00:22:45,119 --> 00:22:45,880 my website. 419 00:22:46,720 --> 00:22:48,640 Speaker 2: Every little nugget. 420 00:22:48,240 --> 00:22:52,279 Speaker 3: Of information that I'm releasing will be up on my websites, which. 421 00:22:52,079 --> 00:22:53,920 Speaker 2: Is the deepower dot com. 422 00:22:54,480 --> 00:22:55,359 Speaker 1: Oh perfect. 423 00:22:56,000 --> 00:22:57,880 Speaker 2: So the'll be new releases. 424 00:22:57,960 --> 00:23:02,359 Speaker 3: Eventually, merch and you know, gig dates, two dates if 425 00:23:02,759 --> 00:23:05,480 you know, there's no there's no two dates as such 426 00:23:05,559 --> 00:23:07,440 yet because we're still busy with the pr and the 427 00:23:07,519 --> 00:23:09,519 launching of a few tracks to get a bit of 428 00:23:09,519 --> 00:23:11,200 a bit more meat on the bone, you know, get 429 00:23:11,240 --> 00:23:14,279 something out there for the you know, for the valid 430 00:23:14,279 --> 00:23:15,799 listeners and the valid. 431 00:23:17,160 --> 00:23:21,720 Speaker 2: Fan base. So yeah, it's an exciting time. 432 00:23:21,920 --> 00:23:25,079 Speaker 3: It's it's it's great, you know, and it's it's it's 433 00:23:25,119 --> 00:23:27,640 brought in twenty twenty six on a real high and 434 00:23:27,680 --> 00:23:29,000 a real positive note for me. 435 00:23:29,039 --> 00:23:33,079 Speaker 2: You know, the whole team actually behind me, the production. 436 00:23:32,799 --> 00:23:37,000 Speaker 3: Team, the you know, the musicians involved and the PR 437 00:23:37,079 --> 00:23:39,200 team and every everybody involved. 438 00:23:39,200 --> 00:23:40,640 Speaker 2: It's it's fabulous, so. 439 00:23:42,880 --> 00:23:44,880 Speaker 1: Fantastic. You got you got a lot of good people 440 00:23:44,880 --> 00:23:48,559 around you. That's that's for sure, and uh, that is outstanding. Brian. 441 00:23:48,640 --> 00:23:50,200 We will let you go. We're gonna hit this, uh 442 00:23:50,240 --> 00:23:52,759 this track. We're gonna play the one, the first single 443 00:23:54,000 --> 00:23:57,519 from from this project, The Deep Hour. But Brian o'glan by, 444 00:23:57,640 --> 00:23:59,240 thank you so much, and like I said, we will 445 00:23:59,240 --> 00:24:01,839 have you back and I really love talking to you today. 446 00:24:01,880 --> 00:24:03,079 Thank you so much for joining us. 447 00:24:03,599 --> 00:24:05,119 Speaker 2: Absolutely, thank you very much. 448 00:24:05,160 --> 00:24:07,960 Speaker 3: Thanks Mattin and all your production team there and all 449 00:24:07,960 --> 00:24:08,480 your listeners. 450 00:24:08,519 --> 00:24:10,839 Speaker 2: Thank you very much. The Deep Hower, The Deep Hower. 451 00:24:11,079 --> 00:24:13,559 Speaker 1: All right, Brian, thank you, take care less. 452 00:24:13,599 --> 00:24:15,119 Speaker 2: Thank you very much, boy bye bye. 453 00:24:15,519 --> 00:24:18,279 Speaker 1: All right. That is Brian og Brian o'clanby from The 454 00:24:18,319 --> 00:24:21,240 Deep Hower. Sorry I'm tripping on my still struggling with 455 00:24:21,240 --> 00:24:23,799 my voice a little bit, but well Wow, he's great 456 00:24:23,799 --> 00:24:25,880 to talk to you. I really enjoyed that conversation a lot. 457 00:24:26,200 --> 00:24:30,279 And I love the new single, the Hurricane, which came out, 458 00:24:30,480 --> 00:24:33,480 which will be coming out on February twentieth, But the 459 00:24:34,079 --> 00:24:37,480 One is the first single from the album, and let's 460 00:24:37,480 --> 00:24:40,240 give this a spin. This is the one, and this 461 00:24:40,359 --> 00:24:41,359 is the Deep Hour.