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Speaker 1: Was you antor.

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Speaker 2: Catidy the tastycay with Gody we obeyed, b save rive

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and space backy a god, my.

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Speaker 1: God didn't eat.

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Speaker 2: We rised foren but that's for God.

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Speaker 3: A silver.

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Speaker 2: Cool, no speed said.

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Speaker 4: To be.

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Speaker 5: Expands Moss, recovering.

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Speaker 6: Like many a son of change, a spector star, no

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flove say, just gone away to drum down in the

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h to need.

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Speaker 2: The It's well if he's a high see we misten

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to God. Go back for God.

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Speaker 1: What you must be.

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Speaker 2: Extee ss moss m.

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Speaker 4: M.

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Speaker 7: That is epic, That is Titan's grips. That is questing

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Beast is the name of the band and we're going

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to talk to them in a moment.

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Speaker 8: They are in studio with us. Welcome everybody. This is

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Matt Connorton Unleashed.

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Speaker 7: And we are live from the studios of wm NH

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ninety five point three FM and Glorious of Manchester, New Hampshire.

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And of course you can also stream the show. Go

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to Matt connorton dot com slash live for all of

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your live streaming options, social media links, contact infoshow archives,

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et cetera, et cetera. Today is Saturday, October nineteen twenty

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twenty four, and we've got a big show for you today.

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We have Questing Beast Second hour, We've got Temple Mountain

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is coming Back. Third hour, we have Dead by Wednesday.

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Lots of today's action packed. So Jenny is not here

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with me this week, but she'll be back next week.

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But without further ado, joining us in studio, here is

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Shane and Jane from Questing Beast.

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Speaker 8: Welcome, thanks for having us.

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Speaker 7: So is it just the two of you? Is this

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the band? Is the the two of you?

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Speaker 9: No, So, as far as right now are full band.

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We also have Jane's older brother, Joe as our singer.

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Oh okay, and then we have a drummer who's not

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related to any of us, but he's kind of like

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having a grandpa and an uncle in the same person.

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Speaker 7: Okay, what does that mean? Collaborate if you would. I mean,

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you know, we're not in the South, so this you know,

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I'm confused.

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Speaker 9: Well, he's fun and goofy like your uncle. Okay, but

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in many ways.

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Speaker 10: It's very old like your grandpa.

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Speaker 8: Okay, that makes sense, gotcha, gotcha?

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Speaker 11: And that's his Christian He's great.

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Speaker 10: He's a phenomenal drummer.

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Speaker 11: Phenomenal drummer.

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Speaker 8: Well, very good.

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Speaker 7: So so what what do you what do you each

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do in the band?

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Speaker 10: We both play guitar, You both play guitar.

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Speaker 7: Okay, very cool, and you've got a big show tonight.

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We should plug that right off the top. You're gonna

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be playing at Terminus, correct.

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Speaker 8: Yeah, Nashua with Let's see Dad.

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Speaker 7: Harrison, the Vegans, the Gray Curtain, Horror, and able Blood.

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Speaker 8: All great bands. Actually.

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Speaker 7: Out of all those bands, so the Nigans, we have

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not had them on the show yet, but everyone else

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has been on the show.

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Speaker 8: Cool. Nice, Yeah, we had the Great Curtain, Horror and

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able Blood.

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Speaker 7: Jesus was that last week? It becomes a blur. But yeah, yeah,

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all all great bands and and able Blood has actually

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been on the show a few times now.

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Speaker 10: We played our first gig with them.

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Speaker 8: Oh with able Blood. Oh very cool.

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Speaker 7: Yeah, yeah, that's awesome that song Titan's Grip and we'll

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we'll play more later. But really it takes you on

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a journey, lots of lots of cool changes in it,

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and very very complex. But let me let me start

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with this because I kind of have a little bit

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of an idea just from googling Questing Beast, but what

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what what is that? What is Questing Beast? Where does

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the name come from?

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Speaker 9: So the name comes from Arthurian legend. I saw it

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on a magic card and I was like, that's epic.

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That's an epic name. It's a great name for a band.

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And I did some research found out is from the

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theory and legend read the legend, was like, I don't

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want to write that story. That story has been written

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and it's got nothing to do with anything that I

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want to write music about. So I came up with

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a different story that's kind of about the birth of

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the Questing Piece. So I gave it like its own

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origin story and everything okay, And I basically had that outline,

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and then we sort of wrote songs based on where

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we thought it would fit, like within the storyline.

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Speaker 7: So the story came first, and then the songs came Yes,

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based on the story.

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Speaker 11: Yes.

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Speaker 9: I think that the only song that that may not

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be true for is call the North, because that was

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the first one that we wrote. Oh and we had

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just gotten together and we're like, oh, yeah, big riffs,

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here we go. Yeah, And so I was like that

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that song specifically, I was like, what does this make

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me feel? Like I was like, it makes me feel

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like I'm actually going on like a long expedition somewhere.

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So it felt to me like that one specifically, I

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was like, this is about going to a place, so

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like Call the North seems like a good, good game,

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you know.

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Speaker 7: Okay, But the rest of the songs are based on

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the story or the outline of the story.

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Speaker 10: Yeah, yeah, yeah.

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Speaker 7: Did did the story change at all? Oh yeah, you know,

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as you're as you're writing these songs, I can see

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how that might happen. Where As the songs as you're

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writing them and they kind of evolve and form, the

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story itself changed as well.

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Speaker 9: Oh yeah, and the story is still changing. The idea

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is that we want this to be like a trilogy, okay,

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and so like we're constantly thinking about, like still analyzing

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like the first album even to be like, you know,

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how does this dictate where we go on the second album?

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Speaker 10: You know, and.

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Speaker 9: It's it's a really interesting way to write, but it

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is also increase. I mean, I understand why, like all

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the Game of Thrones books aren't done, you know, I'm

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just doing it with an album. This is like nine

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pages of text maybe, you know, Yeah.

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Speaker 7: Yeah, no, I can imagine, and the songs themselves are

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are complex. I mean, is that the most challenging part

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of it is creating the music to go with the story?

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Speaker 12: So kind of because the story dictates so much of what,

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like our musical decision making is. Yeah, and not just

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lyrically right lyrics is an entire other realm of added

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layers of description to the story. The music itself is

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so dictated by what we're trying to convey in each

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song as a story point that the music itself. So

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you say, it sounds like going on a journey, and

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that's because the music itself is telling a huge bit

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of story. Yeah, I mean it's not not every song

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is telling so much as far as information goes, but

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it's so much world building, and we're trying to convey

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so many little nuanced emotions and basically explaining something through music.

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So it came out everything was just so much challenge.

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Like we would get something down we felt like it

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explained what we wanted to do, then we'd listen to

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it and be like, well, this doesn't sound amazing musically, Okay,

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so we have to change it now to sound it

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kind of sound amazing musically. But now we feel like

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it doesn't convey what we wanted to say in the story.

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You can see how if you're not careful, we would

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go back to the drawing board on either the music

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or the story too many times to where like sometimes

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we had to stop and just like fall back. Some

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stuff happened naturally, this song being one of them. I

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didn't want to write this song.

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Speaker 8: What do you mean?

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Speaker 11: I didn't want to write this song because we already

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had I think we had.

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Speaker 10: We had six songs.

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Speaker 12: Yeah, we had six songs, and I felt like it

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was good. You know, with the addition of the two

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instrumentals on the album, it would have been eight songs, right. No, No, no,

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it would have been So we wrote two more after that, right,

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because then we wrote Beneath Read Leaves too. But yeah,

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I didn't want to write this song because I just

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felt like, like, Okay, we're good, We've written enough. This

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is our first album. And I actually remember sitting down

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with a little bit of what he wrote and just

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everything became so complex, so quick, and I was angry

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the whole time I wrote. I was like, dang it,

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this is gonna be so complex.

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Speaker 8: This is awesome.

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Speaker 7: Damn yeah, I would imagine too. You see, I've played

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a lot of bands, but nothing I never played in

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anything like this. You know, every band I ever played

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and it was you know, verse chorus, you know, your

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standard thing. Yeah, and uh so I've always been kind

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of fascinated by I mean, just what must go into

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writing the songs and then learning the songs and then

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rehearsing the songs.

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Speaker 10: Are definitely two different things.

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Speaker 7: Yeah, oh yeah, I can imagine. Yeah, I mean, you

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must have to rehearse quite a bit, right for the

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live shows, because every week you've got to be it,

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you know. I mean, if you're if you're a punk

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band and you're playing three chords and you make a mistake,

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nobody even notice it. Well, with what you're doing. If

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somebody makes a mistake, it's it's probably hard to even

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hide that, right.

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Speaker 10: Yeah.

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Speaker 9: There's certain points in different songs where it's almost like

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you're you're like surfing on a razor's edge, you know

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what I mean, And like if you fall off, it

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is not easy to get back on.

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Speaker 8: I can imagine, yeah, you know.

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Speaker 9: Yeah, and we also have like the added challenge of

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not having a live bass player right now. Okay, so

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our drummer plays to a click track. Yeah, so we

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have like bass tracks at the moment. But it allows

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us to do cool things like it automatically like switches

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out the synth patch that we're using as we're playing

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and stuff like that. So oh wow, it allows us

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to like use all these different sense that we made

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for the record live too.

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Speaker 12: Okay, Yeah, it makes it a little bit easier. Recording

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and learning and playing are just a whole three separate things.

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For this recording is so bit by bit, sentence by sentence. Basically,

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if you think about it in terms of writing a story,

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it's like writing sentence by sentence, let alone lyrics. I

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don't even get in on lyrics. I'm more on the

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music side of things. I contributed one lyric to this

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whole album truly, and so yeah, like writing it just

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is so intensive. And I mean, what, it took us

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two almost three years to just write this. Any music

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that we're gonna write that's expanding on this is going

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to take us probably a similar timeframe. But then learning

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it is like, okay, now that we have the finished

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product and all the riffs are what they're going to be,

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and all the orders of everything is pretty much decided on.

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Now try to learn all that while standing up, switching

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effects and doing backing vocals, and then sometimes you're.

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Speaker 11: Like, oh, I can't.

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Speaker 12: You know, we have to figure out, you know, delegate,

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who's going to play what. Sometimes sometimes we need to

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put something in a backing track because there's too many

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parts stuff like that. So it's a whole puzzle.

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Speaker 11: You know.

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Speaker 9: Yeah, like the beginning of Titans Grip, we don't hire

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three dudes to come up and play play that harmony

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at the beginning.

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Speaker 11: It would be great. We don't have it, like.

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Speaker 7: Yeah, yeah, so who plays bass on the on the

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studio tracks?

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Speaker 8: Does one of you do that?

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Speaker 10: Or no?

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Speaker 9: So we got a guy. His name is Chase Bryant.

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He plays in a band called war Bringer. They're like

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an l a thrash bandy. Yeah, they're great.

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Speaker 12: I love them, shouts out Chase, nicest guy, amazing bass player.

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Played the whole album on fretless bass in two days.

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Speaker 10: Yeah, figure style. He's a absolute monster.

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Speaker 11: Absolute monster, absolute great guy.

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Speaker 12: Super super happy to have him just doing his thing.

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Speaker 11: It was awesome.

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Speaker 7: That's another thing that I'm always because I'm a bass player,

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but I've never played a fretless and that always impresses

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me too.

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Speaker 10: Oh yeah, yeah.

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Speaker 9: I mean a lot of people when I tell him

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that he's playing fretless on it, they can't even tell

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because it's just so in tune, you know.

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Speaker 8: Yeah.

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Speaker 13: Yeah.

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Speaker 7: Our friend Lacey, who I am in the uh in

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the chat room, says, uh, that's why so much can

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be lost in studio work so clinical And oh I

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see Jenny is in there as well. Hello, good morning.

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Speaker 8: Yeah.

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Speaker 10: So when you.

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Speaker 8: Like, do you play these live before you record them

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or do you do?

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Speaker 7: You? Okay, so you don't, you don't go into the

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studio and then once that's done start playing them.

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Speaker 10: Live or well we do we do.

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Speaker 9: We like demo out all the tracks, so we've got

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able to on my computer at the practice space and

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we just record on that the demo version, send that

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off to the studio that we actually want to record it.

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We went to matt Oaks Studio in Austin and recorded

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with Benny Grotto, who did a great job.

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Speaker 8: Yeah, everything, everything sounds amazing.

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Speaker 9: Yeah, but so it Sometimes we kind of play it

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live before we put it into the demos, But most

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of the time we get the demos done, we get

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that to a point where we like it, and then

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that's when we start the learning processes. Okay, and then

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we go in and record for real cities. Yeah, and

279
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going to the Big Boys studio. Yeah, but I what,

280
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I forget what your name was, but who said something

281
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about studios being clinical and oh yeah, yeah lazy. So

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there's definitely I think one or two. There's there's certain

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things that I think can be kind of sporadic when

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you're like actually composing and stuff like that, and there's

285
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certain things that are like difficult to replicate non spur

286
00:19:43,599 --> 00:19:46,279
of the moment. Like, for example, there's a version of

287
00:19:46,359 --> 00:19:50,519
the Corruption solo that I had had a long time

288
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ago that I kind of wish I had still had

289
00:19:52,880 --> 00:19:56,359
for like, it was just a specific recording where I

290
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was like in my room with the amp and it

291
00:19:58,480 --> 00:20:01,279
was like super feedback ye yeah, and it like it

292
00:20:01,400 --> 00:20:05,039
sounded terrible but awesome because of how like I don't know,

293
00:20:05,160 --> 00:20:07,480
rat it sounded, you know what I mean? Yeah, And

294
00:20:07,519 --> 00:20:11,920
so like it And it's always like very minute details

295
00:20:11,960 --> 00:20:13,480
like that, you know what I mean. It's not like, oh,

296
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this song is ruined because we recorded in a good.

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Speaker 7: Space, you right, right, No, that makes sense? How I mean,

298
00:20:22,720 --> 00:20:24,960
how many hours do you think? Probably hard to put

299
00:20:24,960 --> 00:20:27,880
a number on it, but like like just just learning

300
00:20:28,839 --> 00:20:30,759
to play one of these songs proficiently.

301
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Speaker 10: I mean that's I can tell you.

302
00:20:32,880 --> 00:20:36,240
Speaker 9: I don't know about that all the songs. I mean,

303
00:20:36,279 --> 00:20:39,599
some of them are easier than others. Yeah, but I

304
00:20:39,640 --> 00:20:43,000
can tell you that the Beneath Red Leaves, the Beneath

305
00:20:43,039 --> 00:20:47,319
Red Leaves solo specifically took me so long.

306
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Speaker 10: I probably every day leading up to going into play.

307
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Speaker 9: That in the studio for like two weeks at least,

308
00:20:53,200 --> 00:20:55,720
spent like two hours a day just like ripping through

309
00:20:55,759 --> 00:20:59,599
that thing trying to get it down. Oh yeah, it's hard.

310
00:21:01,079 --> 00:21:01,839
Speaker 11: That song taught me.

311
00:21:02,200 --> 00:21:05,400
Speaker 12: That song taught me how to play rhythm guitar differently, really, Yeah,

312
00:21:05,400 --> 00:21:06,119
one hundred percent.

313
00:21:06,240 --> 00:21:07,000
Speaker 11: I play things.

314
00:21:07,720 --> 00:21:11,000
Speaker 12: I play that song differently and more efficiently than I

315
00:21:11,079 --> 00:21:14,160
did when we went and recorded it. Taught me like

316
00:21:15,160 --> 00:21:18,559
deficiencies in how I played certain things.

317
00:21:18,640 --> 00:21:18,920
Speaker 8: Really.

318
00:21:19,039 --> 00:21:23,160
Speaker 12: Yeah, So talk about a learning process, like I learned

319
00:21:23,160 --> 00:21:26,400
the song, but then I kept learning from it for

320
00:21:26,480 --> 00:21:29,519
about a year to where I am now with it. Yeah,

321
00:21:29,640 --> 00:21:32,240
same with him, honestly, Like it informs us so much

322
00:21:32,240 --> 00:21:35,440
about our ability because you can write something right piece

323
00:21:35,480 --> 00:21:38,160
by piece and you can make a demo and then

324
00:21:38,160 --> 00:21:39,759
when you go to play it all at once all

325
00:21:39,799 --> 00:21:42,359
the way through, you really like find out about yourself.

326
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Speaker 8: I can imagine that.

327
00:21:44,799 --> 00:21:47,480
Speaker 12: Yeah, yeah, you know, going from playing all this rhythm

328
00:21:47,480 --> 00:21:49,960
to lead and he's you know, playing all the lead

329
00:21:50,000 --> 00:21:50,640
and it's crazy.

330
00:21:50,720 --> 00:21:54,720
Speaker 8: So wow. Yeah. Have you ever written something where or or.

331
00:21:56,599 --> 00:21:59,960
Speaker 7: Just had an idea where you you know, you maybe

332
00:22:00,119 --> 00:22:01,640
record it and everything so you're committed to it and

333
00:22:01,640 --> 00:22:03,359
then you kind of have a moment where you go, geez,

334
00:22:03,400 --> 00:22:05,359
I don't know, I'm kind of regretting this one a

335
00:22:05,400 --> 00:22:05,759
little bit.

336
00:22:05,920 --> 00:22:12,480
Speaker 10: Yeah really yeah. Yeah, we edit super hard.

337
00:22:13,440 --> 00:22:15,839
Speaker 9: Do we cut things that we don't like and try

338
00:22:15,839 --> 00:22:18,200
and or like try and make it work better?

339
00:22:18,599 --> 00:22:18,799
Speaker 14: Yeah.

340
00:22:19,000 --> 00:22:21,160
Speaker 9: I think that one of the things that we really

341
00:22:21,200 --> 00:22:26,359
want to focus on going forward is like, I don't know,

342
00:22:27,240 --> 00:22:29,720
just getting better at making sure everything fits together.

343
00:22:29,759 --> 00:22:32,680
Speaker 10: Well yeah, yeah, not that I don't think.

344
00:22:32,480 --> 00:22:36,079
Speaker 9: That the stuff on the first record fits together well,

345
00:22:36,160 --> 00:22:39,799
you know, song by song, but I think that there's

346
00:22:39,839 --> 00:22:41,720
always room for improvement, sure, you know.

347
00:22:42,960 --> 00:22:47,160
Speaker 7: And how important is it to you as players when

348
00:22:47,160 --> 00:22:51,200
you when you play live to to replicate exactly like

349
00:22:51,240 --> 00:22:53,559
do you try to replicate exactly. Note for note, what's

350
00:22:53,559 --> 00:22:56,000
on the recordings or do the songs breathe a little bit?

351
00:22:56,119 --> 00:22:58,480
Speaker 10: Or how do There's not really a lot of breathing room.

352
00:22:58,480 --> 00:23:01,160
Speaker 9: There's a lot of very specific harmony that's going on

353
00:23:01,279 --> 00:23:03,799
and stuff like that, you know what I mean. So yeah,

354
00:23:03,880 --> 00:23:06,799
And that's not to say that there aren't places where

355
00:23:06,839 --> 00:23:08,440
we could incorporate.

356
00:23:07,960 --> 00:23:12,319
Speaker 12: Some sure, yeah, but I'd say as far as NOE choice,

357
00:23:12,400 --> 00:23:18,680
it's never different. As far as certain stylistic things, we

358
00:23:18,799 --> 00:23:21,880
goof off a little bit here and there, but it's

359
00:23:22,000 --> 00:23:25,480
we're still playing pretty much what's written. Okay, almost, i'd

360
00:23:25,480 --> 00:23:26,640
say ninety nine percent.

361
00:23:27,160 --> 00:23:30,759
Speaker 7: Yeah, okay, okay, if you're just joining us, we have

362
00:23:30,839 --> 00:23:33,599
Questing Beasts here with us live in studio on the

363
00:23:33,640 --> 00:23:36,440
Saturday morning, and I think we should play another track.

364
00:23:37,480 --> 00:23:39,440
I'd love to hear another one. So we'll play this

365
00:23:39,599 --> 00:23:41,000
so at Crater's Edge.

366
00:23:41,400 --> 00:23:42,400
Speaker 11: Oh yeah, what what?

367
00:23:42,400 --> 00:23:42,960
Speaker 8: What should we know?

368
00:23:43,039 --> 00:23:43,319
Speaker 7: Anything?

369
00:23:43,359 --> 00:23:45,400
Speaker 8: We should know about this specifically before we hear it.

370
00:23:48,319 --> 00:23:50,119
Speaker 9: No, I want I want people in the comments to

371
00:23:50,160 --> 00:23:51,880
try and guess what the footsteps are.

372
00:23:52,359 --> 00:23:55,000
Speaker 10: Okay, okay, what's making that sound? People?

373
00:23:55,319 --> 00:23:58,119
Speaker 7: Okay, all right, So well that's a clue then, So

374
00:23:58,160 --> 00:23:59,559
they're not actual footsteps.

375
00:24:00,240 --> 00:24:00,880
Speaker 10: That's correct.

376
00:24:00,960 --> 00:24:05,680
Speaker 7: Okay, all right, I pay attention, listen closely everybody. All right,

377
00:24:05,799 --> 00:24:08,400
So this is Questing Beast and uh this song is

378
00:24:08,440 --> 00:24:39,920
called at Creator's Edge.

379
00:24:16,680 --> 00:24:50,000
Speaker 15: H chrazed.

380
00:24:50,559 --> 00:24:59,680
Speaker 2: I stood, I spoke what never cause me good? Don't

381
00:24:59,759 --> 00:25:03,440
call a chaos your bel and good.

382
00:25:03,960 --> 00:25:09,079
Speaker 6: But when the stars from where you can, I.

383
00:25:12,079 --> 00:25:13,279
Speaker 16: Like miss.

384
00:25:15,400 --> 00:25:17,880
Speaker 1: Far logic joins.

385
00:25:20,640 --> 00:25:25,960
Speaker 2: In a moment of fall me the story something my

386
00:25:26,400 --> 00:25:32,720
coll stinking birds on black thing of course things cold,

387
00:25:32,920 --> 00:25:36,480
my face ran thing my grands.

388
00:25:36,240 --> 00:25:41,599
Speaker 5: From as climest face, collasting about strength, waste.

389
00:25:41,319 --> 00:25:47,160
Speaker 14: My falls on face, singing my dispaceing the crime, breaking

390
00:25:47,319 --> 00:25:58,160
up my life, I squeen cake.

391
00:25:58,039 --> 00:26:03,920
Speaker 15: William I was like, oh, the fortune of this starts right.

392
00:26:06,599 --> 00:26:13,039
Speaker 2: Hip the ram. It's my stairs nevery d look a

393
00:26:13,559 --> 00:26:15,079
bar scar.

394
00:26:33,000 --> 00:26:59,799
Speaker 17: Thank st bloodys de wh I'm drunk it the.

395
00:27:03,440 --> 00:27:03,680
Speaker 1: Man.

396
00:27:04,519 --> 00:27:22,200
Speaker 15: So we went down a little too.

397
00:27:23,359 --> 00:27:25,119
Speaker 8: Why am God, I'm taking a child?

398
00:27:26,200 --> 00:27:27,559
Speaker 6: Why do you go to the.

399
00:27:27,640 --> 00:27:29,680
Speaker 1: Chalk your troll and starting I'm taking about.

400
00:27:29,519 --> 00:27:32,079
Speaker 3: Time, no chop but time drinking my time nor chop

401
00:27:32,200 --> 00:27:32,640
is down.

402
00:27:34,160 --> 00:28:16,359
Speaker 7: Why that is at Creator's Edge by Questing Beasts. We

403
00:28:16,480 --> 00:28:19,039
have two members of the band. There's those footsteps again?

404
00:28:20,640 --> 00:28:22,240
All right, where did the footsteps come from?

405
00:28:24,279 --> 00:28:24,440
Speaker 4: Oh?

406
00:28:24,920 --> 00:28:25,880
Speaker 8: I can't go ahead.

407
00:28:26,000 --> 00:28:27,319
Speaker 10: Oh no, I just hadn't started yet.

408
00:28:28,839 --> 00:28:30,680
Speaker 8: I thought it looked like it looked like your mouth

409
00:28:30,799 --> 00:28:31,720
was moving, and I'm like, oh no.

410
00:28:31,799 --> 00:28:33,720
Speaker 10: I didn't. I was trying to think of how I

411
00:28:33,759 --> 00:28:34,960
want to do approach the answer?

412
00:28:35,079 --> 00:28:35,880
Speaker 8: Gotcha, gotcha.

413
00:28:36,920 --> 00:28:38,240
Speaker 7: I didn't see any guesses.

414
00:28:38,000 --> 00:28:38,680
Speaker 8: In the chat room.

415
00:28:38,880 --> 00:28:43,200
Speaker 9: So well, it came from a box of rocks. What

416
00:28:43,279 --> 00:28:46,240
you're hearing is a box of rocks, really cardboard box

417
00:28:46,519 --> 00:28:48,519
with a bunch of rocks inside of it. It's some

418
00:28:48,680 --> 00:28:50,079
advanced studio equipment.

419
00:28:50,279 --> 00:28:57,039
Speaker 8: Oh very good, very good. Let's see uh in the

420
00:28:57,160 --> 00:28:57,559
chat room.

421
00:28:57,599 --> 00:29:00,519
Speaker 7: Oh, Hans Smith from the band Sepsis was saying that

422
00:29:00,839 --> 00:29:04,440
the instrumentals make him feel like he's on an adventure

423
00:29:04,519 --> 00:29:05,079
on the sea.

424
00:29:05,799 --> 00:29:06,599
Speaker 11: Oh very nice.

425
00:29:07,119 --> 00:29:07,880
Speaker 8: Yeah, yeah nice.

426
00:29:08,279 --> 00:29:12,240
Speaker 7: Lacey says a strong Queen's Reich vibe. Is that one

427
00:29:12,240 --> 00:29:13,559
of your influences Queen's Reke.

428
00:29:13,960 --> 00:29:17,599
Speaker 12: I wouldn't say specifically, but love Queen's Reke.

429
00:29:17,839 --> 00:29:19,880
Speaker 11: Yeah, yeah, and that's a huge compliment.

430
00:29:20,079 --> 00:29:23,039
Speaker 8: Yeah, absolutely, absolutely. Let's see.

431
00:29:23,039 --> 00:29:24,400
Speaker 7: I saw somebody else in here too.

432
00:29:24,640 --> 00:29:24,799
Speaker 10: Oh.

433
00:29:24,880 --> 00:29:28,160
Speaker 7: Be Pinard is in the chatroom. Big support of the show. Hello,

434
00:29:29,160 --> 00:29:31,440
nice to see you in there, and also Mariam Bannish

435
00:29:31,480 --> 00:29:36,400
joins us in the chat room. Yeah, tell tell me

436
00:29:36,440 --> 00:29:38,960
more about influences I imagine, I mean a lot of

437
00:29:39,039 --> 00:29:42,440
a lot of prog and really complex stuff for both

438
00:29:42,440 --> 00:29:43,400
of you, I would, I would.

439
00:29:43,240 --> 00:29:45,759
Speaker 9: Guess, yeah, yeah, sure, I'm just gonna do a quick

440
00:29:45,920 --> 00:29:51,160
top five. So for me, like my favorite two bands

441
00:29:51,240 --> 00:29:54,480
are Death Clock and Queens of the Stone Age. Yeah,

442
00:29:55,119 --> 00:29:57,960
and so I feel like my guitar playing is kind

443
00:29:58,000 --> 00:30:02,279
of like somewhere in between mean those two sort of bands.

444
00:30:02,720 --> 00:30:07,160
But outside of that, I mean, Baroness is Great, master

445
00:30:07,279 --> 00:30:11,039
Don as well. Both of those bands I think were

446
00:30:11,079 --> 00:30:14,039
actually very influential to me throughout the writing process of

447
00:30:14,119 --> 00:30:16,319
this first one, just as far as their ability to

448
00:30:17,039 --> 00:30:20,519
take these big, sprawling concepts, like from start to finish

449
00:30:20,720 --> 00:30:24,119
on these records, you know, in their own ways. And

450
00:30:24,160 --> 00:30:25,799
I guess I have to think of I said five,

451
00:30:26,000 --> 00:30:28,240
You did say five. Yeah, there is another one, I

452
00:30:28,319 --> 00:30:35,359
know for sure. I don't know, just various. There's lots

453
00:30:35,400 --> 00:30:37,680
of stuff, to be honest with you, Like, I'm all

454
00:30:37,720 --> 00:30:40,119
over the place as far as like listening to like

455
00:30:40,599 --> 00:30:45,359
technical death metal and like all these various things. Yeah, Jane,

456
00:30:45,359 --> 00:30:46,680
why don't you take over while I think of what

457
00:30:46,799 --> 00:30:48,000
a definitive five is.

458
00:30:49,839 --> 00:30:52,440
Speaker 12: I'd say early on when I first started getting into

459
00:30:53,640 --> 00:30:57,640
progressive music was high school, and my big three would

460
00:30:57,720 --> 00:31:06,759
be Dream Theater, m Rush, and Porcupine Tree. Okay, and

461
00:31:07,240 --> 00:31:09,160
just as far as progressive music goes. And I was

462
00:31:09,200 --> 00:31:11,920
in a band in high school where we didn't cover

463
00:31:12,000 --> 00:31:16,759
any dream Theater, but that was my aspiration, you know.

464
00:31:16,839 --> 00:31:21,680
I was in a band with this guy, Adam Susie,

465
00:31:21,759 --> 00:31:27,119
amazing drummer, shouts out Adam Susie, and we just covered

466
00:31:27,160 --> 00:31:30,519
these prog songs and that's a huge influence on me.

467
00:31:30,640 --> 00:31:35,440
Speaker 11: I religiously listened to Dream Theater, Rush. I grew up

468
00:31:35,480 --> 00:31:35,880
on Rush.

469
00:31:36,000 --> 00:31:38,240
Speaker 12: My mom introduced me to Rush when I was really young.

470
00:31:39,000 --> 00:31:43,160
And then the heavier side of things I started to

471
00:31:43,200 --> 00:31:45,880
get into. Like I started off with some like metalcore bands.

472
00:31:45,880 --> 00:31:48,480
I think my earliest like real heavy band influence was

473
00:31:48,519 --> 00:31:51,359
a band called as Blood Runs Black, an old metal

474
00:31:51,400 --> 00:31:57,640
core band. But I started to really get into more

475
00:31:58,079 --> 00:32:00,759
technical death metal and stuff like that I got into college.

476
00:32:00,839 --> 00:32:04,240
But I come from a very diverse background, Like I

477
00:32:04,319 --> 00:32:07,039
was a jazz musician growing up, and I love hip hop.

478
00:32:07,200 --> 00:32:08,880
I made a lot of hip hop too, so I

479
00:32:09,200 --> 00:32:14,759
really yeah, for sure, And that was a humongous portion

480
00:32:15,240 --> 00:32:18,680
of my education in music. You know what I mean,

481
00:32:20,319 --> 00:32:25,160
was all those influences, so huge love for hip hop,

482
00:32:25,279 --> 00:32:28,880
huge love for technical death metal. I'd say the band

483
00:32:28,920 --> 00:32:31,640
that really bridged the gap for me when I was

484
00:32:31,799 --> 00:32:35,960
young between all that progue stuff and the more heavy

485
00:32:36,000 --> 00:32:40,960
stuff was a band called Born of Osiris. And that's

486
00:32:41,000 --> 00:32:43,400
when I learned about like Jason Richardson as a guitar

487
00:32:43,480 --> 00:32:46,759
player and started to kind of you know, all my

488
00:32:46,839 --> 00:32:52,480
favorite rhtters played the same guitars now and really got

489
00:32:52,519 --> 00:32:55,200
into a lot of that stuff. So huge influence on me,

490
00:32:55,480 --> 00:32:59,680
those guys John Patrucci obviously, but all that stuff.

491
00:33:00,079 --> 00:33:00,880
Speaker 7: Yeah, yeah, I.

492
00:33:00,880 --> 00:33:04,839
Speaker 9: Thought my number five. Okay, it's definitely war Bringer. Okay, cool, Okay, Yeah,

493
00:33:05,000 --> 00:33:06,200
I don't know why that took me so long.

494
00:33:07,400 --> 00:33:12,000
Speaker 7: Well, it's early, very good, very good if you are

495
00:33:12,079 --> 00:33:15,000
just joining us. Of course, we do have Questing Beasts

496
00:33:15,000 --> 00:33:17,920
here with us live in studio and they're playing a

497
00:33:17,960 --> 00:33:20,839
big show tonight. Of course, our friends at Terminus Underground

498
00:33:21,039 --> 00:33:26,640
in Nashua. Let's see this is the show has a

499
00:33:26,720 --> 00:33:31,680
specific name, the Haunted, oh Hollowed and haunted. Yes, want

500
00:33:31,680 --> 00:33:32,039
to make sure.

501
00:33:32,039 --> 00:33:33,759
Speaker 8: I want to make sure I got the name right. Yeah.

502
00:33:33,799 --> 00:33:34,759
Terminus is a great place.

503
00:33:34,799 --> 00:33:35,519
Speaker 1: Have you been there yet?

504
00:33:35,960 --> 00:33:36,599
Speaker 10: No, not yet.

505
00:33:36,759 --> 00:33:38,440
Speaker 8: I tell everybody the same thing.

506
00:33:38,480 --> 00:33:40,519
Speaker 7: When you walk in, it's like walking into a different

507
00:33:40,559 --> 00:33:44,759
world when you walk into that room specifically, it's really cool.

508
00:33:44,880 --> 00:33:47,799
Speaker 9: Apparently they're decorating it all up and stuff, or they

509
00:33:47,799 --> 00:33:49,920
were last night and everything, so it should be all

510
00:33:49,960 --> 00:33:51,759
good to go now. So it's gonna look awesome in

511
00:33:51,799 --> 00:33:52,200
there tonight.

512
00:33:52,359 --> 00:33:54,960
Speaker 7: Yeah, yeah, there you go. Yeah, that's gonna be tonight.

513
00:33:55,200 --> 00:33:59,200
Questing Beast along with Dad Harrison, the Vegans, The Gray Curtain, Horror,

514
00:33:59,720 --> 00:34:02,599
and Able Blood. Tickets are twenty dollars.

515
00:34:03,160 --> 00:34:03,880
Speaker 8: You can get them.

516
00:34:04,519 --> 00:34:07,279
Speaker 7: You have to go to Midnight Creatives Collective dot com.

517
00:34:08,079 --> 00:34:13,239
Tickets are available there. And that is show starts at

518
00:34:13,280 --> 00:34:13,880
eight pm.

519
00:34:14,239 --> 00:34:17,760
Speaker 11: So I think show starts at six?

520
00:34:18,400 --> 00:34:19,000
Speaker 8: Oh does it?

521
00:34:19,239 --> 00:34:19,400
Speaker 11: Yes?

522
00:34:19,519 --> 00:34:21,519
Speaker 10: Oh yeah, I think doors are six.

523
00:34:22,039 --> 00:34:25,320
Speaker 7: Oh I'm sorry, yeah, I was looking at the wrong thing. Yeah,

524
00:34:25,320 --> 00:34:27,800
all the right doors are five. Yeah, music starts at six.

525
00:34:27,840 --> 00:34:27,960
Speaker 1: Oh.

526
00:34:28,239 --> 00:34:30,079
Speaker 7: It's good you corrected me, because yeah, we don't want

527
00:34:30,119 --> 00:34:31,199
people showing up there late.

528
00:34:31,679 --> 00:34:32,599
Speaker 10: Of us is paying attention.

529
00:34:32,880 --> 00:34:36,880
Speaker 7: You're welcome, exactly, exactly yeah, and you know, there's a

530
00:34:36,920 --> 00:34:39,079
lot of bands, so it's good that it's starting early.

531
00:34:39,199 --> 00:34:39,679
That makes sense.

532
00:34:39,840 --> 00:34:43,360
Speaker 9: Oh, yes, and we're we're actually opening this one, which

533
00:34:43,400 --> 00:34:46,719
is which is nice because we'll be able to get

534
00:34:46,760 --> 00:34:50,280
there set up immediately and then hang out forever.

535
00:34:50,920 --> 00:34:52,360
Speaker 8: Do you that's right?

536
00:34:53,880 --> 00:34:54,119
Speaker 1: Is there?

537
00:34:54,599 --> 00:34:57,039
Speaker 8: Do you have a complex set up?

538
00:34:58,559 --> 00:34:58,760
Speaker 10: Yeah?

539
00:34:58,760 --> 00:35:01,039
Speaker 9: I mean so all four of us us do vocals,

540
00:35:02,239 --> 00:35:07,400
and then we've got the computer that our drummer like

541
00:35:08,159 --> 00:35:11,599
triggers all the tracks from and everything. Yeah, it's kind

542
00:35:11,599 --> 00:35:12,480
of it's kind of a pain.

543
00:35:12,679 --> 00:35:13,440
Speaker 7: I can imagine.

544
00:35:13,480 --> 00:35:15,360
Speaker 11: Yeah, I mean it's a pain for us.

545
00:35:17,239 --> 00:35:18,719
Speaker 12: I mean, if we cut out a vocal, it would

546
00:35:18,760 --> 00:35:21,079
still just be three vocals and then a few xlrs

547
00:35:21,119 --> 00:35:23,519
to the house. But like it's more of a pain

548
00:35:23,639 --> 00:35:25,760
for us, then it should be more of a pain

549
00:35:25,800 --> 00:35:27,119
for us than any sound guy.

550
00:35:28,800 --> 00:35:29,159
Speaker 8: Or girl.

551
00:35:29,360 --> 00:35:31,840
Speaker 10: But that has not been the case so far.

552
00:35:31,960 --> 00:35:37,039
Speaker 8: Yeah, right right, Yeah, I can see how.

553
00:35:39,599 --> 00:35:43,039
Speaker 7: Yeah, I can imagine, you know, And I think usually

554
00:35:43,119 --> 00:35:44,639
when it's when it's a band with kind of a

555
00:35:44,760 --> 00:35:47,679
you know, a really complex sophisticated sound, there's usually more

556
00:35:47,760 --> 00:35:50,440
to it, like I said, you know, compared to say,

557
00:35:50,519 --> 00:35:54,000
for example, just a punk band, you know, Yeah, when we.

558
00:35:54,079 --> 00:35:59,159
Speaker 12: Get booked on gigs like that, we do feel a

559
00:35:59,400 --> 00:36:02,559
unique kind of pressure, especially if we're right in the

560
00:36:02,599 --> 00:36:06,960
middle of the bill. Oh yeah, just because and it's

561
00:36:07,079 --> 00:36:08,960
and it's not like we're not quick, and it's not

562
00:36:09,079 --> 00:36:11,079
like we haven't done this before, you know.

563
00:36:11,400 --> 00:36:12,559
Speaker 8: Yeah, and we have.

564
00:36:12,920 --> 00:36:14,079
Speaker 11: I couldn't have streamlined.

565
00:36:14,800 --> 00:36:19,000
Speaker 12: I set up our ableton session that has the click track,

566
00:36:19,119 --> 00:36:21,039
that has all of our sins on it, that has

567
00:36:21,159 --> 00:36:23,000
all of the bass tracks on it, and we have

568
00:36:23,199 --> 00:36:24,639
some simple stuff.

569
00:36:24,760 --> 00:36:26,599
Speaker 11: We just have to run cables to the house. That's it.

570
00:36:26,760 --> 00:36:28,639
We have to set up all the hard stuff.

571
00:36:28,559 --> 00:36:32,239
Speaker 12: Right right, And it's a huge brain puzzle for me,

572
00:36:32,599 --> 00:36:36,079
you know, to like troubleshoot stuff in real time, yeah,

573
00:36:36,320 --> 00:36:40,159
if anything's wrong, and then also set up my own

574
00:36:40,199 --> 00:36:42,039
guitar stuff in my own microphone and make sure I

575
00:36:42,079 --> 00:36:43,480
can hear myself and all that good stuff.

576
00:36:43,519 --> 00:36:44,079
Speaker 11: Oh no doubt.

577
00:36:44,159 --> 00:36:44,320
Speaker 18: Yeah.

578
00:36:44,360 --> 00:36:46,840
Speaker 7: Yeah. Does that ever happen where something goes wrong on

579
00:36:46,920 --> 00:36:49,519
the text pend and you got to, like you said,

580
00:36:49,519 --> 00:36:51,840
troubleshoot on the spot in real time.

581
00:36:52,079 --> 00:36:54,000
Speaker 11: Thankfully, we've It's pretty funny.

582
00:36:54,000 --> 00:36:57,679
Speaker 12: I think we have nine of those issues at home

583
00:36:58,400 --> 00:37:01,000
when we're practicing, Yeah, which is nice.

584
00:37:01,159 --> 00:37:03,800
Speaker 8: Good good. Yeah, Well that's that's what how it should go.

585
00:37:04,079 --> 00:37:04,280
Speaker 4: Yeah.

586
00:37:04,480 --> 00:37:06,320
Speaker 9: Yeah, And I think it's all set up at this

587
00:37:06,400 --> 00:37:09,679
point so well as far as like like something really

588
00:37:09,800 --> 00:37:12,920
tragic would have to happen to like move the click

589
00:37:13,079 --> 00:37:15,440
track so it's like not in the right spot or

590
00:37:15,519 --> 00:37:18,480
something like that. Yeah, So I think it's I think

591
00:37:18,519 --> 00:37:20,719
we've got it pretty solid at this point.

592
00:37:20,960 --> 00:37:21,199
Speaker 7: Yeah.

593
00:37:21,559 --> 00:37:25,519
Speaker 9: I think there's also, like I said, you know, there's

594
00:37:25,519 --> 00:37:27,760
always improvements to be made, especially once you start thinking

595
00:37:27,800 --> 00:37:30,199
about like gear, you know, I mean that's an endless

596
00:37:30,280 --> 00:37:32,639
rabbit hole that'll leave you homeless if you go too far.

597
00:37:34,079 --> 00:37:39,199
Speaker 7: Yep, yep, well said, Well said, Now what is uh?

598
00:37:39,559 --> 00:37:43,119
So this this album here, this has not been out

599
00:37:43,159 --> 00:37:44,679
that long, right, this is relatively new.

600
00:37:44,760 --> 00:37:47,960
Speaker 9: Yeah, it came out in June, in June, okay, okay

601
00:37:48,320 --> 00:37:49,360
new to everybody else.

602
00:37:49,679 --> 00:37:50,360
Speaker 1: Yeah. Yeah.

603
00:37:51,519 --> 00:37:53,920
Speaker 7: Are you already thinking about the next one in terms

604
00:37:53,960 --> 00:37:55,639
of like are you already writing for it?

605
00:37:55,920 --> 00:37:56,400
Speaker 1: Or uh?

606
00:37:56,800 --> 00:37:57,000
Speaker 10: Yeah?

607
00:37:57,519 --> 00:38:00,280
Speaker 9: Yeah, I mean we're always writing, yeah, I mean we

608
00:38:00,400 --> 00:38:03,119
play guitar. I play guitar personally at least like like

609
00:38:03,239 --> 00:38:05,039
three hours a day is like a bad day for me,

610
00:38:05,679 --> 00:38:09,800
And so I'm writing on an accident, you.

611
00:38:09,880 --> 00:38:18,760
Speaker 12: Know, yeah, and then we're also purpose at least once

612
00:38:19,000 --> 00:38:20,760
to a couple of times a week. Right now, we're

613
00:38:20,800 --> 00:38:24,119
definitely back in the we're back in the shop.

614
00:38:24,880 --> 00:38:27,519
Speaker 9: This is like gonna be our last show I think

615
00:38:27,559 --> 00:38:29,960
for this year, and you know, we'll have a bunch

616
00:38:29,960 --> 00:38:32,000
of stuff to announce for next year obviously and everything

617
00:38:32,039 --> 00:38:35,000
when the time comes. But we're gonna take this like

618
00:38:35,119 --> 00:38:38,679
hibernation time, I think is like a nice writing period,

619
00:38:39,119 --> 00:38:41,519
you know, just to kind of hang out and not

620
00:38:41,639 --> 00:38:44,239
necessarily even think about the first record for.

621
00:38:44,280 --> 00:38:47,000
Speaker 11: A little bit, right right, Maybe play it and that's

622
00:38:47,000 --> 00:38:47,280
about it.

623
00:38:47,400 --> 00:38:49,800
Speaker 7: Play it some right right, Yeah, you're gonna have to

624
00:38:49,880 --> 00:38:52,719
even even during your your hibernation period, shall we say,

625
00:38:52,719 --> 00:38:54,079
you're gonna you're still gonna have to play it or

626
00:38:54,119 --> 00:38:55,440
because you don't want to risk forget anything.

627
00:38:56,599 --> 00:38:59,840
Speaker 10: Yeah, you definitely got to keep the Coles stoked.

628
00:39:01,800 --> 00:39:06,599
Speaker 12: The upkeep on this stuff is unlike anything I've ever had,

629
00:39:07,000 --> 00:39:10,519
you know, I can imagine. Yeah, it's impossible for me

630
00:39:10,920 --> 00:39:14,320
to store certain things in a spot in my brain

631
00:39:14,440 --> 00:39:17,760
that's gonna stay forever unless I play it all the time.

632
00:39:19,599 --> 00:39:20,880
There's so much stuff up here.

633
00:39:21,000 --> 00:39:24,719
Speaker 8: So yeah, yeah, no, that makes sense, that makes sense.

634
00:39:24,880 --> 00:39:26,239
Do you play the full album.

635
00:39:26,039 --> 00:39:26,920
Speaker 1: Live we have.

636
00:39:27,559 --> 00:39:30,119
Speaker 9: Yeah, we did it at our release show. Okay, we

637
00:39:30,199 --> 00:39:33,639
did it front to back. I wouldn't mind doing that again.

638
00:39:33,800 --> 00:39:36,039
But a lot of the times it seems, I don't know,

639
00:39:36,119 --> 00:39:38,559
it doesn't seem like the most pertinent way to get

640
00:39:38,599 --> 00:39:40,199
through a show. And a lot of times we're only

641
00:39:40,199 --> 00:39:41,920
getting like half hour sets and stuff like that.

642
00:39:42,280 --> 00:39:45,000
Speaker 7: Yeah, yeah, what is it because some of some of

643
00:39:45,039 --> 00:39:47,360
the songs are pretty long. But yeah, right, what does

644
00:39:47,400 --> 00:39:48,079
a clock out out?

645
00:39:48,119 --> 00:39:48,159
Speaker 10: Do?

646
00:39:48,199 --> 00:39:48,320
Speaker 4: You know?

647
00:39:48,519 --> 00:39:52,000
Speaker 12: Forty three minutes? It's not that bad as a whole.

648
00:39:52,039 --> 00:39:54,599
There's a lot of like interlude stuff. Yeah, and as

649
00:39:54,679 --> 00:39:56,719
far as what we're playing, it's probably closer to like

650
00:39:56,800 --> 00:39:57,519
forty minutes.

651
00:39:57,800 --> 00:39:58,079
Speaker 8: Okay.

652
00:39:58,199 --> 00:40:02,800
Speaker 12: The issue is to play this album in the timespan

653
00:40:03,000 --> 00:40:07,440
that's outlined as it is for everybody to listen to live,

654
00:40:07,880 --> 00:40:10,039
is you know, pretty exhausting.

655
00:40:10,199 --> 00:40:11,119
Speaker 8: Yeah, I can imagine.

656
00:40:11,559 --> 00:40:13,079
Speaker 11: Yeah, you need like a few.

657
00:40:13,079 --> 00:40:16,360
Speaker 12: Minutes in between to take a deep breath. And because

658
00:40:16,400 --> 00:40:19,159
we do go song to songs sometimes, oh yeah, oh

659
00:40:19,280 --> 00:40:19,599
for sure.

660
00:40:19,800 --> 00:40:20,000
Speaker 7: Yeah.

661
00:40:20,440 --> 00:40:22,880
Speaker 9: I don't think that the album itself is in the

662
00:40:22,960 --> 00:40:26,480
best order for a live show though, yes, okay.

663
00:40:26,519 --> 00:40:29,519
Speaker 7: So it's in the order for the story obviously, but

664
00:40:30,000 --> 00:40:31,480
not necessarily for the live show.

665
00:40:31,519 --> 00:40:31,960
Speaker 10: Correct.

666
00:40:32,039 --> 00:40:32,199
Speaker 4: Yeah.

667
00:40:32,320 --> 00:40:34,360
Speaker 9: Yeah, yeah, It's like it's like a good vibe to

668
00:40:34,440 --> 00:40:37,599
listen to, but it's it's like awkward to play through

669
00:40:37,800 --> 00:40:38,480
in that order.

670
00:40:38,559 --> 00:40:38,880
Speaker 10: I think.

671
00:40:39,199 --> 00:40:43,400
Speaker 7: Okay, no, that makes sense. Uh yeah, Hans Smith and

672
00:40:43,440 --> 00:40:46,280
the chat says, let the hibernation begin. Yeah, well, I

673
00:40:46,320 --> 00:40:47,599
mean that is what a lot of bands do though,

674
00:40:47,599 --> 00:40:49,519
at at least in this part of the country, you know,

675
00:40:49,760 --> 00:40:52,159
in the winter, you know, focusing on writing.

676
00:40:51,960 --> 00:40:53,800
Speaker 9: And recording exactly. I mean, what am I going to do?

677
00:40:53,960 --> 00:40:57,079
Go drive, you know, five hours to play for fifty bucks?

678
00:40:57,159 --> 00:41:00,320
In New York it wants like snowy outside, Like, yeah,

679
00:41:00,559 --> 00:41:02,760
it's gonna be cold. I'm gonna smash my fingers while

680
00:41:02,800 --> 00:41:03,360
it's cold.

681
00:41:03,840 --> 00:41:04,679
Speaker 10: Who wants to do that?

682
00:41:04,920 --> 00:41:05,079
Speaker 19: You know?

683
00:41:05,320 --> 00:41:09,199
Speaker 7: Yeah, that's something I don't miss about There are things

684
00:41:09,199 --> 00:41:10,840
that I miss about playing live, but that's one of

685
00:41:10,880 --> 00:41:13,360
the things I don't miss is doing shows in the

686
00:41:13,400 --> 00:41:16,000
winter and and you know, if the weather's bad, and

687
00:41:16,039 --> 00:41:17,320
then you know, and then you don't know is it

688
00:41:17,400 --> 00:41:19,320
gonna be canceled? You're gonna get there and find out

689
00:41:19,360 --> 00:41:22,559
it's canceled. It's right, there's a lot that that goes

690
00:41:22,599 --> 00:41:25,039
with it, that can be quite miserable.

691
00:41:26,159 --> 00:41:29,079
Speaker 10: Yeah, no, exactly, well, we will, we'll.

692
00:41:28,920 --> 00:41:31,119
Speaker 7: Begin to wrap up, we'll play I was thinking we

693
00:41:31,559 --> 00:41:33,440
to end the segment. Maybe we'll play corruption.

694
00:41:34,079 --> 00:41:35,760
Speaker 11: Oh sure, Oh that would be amazing.

695
00:41:35,840 --> 00:41:37,199
Speaker 7: Yeah yeah, I like this one a lot.

696
00:41:38,039 --> 00:41:38,320
Speaker 10: Thank you.

697
00:41:38,679 --> 00:41:42,559
Speaker 7: So, of course, uh oh, where should people go to

698
00:41:42,719 --> 00:41:44,639
find you online? What's the best place to go? Because

699
00:41:44,639 --> 00:41:47,440
if you just google Questing Beast, a lot comes up.

700
00:41:47,519 --> 00:41:50,719
Speaker 9: So if you google Questing Beast banned, We've got a

701
00:41:50,800 --> 00:41:54,119
website up and we'll have a online store there within

702
00:41:54,159 --> 00:41:54,760
the next week.

703
00:41:55,239 --> 00:41:55,559
Speaker 7: Excellent.

704
00:41:55,679 --> 00:41:59,119
Speaker 9: We just got vinyl in, so we're gonna be trying

705
00:41:59,159 --> 00:42:01,559
to get rid of that as soon as we possibly can.

706
00:42:01,719 --> 00:42:02,840
Speaker 7: Oh, very good, very good.

707
00:42:02,960 --> 00:42:04,239
Speaker 10: Yeah, Yeah, it's awesome.

708
00:42:04,519 --> 00:42:04,719
Speaker 4: Yeah.

709
00:42:04,880 --> 00:42:05,039
Speaker 8: Yeah.

710
00:42:05,039 --> 00:42:08,559
Speaker 12: And you can find us on any social media Facebook, Instagram,

711
00:42:08,760 --> 00:42:11,320
you can stream those the Yeah, you can stream our

712
00:42:11,400 --> 00:42:16,360
music basically anywhere Spotify, Apple Music, even Title if you

713
00:42:16,400 --> 00:42:18,440
want to listen to some high quality audio.

714
00:42:18,679 --> 00:42:20,639
Speaker 7: Excellent, excellent, very good.

715
00:42:20,719 --> 00:42:21,559
Speaker 10: Shout out to title.

716
00:42:21,800 --> 00:42:25,360
Speaker 7: Yeah, yes, yes, and we'll remind everybody, of course. The

717
00:42:25,480 --> 00:42:29,639
Hallowed and Haunted Halloween Show tonight and Questing Beasts opening

718
00:42:30,400 --> 00:42:33,679
doors open at five. The show goes to midnight and

719
00:42:34,159 --> 00:42:37,239
also with Dead Harrison, then Egan's Able Blood, Horror and

720
00:42:38,320 --> 00:42:41,239
the Gray Curtain. So I have a great show tonight.

721
00:42:42,760 --> 00:42:44,119
It'll go fantastically.

722
00:42:44,360 --> 00:42:46,719
Speaker 8: Yeah and uh and and thank you so much for

723
00:42:46,800 --> 00:42:47,079
coming in.

724
00:42:47,199 --> 00:42:47,840
Speaker 7: This has been great.

725
00:42:48,519 --> 00:42:49,360
Speaker 10: Thank you for having us.

726
00:42:49,480 --> 00:42:52,320
Speaker 7: Absolutely I'm definitely a fan. So I really like, really

727
00:42:52,440 --> 00:42:54,880
like what you're doing. So if you are listening live

728
00:42:54,960 --> 00:42:58,519
on Saturday morning, we have Eric from Temple Mountain is

729
00:42:58,559 --> 00:43:00,000
going to be joining us and I think he's gonna

730
00:43:00,079 --> 00:43:01,599
be playing live in studio. I think he brought his

731
00:43:01,719 --> 00:43:04,360
guitar and he has a brand new single to debut

732
00:43:04,440 --> 00:43:06,840
on the show. So, but we are going to end

733
00:43:06,880 --> 00:43:10,079
this segment with this, uh. This is called this is

734
00:43:10,159 --> 00:43:12,840
from the album is Birth. By the way, where does

735
00:43:13,800 --> 00:43:16,199
where does the title come from? I assume it relates

736
00:43:16,199 --> 00:43:16,719
to the story.

737
00:43:16,880 --> 00:43:18,599
Speaker 10: It's about the birth of the Questing Beast.

738
00:43:18,840 --> 00:43:22,679
Speaker 8: Okay, makes sense? Ye makes sense? All right. So we're

739
00:43:22,719 --> 00:43:25,000
going to uh end the segment with this track.

740
00:43:25,119 --> 00:43:28,599
Speaker 7: This is really good. This is called Corruption from Questing Beast.

741
00:43:29,360 --> 00:43:31,239
Here on, Matt Connorton unleashed.

742
00:43:54,079 --> 00:44:01,559
Speaker 3: The titles how Lost My Thoughts and Time She Sold

743
00:44:01,679 --> 00:44:03,559
as got your Store, Our Trainer.

744
00:44:03,360 --> 00:44:08,199
Speaker 20: No local not I saw, I say.

745
00:44:10,519 --> 00:44:11,159
Speaker 21: Me down.

746
00:44:12,880 --> 00:44:14,159
Speaker 1: Now, I ain't married.

747
00:44:15,000 --> 00:44:16,280
Speaker 15: Now I'm telling.

748
00:44:17,519 --> 00:44:19,119
Speaker 1: My start was tag.

749
00:44:22,639 --> 00:44:27,559
Speaker 15: Shots shut.

750
00:44:29,760 --> 00:44:37,800
Speaker 1: It's I don't war birth and the.

751
00:44:37,880 --> 00:44:44,119
Speaker 3: Boat said, and stone god dot way take back car

752
00:44:44,400 --> 00:44:51,760
roads first boat flash and stone god don't wait, take

753
00:44:51,840 --> 00:44:52,559
it back.

754
00:44:52,639 --> 00:44:53,760
Speaker 15: O roads.

755
00:45:02,599 --> 00:45:09,519
Speaker 1: Rise work.

756
00:45:53,719 --> 00:45:55,320
Speaker 2: When you came back.

757
00:45:56,880 --> 00:45:59,679
Speaker 1: Through three that's.

758
00:46:00,239 --> 00:46:01,360
Speaker 2: Shot to.

759
00:46:03,000 --> 00:46:07,800
Speaker 15: Hand the ball flash shut stuff go down.

760
00:46:07,599 --> 00:46:10,639
Speaker 3: Away, take you back, horrow.

761
00:46:26,559 --> 00:46:26,880
Speaker 4: You go.

762
00:46:38,039 --> 00:46:42,039
Speaker 1: About that dive like that die.

763
00:46:43,679 --> 00:47:30,079
Speaker 4: Got that ries.

764
00:47:37,119 --> 00:47:39,880
Speaker 1: Let's go big crimson does a little somebody.

765
00:47:39,599 --> 00:47:44,360
Speaker 11: Ies, cats do outside h throw cucaondas could.

766
00:47:44,400 --> 00:47:46,320
Speaker 1: Birds across the little.

767
00:47:46,159 --> 00:47:49,920
Speaker 3: Colder little child us burst or rust, the joy and

768
00:47:50,039 --> 00:47:50,760
the rest.

769
00:47:50,559 --> 00:47:52,719
Speaker 22: All tack all the types of brace.

770
00:47:52,480 --> 00:47:55,320
Speaker 1: I go, I tid, I started very.

771
00:47:56,679 --> 00:47:56,800
Speaker 13: All.

772
00:47:56,960 --> 00:47:58,320
Speaker 3: Let's start at birds.

773
00:47:59,559 --> 00:48:01,360
Speaker 1: Or so for breaking back.

774
00:48:07,239 --> 00:48:09,960
Speaker 22: Shut moll them.

775
00:48:11,679 --> 00:48:17,880
Speaker 4: Shut s about.

776
00:48:21,599 --> 00:48:24,880
Speaker 15: Bring them back right in to.

777
00:48:28,039 --> 00:48:31,400
Speaker 3: Sure you'll turn to go stand.

778
00:48:31,199 --> 00:48:38,800
Speaker 2: The bone sun stuff, don't go away, get stroll horble.

779
00:50:06,400 --> 00:50:21,800
Speaker 1: M hmmm mm hmmm.

780
00:50:28,400 --> 00:50:33,480
Speaker 23: Well you know, well you know, well you know that

781
00:50:33,639 --> 00:50:43,239
you got this, I said, well you know, well, you

782
00:50:43,400 --> 00:50:45,199
know well you know that you got.

783
00:50:45,119 --> 00:50:52,440
Speaker 24: This running through a mansion answer in a standing question

784
00:50:52,599 --> 00:50:54,480
left alone through room through bob, Yes, I know you

785
00:50:54,639 --> 00:50:56,920
left me question as to mees fessed the ring, obsessing

786
00:50:57,000 --> 00:50:59,199
all my lessons learned. I think I've earned some respectus.

787
00:50:59,239 --> 00:51:01,039
It's time to burn the desperate yearning for a little

788
00:51:01,039 --> 00:51:04,000
stoe to cope with later greater understanding. Handling matters as

789
00:51:04,039 --> 00:51:06,039
a man is standing up for what we know is right,

790
00:51:06,079 --> 00:51:09,320
and making not demands, and never given into ghosts, just

791
00:51:09,400 --> 00:51:11,400
hoping for change. It never comes as long as you

792
00:51:11,440 --> 00:51:14,519
don't run. It's fundamentally u central central Intel spelled it out.

793
00:51:14,599 --> 00:51:16,079
It sounds a bit like self half wellness.

794
00:51:16,199 --> 00:51:16,920
Speaker 10: You've already won.

795
00:51:16,960 --> 00:51:18,159
Speaker 1: It's all about to combine.

796
00:51:18,199 --> 00:51:20,679
Speaker 24: Some time is an illusion. You can do it because

797
00:51:20,679 --> 00:51:22,719
you've done it someday. Some say, prove it to yourself,

798
00:51:22,760 --> 00:51:24,960
and that's enough to use. The runway claims be taking

799
00:51:25,039 --> 00:51:26,559
off of oft these guys and lives to try to

800
00:51:26,599 --> 00:51:29,159
find us, flying freely, feeling finding finding fly past, not

801
00:51:29,239 --> 00:51:31,239
to find us, Climbing higher than we dared you, scared

802
00:51:31,280 --> 00:51:33,599
to fall back to the ground, resounding off the atmosphere.

803
00:51:33,639 --> 00:51:45,360
Speaker 16: It's clear, will never come back down. Ooh no, we're

804
00:51:45,440 --> 00:51:51,880
all lord painting on this Cannes.

805
00:51:56,079 --> 00:51:59,920
Speaker 1: Our spots. Let we'll burn.

806
00:52:00,119 --> 00:52:12,119
Speaker 25: They lack the starf We've got scars we've from them, working.

807
00:52:14,039 --> 00:52:22,320
Speaker 1: So well you know, well, you know, will you know

808
00:52:22,559 --> 00:52:23,320
that you got this?

809
00:52:28,000 --> 00:52:28,239
Speaker 4: Said?

810
00:52:28,440 --> 00:52:33,519
Speaker 1: Well, you know, well, you know, will you know that

811
00:52:33,679 --> 00:52:34,239
you got this?

812
00:52:36,320 --> 00:52:40,880
Speaker 24: M I feel a little bit of I've just read

813
00:52:40,880 --> 00:52:42,599
a lot a lot of lyrics. Need a bit to

814
00:52:42,639 --> 00:52:45,079
sit and settle myself down before I hear it fears

815
00:52:45,119 --> 00:52:47,719
nothing to do with the science system. Listen, serious, gear up,

816
00:52:47,760 --> 00:52:48,840
dust off, strict the rust off.

817
00:52:48,880 --> 00:52:50,119
Speaker 1: You can drive a nunkin.

818
00:52:49,880 --> 00:52:52,800
Speaker 24: Versis off this path that at last, I I've found

819
00:52:53,159 --> 00:52:55,920
so many floors and the doors are going down? How

820
00:52:56,000 --> 00:52:58,840
many more before I'm forced to lay down and take

821
00:52:58,880 --> 00:53:01,800
a break before I break fade out listening that this

822
00:53:01,960 --> 00:53:04,800
has got me thinking about what's missing. It's insensitive, obsessing

823
00:53:04,880 --> 00:53:07,559
over every single mistake, taking time and making rhymes to

824
00:53:07,599 --> 00:53:09,760
take my minds up all the sickness witness in between

825
00:53:09,800 --> 00:53:12,400
the lines of something written, you got this, you got this?

826
00:53:26,679 --> 00:53:27,000
Speaker 10: M h.

827
00:53:33,880 --> 00:53:38,960
Speaker 23: Well you know, well, you know, well, you know that

828
00:53:39,119 --> 00:53:49,519
you got this? Said well you know, well, you know well.

829
00:53:49,360 --> 00:53:52,960
Speaker 1: You know that you got this mm hmm.

830
00:53:55,599 --> 00:53:58,119
Speaker 24: Youking through these windows, watching people fall, waring wind blows,

831
00:53:58,119 --> 00:53:59,880
holding on the hope that no win. Folks been need

832
00:54:00,039 --> 00:54:02,559
a way of carving and their burdens hurting inside endout,

833
00:54:02,599 --> 00:54:05,239
trying trying to be something someday, some way, somehow, someone

834
00:54:05,360 --> 00:54:06,920
that they can be proud of, showing the work what

835
00:54:07,000 --> 00:54:09,039
they climbed out of, holding onto who they were while

836
00:54:09,079 --> 00:54:11,159
turning into something more. Be put in keys in their

837
00:54:11,159 --> 00:54:12,519
own doors, ensuring needs to just.

838
00:54:12,559 --> 00:54:14,199
Speaker 1: Be sure so they won't need to need no more.

839
00:54:14,239 --> 00:54:16,159
Speaker 24: Indeed, we p need to leave this more, imploring we

840
00:54:16,199 --> 00:54:18,599
don't need to work and we can be without being worced,

841
00:54:19,039 --> 00:54:22,679
without being forced, without being worced, pig without being forced,

842
00:54:22,880 --> 00:54:26,840
pig without being warmed, without being poor, think without being poor.

843
00:54:27,199 --> 00:54:50,360
Speaker 20: Without In times of crisis, you need a law firm

844
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that stands by your side. With over forty years of experience,

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Craig and Gazulas is dedicated to fighting for your rights.

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As former state prosecutors, our attorneys have the no and

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team will assess your case and fight for the compensation

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you deserve. Serving all of New Hampshire, Craigan Getzulis is

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here when you need us most. Visit Craigatzulis dot com

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or call six oh three five five five one two

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your allies.

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Speaker 22: Bring your kitchen to life with Queen Citycabinetry, located at

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in Saturdays ten am to two pm. They can be

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reached at six oh three two two two to zero

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dot com. Come see the possibilities Queen Citycabinetry. Another proud

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sponsor of WMNH. Business Cafe is the place to put

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a smile on your face. Judy and the crew will

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take care of you, bring your appetite and trig your.

865
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Speaker 18: Taste buds right. Business Cafe is always a winning choice. Breakfast,

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Speaker 15: When it comes to.

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Speaker 19: Keeping WMNH on the air and your own personal or

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Speaker 4: Midnight Seven times out of ten we listened to our

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music at night. That's one titled business program Late.

882
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Speaker 18: Night to Light with DJ Midas right here on WMNH, Manchester.

883
00:57:22,599 --> 00:57:27,360
Speaker 1: Because Saturdays and Sunday nights midnight to four am.

884
00:57:28,679 --> 00:57:34,119
Speaker 21: This hour on WMNH is sponsored by CGI Business Solutions,

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located at five Dartmouth Drive in Auburn. They serve all

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your business needs including employee benefits, planning, corporate design and

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Their phone number is eight sixty six eighty four to

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Business Solutions dot com.

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Speaker 13: Behold the harmony of airwaves as you immerse yourself in

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the captivating frequencies of w MNHLP. The sonic heartbeats of Manchester,

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frequency modulation or transmissions emanate from the zenith of one

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thousand Elm Streets to ensure into the hearts of our

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creative realm at one nineteen Canal Street, where.

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Speaker 15: Innovation and sound collage.

898
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Speaker 13: They're the impro moder of Manchester Public Television Service in

899
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the venerable city of Manchester, New Hampshire, USA. Enrich your

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auditory jurity with the depth of our license to wesidens

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met your missives to WMNH ninety five three at gmail

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dot com or traverse the virtual corridors of wmnhradio dot org.

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Engage with our sonic vibrations by communing with us through

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the digital channel just or radio beckons eager to enthrall

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you with its mesmerizing kittence and develop you with a

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symphony of boundless auditories.

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Speaker 10: Won Dude,