Speaker 1: Was you antor.
Speaker 2: Catidy the tastycay with Gody we obeyed, b save rive
and space backy a god, my.
Speaker 1: God didn't eat.
Speaker 2: We rised foren but that's for God.
Speaker 3: A silver.
Speaker 2: Cool, no speed said.
Speaker 4: To be.
Speaker 5: Expands Moss, recovering.
Speaker 6: Like many a son of change, a spector star, no
flove say, just gone away to drum down in the
h to need.
Speaker 2: The It's well if he's a high see we misten
to God. Go back for God.
Speaker 1: What you must be.
Speaker 2: Extee ss moss m.
Speaker 4: M.
Speaker 7: That is epic, That is Titan's grips. That is questing
Beast is the name of the band and we're going
to talk to them in a moment.
Speaker 8: They are in studio with us. Welcome everybody. This is
Matt Connorton Unleashed.
Speaker 7: And we are live from the studios of wm NH
ninety five point three FM and Glorious of Manchester, New Hampshire.
And of course you can also stream the show. Go
to Matt connorton dot com slash live for all of
your live streaming options, social media links, contact infoshow archives,
et cetera, et cetera. Today is Saturday, October nineteen twenty
twenty four, and we've got a big show for you today.
We have Questing Beast Second hour, We've got Temple Mountain
is coming Back. Third hour, we have Dead by Wednesday.
Lots of today's action packed. So Jenny is not here
with me this week, but she'll be back next week.
But without further ado, joining us in studio, here is
Shane and Jane from Questing Beast.
Speaker 8: Welcome, thanks for having us.
Speaker 7: So is it just the two of you? Is this
the band? Is the the two of you?
Speaker 9: No, So, as far as right now are full band.
We also have Jane's older brother, Joe as our singer.
Oh okay, and then we have a drummer who's not
related to any of us, but he's kind of like
having a grandpa and an uncle in the same person.
Speaker 7: Okay, what does that mean? Collaborate if you would. I mean,
you know, we're not in the South, so this you know,
I'm confused.
Speaker 9: Well, he's fun and goofy like your uncle. Okay, but
in many ways.
Speaker 10: It's very old like your grandpa.
Speaker 8: Okay, that makes sense, gotcha, gotcha?
Speaker 11: And that's his Christian He's great.
Speaker 10: He's a phenomenal drummer.
Speaker 11: Phenomenal drummer.
Speaker 8: Well, very good.
Speaker 7: So so what what do you what do you each
do in the band?
Speaker 10: We both play guitar, You both play guitar.
Speaker 7: Okay, very cool, and you've got a big show tonight.
We should plug that right off the top. You're gonna
be playing at Terminus, correct.
Speaker 8: Yeah, Nashua with Let's see Dad.
Speaker 7: Harrison, the Vegans, the Gray Curtain, Horror, and able Blood.
Speaker 8: All great bands. Actually.
Speaker 7: Out of all those bands, so the Nigans, we have
not had them on the show yet, but everyone else
has been on the show.
Speaker 8: Cool. Nice, Yeah, we had the Great Curtain, Horror and
able Blood.
Speaker 7: Jesus was that last week? It becomes a blur. But yeah, yeah,
all all great bands and and able Blood has actually
been on the show a few times now.
Speaker 10: We played our first gig with them.
Speaker 8: Oh with able Blood. Oh very cool.
Speaker 7: Yeah, yeah, that's awesome that song Titan's Grip and we'll
we'll play more later. But really it takes you on
a journey, lots of lots of cool changes in it,
and very very complex. But let me let me start
with this because I kind of have a little bit
of an idea just from googling Questing Beast, but what
what what is that? What is Questing Beast? Where does
the name come from?
Speaker 9: So the name comes from Arthurian legend. I saw it
on a magic card and I was like, that's epic.
That's an epic name. It's a great name for a band.
And I did some research found out is from the
theory and legend read the legend, was like, I don't
want to write that story. That story has been written
and it's got nothing to do with anything that I
want to write music about. So I came up with
a different story that's kind of about the birth of
the Questing Piece. So I gave it like its own
origin story and everything okay, And I basically had that outline,
and then we sort of wrote songs based on where
we thought it would fit, like within the storyline.
Speaker 7: So the story came first, and then the songs came Yes,
based on the story.
Speaker 11: Yes.
Speaker 9: I think that the only song that that may not
be true for is call the North, because that was
the first one that we wrote. Oh and we had
just gotten together and we're like, oh, yeah, big riffs,
here we go. Yeah, And so I was like that
that song specifically, I was like, what does this make
me feel? Like I was like, it makes me feel
like I'm actually going on like a long expedition somewhere.
So it felt to me like that one specifically, I
was like, this is about going to a place, so
like Call the North seems like a good, good game,
you know.
Speaker 7: Okay, But the rest of the songs are based on
the story or the outline of the story.
Speaker 10: Yeah, yeah, yeah.
Speaker 7: Did did the story change at all? Oh yeah, you know,
as you're as you're writing these songs, I can see
how that might happen. Where As the songs as you're
writing them and they kind of evolve and form, the
story itself changed as well.
Speaker 9: Oh yeah, and the story is still changing. The idea
is that we want this to be like a trilogy, okay,
and so like we're constantly thinking about, like still analyzing
like the first album even to be like, you know,
how does this dictate where we go on the second album?
Speaker 10: You know, and.
Speaker 9: It's it's a really interesting way to write, but it
is also increase. I mean, I understand why, like all
the Game of Thrones books aren't done, you know, I'm
just doing it with an album. This is like nine
pages of text maybe, you know, Yeah.
Speaker 7: Yeah, no, I can imagine, and the songs themselves are
are complex. I mean, is that the most challenging part
of it is creating the music to go with the story?
Speaker 12: So kind of because the story dictates so much of what,
like our musical decision making is. Yeah, and not just
lyrically right lyrics is an entire other realm of added
layers of description to the story. The music itself is
so dictated by what we're trying to convey in each
song as a story point that the music itself. So
you say, it sounds like going on a journey, and
that's because the music itself is telling a huge bit
of story. Yeah, I mean it's not not every song
is telling so much as far as information goes, but
it's so much world building, and we're trying to convey
so many little nuanced emotions and basically explaining something through music.
So it came out everything was just so much challenge.
Like we would get something down we felt like it
explained what we wanted to do, then we'd listen to
it and be like, well, this doesn't sound amazing musically, Okay,
so we have to change it now to sound it
kind of sound amazing musically. But now we feel like
it doesn't convey what we wanted to say in the story.
You can see how if you're not careful, we would
go back to the drawing board on either the music
or the story too many times to where like sometimes
we had to stop and just like fall back. Some
stuff happened naturally, this song being one of them. I
didn't want to write this song.
Speaker 8: What do you mean?
Speaker 11: I didn't want to write this song because we already
had I think we had.
Speaker 10: We had six songs.
Speaker 12: Yeah, we had six songs, and I felt like it
was good. You know, with the addition of the two
instrumentals on the album, it would have been eight songs, right. No, No, no,
it would have been So we wrote two more after that, right,
because then we wrote Beneath Read Leaves too. But yeah,
I didn't want to write this song because I just
felt like, like, Okay, we're good, We've written enough. This
is our first album. And I actually remember sitting down
with a little bit of what he wrote and just
everything became so complex, so quick, and I was angry
the whole time I wrote. I was like, dang it,
this is gonna be so complex.
Speaker 8: This is awesome.
Speaker 7: Damn yeah, I would imagine too. You see, I've played
a lot of bands, but nothing I never played in
anything like this. You know, every band I ever played
and it was you know, verse chorus, you know, your
standard thing. Yeah, and uh so I've always been kind
of fascinated by I mean, just what must go into
writing the songs and then learning the songs and then
rehearsing the songs.
Speaker 10: Are definitely two different things.
Speaker 7: Yeah, oh yeah, I can imagine. Yeah, I mean, you
must have to rehearse quite a bit, right for the
live shows, because every week you've got to be it,
you know. I mean, if you're if you're a punk
band and you're playing three chords and you make a mistake,
nobody even notice it. Well, with what you're doing. If
somebody makes a mistake, it's it's probably hard to even
hide that, right.
Speaker 10: Yeah.
Speaker 9: There's certain points in different songs where it's almost like
you're you're like surfing on a razor's edge, you know
what I mean, And like if you fall off, it
is not easy to get back on.
Speaker 8: I can imagine, yeah, you know.
Speaker 9: Yeah, and we also have like the added challenge of
not having a live bass player right now. Okay, so
our drummer plays to a click track. Yeah, so we
have like bass tracks at the moment. But it allows
us to do cool things like it automatically like switches
out the synth patch that we're using as we're playing
and stuff like that. So oh wow, it allows us
to like use all these different sense that we made
for the record live too.
Speaker 12: Okay, Yeah, it makes it a little bit easier. Recording
and learning and playing are just a whole three separate things.
For this recording is so bit by bit, sentence by sentence. Basically,
if you think about it in terms of writing a story,
it's like writing sentence by sentence, let alone lyrics. I
don't even get in on lyrics. I'm more on the
music side of things. I contributed one lyric to this
whole album truly, and so yeah, like writing it just
is so intensive. And I mean, what, it took us
two almost three years to just write this. Any music
that we're gonna write that's expanding on this is going
to take us probably a similar timeframe. But then learning
it is like, okay, now that we have the finished
product and all the riffs are what they're going to be,
and all the orders of everything is pretty much decided on.
Now try to learn all that while standing up, switching
effects and doing backing vocals, and then sometimes you're.
Speaker 11: Like, oh, I can't.
Speaker 12: You know, we have to figure out, you know, delegate,
who's going to play what. Sometimes sometimes we need to
put something in a backing track because there's too many
parts stuff like that. So it's a whole puzzle.
Speaker 11: You know.
Speaker 9: Yeah, like the beginning of Titans Grip, we don't hire
three dudes to come up and play play that harmony
at the beginning.
Speaker 11: It would be great. We don't have it, like.
Speaker 7: Yeah, yeah, so who plays bass on the on the
studio tracks?
Speaker 8: Does one of you do that?
Speaker 10: Or no?
Speaker 9: So we got a guy. His name is Chase Bryant.
He plays in a band called war Bringer. They're like
an l a thrash bandy. Yeah, they're great.
Speaker 12: I love them, shouts out Chase, nicest guy, amazing bass player.
Played the whole album on fretless bass in two days.
Speaker 10: Yeah, figure style. He's a absolute monster.
Speaker 11: Absolute monster, absolute great guy.
Speaker 12: Super super happy to have him just doing his thing.
Speaker 11: It was awesome.
Speaker 7: That's another thing that I'm always because I'm a bass player,
but I've never played a fretless and that always impresses
me too.
Speaker 10: Oh yeah, yeah.
Speaker 9: I mean a lot of people when I tell him
that he's playing fretless on it, they can't even tell
because it's just so in tune, you know.
Speaker 8: Yeah.
Speaker 13: Yeah.
Speaker 7: Our friend Lacey, who I am in the uh in
the chat room, says, uh, that's why so much can
be lost in studio work so clinical And oh I
see Jenny is in there as well. Hello, good morning.
Speaker 8: Yeah.
Speaker 10: So when you.
Speaker 8: Like, do you play these live before you record them
or do you do?
Speaker 7: You? Okay, so you don't, you don't go into the
studio and then once that's done start playing them.
Speaker 10: Live or well we do we do.
Speaker 9: We like demo out all the tracks, so we've got
able to on my computer at the practice space and
we just record on that the demo version, send that
off to the studio that we actually want to record it.
We went to matt Oaks Studio in Austin and recorded
with Benny Grotto, who did a great job.
Speaker 8: Yeah, everything, everything sounds amazing.
Speaker 9: Yeah, but so it Sometimes we kind of play it
live before we put it into the demos, But most
of the time we get the demos done, we get
that to a point where we like it, and then
that's when we start the learning processes. Okay, and then
we go in and record for real cities. Yeah, and
going to the Big Boys studio. Yeah, but I what,
I forget what your name was, but who said something
about studios being clinical and oh yeah, yeah lazy. So
there's definitely I think one or two. There's there's certain
things that I think can be kind of sporadic when
you're like actually composing and stuff like that, and there's
certain things that are like difficult to replicate non spur
of the moment. Like, for example, there's a version of
the Corruption solo that I had had a long time
ago that I kind of wish I had still had
for like, it was just a specific recording where I
was like in my room with the amp and it
was like super feedback ye yeah, and it like it
sounded terrible but awesome because of how like I don't know,
rat it sounded, you know what I mean? Yeah, And
so like it And it's always like very minute details
like that, you know what I mean. It's not like, oh,
this song is ruined because we recorded in a good.
Speaker 7: Space, you right, right, No, that makes sense? How I mean,
how many hours do you think? Probably hard to put
a number on it, but like like just just learning
to play one of these songs proficiently.
Speaker 10: I mean that's I can tell you.
Speaker 9: I don't know about that all the songs. I mean,
some of them are easier than others. Yeah, but I
can tell you that the Beneath Red Leaves, the Beneath
Red Leaves solo specifically took me so long.
Speaker 10: I probably every day leading up to going into play.
Speaker 9: That in the studio for like two weeks at least,
spent like two hours a day just like ripping through
that thing trying to get it down. Oh yeah, it's hard.
Speaker 11: That song taught me.
Speaker 12: That song taught me how to play rhythm guitar differently, really, Yeah,
one hundred percent.
Speaker 11: I play things.
Speaker 12: I play that song differently and more efficiently than I
did when we went and recorded it. Taught me like
deficiencies in how I played certain things.
Speaker 8: Really.
Speaker 12: Yeah, So talk about a learning process, like I learned
the song, but then I kept learning from it for
about a year to where I am now with it. Yeah,
same with him, honestly, Like it informs us so much
about our ability because you can write something right piece
by piece and you can make a demo and then
when you go to play it all at once all
the way through, you really like find out about yourself.
Speaker 8: I can imagine that.
Speaker 12: Yeah, yeah, you know, going from playing all this rhythm
to lead and he's you know, playing all the lead
and it's crazy.
Speaker 8: So wow. Yeah. Have you ever written something where or or.
Speaker 7: Just had an idea where you you know, you maybe
record it and everything so you're committed to it and
then you kind of have a moment where you go, geez,
I don't know, I'm kind of regretting this one a
little bit.
Speaker 10: Yeah really yeah. Yeah, we edit super hard.
Speaker 9: Do we cut things that we don't like and try
and or like try and make it work better?
Speaker 14: Yeah.
Speaker 9: I think that one of the things that we really
want to focus on going forward is like, I don't know,
just getting better at making sure everything fits together.
Speaker 10: Well yeah, yeah, not that I don't think.
Speaker 9: That the stuff on the first record fits together well,
you know, song by song, but I think that there's
always room for improvement, sure, you know.
Speaker 7: And how important is it to you as players when
you when you play live to to replicate exactly like
do you try to replicate exactly. Note for note, what's
on the recordings or do the songs breathe a little bit?
Speaker 10: Or how do There's not really a lot of breathing room.
Speaker 9: There's a lot of very specific harmony that's going on
and stuff like that, you know what I mean. So yeah,
And that's not to say that there aren't places where
we could incorporate.
Speaker 12: Some sure, yeah, but I'd say as far as NOE choice,
it's never different. As far as certain stylistic things, we
goof off a little bit here and there, but it's
we're still playing pretty much what's written. Okay, almost, i'd
say ninety nine percent.
Speaker 7: Yeah, okay, okay, if you're just joining us, we have
Questing Beasts here with us live in studio on the
Saturday morning, and I think we should play another track.
I'd love to hear another one. So we'll play this
so at Crater's Edge.
Speaker 11: Oh yeah, what what?
Speaker 8: What should we know?
Speaker 7: Anything?
Speaker 8: We should know about this specifically before we hear it.
Speaker 9: No, I want I want people in the comments to
try and guess what the footsteps are.
Speaker 10: Okay, okay, what's making that sound? People?
Speaker 7: Okay, all right, So well that's a clue then, So
they're not actual footsteps.
Speaker 10: That's correct.
Speaker 7: Okay, all right, I pay attention, listen closely everybody. All right,
So this is Questing Beast and uh this song is
called at Creator's Edge.
Speaker 15: H chrazed.
Speaker 2: I stood, I spoke what never cause me good? Don't
call a chaos your bel and good.
Speaker 6: But when the stars from where you can, I.
Speaker 16: Like miss.
Speaker 1: Far logic joins.
Speaker 2: In a moment of fall me the story something my
coll stinking birds on black thing of course things cold,
my face ran thing my grands.
Speaker 5: From as climest face, collasting about strength, waste.
Speaker 14: My falls on face, singing my dispaceing the crime, breaking
up my life, I squeen cake.
Speaker 15: William I was like, oh, the fortune of this starts right.
Speaker 2: Hip the ram. It's my stairs nevery d look a
bar scar.
Speaker 17: Thank st bloodys de wh I'm drunk it the.
Speaker 1: Man.
Speaker 15: So we went down a little too.
Speaker 8: Why am God, I'm taking a child?
Speaker 6: Why do you go to the.
Speaker 1: Chalk your troll and starting I'm taking about.
Speaker 3: Time, no chop but time drinking my time nor chop
is down.
Speaker 7: Why that is at Creator's Edge by Questing Beasts. We
have two members of the band. There's those footsteps again?
All right, where did the footsteps come from?
Speaker 4: Oh?
Speaker 8: I can't go ahead.
Speaker 10: Oh no, I just hadn't started yet.
Speaker 8: I thought it looked like it looked like your mouth
was moving, and I'm like, oh no.
Speaker 10: I didn't. I was trying to think of how I
want to do approach the answer?
Speaker 8: Gotcha, gotcha.
Speaker 7: I didn't see any guesses.
Speaker 8: In the chat room.
Speaker 9: So well, it came from a box of rocks. What
you're hearing is a box of rocks, really cardboard box
with a bunch of rocks inside of it. It's some
advanced studio equipment.
Speaker 8: Oh very good, very good. Let's see uh in the
chat room.
Speaker 7: Oh, Hans Smith from the band Sepsis was saying that
the instrumentals make him feel like he's on an adventure
on the sea.
Speaker 11: Oh very nice.
Speaker 8: Yeah, yeah nice.
Speaker 7: Lacey says a strong Queen's Reich vibe. Is that one
of your influences Queen's Reke.
Speaker 12: I wouldn't say specifically, but love Queen's Reke.
Speaker 11: Yeah, yeah, and that's a huge compliment.
Speaker 8: Yeah, absolutely, absolutely. Let's see.
Speaker 7: I saw somebody else in here too.
Speaker 10: Oh.
Speaker 7: Be Pinard is in the chatroom. Big support of the show. Hello,
nice to see you in there, and also Mariam Bannish
joins us in the chat room. Yeah, tell tell me
more about influences I imagine, I mean a lot of
a lot of prog and really complex stuff for both
of you, I would, I would.
Speaker 9: Guess, yeah, yeah, sure, I'm just gonna do a quick
top five. So for me, like my favorite two bands
are Death Clock and Queens of the Stone Age. Yeah,
and so I feel like my guitar playing is kind
of like somewhere in between mean those two sort of bands.
But outside of that, I mean, Baroness is Great, master
Don as well. Both of those bands I think were
actually very influential to me throughout the writing process of
this first one, just as far as their ability to
take these big, sprawling concepts, like from start to finish
on these records, you know, in their own ways. And
I guess I have to think of I said five,
You did say five. Yeah, there is another one, I
know for sure. I don't know, just various. There's lots
of stuff, to be honest with you, Like, I'm all
over the place as far as like listening to like
technical death metal and like all these various things. Yeah, Jane,
why don't you take over while I think of what
a definitive five is.
Speaker 12: I'd say early on when I first started getting into
progressive music was high school, and my big three would
be Dream Theater, m Rush, and Porcupine Tree. Okay, and
just as far as progressive music goes. And I was
in a band in high school where we didn't cover
any dream Theater, but that was my aspiration, you know.
I was in a band with this guy, Adam Susie,
amazing drummer, shouts out Adam Susie, and we just covered
these prog songs and that's a huge influence on me.
Speaker 11: I religiously listened to Dream Theater, Rush. I grew up
on Rush.
Speaker 12: My mom introduced me to Rush when I was really young.
And then the heavier side of things I started to
get into. Like I started off with some like metalcore bands.
I think my earliest like real heavy band influence was
a band called as Blood Runs Black, an old metal
core band. But I started to really get into more
technical death metal and stuff like that I got into college.
But I come from a very diverse background, Like I
was a jazz musician growing up, and I love hip hop.
I made a lot of hip hop too, so I
really yeah, for sure, And that was a humongous portion
of my education in music. You know what I mean,
was all those influences, so huge love for hip hop,
huge love for technical death metal. I'd say the band
that really bridged the gap for me when I was
young between all that progue stuff and the more heavy
stuff was a band called Born of Osiris. And that's
when I learned about like Jason Richardson as a guitar
player and started to kind of you know, all my
favorite rhtters played the same guitars now and really got
into a lot of that stuff. So huge influence on me,
those guys John Patrucci obviously, but all that stuff.
Speaker 7: Yeah, yeah, I.
Speaker 9: Thought my number five. Okay, it's definitely war Bringer. Okay, cool, Okay, Yeah,
I don't know why that took me so long.
Speaker 7: Well, it's early, very good, very good if you are
just joining us. Of course, we do have Questing Beasts
here with us live in studio and they're playing a
big show tonight. Of course, our friends at Terminus Underground
in Nashua. Let's see this is the show has a
specific name, the Haunted, oh Hollowed and haunted. Yes, want
to make sure.
Speaker 8: I want to make sure I got the name right. Yeah.
Terminus is a great place.
Speaker 1: Have you been there yet?
Speaker 10: No, not yet.
Speaker 8: I tell everybody the same thing.
Speaker 7: When you walk in, it's like walking into a different
world when you walk into that room specifically, it's really cool.
Speaker 9: Apparently they're decorating it all up and stuff, or they
were last night and everything, so it should be all
good to go now. So it's gonna look awesome in
there tonight.
Speaker 7: Yeah, yeah, there you go. Yeah, that's gonna be tonight.
Questing Beast along with Dad Harrison, the Vegans, The Gray Curtain, Horror,
and Able Blood. Tickets are twenty dollars.
Speaker 8: You can get them.
Speaker 7: You have to go to Midnight Creatives Collective dot com.
Tickets are available there. And that is show starts at
eight pm.
Speaker 11: So I think show starts at six?
Speaker 8: Oh does it?
Speaker 11: Yes?
Speaker 10: Oh yeah, I think doors are six.
Speaker 7: Oh I'm sorry, yeah, I was looking at the wrong thing. Yeah,
all the right doors are five. Yeah, music starts at six.
Speaker 1: Oh.
Speaker 7: It's good you corrected me, because yeah, we don't want
people showing up there late.
Speaker 10: Of us is paying attention.
Speaker 7: You're welcome, exactly, exactly yeah, and you know, there's a
lot of bands, so it's good that it's starting early.
That makes sense.
Speaker 9: Oh, yes, and we're we're actually opening this one, which
is which is nice because we'll be able to get
there set up immediately and then hang out forever.
Speaker 8: Do you that's right?
Speaker 1: Is there?
Speaker 8: Do you have a complex set up?
Speaker 10: Yeah?
Speaker 9: I mean so all four of us us do vocals,
and then we've got the computer that our drummer like
triggers all the tracks from and everything. Yeah, it's kind
of it's kind of a pain.
Speaker 7: I can imagine.
Speaker 11: Yeah, I mean it's a pain for us.
Speaker 12: I mean, if we cut out a vocal, it would
still just be three vocals and then a few xlrs
to the house. But like it's more of a pain
for us, then it should be more of a pain
for us than any sound guy.
Speaker 8: Or girl.
Speaker 10: But that has not been the case so far.
Speaker 8: Yeah, right right, Yeah, I can see how.
Speaker 7: Yeah, I can imagine, you know, And I think usually
when it's when it's a band with kind of a
you know, a really complex sophisticated sound, there's usually more
to it, like I said, you know, compared to say,
for example, just a punk band, you know, Yeah, when we.
Speaker 12: Get booked on gigs like that, we do feel a
unique kind of pressure, especially if we're right in the
middle of the bill. Oh yeah, just because and it's
and it's not like we're not quick, and it's not
like we haven't done this before, you know.
Speaker 8: Yeah, and we have.
Speaker 11: I couldn't have streamlined.
Speaker 12: I set up our ableton session that has the click track,
that has all of our sins on it, that has
all of the bass tracks on it, and we have
some simple stuff.
Speaker 11: We just have to run cables to the house. That's it.
We have to set up all the hard stuff.
Speaker 12: Right right, And it's a huge brain puzzle for me,
you know, to like troubleshoot stuff in real time, yeah,
if anything's wrong, and then also set up my own
guitar stuff in my own microphone and make sure I
can hear myself and all that good stuff.
Speaker 11: Oh no doubt.
Speaker 18: Yeah.
Speaker 7: Yeah. Does that ever happen where something goes wrong on
the text pend and you got to, like you said,
troubleshoot on the spot in real time.
Speaker 11: Thankfully, we've It's pretty funny.
Speaker 12: I think we have nine of those issues at home
when we're practicing, Yeah, which is nice.
Speaker 8: Good good. Yeah, Well that's that's what how it should go.
Speaker 4: Yeah.
Speaker 9: Yeah, And I think it's all set up at this
point so well as far as like like something really
tragic would have to happen to like move the click
track so it's like not in the right spot or
something like that. Yeah, So I think it's I think
we've got it pretty solid at this point.
Speaker 7: Yeah.
Speaker 9: I think there's also, like I said, you know, there's
always improvements to be made, especially once you start thinking
about like gear, you know, I mean that's an endless
rabbit hole that'll leave you homeless if you go too far.
Speaker 7: Yep, yep, well said, Well said, Now what is uh?
So this this album here, this has not been out
that long, right, this is relatively new.
Speaker 9: Yeah, it came out in June, in June, okay, okay
new to everybody else.
Speaker 1: Yeah. Yeah.
Speaker 7: Are you already thinking about the next one in terms
of like are you already writing for it?
Speaker 1: Or uh?
Speaker 10: Yeah?
Speaker 9: Yeah, I mean we're always writing, yeah, I mean we
play guitar. I play guitar personally at least like like
three hours a day is like a bad day for me,
And so I'm writing on an accident, you.
Speaker 12: Know, yeah, and then we're also purpose at least once
to a couple of times a week. Right now, we're
definitely back in the we're back in the shop.
Speaker 9: This is like gonna be our last show I think
for this year, and you know, we'll have a bunch
of stuff to announce for next year obviously and everything
when the time comes. But we're gonna take this like
hibernation time, I think is like a nice writing period,
you know, just to kind of hang out and not
necessarily even think about the first record for.
Speaker 11: A little bit, right right, Maybe play it and that's
about it.
Speaker 7: Play it some right right, Yeah, you're gonna have to
even even during your your hibernation period, shall we say,
you're gonna you're still gonna have to play it or
because you don't want to risk forget anything.
Speaker 10: Yeah, you definitely got to keep the Coles stoked.
Speaker 12: The upkeep on this stuff is unlike anything I've ever had,
you know, I can imagine. Yeah, it's impossible for me
to store certain things in a spot in my brain
that's gonna stay forever unless I play it all the time.
There's so much stuff up here.
Speaker 8: So yeah, yeah, no, that makes sense, that makes sense.
Do you play the full album.
Speaker 1: Live we have.
Speaker 9: Yeah, we did it at our release show. Okay, we
did it front to back. I wouldn't mind doing that again.
But a lot of the times it seems, I don't know,
it doesn't seem like the most pertinent way to get
through a show. And a lot of times we're only
getting like half hour sets and stuff like that.
Speaker 7: Yeah, yeah, what is it because some of some of
the songs are pretty long. But yeah, right, what does
a clock out out?
Speaker 10: Do?
Speaker 4: You know?
Speaker 12: Forty three minutes? It's not that bad as a whole.
There's a lot of like interlude stuff. Yeah, and as
far as what we're playing, it's probably closer to like
forty minutes.
Speaker 8: Okay.
Speaker 12: The issue is to play this album in the timespan
that's outlined as it is for everybody to listen to live,
is you know, pretty exhausting.
Speaker 8: Yeah, I can imagine.
Speaker 11: Yeah, you need like a few.
Speaker 12: Minutes in between to take a deep breath. And because
we do go song to songs sometimes, oh yeah, oh
for sure.
Speaker 7: Yeah.
Speaker 9: I don't think that the album itself is in the
best order for a live show though, yes, okay.
Speaker 7: So it's in the order for the story obviously, but
not necessarily for the live show.
Speaker 10: Correct.
Speaker 4: Yeah.
Speaker 9: Yeah, yeah, It's like it's like a good vibe to
listen to, but it's it's like awkward to play through
in that order.
Speaker 10: I think.
Speaker 7: Okay, no, that makes sense. Uh yeah, Hans Smith and
the chat says, let the hibernation begin. Yeah, well, I
mean that is what a lot of bands do though,
at at least in this part of the country, you know,
in the winter, you know, focusing on writing.
Speaker 9: And recording exactly. I mean, what am I going to do?
Go drive, you know, five hours to play for fifty bucks?
In New York it wants like snowy outside, Like, yeah,
it's gonna be cold. I'm gonna smash my fingers while
it's cold.
Speaker 10: Who wants to do that?
Speaker 19: You know?
Speaker 7: Yeah, that's something I don't miss about There are things
that I miss about playing live, but that's one of
the things I don't miss is doing shows in the
winter and and you know, if the weather's bad, and
then you know, and then you don't know is it
gonna be canceled? You're gonna get there and find out
it's canceled. It's right, there's a lot that that goes
with it, that can be quite miserable.
Speaker 10: Yeah, no, exactly, well, we will, we'll.
Speaker 7: Begin to wrap up, we'll play I was thinking we
to end the segment. Maybe we'll play corruption.
Speaker 11: Oh sure, Oh that would be amazing.
Speaker 7: Yeah yeah, I like this one a lot.
Speaker 10: Thank you.
Speaker 7: So, of course, uh oh, where should people go to
find you online? What's the best place to go? Because
if you just google Questing Beast, a lot comes up.
Speaker 9: So if you google Questing Beast banned, We've got a
website up and we'll have a online store there within
the next week.
Speaker 7: Excellent.
Speaker 9: We just got vinyl in, so we're gonna be trying
to get rid of that as soon as we possibly can.
Speaker 7: Oh, very good, very good.
Speaker 10: Yeah, Yeah, it's awesome.
Speaker 4: Yeah.
Speaker 8: Yeah.
Speaker 12: And you can find us on any social media Facebook, Instagram,
you can stream those the Yeah, you can stream our
music basically anywhere Spotify, Apple Music, even Title if you
want to listen to some high quality audio.
Speaker 7: Excellent, excellent, very good.
Speaker 10: Shout out to title.
Speaker 7: Yeah, yes, yes, and we'll remind everybody, of course. The
Hallowed and Haunted Halloween Show tonight and Questing Beasts opening
doors open at five. The show goes to midnight and
also with Dead Harrison, then Egan's Able Blood, Horror and
the Gray Curtain. So I have a great show tonight.
It'll go fantastically.
Speaker 8: Yeah and uh and and thank you so much for
coming in.
Speaker 7: This has been great.
Speaker 10: Thank you for having us.
Speaker 7: Absolutely I'm definitely a fan. So I really like, really
like what you're doing. So if you are listening live
on Saturday morning, we have Eric from Temple Mountain is
going to be joining us and I think he's gonna
be playing live in studio. I think he brought his
guitar and he has a brand new single to debut
on the show. So, but we are going to end
this segment with this, uh. This is called this is
from the album is Birth. By the way, where does
where does the title come from? I assume it relates
to the story.
Speaker 10: It's about the birth of the Questing Beast.
Speaker 8: Okay, makes sense? Ye makes sense? All right. So we're
going to uh end the segment with this track.
Speaker 7: This is really good. This is called Corruption from Questing Beast.
Here on, Matt Connorton unleashed.
Speaker 3: The titles how Lost My Thoughts and Time She Sold
as got your Store, Our Trainer.
Speaker 20: No local not I saw, I say.
Speaker 21: Me down.
Speaker 1: Now, I ain't married.
Speaker 15: Now I'm telling.
Speaker 1: My start was tag.
Speaker 15: Shots shut.
Speaker 1: It's I don't war birth and the.
Speaker 3: Boat said, and stone god dot way take back car
roads first boat flash and stone god don't wait, take
it back.
Speaker 15: O roads.
Speaker 1: Rise work.
Speaker 2: When you came back.
Speaker 1: Through three that's.
Speaker 2: Shot to.
Speaker 15: Hand the ball flash shut stuff go down.
Speaker 3: Away, take you back, horrow.
Speaker 4: You go.
Speaker 1: About that dive like that die.
Speaker 4: Got that ries.
Speaker 1: Let's go big crimson does a little somebody.
Speaker 11: Ies, cats do outside h throw cucaondas could.
Speaker 1: Birds across the little.
Speaker 3: Colder little child us burst or rust, the joy and
the rest.
Speaker 22: All tack all the types of brace.
Speaker 1: I go, I tid, I started very.
Speaker 13: All.
Speaker 3: Let's start at birds.
Speaker 1: Or so for breaking back.
Speaker 22: Shut moll them.
Speaker 4: Shut s about.
Speaker 15: Bring them back right in to.
Speaker 3: Sure you'll turn to go stand.
Speaker 2: The bone sun stuff, don't go away, get stroll horble.
Speaker 1: M hmmm mm hmmm.
Speaker 23: Well you know, well you know, well you know that
you got this, I said, well you know, well, you
know well you know that you got.
Speaker 24: This running through a mansion answer in a standing question
left alone through room through bob, Yes, I know you
left me question as to mees fessed the ring, obsessing
all my lessons learned. I think I've earned some respectus.
It's time to burn the desperate yearning for a little
stoe to cope with later greater understanding. Handling matters as
a man is standing up for what we know is right,
and making not demands, and never given into ghosts, just
hoping for change. It never comes as long as you
don't run. It's fundamentally u central central Intel spelled it out.
It sounds a bit like self half wellness.
Speaker 10: You've already won.
Speaker 1: It's all about to combine.
Speaker 24: Some time is an illusion. You can do it because
you've done it someday. Some say, prove it to yourself,
and that's enough to use. The runway claims be taking
off of oft these guys and lives to try to
find us, flying freely, feeling finding finding fly past, not
to find us, Climbing higher than we dared you, scared
to fall back to the ground, resounding off the atmosphere.
Speaker 16: It's clear, will never come back down. Ooh no, we're
all lord painting on this Cannes.
Speaker 1: Our spots. Let we'll burn.
Speaker 25: They lack the starf We've got scars we've from them, working.
Speaker 1: So well you know, well, you know, will you know
that you got this?
Speaker 4: Said?
Speaker 1: Well, you know, well, you know, will you know that
you got this?
Speaker 24: M I feel a little bit of I've just read
a lot a lot of lyrics. Need a bit to
sit and settle myself down before I hear it fears
nothing to do with the science system. Listen, serious, gear up,
dust off, strict the rust off.
Speaker 1: You can drive a nunkin.
Speaker 24: Versis off this path that at last, I I've found
so many floors and the doors are going down? How
many more before I'm forced to lay down and take
a break before I break fade out listening that this
has got me thinking about what's missing. It's insensitive, obsessing
over every single mistake, taking time and making rhymes to
take my minds up all the sickness witness in between
the lines of something written, you got this, you got this?
Speaker 10: M h.
Speaker 23: Well you know, well, you know, well, you know that
you got this? Said well you know, well, you know well.
Speaker 1: You know that you got this mm hmm.
Speaker 24: Youking through these windows, watching people fall, waring wind blows,
holding on the hope that no win. Folks been need
a way of carving and their burdens hurting inside endout,
trying trying to be something someday, some way, somehow, someone
that they can be proud of, showing the work what
they climbed out of, holding onto who they were while
turning into something more. Be put in keys in their
own doors, ensuring needs to just.
Speaker 1: Be sure so they won't need to need no more.
Speaker 24: Indeed, we p need to leave this more, imploring we
don't need to work and we can be without being worced,
without being forced, without being worced, pig without being forced,
pig without being warmed, without being poor, think without being poor.
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Speaker 10: Won Dude,