1
00:00:46,640 --> 00:00:52,000
Speaker 1: It's a chair Massy drinks one in a show past

2
00:00:52,079 --> 00:00:58,880
the chair singing sound lusty starting to start.

3
00:00:59,359 --> 00:01:02,399
Speaker 2: So I crossed through on the sty.

4
00:01:05,040 --> 00:01:10,560
Speaker 3: What even try to do the see nothing he was

5
00:01:10,680 --> 00:01:11,359
on that s.

6
00:01:22,239 --> 00:01:25,319
Speaker 2: Don't talk about what a don said.

7
00:01:39,560 --> 00:01:43,760
Speaker 4: That I'm like everyone the shame of and what do say?

8
00:01:44,640 --> 00:02:10,960
Speaker 5: Sad trying in a way that's t signs of pi

9
00:02:11,960 --> 00:02:17,240
pad fires out the sky, so shame as the farmer

10
00:02:17,719 --> 00:02:19,719
light as shadow.

11
00:02:19,199 --> 00:02:21,400
Speaker 6: Stains of breakers talking to.

12
00:02:21,680 --> 00:02:25,919
Speaker 5: And by signs all one of pop a side canalyze

13
00:02:26,000 --> 00:02:32,360
the line. That's the same same tapping it by the

14
00:02:32,560 --> 00:02:42,039
chains and not a fearless sense of creaks.

15
00:02:43,919 --> 00:02:44,599
Speaker 7: With grease.

16
00:02:46,439 --> 00:02:58,199
Speaker 2: Joe Commute.

17
00:03:00,639 --> 00:03:35,479
Speaker 5: As Jansens of the tree, so he says, says this stage.

18
00:03:35,080 --> 00:03:36,639
Speaker 8: As you can.

19
00:03:36,599 --> 00:03:58,759
Speaker 5: See on again stars as bats feature so he says,

20
00:04:15,560 --> 00:04:28,839
June of the best lots of dosy got done.

21
00:04:32,680 --> 00:04:36,120
Speaker 2: Dance would have been would have a sey join members

22
00:04:36,160 --> 00:04:52,680
of the sets under stands out said stre.

23
00:05:25,560 --> 00:05:28,079
Speaker 9: That is the new single from the forest forgets that

24
00:05:28,160 --> 00:05:30,160
it's called with Grace and we're going to talk to

25
00:05:30,199 --> 00:05:31,360
these guys in just a moment.

26
00:05:31,399 --> 00:05:34,480
Speaker 10: But welcome everybody. It is that time again. Matt Connorton

27
00:05:34,600 --> 00:05:35,199
Unleashed and.

28
00:05:35,240 --> 00:05:39,000
Speaker 9: We are live from the studios of WMNH ninety five

29
00:05:39,040 --> 00:05:42,680
point three FM in glorious Manchester, New Hampshire, on this

30
00:05:42,800 --> 00:05:47,439
Saturday morning. It is September twenty one, two thousand twenty four,

31
00:05:47,759 --> 00:06:00,759
and I am not alone. Jun's best friendure Jenny is

32
00:06:00,800 --> 00:06:01,879
here at the news desk.

33
00:06:02,079 --> 00:06:03,480
Speaker 11: Good morning, sunshine.

34
00:06:03,680 --> 00:06:04,920
Speaker 10: Yes, yes, and.

35
00:06:05,360 --> 00:06:08,639
Speaker 9: As we speak, well you know we speak. Last week

36
00:06:08,720 --> 00:06:12,040
we were talking about the art show. Yes at Mosaic.

37
00:06:12,240 --> 00:06:13,680
Speaker 11: It was an amazing opening.

38
00:06:13,759 --> 00:06:16,399
Speaker 12: Oh my gosh, you have got to go the.

39
00:06:17,879 --> 00:06:21,120
Speaker 11: The display is just so vibrant and beautiful and there's

40
00:06:21,160 --> 00:06:23,800
some mixed mediums there. I'm so proud to have one

41
00:06:23,839 --> 00:06:25,639
of my pieces hanging on their walls. And if you

42
00:06:25,759 --> 00:06:29,199
haven't been to the Mosaic Art Collection here in Manchester,

43
00:06:29,360 --> 00:06:30,199
you have got to go.

44
00:06:31,279 --> 00:06:31,480
Speaker 10: Yeah.

45
00:06:31,480 --> 00:06:34,959
Speaker 9: It's right in the Daily Mirror building on Hanover Street. Yes, yes, yes,

46
00:06:35,079 --> 00:06:39,160
on the second floor, on the second floor. Yes, yes, yes, yeah.

47
00:06:39,199 --> 00:06:42,120
We went last weekend and so it's there. Your painting

48
00:06:42,199 --> 00:06:43,920
is there until the end of the month, correct, Yes, yep.

49
00:06:44,040 --> 00:06:45,439
This display is up to the end of the month

50
00:06:45,480 --> 00:06:48,240
and then they'll be on to Spellbound. And right now,

51
00:06:48,639 --> 00:06:51,199
if you are an artist out there, go ahead and

52
00:06:51,279 --> 00:06:53,680
go to the Mosaic Art Collective and submit your work.

53
00:06:54,279 --> 00:06:56,480
If then, don't let money be a problem. It's only

54
00:06:56,560 --> 00:06:58,439
ten dollars to submit a piece, but if you can't

55
00:06:58,480 --> 00:07:01,120
make that ten dollars, they do have ships available. So

56
00:07:01,240 --> 00:07:03,639
they do want to invite all artists to come and

57
00:07:03,800 --> 00:07:07,560
exhibit their work here in our Queen's City. So please

58
00:07:07,600 --> 00:07:10,519
do please look up the Mosaic Art Collective and if

59
00:07:10,560 --> 00:07:12,199
you if you don't want to submit a piece, go

60
00:07:12,399 --> 00:07:12,839
check them out.

61
00:07:12,920 --> 00:07:16,360
Speaker 11: There's also some rooms there that are artists workrooms and

62
00:07:16,480 --> 00:07:18,120
you can see some of the pieces they're working on

63
00:07:18,199 --> 00:07:19,480
and they're incredible to look at.

64
00:07:19,680 --> 00:07:23,600
Speaker 9: Yeah, absolutely absolutely, well, very good and uh we have

65
00:07:23,759 --> 00:07:26,240
joining us in studio here right now. We have the

66
00:07:26,360 --> 00:07:30,639
band The Forest Forgets. I'll bring those mics up. Welcome guys,

67
00:07:31,680 --> 00:07:34,560
thank you for having it. Thank you absolutely absolutely. So

68
00:07:34,759 --> 00:07:37,680
let's start with we'll start with you, sir in the quarter.

69
00:07:37,759 --> 00:07:39,600
If you could tell us who you are and what

70
00:07:39,759 --> 00:07:40,759
you do in the band.

71
00:07:41,920 --> 00:07:44,160
Speaker 13: James and I play the drums in the band.

72
00:07:45,399 --> 00:07:48,720
Speaker 10: All right, Hi James, and you I'm Brennan and I

73
00:07:48,800 --> 00:07:51,879
play bass. Brennan yep, oh how do you spell that?

74
00:07:52,240 --> 00:07:52,680
Speaker 8: D R E?

75
00:07:53,040 --> 00:07:57,279
Speaker 10: And a do people often think that, like, uh, do

76
00:07:57,399 --> 00:08:00,279
people call you Brandon? Bye? Yeah, I figured it, or

77
00:08:00,519 --> 00:08:05,199
or I get oh yeah, which is crazy. Oh that's funny.

78
00:08:05,439 --> 00:08:06,000
That's funny.

79
00:08:06,639 --> 00:08:10,879
Speaker 12: And you, sir, and I'm Brandon, right, I played guitar.

80
00:08:11,240 --> 00:08:12,079
Speaker 10: Okay, and you.

81
00:08:14,480 --> 00:08:16,240
Speaker 9: Griffin, I apologize. Let me pull that mic up a

82
00:08:16,240 --> 00:08:18,279
little bit more. You're on the you're on the weird mic.

83
00:08:19,040 --> 00:08:20,439
Can you no a little bit?

84
00:08:20,600 --> 00:08:23,839
Speaker 10: Hang on, let me pull this uh, pull this up

85
00:08:23,879 --> 00:08:27,079
a little more. Yeah, go ahead and talk. Hello. Oh

86
00:08:27,160 --> 00:08:27,560
there we go.

87
00:08:29,920 --> 00:08:32,080
Speaker 9: Now we can hear your dulcin tones. Yes, very good,

88
00:08:32,200 --> 00:08:34,600
very good. Well, welcome guys. Now, of course, now some

89
00:08:34,720 --> 00:08:37,320
of you have been on the show before, because there

90
00:08:37,440 --> 00:08:40,320
was a previous band after image, and how many of

91
00:08:40,399 --> 00:08:41,399
you were in after image?

92
00:08:41,480 --> 00:08:44,639
Speaker 10: Was it three of you or yeah? The three of you? Okay?

93
00:08:44,960 --> 00:08:46,600
And then so out of that.

94
00:08:46,759 --> 00:08:48,639
Speaker 9: Came the Forest for Guests. Now, how long has the

95
00:08:48,679 --> 00:08:50,519
Forest Forgets existed?

96
00:08:51,559 --> 00:08:52,240
Speaker 14: Since October?

97
00:08:54,120 --> 00:08:56,639
Speaker 13: Okay longer than that? Yeah, I guess almost.

98
00:08:57,159 --> 00:08:59,080
Speaker 14: Since October, I believe for November.

99
00:08:59,240 --> 00:09:00,279
Speaker 10: So this is pretty new.

100
00:09:00,559 --> 00:09:04,720
Speaker 9: And for people watching online, of course, you know, we'll

101
00:09:04,759 --> 00:09:07,360
we'll take a picture afterward. But you guys brought me

102
00:09:07,600 --> 00:09:11,600
a copy of the new the new EP, so very

103
00:09:11,679 --> 00:09:15,399
nice of wind and willow and so well, let's start

104
00:09:15,440 --> 00:09:17,080
with the obvious questions. So where does the name come

105
00:09:17,120 --> 00:09:18,240
from the Forest Forgets.

106
00:09:19,919 --> 00:09:23,039
Speaker 14: It's I think it was based off of like where

107
00:09:23,080 --> 00:09:25,799
we're from is a state we wanted, like a nature theme. Yeah,

108
00:09:25,840 --> 00:09:27,960
like being in New Hampshire, the White Mountains, the forest

109
00:09:28,039 --> 00:09:28,919
and everything around us.

110
00:09:29,200 --> 00:09:29,399
Speaker 10: Yeah.

111
00:09:29,759 --> 00:09:32,000
Speaker 14: I think kind of an interesting thing about bands is

112
00:09:32,120 --> 00:09:35,759
like regionality and with that comes like sound and expectations.

113
00:09:36,000 --> 00:09:36,200
Speaker 10: Yeah.

114
00:09:36,320 --> 00:09:39,840
Speaker 14: So you think about California, there's like a sound, right Chfield,

115
00:09:39,840 --> 00:09:42,600
there's a sound. You think about you know, Boston there's

116
00:09:42,600 --> 00:09:44,440
like a punk scene, there's a sound. Yeah, you think

117
00:09:44,440 --> 00:09:46,600
in New Hampshire. I think it's very vague, but I

118
00:09:46,639 --> 00:09:48,960
think there's a lot to tap into, Yeah, especially for

119
00:09:49,080 --> 00:09:50,600
like the genre that we're trying to do, like a

120
00:09:50,679 --> 00:09:54,600
more slower ambient post metal sound. So it came from that,

121
00:09:54,840 --> 00:09:58,360
like having that nature theme. But the forest forgets itself

122
00:09:58,960 --> 00:10:01,320
James came up with that. It's from a saying do

123
00:10:01,360 --> 00:10:01,759
you remember the.

124
00:10:01,799 --> 00:10:07,159
Speaker 13: Same The saying is the acts forgets, but the tree remembers.

125
00:10:07,399 --> 00:10:13,159
Speaker 14: Okay, oh interesting, yeah, but it's just kind of it

126
00:10:13,320 --> 00:10:16,600
was more of a a statement about like I don't know,

127
00:10:16,799 --> 00:10:20,360
passage of time. I guess, yeah, and uh, it's kind

128
00:10:20,399 --> 00:10:23,159
of like a trope in media and like post apocalyptic

129
00:10:23,360 --> 00:10:26,120
or like where humanity's gone, like nature kind of overtakes

130
00:10:27,120 --> 00:10:32,080
human construction, like cities become forests again after a long time. Okay, Okay,

131
00:10:32,559 --> 00:10:34,399
do what you can while you're here, but in the end,

132
00:10:34,480 --> 00:10:37,000
eventually everything kind of goes back to where it came.

133
00:10:37,279 --> 00:10:39,240
Speaker 10: Yeah, yeah, no, that makes sense. No, I like that.

134
00:10:39,559 --> 00:10:44,240
Speaker 9: And I noticed too with the imagery looking at pictures

135
00:10:44,279 --> 00:10:47,399
of you guys online and such, it's you really kind

136
00:10:47,399 --> 00:10:50,200
of bring that theme, the forest theme and everything. Everything's

137
00:10:50,279 --> 00:10:52,879
kind of dark, you know, like it's like it's actually

138
00:10:52,919 --> 00:10:54,960
hard and it's not a complaint, it's a it's a

139
00:10:55,000 --> 00:10:57,080
cool thing, but it's it's hard to find a picture

140
00:10:57,120 --> 00:10:57,639
of you guys.

141
00:10:58,279 --> 00:10:59,879
Speaker 10: Maybe there as a band.

142
00:11:00,000 --> 00:11:01,720
Speaker 9: Maybe there are some that I just didn't see where

143
00:11:01,879 --> 00:11:04,440
it's like bright and you know, you can clearly see everybody.

144
00:11:04,480 --> 00:11:06,240
It's like you kind of like you've kind of done

145
00:11:06,279 --> 00:11:08,000
this mysterious thing that I think is cool.

146
00:11:08,559 --> 00:11:08,759
Speaker 12: Yeah.

147
00:11:09,000 --> 00:11:13,879
Speaker 14: A lot of that was Victoria Comerford, her hit Brandon's girlfriend. Okay,

148
00:11:13,879 --> 00:11:15,440
there's a lot of favors for us coming out doing

149
00:11:15,480 --> 00:11:19,519
photography photography, Yeah, yeah, pretty much everything we posted.

150
00:11:19,840 --> 00:11:22,240
Speaker 9: Yeah, is that gonna be the theme going forward? Like

151
00:11:22,279 --> 00:11:24,440
do you think you're gonna stick with that? Or or

152
00:11:24,480 --> 00:11:26,840
maybe it'll evolve over time or I don't know. I mean,

153
00:11:26,879 --> 00:11:28,320
it's like I said, it's kind of a cool thing,

154
00:11:28,360 --> 00:11:30,559
a little a little bit of mystery, and I'm.

155
00:11:30,399 --> 00:11:33,159
Speaker 12: Sure it'll have its own sort of evolution things go on.

156
00:11:33,440 --> 00:11:36,080
But I think that's kind of the the gist of

157
00:11:36,279 --> 00:11:37,559
the vibe we're going for, I guess.

158
00:11:37,720 --> 00:11:40,200
Speaker 9: Yeah, yeah, yeah, No, I like the I like the

159
00:11:40,279 --> 00:11:45,240
mystique of it. Now the songs from After Image. Have

160
00:11:45,279 --> 00:11:47,919
any of those carried over into the forest forgets? Or

161
00:11:48,039 --> 00:11:51,200
is this all new or what's what's been your approach as.

162
00:11:51,120 --> 00:11:54,360
Speaker 12: Far as that, Uh, it's it's all new stuff. We

163
00:11:54,440 --> 00:11:57,519
wanted to just do something like kind of like from scratch. Yeah,

164
00:11:58,320 --> 00:12:03,440
a whole new sound and interpretation of like instruments and

165
00:12:03,519 --> 00:12:04,279
what we can do with them.

166
00:12:04,480 --> 00:12:04,679
Speaker 10: Yeah.

167
00:12:05,159 --> 00:12:07,159
Speaker 12: Yeah, And I think the biggest thing with that is

168
00:12:07,240 --> 00:12:10,159
we've changed the tunings. I think were mostly playing like

169
00:12:10,279 --> 00:12:13,559
drop C now okay of like standard tuning. So yeah, yeah,

170
00:12:13,559 --> 00:12:15,120
it's a lot lower and heavier.

171
00:12:16,399 --> 00:12:16,840
Speaker 14: Aggressive.

172
00:12:16,879 --> 00:12:17,879
Speaker 13: I guess yeah, I like it.

173
00:12:18,039 --> 00:12:20,200
Speaker 9: And Jenny was commenting to how much she loves your

174
00:12:20,200 --> 00:12:23,360
guitar playing and it's got a very distinctive kind of

175
00:12:23,519 --> 00:12:25,120
kind of sound and vibe to it, which.

176
00:12:24,960 --> 00:12:28,159
Speaker 12: Is really cool. That's like one of my favorite comments.

177
00:12:28,679 --> 00:12:29,240
Speaker 7: Compliments.

178
00:12:29,960 --> 00:12:31,480
Speaker 10: Very nice. And you've got a.

179
00:12:33,240 --> 00:12:35,679
Speaker 9: Excuse me, I promise I'm not sick. I was sick,

180
00:12:36,000 --> 00:12:37,720
but I've got that lingering, you know, you get that

181
00:12:37,840 --> 00:12:38,519
lingering cough.

182
00:12:38,600 --> 00:12:39,080
Speaker 13: It sucks.

183
00:12:41,440 --> 00:12:43,759
Speaker 9: So the video Now, tell us about the video for

184
00:12:43,879 --> 00:12:47,039
with Grace, because that's that's pretty it's kind of kind

185
00:12:47,080 --> 00:12:47,399
of heavy.

186
00:12:47,600 --> 00:12:50,720
Speaker 10: It's it's got a got a heavy, heavy theme to it.

187
00:12:51,120 --> 00:12:52,840
Speaker 12: That was kind of griffin real.

188
00:12:52,960 --> 00:12:54,159
Speaker 10: Yeah, yeah, for sure.

189
00:12:54,399 --> 00:13:02,320
Speaker 14: Yeah, pretty much. It was reactionary to what was going

190
00:13:02,399 --> 00:13:05,919
on with my grandparents passing away. Oh okay, Yeah, so

191
00:13:06,200 --> 00:13:09,600
I wanted to kind of create like an external expression

192
00:13:09,879 --> 00:13:12,080
of that weird sense of grief you get when you

193
00:13:12,240 --> 00:13:14,759
watch two loved ones kind of fall apart in front

194
00:13:14,759 --> 00:13:14,879
of you.

195
00:13:15,159 --> 00:13:15,399
Speaker 15: Yeah.

196
00:13:15,559 --> 00:13:18,759
Speaker 14: Yeah, so it felt really cathartic to do.

197
00:13:18,919 --> 00:13:18,960
Speaker 3: So.

198
00:13:19,399 --> 00:13:21,320
Speaker 14: Yeah, and from what I've been told, I think it

199
00:13:21,600 --> 00:13:24,279
articulates and translates very well for people that watch it.

200
00:13:24,559 --> 00:13:26,919
Speaker 10: Yeah, but I agree, Yeah, definitely.

201
00:13:27,480 --> 00:13:30,519
Speaker 14: Yeah, it just felt like, honestly, like kind of lightning

202
00:13:30,559 --> 00:13:33,080
in the bottle. Like how it all came out was

203
00:13:33,200 --> 00:13:37,759
very because it was all gorilla filmmaking. Yeah, Like Dylan

204
00:13:37,799 --> 00:13:40,759
Williams came out and we have a friend that owns

205
00:13:40,799 --> 00:13:43,679
an island, so he just came out on a boat

206
00:13:43,759 --> 00:13:45,879
and like filmed filmed me just up as an old

207
00:13:45,960 --> 00:13:47,360
man and he just pieced it together.

208
00:13:47,480 --> 00:13:50,120
Speaker 10: And yeah, how long did it take? Was that all

209
00:13:50,159 --> 00:13:52,720
done in one day or because there's a lot to it,

210
00:13:52,919 --> 00:13:53,159
that was.

211
00:13:53,200 --> 00:13:56,399
Speaker 14: Two days of shooting. The first day was like twelve

212
00:13:56,480 --> 00:13:58,320
hours and the second day was an hour and a half.

213
00:13:58,480 --> 00:14:00,120
Speaker 10: Okay, yeah, wow, Yeah it.

214
00:14:00,159 --> 00:14:02,240
Speaker 14: Was a It was a pretty daunting task that first day.

215
00:14:02,240 --> 00:14:04,480
A lot of coordination, especially with like the makeup and

216
00:14:04,600 --> 00:14:07,639
like I had to shave my face yeap. Victoria Comerford

217
00:14:07,679 --> 00:14:10,240
also did the makeup for my face as well. Excellent

218
00:14:10,360 --> 00:14:12,840
ageify me and make it be more believable, right, And

219
00:14:12,879 --> 00:14:14,080
I think it worked because I've had a couple of

220
00:14:14,080 --> 00:14:15,759
people ask me the like is that you are you

221
00:14:15,840 --> 00:14:17,559
the old man? It looks so different.

222
00:14:17,759 --> 00:14:21,559
Speaker 10: Yeah, So I wasn't sure watching it. I wasn't sure.

223
00:14:21,639 --> 00:14:23,799
I thought I mean, I thought so but I wasn't sure.

224
00:14:23,919 --> 00:14:26,279
Speaker 12: That's awesome yeah either, Yeah me neither. I wasn't.

225
00:14:26,559 --> 00:14:28,720
Speaker 10: Yeah, Now that was really well done. Is that what

226
00:14:28,799 --> 00:14:29,720
the song is about too?

227
00:14:31,120 --> 00:14:33,799
Speaker 14: One of the interpretations, Yeah, I know. It's it's hard

228
00:14:33,840 --> 00:14:36,120
because like my mom had her when I showed her,

229
00:14:36,200 --> 00:14:38,200
she had a very specific interpretation of it, and I

230
00:14:38,279 --> 00:14:40,200
kind of felt like I didn't want to like take

231
00:14:40,240 --> 00:14:42,759
that away from her by getting for my version of it.

232
00:14:43,320 --> 00:14:46,480
But for me, that song was written to my fiance.

233
00:14:47,279 --> 00:14:50,240
It's a it's a love song, okay, okay about her

234
00:14:51,320 --> 00:14:53,919
being really tough on herself. So yeah, I wanted to

235
00:14:54,240 --> 00:14:56,480
give her a little love letter and say stop it.

236
00:14:57,080 --> 00:15:01,480
Life's going to be okay, right right that some Yeah, No,

237
00:15:01,639 --> 00:15:02,120
that's cool.

238
00:15:02,360 --> 00:15:05,279
Speaker 9: And that's that's the thing too about music is you

239
00:15:05,360 --> 00:15:07,440
know everybody can kind of take it and interpret it

240
00:15:07,519 --> 00:15:11,159
however they want. And it's I've always thought it's interesting,

241
00:15:11,519 --> 00:15:14,200
you know, for me for and I don't know, Jenny

242
00:15:14,320 --> 00:15:16,279
might be able to relate to this too. As as

243
00:15:16,399 --> 00:15:19,000
gen xers, we grew up in a time where a

244
00:15:19,039 --> 00:15:21,480
lot of the music that was popular there was no

245
00:15:21,639 --> 00:15:25,440
room for interpretation. Like you know, my my all time

246
00:15:25,480 --> 00:15:28,039
favorite band is Kiss but when you listen to a

247
00:15:28,159 --> 00:15:30,919
kiss song, there's no misunderstanding.

248
00:15:31,399 --> 00:15:34,120
Speaker 10: You know what they're what they're talking about, you know.

249
00:15:34,559 --> 00:15:37,600
Speaker 9: But there are there are a couple of exceptions to that,

250
00:15:37,720 --> 00:15:42,200
but but generally, you know, there's no misunderstanding. But but

251
00:15:42,399 --> 00:15:47,000
I remember really finding it fascinating in the nineties when

252
00:15:47,000 --> 00:15:49,120
the grunge era started that, you know, and a lot

253
00:15:49,159 --> 00:15:52,320
of these bands, like Pearl Jam for example, it's like

254
00:15:52,440 --> 00:15:55,519
you you know, you listen to the lyrics and it's like, uh,

255
00:15:56,240 --> 00:15:59,120
I just remember having conversations with friends about you know,

256
00:15:59,240 --> 00:16:01,679
well I think this means this or this is what

257
00:16:01,799 --> 00:16:04,639
it means to me, and different people bringing different interpretations

258
00:16:04,679 --> 00:16:08,080
to it. And ever since then, I've always been fascinated

259
00:16:08,200 --> 00:16:13,759
by the way that I don't know if any if

260
00:16:13,759 --> 00:16:15,559
any of you have ever experienced this, but if you

261
00:16:15,639 --> 00:16:19,360
ever you listen to a song, you hear the lyrics,

262
00:16:19,480 --> 00:16:22,039
or maybe you look up the lyrics and they mean

263
00:16:22,159 --> 00:16:26,240
something to you, and then you read an interview with

264
00:16:26,399 --> 00:16:28,720
whoever wrote the song and they say it means something

265
00:16:28,799 --> 00:16:32,320
completely different than what your interpretation was, and then there's

266
00:16:32,360 --> 00:16:35,919
that little part of you that goes, oh, you know

267
00:16:35,960 --> 00:16:37,759
what I mean, And in the end it doesn't matter

268
00:16:37,840 --> 00:16:38,480
because it's art.

269
00:16:38,440 --> 00:16:40,159
Speaker 10: And it's subjective and it means to you whatever it

270
00:16:40,200 --> 00:16:40,559
means to you.

271
00:16:40,679 --> 00:16:44,080
Speaker 9: But but I've experienced that too, that feeling of oh

272
00:16:44,559 --> 00:16:46,440
it means that I thought it meant this other thing.

273
00:16:46,559 --> 00:16:50,039
Speaker 14: Yeah, don't kind of take away like the engagement for

274
00:16:50,120 --> 00:16:54,120
the listener. Yeah, like my personal experience that gave the

275
00:16:54,240 --> 00:16:56,840
song that weight. It's like you can still apply it,

276
00:16:56,960 --> 00:16:59,679
but now you know the direct intention, right, so you

277
00:16:59,759 --> 00:17:01,639
can't invest as much of yourself into it.

278
00:17:01,879 --> 00:17:04,279
Speaker 10: Right right, Yeah, exactly exactly?

279
00:17:05,680 --> 00:17:05,880
Speaker 1: Is that?

280
00:17:07,880 --> 00:17:09,559
Speaker 9: Are all of your songs kind of like that where

281
00:17:09,680 --> 00:17:12,480
you can, you know, sort of interpret them different ways?

282
00:17:12,480 --> 00:17:14,880
I mean, that's that's that's my impression of your music.

283
00:17:14,960 --> 00:17:18,519
It's like you can you can really kind of put

284
00:17:18,640 --> 00:17:19,799
read into it whatever you want to.

285
00:17:20,000 --> 00:17:22,920
Speaker 16: And yeah, I would say I think that's one of

286
00:17:23,079 --> 00:17:27,759
Griffin's strong points is his lyricism has always been really

287
00:17:28,599 --> 00:17:29,279
thought provoking.

288
00:17:29,480 --> 00:17:32,400
Speaker 13: Yeah, and it's not kind of late. It's not late

289
00:17:32,440 --> 00:17:33,200
on in front of you. You do.

290
00:17:33,200 --> 00:17:35,440
Speaker 16: You kind of have to give it a couple listens, right,

291
00:17:35,519 --> 00:17:38,559
and you know, digest it. Yeah, so I think it

292
00:17:38,799 --> 00:17:40,319
carries through most of the songs.

293
00:17:40,480 --> 00:17:45,240
Speaker 10: Yeah, yeah, outstanding. Now, what is the writing. So Griffin,

294
00:17:45,240 --> 00:17:45,759
do you write all the.

295
00:17:45,799 --> 00:17:48,799
Speaker 14: Lyrics or lyrics? Yeah, yeah, just about I mean he

296
00:17:49,400 --> 00:17:52,960
I'm terrible at grammar, Yeah, terrible, are you?

297
00:17:53,119 --> 00:17:53,319
Speaker 12: Yeah?

298
00:17:54,160 --> 00:17:58,279
Speaker 14: Yeah, So James is like my retroactive editor. Okay, coming

299
00:17:58,359 --> 00:18:02,119
like this word doesn't make any sense Google, and it

300
00:18:02,200 --> 00:18:06,759
makes sense here. So it is a collaborative effort. I get,

301
00:18:06,839 --> 00:18:08,559
I print out all the lyrics and I let them

302
00:18:08,599 --> 00:18:10,400
read it because I want them to kind of get

303
00:18:10,440 --> 00:18:13,559
in that space with me I go to record. But

304
00:18:14,920 --> 00:18:17,200
it is collaborative. I'd say James definitely steps up to

305
00:18:17,240 --> 00:18:18,880
the plate a lot and kind of like helps me

306
00:18:18,960 --> 00:18:20,039
find what I'm trying to hit.

307
00:18:20,279 --> 00:18:23,640
Speaker 10: Yeah. Yeah, and then do the lyrics come first and

308
00:18:23,720 --> 00:18:26,519
then the music or no? Okay, it's all music.

309
00:18:27,200 --> 00:18:28,640
Speaker 14: It's very reactive to the music.

310
00:18:28,799 --> 00:18:30,200
Speaker 10: Okay that.

311
00:18:32,440 --> 00:18:34,279
Speaker 14: It's not really learned. I guess it's more so just

312
00:18:34,400 --> 00:18:35,359
habitual over time.

313
00:18:35,559 --> 00:18:37,200
Speaker 10: Yeah, so it becomes instinctive.

314
00:18:37,400 --> 00:18:40,279
Speaker 14: Yeah yeah, because I feel like writing slam poetry and

315
00:18:40,359 --> 00:18:43,319
then trying to like that onto a song it can

316
00:18:43,359 --> 00:18:45,680
be very clunky. So I try to base it around

317
00:18:45,680 --> 00:18:46,359
the song itself.

318
00:18:46,480 --> 00:18:48,480
Speaker 10: Yeah, No, that makes sense. And then so how does

319
00:18:48,519 --> 00:18:50,440
the music come about? What's the process there?

320
00:18:50,920 --> 00:18:53,880
Speaker 12: There's a couple of different ways, I think. For for

321
00:18:54,079 --> 00:18:57,599
with Grace, it was actually a song that James uh

322
00:18:58,079 --> 00:19:04,160
programmed in was it like Ableton, and it sounded completely

323
00:19:04,200 --> 00:19:06,160
different than what it ended as. But he brought that

324
00:19:06,279 --> 00:19:08,319
idea to us, and we took all the parts we

325
00:19:08,519 --> 00:19:11,680
liked and then kind of added what we could to

326
00:19:11,759 --> 00:19:14,240
make it sound more like the other stuff we had written. Yeah,

327
00:19:15,839 --> 00:19:19,240
but I think was it. The other three were pretty

328
00:19:19,319 --> 00:19:22,480
much just us jamming on with whatever we could come

329
00:19:22,559 --> 00:19:25,319
up with, yeah, and taking the parts we liked. We

330
00:19:26,160 --> 00:19:28,799
what we started doing was we record every practice, so

331
00:19:28,880 --> 00:19:31,039
we would have like a like a couple hour jam

332
00:19:31,160 --> 00:19:33,759
session or something, and then it was usually Griffin was

333
00:19:34,400 --> 00:19:36,279
the ring leader and listening back to it and like

334
00:19:36,839 --> 00:19:39,279
grabbing little clips and timestamps and saying, I think this

335
00:19:39,359 --> 00:19:42,359
would be cool with like minute fifty of this jam

336
00:19:42,960 --> 00:19:45,319
going into like the first minute of like the second

337
00:19:45,400 --> 00:19:47,519
jam or whatever, and it was just kind of like

338
00:19:47,559 --> 00:19:48,519
piece together that way.

339
00:19:48,799 --> 00:19:49,000
Speaker 10: Yeah.

340
00:19:50,119 --> 00:19:52,119
Speaker 14: Well, such a new band, you got to like learn

341
00:19:52,200 --> 00:19:55,240
how to engage with each other and interact with each other.

342
00:19:55,400 --> 00:19:57,799
I think it was very helpful for someone to kind

343
00:19:57,839 --> 00:20:00,440
of like get that ball rolling right right we're writing

344
00:20:00,519 --> 00:20:02,720
new stuff now and it's not like that at all.

345
00:20:02,920 --> 00:20:06,319
It's very really yeah, it's very like, let's sit in

346
00:20:06,359 --> 00:20:09,279
the space, let's build this song together. Is no like

347
00:20:09,359 --> 00:20:10,279
head orchestrator.

348
00:20:10,480 --> 00:20:10,680
Speaker 10: Yeah.

349
00:20:10,759 --> 00:20:13,039
Speaker 14: Now it's all like one hundred percent collaborative. But the EP,

350
00:20:13,279 --> 00:20:15,359
we were all so new to each other. Yeah, well

351
00:20:15,839 --> 00:20:18,480
we're also new to the band, right right. Yeah, that

352
00:20:18,599 --> 00:20:20,720
I think it made it easier and more concise for

353
00:20:20,839 --> 00:20:23,519
one person to kind of like lead the ship regard,

354
00:20:23,640 --> 00:20:27,599
So James coming in with pretty much with Grace road

355
00:20:27,680 --> 00:20:30,319
mapped out. It was very helpful and I think I

356
00:20:30,440 --> 00:20:32,519
kind of did that role too, like the other songs,

357
00:20:32,599 --> 00:20:34,839
just kind of like orchestrating stuff. But now it feels

358
00:20:34,960 --> 00:20:35,640
very collaborative.

359
00:20:35,839 --> 00:20:38,640
Speaker 9: Yeah, oh cool, cool, very cool. Where do you guys

360
00:20:38,680 --> 00:20:40,279
record because everything sounds amazing.

361
00:20:40,880 --> 00:20:44,920
Speaker 12: We record over at Blackhart Studios, yes, which I work

362
00:20:44,960 --> 00:20:46,119
there with Eric Oh you do?

363
00:20:46,279 --> 00:20:46,559
Speaker 10: Okay?

364
00:20:46,640 --> 00:20:51,119
Speaker 12: Yeah, and infrequently, but yeah, we went there and we

365
00:20:51,240 --> 00:20:53,880
did what was it like two days for instruments and

366
00:20:53,920 --> 00:20:58,880
then like another day for vocals. But yeah, I love that.

367
00:20:59,119 --> 00:21:01,960
I love that space. It feels like it almost feels

368
00:21:02,000 --> 00:21:03,759
like a home away from home. How much time I've

369
00:21:03,759 --> 00:21:06,839
spent there, no kidding, the familiarity with everything just made

370
00:21:06,839 --> 00:21:10,200
everything super easy for me to like engineer and get

371
00:21:10,279 --> 00:21:11,640
us going as quickly as possible.

372
00:21:12,519 --> 00:21:14,000
Speaker 9: Yeah, we had Eric on the show a number of

373
00:21:14,039 --> 00:21:16,440
months ago, and it was it was great to finally

374
00:21:16,519 --> 00:21:18,640
have him on because, uh, you know, I kept telling him, dude,

375
00:21:18,680 --> 00:21:20,839
your name comes up all the time on my show.

376
00:21:20,880 --> 00:21:23,519
Speaker 10: We got to get you on. So yeah, that was Uh.

377
00:21:24,000 --> 00:21:25,440
So you you work there with him, you.

378
00:21:26,160 --> 00:21:28,839
Speaker 12: Yeah, Usually what ends up happening is if he's busy

379
00:21:28,920 --> 00:21:31,359
doing something, I'll come in and I'll do like the

380
00:21:31,960 --> 00:21:34,440
recording for the most part, Okay, the stuff that he'll

381
00:21:34,519 --> 00:21:36,599
end up mixing and mastering. But oh, there's been a

382
00:21:36,640 --> 00:21:39,559
couple of projects I've done mastering and mixing on for him,

383
00:21:39,799 --> 00:21:40,920
like Dead Harrison.

384
00:21:40,960 --> 00:21:43,920
Speaker 10: I think we we were talking about that off are Yeah,

385
00:21:43,960 --> 00:21:45,519
our friends Deed Harrison, Yeah.

386
00:21:45,519 --> 00:21:47,079
Speaker 12: Which they were. They were a lot of fun to

387
00:21:47,359 --> 00:21:48,119
uh to work with.

388
00:21:48,599 --> 00:21:49,880
Speaker 10: Yeah, No, they're great.

389
00:21:49,920 --> 00:21:52,880
Speaker 9: Yeah, I've known them forever and yeah we often play

390
00:21:52,920 --> 00:21:54,519
there while They've been on the show a bunch of times,

391
00:21:54,559 --> 00:21:56,279
and of course and they're also a part of uh,

392
00:21:56,799 --> 00:21:59,799
you know, the Midnight Creatives Collective and Terminus Underground and

393
00:21:59,839 --> 00:22:04,079
now Ashua and yeah, I love that that song Terror Grinder.

394
00:22:04,400 --> 00:22:07,240
Speaker 12: Yeah, I love that song, that one in Monolith, Florid.

395
00:22:07,279 --> 00:22:08,559
I think that's my favorite off of that.

396
00:22:08,720 --> 00:22:08,880
Speaker 8: Yeah.

397
00:22:09,000 --> 00:22:11,279
Speaker 10: Yeah, no, those are those are great. Those are great.

398
00:22:11,480 --> 00:22:14,359
Speaker 11: I was lucky enough to have my paintings on display

399
00:22:14,440 --> 00:22:17,519
there last month and there's a cool video of them.

400
00:22:17,559 --> 00:22:19,640
It was all of my darkest paintings. And this is

401
00:22:19,759 --> 00:22:22,440
cool video with Dead Harrison playing in the background because

402
00:22:22,440 --> 00:22:24,599
they're their practice room is right on the other side

403
00:22:24,599 --> 00:22:25,000
of the wall.

404
00:22:25,359 --> 00:22:25,960
Speaker 10: That's awesome.

405
00:22:26,440 --> 00:22:30,960
Speaker 9: Yeah, well we should, uh let's play another studio track

406
00:22:31,480 --> 00:22:34,640
from the new release, but I will uh, I'll let

407
00:22:34,680 --> 00:22:36,720
you guys pick what should.

408
00:22:36,440 --> 00:22:37,720
Speaker 10: We where should we go next?

409
00:22:38,160 --> 00:22:42,000
Speaker 12: Brendan, you pick probably peel Back, Feel Back?

410
00:22:42,079 --> 00:22:44,000
Speaker 10: Okay, and uh what why do you?

411
00:22:44,200 --> 00:22:44,319
Speaker 8: Uh?

412
00:22:44,480 --> 00:22:46,359
Speaker 9: Why do you choose this one? Is there any any

413
00:22:46,400 --> 00:22:49,039
particular reason or or is there a story about the song?

414
00:22:49,119 --> 00:22:53,440
We should know or it's it's my personal favorite. But

415
00:22:53,599 --> 00:22:57,720
apart from that, it's just the first Okay. It was

416
00:22:57,839 --> 00:22:59,920
like it was between that and with Grace first single.

417
00:23:00,319 --> 00:23:01,319
Speaker 13: Yeah, we were, we were.

418
00:23:01,240 --> 00:23:05,960
Speaker 10: Defeating it for okay. Oh excuse me, I apologize for

419
00:23:06,079 --> 00:23:08,559
my voice. Uh yeah, So I'll hurry up and get

420
00:23:08,559 --> 00:23:10,920
to the track, so I can clear my throat. Here

421
00:23:11,000 --> 00:23:11,160
we go.

422
00:23:11,720 --> 00:23:12,599
Speaker 2: This is real bass.

423
00:23:12,920 --> 00:24:03,960
Speaker 8: Come jump up jump my so s you such.

424
00:24:06,440 --> 00:24:06,759
Speaker 17: My not.

425
00:24:11,319 --> 00:24:16,720
Speaker 8: Think it? I need.

426
00:24:18,200 --> 00:24:19,960
Speaker 17: To s.

427
00:24:22,119 --> 00:24:27,440
Speaker 5: Comes thaying burning.

428
00:24:33,240 --> 00:24:41,319
Speaker 2: So she called sponds.

429
00:24:44,880 --> 00:24:45,599
Speaker 7: Can't step?

430
00:24:47,039 --> 00:24:47,880
Speaker 8: How you do.

431
00:24:50,000 --> 00:24:50,960
Speaker 2: Turn your.

432
00:24:52,759 --> 00:25:05,720
Speaker 5: Speaking Thissmas starts a crown. I saw like brown all

433
00:25:06,000 --> 00:25:12,680
you said? Okay, sir.

434
00:25:18,079 --> 00:25:18,559
Speaker 4: Said, I.

435
00:25:20,240 --> 00:25:23,160
Speaker 8: Still kill jump.

436
00:25:25,440 --> 00:25:36,640
Speaker 4: Jump jump cart drawn by So it's.

437
00:25:36,519 --> 00:25:41,240
Speaker 8: A famous thing. But sorry of it.

438
00:26:04,160 --> 00:26:07,359
Speaker 2: Lives for nothing, your ride and you're trying to.

439
00:26:07,680 --> 00:26:12,200
Speaker 5: Get up or contentment for your h my friend, if

440
00:26:12,279 --> 00:26:15,240
those hours still laus and I said, no.

441
00:26:15,400 --> 00:26:17,440
Speaker 2: It's worth a great kind of day.

442
00:26:17,599 --> 00:26:19,000
Speaker 7: Where about your house?

443
00:26:21,759 --> 00:26:30,799
Speaker 2: Just stay where a thout, just stay for adults.

444
00:26:31,000 --> 00:26:56,880
Speaker 5: Sure well you are a jack.

445
00:27:50,720 --> 00:27:53,079
Speaker 10: Oh that is so good. That is peel back.

446
00:27:53,519 --> 00:27:55,680
Speaker 9: The band is the Forest Forgets, and we have the

447
00:27:55,720 --> 00:27:58,640
Forest Forgets here with us live in studio this morning.

448
00:27:58,799 --> 00:28:01,079
And what a great track. And yeah, that's a perfect

449
00:28:01,160 --> 00:28:04,519
opener for the EP. It is absolutely fantastic. So I

450
00:28:04,599 --> 00:28:06,759
can see, uh, I can see why you guys went

451
00:28:06,799 --> 00:28:08,480
with that. Yeah, it grabs you right away.

452
00:28:09,240 --> 00:28:09,960
Speaker 10: I love.

453
00:28:11,279 --> 00:28:11,400
Speaker 8: Them.

454
00:28:11,559 --> 00:28:13,960
Speaker 9: Yeah, yeah, no, that is so good. And that uh

455
00:28:14,640 --> 00:28:19,599
that's solo at the end. Man, it's really really good,

456
00:28:20,119 --> 00:28:22,160
really good if you are just joining us. Of course,

457
00:28:22,319 --> 00:28:24,440
we do have the Forest Forgets here with us live

458
00:28:24,559 --> 00:28:25,279
in studio.

459
00:28:25,880 --> 00:28:28,200
Speaker 10: And now do you guys.

460
00:28:28,680 --> 00:28:32,240
Speaker 9: Plan to Are you going to be recording more soon

461
00:28:32,559 --> 00:28:34,720
or are you just kind of I mean, obviously this

462
00:28:34,799 --> 00:28:36,799
has been out for a relatively short time, right the

463
00:28:37,000 --> 00:28:37,799
the new EP.

464
00:28:38,279 --> 00:28:40,759
Speaker 14: Well, the first single dropped Thursday.

465
00:28:41,200 --> 00:28:42,680
Speaker 10: Yeah, yeah, oh so very new.

466
00:28:42,960 --> 00:28:46,079
Speaker 14: Yeah, and the the EP actually fully releases next Friday.

467
00:28:46,559 --> 00:28:48,359
It's like a little teaser for everybody.

468
00:28:48,400 --> 00:28:49,119
Speaker 10: Oh very good.

469
00:28:51,160 --> 00:28:53,119
Speaker 12: Is this a world premiere on radio?

470
00:28:53,279 --> 00:28:54,359
Speaker 10: Yes, very good.

471
00:28:54,400 --> 00:28:56,039
Speaker 12: We we do love.

472
00:28:56,200 --> 00:28:58,599
Speaker 10: We do love. The world radio premieres here on the show.

473
00:28:58,720 --> 00:28:59,559
So that's wonderful.

474
00:29:00,559 --> 00:29:04,000
Speaker 9: Are you guys already writing stuff, because you strike me

475
00:29:04,079 --> 00:29:05,400
as you probably write a lot.

476
00:29:05,680 --> 00:29:08,599
Speaker 10: I'm guessing you've got a lot of tunes. Yeah, we

477
00:29:08,680 --> 00:29:09,680
have a lot of like, we have a lot of.

478
00:29:12,240 --> 00:29:17,440
Speaker 12: Getting longer yeah yeah, right, less and less digestible.

479
00:29:18,039 --> 00:29:20,079
Speaker 14: Yeah yeah, I have like sixteen minutes worth of music.

480
00:29:20,200 --> 00:29:21,079
But it's two songs.

481
00:29:21,319 --> 00:29:21,440
Speaker 5: Right.

482
00:29:23,039 --> 00:29:24,880
Speaker 14: In terms of like going back to record, I think

483
00:29:24,880 --> 00:29:27,079
we're probably not going to go back for a little bit. Yeah,

484
00:29:27,839 --> 00:29:29,759
a year, eight months. I was actually just talking to

485
00:29:29,799 --> 00:29:32,279
the guys about it in the group chat yesterday I

486
00:29:32,359 --> 00:29:34,079
feel like an EP has like eight months worth of

487
00:29:34,160 --> 00:29:37,079
legs until people like Okay, so our main goal right

488
00:29:37,079 --> 00:29:39,440
now is to play out, start playing some shows, Yeah,

489
00:29:39,559 --> 00:29:42,880
develop a live set, get in that space consistently.

490
00:29:43,079 --> 00:29:43,279
Speaker 10: Yeah.

491
00:29:43,920 --> 00:29:45,359
Speaker 14: Once we started, what.

492
00:29:45,640 --> 00:29:47,240
Speaker 13: Now that we can show people what we're playing.

493
00:29:47,359 --> 00:29:49,279
Speaker 14: Yeah, now that we people know what we sound like,

494
00:29:49,440 --> 00:29:52,640
right right, demos on band camp. Yeah, but for the

495
00:29:52,680 --> 00:29:54,960
newer material that we are working on, I definitely want

496
00:29:55,000 --> 00:29:57,880
to approach it from a live setting with Brandon's mixing.

497
00:29:58,960 --> 00:30:01,359
The whole goal was like live, Yeah, this is how

498
00:30:01,400 --> 00:30:02,079
we sound live.

499
00:30:02,359 --> 00:30:06,000
Speaker 10: Yeah. So so you guys haven't played out yet or

500
00:30:06,279 --> 00:30:07,519
we've played what three shows too?

501
00:30:07,519 --> 00:30:07,640
Speaker 8: Oh?

502
00:30:07,640 --> 00:30:10,319
Speaker 14: Okay, so we've done three shows. Yeah, three shows in

503
00:30:11,000 --> 00:30:13,640
nine months. Okay, it's been pretty sparse, but nobody knows

504
00:30:13,680 --> 00:30:15,640
what we sound like, right right exactly?

505
00:30:15,759 --> 00:30:17,960
Speaker 10: Yeah? Yeah so that yeah, this is all new.

506
00:30:19,359 --> 00:30:23,039
Speaker 9: And what went into the the decision to do an

507
00:30:23,079 --> 00:30:26,000
EP because you know, a lot of the guests that

508
00:30:26,039 --> 00:30:27,640
we have on the show, they approach it different ways.

509
00:30:27,640 --> 00:30:28,920
You know, you can do an EP, you can do

510
00:30:29,000 --> 00:30:31,559
a full album, you can do uh. Some people now

511
00:30:31,640 --> 00:30:33,920
they just released a series of singles that eventually become

512
00:30:34,000 --> 00:30:34,440
an album.

513
00:30:34,960 --> 00:30:37,480
Speaker 10: What what went into that decision to do an EP.

514
00:30:39,240 --> 00:30:41,960
Speaker 18: I think it was just like we wanted to get

515
00:30:41,960 --> 00:30:44,119
stuff out quickly. Yeah, and we didn't want to have

516
00:30:44,640 --> 00:30:47,480
eight or ten tracks to put on an album, right,

517
00:30:48,039 --> 00:30:50,680
and we didn't want to have as little as a single.

518
00:30:50,960 --> 00:30:53,920
Speaker 10: Yeah, because we had a lot of stuff working. Yeah. Yeah,

519
00:30:54,480 --> 00:30:58,880
that had a consistent sound. Yeah, the songs together work well,

520
00:30:59,400 --> 00:30:59,720
you know it.

521
00:31:00,359 --> 00:31:02,039
Speaker 9: I can see why you would want to put them

522
00:31:02,079 --> 00:31:04,359
together instead of just putting them out of singles necessarily.

523
00:31:04,480 --> 00:31:06,480
Speaker 18: Yeah, it's a very consistent project, I think.

524
00:31:06,680 --> 00:31:08,960
Speaker 10: Yeah, yeah, definitely. Now that makes a lot of sense.

525
00:31:10,039 --> 00:31:11,839
Do you have another video that you're working on or

526
00:31:12,359 --> 00:31:13,839
I mean, I know this one again, I know with

527
00:31:13,960 --> 00:31:15,079
Grace just came out.

528
00:31:15,039 --> 00:31:19,000
Speaker 14: But no, really last one was a tour de force yeah,

529
00:31:19,400 --> 00:31:22,319
on all fronts. Yeah, so I felt like for an EP,

530
00:31:22,880 --> 00:31:26,440
like here's a nine minute short film that you know,

531
00:31:26,880 --> 00:31:28,480
I was talking to the guys the other day about

532
00:31:28,519 --> 00:31:31,559
maybe doing something a little bit smaller, a little bit

533
00:31:31,640 --> 00:31:35,519
smaller in scale for like another single, right, but as

534
00:31:35,559 --> 00:31:37,279
of right now, it's just with Grace. We kind of

535
00:31:37,279 --> 00:31:39,079
felt like that was like a statement piece, come out

536
00:31:39,119 --> 00:31:42,000
with a bang. Yeah, here's a concept. It's all cohesive.

537
00:31:42,119 --> 00:31:46,319
It all ties in YEP and again legs like it's

538
00:31:46,359 --> 00:31:48,759
got four songs, here's a nine minute video. Yeah, so

539
00:31:48,839 --> 00:31:50,680
if I were to do another, that'd be like fifteen

540
00:31:50,720 --> 00:31:52,960
minutes for a twenty five minute EP. Right, it's a

541
00:31:52,960 --> 00:31:55,000
little crazy. But we do have more like behind the

542
00:31:55,079 --> 00:31:58,160
more content about how we made the EP and like

543
00:31:58,480 --> 00:32:00,960
behind the scenes on the video itself. Yes, because we

544
00:32:01,039 --> 00:32:03,400
still want to like give people something to engage with.

545
00:32:03,559 --> 00:32:06,279
But in terms of like artistic expressions through the form

546
00:32:06,319 --> 00:32:08,240
of a music video, I think that's probably going to

547
00:32:08,279 --> 00:32:10,359
be it for now. I think now the direction is

548
00:32:10,440 --> 00:32:11,279
just let's play live.

549
00:32:11,599 --> 00:32:16,839
Speaker 10: Yeah, yeah, that makes sense. And then, uh, what was

550
00:32:16,960 --> 00:32:20,079
the Oh so what what do you have? Like do

551
00:32:20,119 --> 00:32:21,480
you have shows coming up? Do you have do you

552
00:32:21,559 --> 00:32:22,519
have some shows booked?

553
00:32:22,640 --> 00:32:24,680
Speaker 14: Or if we have two shows booked in December?

554
00:32:24,880 --> 00:32:25,839
Speaker 10: Okay, I don't.

555
00:32:26,319 --> 00:32:28,480
Speaker 14: I think you know more details about those than I do.

556
00:32:28,880 --> 00:32:32,640
Speaker 12: All I know is that they're more than likely happening.

557
00:32:32,839 --> 00:32:35,400
Speaker 10: Yeah. Yeah, nothing to announce.

558
00:32:35,480 --> 00:32:38,160
Speaker 14: Yeats a single dropping. We've had a lot of people

559
00:32:38,240 --> 00:32:40,640
reach out and they're like, hey, play a show, So yeah,

560
00:32:40,680 --> 00:32:41,920
it's kind of naturally occurring.

561
00:32:42,079 --> 00:32:45,599
Speaker 10: No, I'm curious, curious to see you guys live big time.

562
00:32:45,680 --> 00:32:49,160
Me too. Absolutely, we should also talk about too.

563
00:32:49,359 --> 00:32:51,119
Speaker 9: So I don't know that will necessarily play it, but

564
00:32:51,160 --> 00:32:53,559
there is a track run here that's that is different

565
00:32:53,599 --> 00:32:55,960
than the others. Yeah, catching the big Fish in the

566
00:32:56,039 --> 00:32:59,000
Vast Purple Sea. That's kind of an ambient there's no

567
00:32:59,319 --> 00:33:00,440
lyrics in that for what.

568
00:33:01,839 --> 00:33:06,079
Speaker 12: It's all all guitar. Oh, it's all guitar sound sources

569
00:33:06,119 --> 00:33:10,240
that I found and recorded. I think it's my favorite

570
00:33:10,279 --> 00:33:12,400
sound that I put in there is my drying machine.

571
00:33:12,920 --> 00:33:17,279
Oh really, like my drying machine in my apartment. I

572
00:33:17,359 --> 00:33:18,799
had like a like it was like a pair of

573
00:33:18,839 --> 00:33:20,400
pants that and coins in there, and it was just

574
00:33:20,440 --> 00:33:23,200
making this funny sound. And I recorded it one day

575
00:33:23,240 --> 00:33:24,799
and then I was mixing it and I was like,

576
00:33:24,880 --> 00:33:26,599
I think that'd be fun to throw in there. Yeah,

577
00:33:28,039 --> 00:33:29,319
but yeah, that's just ambient guitar.

578
00:33:29,440 --> 00:33:29,680
Speaker 8: It was.

579
00:33:30,920 --> 00:33:33,400
Speaker 12: It was something I think Griffin had me do for

580
00:33:33,680 --> 00:33:35,039
our first video.

581
00:33:36,319 --> 00:33:40,279
Speaker 14: At first, Like we do a YouTube series called Broots Remain.

582
00:33:40,599 --> 00:33:42,880
It's just kind of like about us as a band. Yeah,

583
00:33:42,920 --> 00:33:45,480
it's all self produced. It's you know, I wouldn't expect

584
00:33:45,519 --> 00:33:48,200
much from it, but I was like, hey, can you

585
00:33:48,279 --> 00:33:49,880
just like make this ambient guitar track just so I

586
00:33:49,920 --> 00:33:52,279
have some space to fill and then and.

587
00:33:52,319 --> 00:33:54,480
Speaker 12: Then I I think I did it at the practice

588
00:33:54,480 --> 00:33:56,880
space and we all kind of liked like the like

589
00:33:57,000 --> 00:33:58,720
the vibe of it. And the first show we played,

590
00:33:58,759 --> 00:34:01,240
we actually we in the middle of the set, we

591
00:34:01,400 --> 00:34:03,119
just stopped and I sat on the ground and just

592
00:34:03,160 --> 00:34:07,960
played you know, ambient guitar for what like five five minutes. Yeah,

593
00:34:08,320 --> 00:34:08,920
I think that's right.

594
00:34:08,920 --> 00:34:09,280
Speaker 8: And then.

595
00:34:10,719 --> 00:34:12,360
Speaker 12: I don't know, I really liked it, and I wanted

596
00:34:12,400 --> 00:34:14,599
to have it on the EP. So when it was

597
00:34:14,679 --> 00:34:17,079
like almost a complete afterthought in the studio, like we

598
00:34:17,159 --> 00:34:18,480
were all wrapped up and I was like, wait, I

599
00:34:18,519 --> 00:34:21,360
got one more thing to do, and it was just

600
00:34:21,440 --> 00:34:25,760
like one take of improv guitar with layers of reverb.

601
00:34:26,079 --> 00:34:26,320
Speaker 10: Yeah.

602
00:34:26,880 --> 00:34:28,960
Speaker 14: I think it's one of those songs feeling it as

603
00:34:29,000 --> 00:34:31,559
opposed to listening to it like live feeling all that

604
00:34:31,719 --> 00:34:35,840
running around you. Right. Yeah, very transcendental. I guess I

605
00:34:35,880 --> 00:34:37,519
would say, I don't know if that's the word, James,

606
00:34:37,559 --> 00:34:38,360
but I'm trying.

607
00:34:40,760 --> 00:34:42,719
Speaker 12: Because I got the I got the name actually from

608
00:34:43,320 --> 00:34:47,519
It's a quote from the filmmaker David Lynch. The way

609
00:34:47,599 --> 00:34:51,800
he approaches making films is he'll do transcendental meditation. Oh,

610
00:34:52,000 --> 00:34:54,920
he thinks of himself fishing for ideas in like a

611
00:34:55,480 --> 00:34:56,559
large purple ocean.

612
00:34:57,159 --> 00:34:59,320
Speaker 10: I didn't know that about David Lynch, but if you

613
00:34:59,440 --> 00:35:02,320
told me, I guess a director who approaches it this way,

614
00:35:02,480 --> 00:35:07,039
I would probably guess it was David Lyncha. Oh that's interesting.

615
00:35:07,239 --> 00:35:07,920
That's interesting.

616
00:35:08,199 --> 00:35:10,639
Speaker 9: Well, let's all the time goes so quick. Let's I

617
00:35:10,719 --> 00:35:12,400
want to make sure we get the rest of these in.

618
00:35:12,880 --> 00:35:17,039
Let's listen to Disintegrate. You guys were kind enough to

619
00:35:17,079 --> 00:35:19,840
provide a radio edit, so appreciate that. But no, this

620
00:35:19,920 --> 00:35:21,679
is another great track. I really love this a lot.

621
00:35:21,880 --> 00:35:22,880
Speaker 10: If you are just joining us.

622
00:35:22,920 --> 00:35:25,159
Speaker 9: We have the forest Frigets here with us live in studio,

623
00:35:25,320 --> 00:35:28,199
and here's another track from their new EP, and this

624
00:35:28,360 --> 00:35:29,480
track is called Disintegrate.

625
00:35:29,599 --> 00:35:30,239
Speaker 10: Check it out.

626
00:35:42,400 --> 00:36:04,119
Speaker 3: Time I'm telling about sea fighting bas I'm not my cousin.

627
00:36:04,239 --> 00:36:22,639
Speaker 2: Oh god, what j yeah, So.

628
00:36:39,960 --> 00:36:52,559
Speaker 5: I'm so tell me about how them sat Jens.

629
00:36:52,559 --> 00:36:54,239
Speaker 4: J I s h U.

630
00:36:54,320 --> 00:36:57,679
Speaker 8: This ic one of a part.

631
00:37:36,039 --> 00:37:37,480
Speaker 2: She's said as her allies.

632
00:37:38,280 --> 00:37:40,719
Speaker 5: You're you're a shot away from the.

633
00:37:43,480 --> 00:37:47,000
Speaker 2: Day like day days we did.

634
00:37:48,880 --> 00:37:52,800
Speaker 5: You know this body's strong son, You're like you're not

635
00:37:52,920 --> 00:38:01,719
made all fat No, there reals drunk sounds for I

636
00:38:01,920 --> 00:38:05,440
know want of s pa sis we be we see

637
00:38:05,599 --> 00:38:09,559
you want it's life to be serp turn a sew

638
00:38:10,159 --> 00:38:10,639
brown and.

639
00:38:10,719 --> 00:38:21,760
Speaker 2: Over the center murder be your sister, the sister Mermas right, don't.

640
00:38:21,519 --> 00:38:52,599
Speaker 19: Know you about the man that you chose, travels sat

641
00:38:54,000 --> 00:38:55,679
All jem my mom at.

642
00:38:55,559 --> 00:39:02,920
Speaker 3: The time and my sector and chat Rice Joseph what

643
00:39:03,119 --> 00:39:04,719
a gos.

644
00:39:13,320 --> 00:39:29,599
Speaker 8: S sis puer.

645
00:39:50,159 --> 00:40:05,559
Speaker 2: Else you're saying you won't sense and wa nothing nothing

646
00:40:08,480 --> 00:40:13,719
and never never what of.

647
00:40:18,000 --> 00:40:18,360
Speaker 10: Hmmm?

648
00:40:19,199 --> 00:40:22,679
Speaker 9: That is disintegrate And the band is the Forest Forgets

649
00:40:22,920 --> 00:40:24,840
and we have the Forest Forgets here with us alive

650
00:40:24,920 --> 00:40:28,880
in studio and uh we were talking off air, Uh Griffin,

651
00:40:28,920 --> 00:40:31,519
you were saying that song has your favorite scream on.

652
00:40:31,639 --> 00:40:33,880
Speaker 14: The ev in it Yep, yep, that last one at

653
00:40:33,880 --> 00:40:35,960
the end, the high one. Yeah, it felt very Chino

654
00:40:36,159 --> 00:40:39,159
deaftones kind of. Yeah, those whistle note screams he does. Yeah,

655
00:40:39,239 --> 00:40:40,119
it's just satisfying.

656
00:40:40,519 --> 00:40:43,760
Speaker 10: I'm always impressed by that when I hear a vocalists who.

657
00:40:43,679 --> 00:40:44,000
Speaker 12: Can do that.

658
00:40:44,079 --> 00:40:45,639
Speaker 10: Do you do anything to kind of like, do you

659
00:40:45,719 --> 00:40:46,519
have to do anything.

660
00:40:46,320 --> 00:40:48,800
Speaker 9: To really take care of your throat to pull that

661
00:40:48,960 --> 00:40:52,239
off without you know, without damaging your vocal cords. Like

662
00:40:52,719 --> 00:40:54,639
like like most people if they just said, oh, I'm

663
00:40:54,639 --> 00:40:56,800
gonna do that, you know, they'd end up, like, you know,

664
00:40:57,159 --> 00:40:58,079
harming their throat.

665
00:40:59,039 --> 00:41:01,960
Speaker 14: How do you approach that technique and balance, I guess,

666
00:41:02,159 --> 00:41:05,920
like balance of pressure and diaphragm and whatnot.

667
00:41:06,119 --> 00:41:06,800
Speaker 13: Yeah, you just don't.

668
00:41:06,880 --> 00:41:08,920
Speaker 14: You don't push that hard to get those sounds. Ye,

669
00:41:08,920 --> 00:41:12,960
it's more the technique and Mike the mic does a

670
00:41:13,000 --> 00:41:14,199
lot of the work. If I were to do that

671
00:41:14,280 --> 00:41:17,079
in the room, it would sound pretty different. Yeah, compression

672
00:41:17,119 --> 00:41:19,119
and everything. I think that's a big thing when like,

673
00:41:19,199 --> 00:41:20,719
especially when I was first starting out, was like, how

674
00:41:20,760 --> 00:41:23,679
do I get this to sound like that? Well, there's

675
00:41:23,679 --> 00:41:25,400
a lot of tricks that go into it, right that

676
00:41:25,760 --> 00:41:28,440
big bands can do consistently that you can't really do

677
00:41:28,679 --> 00:41:30,400
in a basement in Nashua.

678
00:41:30,679 --> 00:41:34,239
Speaker 10: Yeah. Yeah, yeah, So if you learn to do it correctly,

679
00:41:34,400 --> 00:41:36,119
you can do it without hurting yourself.

680
00:41:36,280 --> 00:41:39,639
Speaker 14: And yeah, yeah, I mean any great technique you do

681
00:41:39,800 --> 00:41:41,920
something every day, you could have the best technique in

682
00:41:41,920 --> 00:41:44,199
the world. But like, as far as I can tell,

683
00:41:44,320 --> 00:41:46,440
big bands that have to tour two hundred days out

684
00:41:46,440 --> 00:41:48,480
of the year, it doesn't really matter how good your

685
00:41:48,519 --> 00:41:51,360
technique is because you're gonna get hurt after a while,

686
00:41:51,440 --> 00:41:53,400
it's going to wear down, right.

687
00:41:53,440 --> 00:41:55,199
Speaker 12: Right, Yeah, no doubt, no doubt.

688
00:41:56,199 --> 00:41:58,400
Speaker 10: Have you always has that always been your approach vocally

689
00:41:58,559 --> 00:42:01,559
to it, you know, the singing with the you know,

690
00:42:01,639 --> 00:42:03,639
the aggressive the screams and all that.

691
00:42:04,440 --> 00:42:07,440
Speaker 14: I'd say so, yeah, first starting out, I didn't really

692
00:42:07,519 --> 00:42:10,000
know how to do anything. Yeah, and then I found

693
00:42:10,079 --> 00:42:12,159
bands like Tool and I was like, Okay, I'm gonna

694
00:42:12,199 --> 00:42:15,000
do that like bark Yell he does yeah. And I

695
00:42:15,079 --> 00:42:17,480
found Deftnes I'm like, that's cool. Yeah, I'm gonna start

696
00:42:17,519 --> 00:42:20,199
doing that. And then we've been listening to this band Sumac,

697
00:42:20,559 --> 00:42:22,880
which is uh, I don't know the band isis the

698
00:42:22,960 --> 00:42:23,679
band isis?

699
00:42:23,840 --> 00:42:25,000
Speaker 10: Yeah? Right yeah.

700
00:42:25,039 --> 00:42:27,519
Speaker 14: In Turner he does all the the low like false

701
00:42:27,559 --> 00:42:30,280
chord guttural stuff. I'd have been on that kick, just

702
00:42:30,400 --> 00:42:31,960
kind of picked things I like and see if I

703
00:42:32,000 --> 00:42:33,159
can do them in my own way.

704
00:42:33,199 --> 00:42:34,079
Speaker 10: I guess yeah. Yeah.

705
00:42:35,039 --> 00:42:37,360
Speaker 9: Oh there's a song too that which was the song

706
00:42:37,440 --> 00:42:39,519
we played earlier that James, you you do some some

707
00:42:39,639 --> 00:42:41,639
of the harmony, because I think we talked about that

708
00:42:41,719 --> 00:42:42,960
off air with Grace.

709
00:42:43,239 --> 00:42:46,679
Speaker 10: Yeah, oh with Grace. Yeah, so you're on that too vocally.

710
00:42:46,440 --> 00:42:49,000
Speaker 16: With the last chorus, I kind of no, I'm in

711
00:42:49,079 --> 00:42:51,920
both yeah, yeah, yeah, the last one it has that

712
00:42:52,119 --> 00:42:54,800
really in the third harmony in the last.

713
00:42:54,719 --> 00:42:57,119
Speaker 10: Chorus, Yeah yeah, I kind of add some texture to it.

714
00:42:58,159 --> 00:42:59,920
Speaker 13: Is that is it just on that track?

715
00:43:00,079 --> 00:43:02,280
Speaker 10: Is that the only one where you've got a vocal? Yes? Yeah,

716
00:43:02,519 --> 00:43:04,519
Well you be doing that live too, like when when

717
00:43:04,559 --> 00:43:05,679
you guys play that live.

718
00:43:05,519 --> 00:43:05,920
Speaker 13: Will you be?

719
00:43:06,320 --> 00:43:10,239
Speaker 16: We've been feeling it out in the practice space. I

720
00:43:10,280 --> 00:43:13,400
think we started doing that after we were in the studio,

721
00:43:13,599 --> 00:43:15,840
just to see how it would be. So there's a

722
00:43:16,000 --> 00:43:19,679
chance eventually that I might start doing some of the harmonies,

723
00:43:19,760 --> 00:43:23,760
even the harmonies that Griffin was doing. But that's a

724
00:43:23,800 --> 00:43:25,599
little touch and go right now. I don't know if

725
00:43:25,639 --> 00:43:26,440
we're going to end up there.

726
00:43:26,639 --> 00:43:29,159
Speaker 9: Yeah, yeah, yeah, it might be tricky to pull off,

727
00:43:29,719 --> 00:43:32,519
but yeah, it's funny to you guys. We're talking about

728
00:43:33,159 --> 00:43:38,480
Morgan's storage. You have a practice space there, and it's funny.

729
00:43:38,599 --> 00:43:41,840
Speaker 10: I was remembering the I was in some bands that

730
00:43:42,000 --> 00:43:45,480
had rehearsal space there and the pain of when you're

731
00:43:45,519 --> 00:43:47,239
trying to do something and you've got a band right

732
00:43:47,320 --> 00:43:48,719
next door who's very loud, And.

733
00:43:49,679 --> 00:43:51,760
Speaker 9: I was talking with. I was there actually a couple

734
00:43:51,800 --> 00:43:54,159
of weeks ago. I went to meet with I don't

735
00:43:54,199 --> 00:43:55,760
know if you guys know the band day to attend,

736
00:43:56,880 --> 00:43:59,320
but I was in their practice space, and I swear

737
00:43:59,400 --> 00:44:02,360
it was so familiar that I think it might have

738
00:44:02,480 --> 00:44:04,440
been the same room, one of the rooms that I

739
00:44:04,559 --> 00:44:05,679
had there years ago.

740
00:44:06,119 --> 00:44:08,360
Speaker 10: But yeah, they were talking about that too. How sometimes

741
00:44:08,400 --> 00:44:10,559
it's such a challenge because there's so many bands in there,

742
00:44:11,079 --> 00:44:12,760
you know, and and if if you've got somebody right

743
00:44:12,840 --> 00:44:16,079
next door to you who's loud or I mean, I

744
00:44:16,480 --> 00:44:18,559
know there's I don't know if there's any you know,

745
00:44:18,599 --> 00:44:20,679
if there's any recording studios currently in there. I know

746
00:44:20,719 --> 00:44:22,480
there has been in the past, and I don't even know.

747
00:44:23,119 --> 00:44:24,599
I don't even know how they managed to do it,

748
00:44:24,679 --> 00:44:26,079
even with a lot of soundproofing.

749
00:44:26,159 --> 00:44:26,320
Speaker 5: You know.

750
00:44:26,519 --> 00:44:28,519
Speaker 18: Yeah, there's a lot of bands over there right now.

751
00:44:28,519 --> 00:44:30,840
I'd be surprised if anybody's trying to record anything.

752
00:44:31,039 --> 00:44:35,440
Speaker 10: Yeah, yeah, yeah, no doubt, no doubt.

753
00:44:36,320 --> 00:44:39,360
Speaker 9: You guys, I assume you rehearse on a pretty consistent

754
00:44:39,440 --> 00:44:42,280
basis because your music is you know, it's it's complex,

755
00:44:42,360 --> 00:44:44,639
it's not you know, it's not like a three chord

756
00:44:44,719 --> 00:44:46,679
thing that you can just pick up every you know,

757
00:44:46,719 --> 00:44:48,960
every few weeks, right, you guys must probably every week,

758
00:44:48,960 --> 00:44:49,400
I would think.

759
00:44:49,960 --> 00:44:52,599
Speaker 14: We for the past eight months we were doing three

760
00:44:52,760 --> 00:44:54,880
nights a week. Yeah, that's good, just to get the

761
00:44:54,920 --> 00:44:55,440
ball rolling.

762
00:44:55,639 --> 00:44:55,840
Speaker 10: Yeah.

763
00:44:55,920 --> 00:44:56,119
Speaker 7: Yeah.

764
00:44:56,159 --> 00:44:58,199
Speaker 14: And with the EPO, we're dropping it down to two

765
00:44:58,239 --> 00:44:58,719
nights a week.

766
00:44:58,840 --> 00:44:59,039
Speaker 10: Yeah.

767
00:44:59,079 --> 00:45:01,679
Speaker 14: Take a long day on Sundays and yeah, two and

768
00:45:01,719 --> 00:45:02,960
a half hour thing on Wednesdays.

769
00:45:03,119 --> 00:45:06,400
Speaker 12: Yeah, writing day and then like a rehearsing day, I guess.

770
00:45:06,599 --> 00:45:09,599
Speaker 10: Yeah, yeah, yeah, because imagine, I would imagine with what

771
00:45:09,679 --> 00:45:11,480
you're doing, if you take too much time off, it's

772
00:45:11,519 --> 00:45:12,559
probably hard to really.

773
00:45:12,679 --> 00:45:15,920
Speaker 18: You know, you don't want to lose, especially with the

774
00:45:15,960 --> 00:45:18,440
writing process. Yeah, yeah, sure, you've got to be in

775
00:45:18,519 --> 00:45:19,719
that headspace consistently.

776
00:45:20,000 --> 00:45:21,440
Speaker 12: Yeah, no doubt, no doubt.

777
00:45:21,760 --> 00:45:24,599
Speaker 10: You guys, do any covers or strictly original or when

778
00:45:24,639 --> 00:45:26,920
you when you are playing out on regular basis, will

779
00:45:26,920 --> 00:45:28,599
you be doing strictly originals?

780
00:45:28,639 --> 00:45:29,000
Speaker 7: Do you think?

781
00:45:29,159 --> 00:45:29,840
Speaker 14: Or probably?

782
00:45:30,039 --> 00:45:33,159
Speaker 12: I think strictly originals. We tried playing a couple of

783
00:45:33,199 --> 00:45:37,079
covers the first couple of practices when we first got together. Yeah,

784
00:45:38,840 --> 00:45:41,679
but I mean that was back in what November. The

785
00:45:41,760 --> 00:45:43,800
last time we played a cover songs back in November,

786
00:45:43,920 --> 00:45:46,079
So yeah, I think it's going to be all originals.

787
00:45:46,280 --> 00:45:49,440
Speaker 9: Yeah, yeah, no, that's good. That's good before we run

788
00:45:49,480 --> 00:45:50,880
out of time, because I do want to make sure

789
00:45:50,880 --> 00:45:54,039
we get this last uh track. And let's see, we

790
00:45:54,119 --> 00:45:59,280
haven't played Chemo yet. And I'm curious to ask you too,

791
00:45:59,280 --> 00:46:01,840
because we're gonna pla with a name like that. Is

792
00:46:01,880 --> 00:46:05,039
there a story behind this uh behind this song?

793
00:46:08,119 --> 00:46:13,119
Speaker 14: I read a couple of years ago that like every

794
00:46:13,199 --> 00:46:16,760
seven years, every cell on your body body has regenerated,

795
00:46:16,840 --> 00:46:18,360
so you're like not the same person. It's like that

796
00:46:18,440 --> 00:46:20,719
paradox of like the ship you replace every board is

797
00:46:20,760 --> 00:46:24,440
at the same ship. Right, So if you've like been

798
00:46:24,519 --> 00:46:26,480
through experiences in the past that kind of leave a

799
00:46:26,559 --> 00:46:29,519
sour taste in your mouth, there's the reassurance that like

800
00:46:29,760 --> 00:46:31,559
there will be a version of you that hasn't been

801
00:46:31,920 --> 00:46:33,679
like touched interested.

802
00:46:34,159 --> 00:46:37,920
Speaker 10: Yeah. Yeah, that's so, that's that's what the song is about.

803
00:46:37,960 --> 00:46:39,000
Speaker 14: I'd say, effectively.

804
00:46:39,079 --> 00:46:42,800
Speaker 9: Yeah, yeah, I've read that too. Actually, yeah, that's interesting. Yeah,

805
00:46:42,880 --> 00:46:44,960
so we'll listen to that in a moment when we

806
00:46:45,079 --> 00:46:47,320
close out the segment. But the other thing too, I

807
00:46:47,400 --> 00:46:50,159
want to make sure that people know uh where to

808
00:46:50,239 --> 00:46:50,760
find you guys.

809
00:46:50,800 --> 00:46:51,119
Speaker 10: Online.

810
00:46:51,119 --> 00:46:52,840
Speaker 9: Where's the best place to go. How they can keep

811
00:46:52,920 --> 00:46:54,400
up with everything that you're doing, how they can get

812
00:46:54,400 --> 00:46:54,800
the music?

813
00:46:55,079 --> 00:46:55,320
Speaker 8: This is?

814
00:46:55,760 --> 00:46:57,320
Speaker 10: Is this refresh my memory?

815
00:46:57,400 --> 00:46:57,519
Speaker 6: Is this?

816
00:46:58,000 --> 00:47:00,800
Speaker 10: This isn't quite out yet available as a fully p

817
00:47:00,960 --> 00:47:02,000
yet online.

818
00:47:01,679 --> 00:47:04,239
Speaker 14: Not on streaming No, okay. You pick up physical copies

819
00:47:04,320 --> 00:47:05,800
at the Music Connection in Manchester.

820
00:47:06,039 --> 00:47:06,679
Speaker 10: Oh excellent.

821
00:47:07,599 --> 00:47:09,159
Speaker 14: And I think we're gonna get them over to bull

822
00:47:09,239 --> 00:47:12,559
Moose eventually because they have a new one and I

823
00:47:12,599 --> 00:47:14,320
don't remember where they just they closed the one and

824
00:47:14,360 --> 00:47:16,239
sale and they moved it to somewhere else.

825
00:47:16,280 --> 00:47:17,840
Speaker 10: I was gonna say, yeah, they just moved right the

826
00:47:17,960 --> 00:47:18,880
Salomon Yeah.

827
00:47:18,840 --> 00:47:21,920
Speaker 14: Yeah, Newberry Comics eventually. Too good. We we gotta talk

828
00:47:21,960 --> 00:47:23,079
to them. We gotta figure that out though.

829
00:47:23,320 --> 00:47:23,519
Speaker 13: Yeah.

830
00:47:23,559 --> 00:47:28,320
Speaker 16: The fully drops on the twenty seven. That's correct, okay,

831
00:47:28,440 --> 00:47:32,800
And it'll be available on all the major streaming websites.

832
00:47:32,920 --> 00:47:38,760
We have band Camp, Spotify, iTunes, yeahzer oh yeah, yeah,

833
00:47:39,519 --> 00:47:40,119
they've been trying.

834
00:47:40,840 --> 00:47:40,960
Speaker 3: Uh.

835
00:47:41,400 --> 00:47:45,400
Speaker 10: I found Deezer by accident. I was googling one.

836
00:47:45,519 --> 00:47:45,639
Speaker 17: You know.

837
00:47:45,679 --> 00:47:47,559
Speaker 9: Every once in a while I'll just google Matt Conderton

838
00:47:47,639 --> 00:47:49,719
unleash to see if there's anything about the show, like

839
00:47:49,800 --> 00:47:52,800
if the show is Sometimes the show shows up places

840
00:47:52,840 --> 00:47:55,239
I don't know about. Yeah, that's literally how I found

841
00:47:55,280 --> 00:47:59,639
out about Deezer. I googled the show one day, and uh,

842
00:48:00,119 --> 00:48:02,360
link to Deezer pops up, and I'm like, oh, my

843
00:48:02,519 --> 00:48:08,039
show is on Deezer and I had no idea. But

844
00:48:08,559 --> 00:48:10,840
which is fine. It's great, you know, if somebody finds

845
00:48:10,920 --> 00:48:13,920
it that way. But yeah, but no, it's cool too

846
00:48:13,960 --> 00:48:16,519
that you're doing physical copies, because you know, not everyone does.

847
00:48:17,360 --> 00:48:19,519
Although I feel like lately most of the guests that

848
00:48:19,559 --> 00:48:22,679
we've had on do do physical copies. It seems like

849
00:48:22,760 --> 00:48:24,559
I feel like, maybe I don't know, five or six

850
00:48:24,639 --> 00:48:26,519
years ago, like there was a space of time where

851
00:48:27,559 --> 00:48:29,079
a lot of people were just kind of like, eh,

852
00:48:29,400 --> 00:48:31,880
do we really need to do physical copies? Everything's digital now,

853
00:48:32,000 --> 00:48:34,639
But I think it kind of came back, you know.

854
00:48:34,719 --> 00:48:37,440
People still like to have something they can especially with

855
00:48:37,800 --> 00:48:39,239
I don't know if you guys have any plans to

856
00:48:39,320 --> 00:48:42,320
do vinyl in the future, but it seems like vinyl.

857
00:48:42,039 --> 00:48:44,639
Speaker 10: Now a lot of a lot of our guests.

858
00:48:44,719 --> 00:48:47,280
Speaker 9: It's it's expensive to do it, but they'll do vinyl,

859
00:48:47,760 --> 00:48:49,960
you know, which is really just for the diehards, because

860
00:48:49,960 --> 00:48:52,599
I think most people if they buy vinyl, they probably

861
00:48:52,679 --> 00:48:54,760
never even open it. They just want to have it

862
00:48:54,880 --> 00:48:56,719
because if you really like, if you're a big fan

863
00:48:56,800 --> 00:48:59,320
of that artist, it's cool to have it. But you know,

864
00:48:59,480 --> 00:49:01,440
to actually have a record player and then open the

865
00:49:01,519 --> 00:49:03,400
vinyl up and put it on, it's probably not something

866
00:49:03,440 --> 00:49:05,000
people do, but but it's but it's.

867
00:49:04,880 --> 00:49:06,880
Speaker 10: Cool to have of that.

868
00:49:07,519 --> 00:49:11,920
Speaker 12: Oh yeah, a record ylh no kidding, yeah, last night,

869
00:49:12,079 --> 00:49:13,639
just flipping through the no kidding.

870
00:49:14,679 --> 00:49:15,119
Speaker 10: Oh cool.

871
00:49:15,400 --> 00:49:18,079
Speaker 12: I'd love to have a vinyl of our stuff. But

872
00:49:18,280 --> 00:49:22,079
as he said, it's ridiculously expensive. Oh yeah, yeah maybe

873
00:49:22,119 --> 00:49:23,119
some day, yeah, someday.

874
00:49:23,280 --> 00:49:23,480
Speaker 5: Yeah.

875
00:49:23,679 --> 00:49:23,880
Speaker 10: Yeah.

876
00:49:23,960 --> 00:49:25,400
Speaker 9: You got to sell a lot of them to recoup

877
00:49:25,440 --> 00:49:28,000
the cost of it, that's for sure. Yeah, but uh no,

878
00:49:28,119 --> 00:49:29,679
but I think it's cool that you have a physical CD,

879
00:49:29,760 --> 00:49:30,880
and I appreciate you bringing that in.

880
00:49:31,519 --> 00:49:31,960
Speaker 10: Absolutely.

881
00:49:32,000 --> 00:49:34,000
Speaker 9: We actually we do have a CD player here. I

882
00:49:34,159 --> 00:49:36,880
never use it, but I think the only one that

883
00:49:37,000 --> 00:49:38,480
uses it is Rob as a veto. He does a

884
00:49:38,519 --> 00:49:40,719
show here on Friday nights at six called Grantited State

885
00:49:40,760 --> 00:49:42,280
of Mind. I don't know if you know Rob. He

886
00:49:42,360 --> 00:49:45,239
also interviews local artists, and but he actually uses the

887
00:49:45,480 --> 00:49:48,079
CD player. I think I used it once. It does work,

888
00:49:48,519 --> 00:49:51,760
but but I don't even have one. I don't have

889
00:49:51,840 --> 00:49:54,239
one at home. Well, right, Jenny, you don't have anything

890
00:49:54,280 --> 00:49:57,719
to play. I'm I'm my old Mac that will play CDs.

891
00:49:58,320 --> 00:50:00,800
Speaker 10: That's the one we use. Yeah, yeah, but it's but

892
00:50:00,920 --> 00:50:02,440
it's good to have. It's good to have.

893
00:50:02,559 --> 00:50:04,159
Speaker 9: And of course if you have an older car too,

894
00:50:06,119 --> 00:50:10,559
CD players still still exist in older vehicles, but so

895
00:50:10,760 --> 00:50:11,119
we will.

896
00:50:12,000 --> 00:50:13,639
Speaker 10: And of course you guys are very easy to find

897
00:50:13,639 --> 00:50:14,159
if you google.

898
00:50:14,239 --> 00:50:20,159
Speaker 9: The forest forgets content right right, which is good. Good

899
00:50:20,159 --> 00:50:21,480
to pick a name that you know you're not gonna

900
00:50:21,480 --> 00:50:25,239
be fighting anybody over. No, but I really appreciate you

901
00:50:25,320 --> 00:50:27,639
guys coming in. We'll definitely have to do this again

902
00:50:27,639 --> 00:50:29,920
in the future, and thank you all four of you.

903
00:50:30,119 --> 00:50:33,519
And we will close out the segment with this another

904
00:50:33,599 --> 00:50:36,360
great track and the well I should mention too the

905
00:50:36,440 --> 00:50:39,599
name of the EP of wind and willow any particular

906
00:50:39,679 --> 00:50:41,079
meaning of the name of the EP by.

907
00:50:41,000 --> 00:50:44,239
Speaker 14: The way, No, it just felt like a cool visual. Yeah,

908
00:50:44,320 --> 00:50:47,159
you know, the sound of music when she's like standing

909
00:50:47,199 --> 00:50:49,199
in the grass and it's like a nold blowing.

910
00:50:49,400 --> 00:50:49,639
Speaker 7: Yeah.

911
00:50:49,800 --> 00:50:52,280
Speaker 14: Yeah, I guess in my mind it's where I wanted

912
00:50:52,320 --> 00:50:53,079
my grandparents to go.

913
00:50:53,360 --> 00:50:55,880
Speaker 10: Oh interesting, okay, okay, Oh, very nice.

914
00:50:56,000 --> 00:50:58,519
Speaker 9: All right, So we will close with this track. This

915
00:50:58,639 --> 00:51:02,039
is Chemo and if you're listening live on Saturday morning,

916
00:51:02,280 --> 00:51:04,239
we do have a lot of show left to go.

917
00:51:04,480 --> 00:51:07,880
Speaker 10: But guys, thank you again, thank you very much. Here

918
00:51:07,920 --> 00:51:09,719
it is the forest forgets Chema.

919
00:51:20,000 --> 00:51:48,360
Speaker 7: You James, thank you, Charter.

920
00:51:57,159 --> 00:52:04,039
Speaker 2: Refusing to subside time the whole minion running. So my

921
00:52:04,320 --> 00:52:13,039
soul feel coming back your hands on the toorial underneath

922
00:52:13,199 --> 00:52:15,039
the sting and think that.

923
00:52:15,400 --> 00:52:22,159
Speaker 1: Of course, I say far out this this casting you

924
00:52:22,559 --> 00:52:24,360
lady comes.

925
00:52:24,159 --> 00:52:27,840
Speaker 2: When further soups.

926
00:52:27,480 --> 00:52:33,199
Speaker 7: To say, to.

927
00:52:38,719 --> 00:52:47,679
Speaker 5: Find for jail the taste not cry my dad, it's

928
00:52:47,760 --> 00:52:57,840
a thing down the crossway? Man, did the south you out?

929
00:52:58,840 --> 00:52:59,400
Speaker 8: You drop me?

930
00:53:00,039 --> 00:53:10,280
Speaker 2: I said, my eyes I could real.

931
00:53:12,360 --> 00:53:18,920
Speaker 5: Child for you killed that kid? You couldn't see the door.

932
00:53:19,559 --> 00:53:31,400
What for Neverson coming back the hands toil under knead

933
00:53:31,599 --> 00:53:34,159
Breskin out from b.

934
00:53:36,119 --> 00:53:43,920
Speaker 2: Say firs came out not swimming far soon.

935
00:53:44,519 --> 00:53:45,320
Speaker 7: But it's all right.

936
00:53:45,599 --> 00:53:46,000
Speaker 2: It's so.

937
00:53:50,360 --> 00:54:57,280
Speaker 6: So in times of crisis, you need a law firm

938
00:54:57,320 --> 00:55:00,519
that stands by your side. With over forty years of experience,

939
00:55:00,639 --> 00:55:04,320
Craigan Getsulis is dedicated to fighting for your rights. As

940
00:55:04,400 --> 00:55:07,519
former state prosecutors, our attorneys have the knowledge and trial

941
00:55:07,639 --> 00:55:11,519
experience to provide an aggressive defense against any charge, from

942
00:55:11,599 --> 00:55:15,880
DUIs to homicides. If you've been injured, our compassionate team

943
00:55:15,920 --> 00:55:18,840
will assess your case and fight for the compensation you deserve.

944
00:55:19,320 --> 00:55:22,199
Serving all of New Hampshire. Craigan Getzulis is here when

945
00:55:22,239 --> 00:55:25,360
you need us most. Visit Craigatzulis dot com or call

946
00:55:25,480 --> 00:55:28,239
six oh three five five five one two three four

947
00:55:28,360 --> 00:55:33,239
for a free consultation. Craigan getsulus, your advocates, your allies.

948
00:55:33,360 --> 00:55:37,440
Speaker 20: Bring your kitchen to life with Queen City Cabinetry, located

949
00:55:37,559 --> 00:55:41,000
at eighty seven Elm Street in the historic Sunbeam Wall

950
00:55:41,159 --> 00:55:44,880
in Manchester, open Monday through Friday nine am to five

951
00:55:45,039 --> 00:55:49,239
thirty pm, in Saturdays ten am to two pm. They

952
00:55:49,320 --> 00:55:52,480
can be reached at six oh three two two two

953
00:55:52,880 --> 00:55:56,079
to zero zero seven. We're on the web at Queen

954
00:55:56,199 --> 00:56:02,760
Citycabinetry NH dot com. The possibility is Queen City Cabinet Treatment.

955
00:56:02,880 --> 00:56:07,679
Another round sponsor of WMNH. Disney's Cafe is the place

956
00:56:07,760 --> 00:56:09,840
to put a smile on your face. Judy and the

957
00:56:09,960 --> 00:56:12,880
crew will take care of you, bring your appetite and

958
00:56:13,079 --> 00:56:13,639
treat your.

959
00:56:13,599 --> 00:56:18,119
Speaker 15: Taste buds Right Business. Cafe is always a winning choice. Breakfast,

960
00:56:18,360 --> 00:56:22,679
lunch or supper Dizze's Cafe at eight sixty Elm Street

961
00:56:22,800 --> 00:56:26,039
in downtown Manchester. Dine in, take out or make a

962
00:56:26,119 --> 00:56:30,039
reservation call six h three, six h six two five

963
00:56:30,480 --> 00:56:34,719
three to two, eat, drink and be happy Dizzne's Cafe.

964
00:56:35,039 --> 00:56:37,760
Speaker 17: When it comes to keeping WMNH on the air and

965
00:56:37,880 --> 00:56:41,639
your own personal or business computer needs, trust Groland Computers,

966
00:56:41,880 --> 00:56:45,639
located on Elm Street in Manchester. Groland handles computer repair,

967
00:56:45,880 --> 00:56:48,760
virus removal and custom built systems. Are you looking for

968
00:56:48,880 --> 00:56:52,159
budget friendly options, check out our selection of fully inspected

969
00:56:52,280 --> 00:56:56,360
used computers. We offer tailored on site solutions no unnecessary

970
00:56:56,440 --> 00:56:59,920
expenses here. Visit Groland dot com or call Grolling Computers

971
00:57:00,199 --> 00:57:03,760
at six zero three six four five zero one zero one.

972
00:57:03,960 --> 00:57:07,119
Your Tech, Your way, Trust roll In Computers.

973
00:57:09,639 --> 00:57:17,719
Speaker 11: Zero Midnight seven times out of ten we listened to

974
00:57:17,880 --> 00:57:19,320
our music at night.

975
00:57:21,320 --> 00:57:24,519
Speaker 2: That's one titled Businesses program.

976
00:57:24,360 --> 00:57:27,679
Speaker 20: Late Night to Light with DJ Midas right here on WMNH,

977
00:57:27,920 --> 00:57:28,719
Manchester if you.

978
00:57:28,719 --> 00:57:30,159
Speaker 2: Want to know, Because.

979
00:57:31,880 --> 00:57:34,239
Speaker 12: Saturdays and Sunday nights midnight to four am.

980
00:57:35,599 --> 00:57:41,079
Speaker 21: This hour on WMNH is sponsored by CGI Business Solutions,

981
00:57:41,400 --> 00:57:45,400
located at five Dartmouth Drive in Auburn. They serve all

982
00:57:45,519 --> 00:57:49,960
your business needs including employee benefits, planning, corporate design and

983
00:57:50,079 --> 00:57:56,079
business administration, investments and wealth management and customized business insurance solutions.

984
00:57:56,360 --> 00:57:58,920
Their phone number is eight six six eighty four to

985
00:57:59,000 --> 00:58:02,760
one forty six hundred, or on the web at CGI

986
00:58:03,000 --> 00:58:04,800
Business Solutions dot com.

987
00:58:07,840 --> 00:58:11,360
Speaker 15: Behold the harmony of airwaves as you immerse yourself in

988
00:58:11,400 --> 00:58:15,480
the captivating frequencies of w m NHLP, the sonic heart

989
00:58:15,559 --> 00:58:19,159
meets of Manchester, transcending through the ether at ninety five

990
00:58:19,199 --> 00:58:22,960
point three megahertz frequency modulation or transmissions emanate from the

991
00:58:23,039 --> 00:58:24,800
seed at the one thousand Elm Street.

992
00:58:25,199 --> 00:58:27,559
Speaker 21: Enture into the hearts of our creative realm at one

993
00:58:27,679 --> 00:58:31,079
nineteen Canal Street, where innovation and sound collage.

994
00:58:31,679 --> 00:58:34,880
Speaker 20: They're the improm mod of Manchester Public Television Service in

995
00:58:34,920 --> 00:58:37,639
the venerable City of Manchester, New Hampshire, USA.

996
00:58:38,079 --> 00:58:41,079
Speaker 15: Enrich your auditory journey with the depth of our license

997
00:58:41,159 --> 00:58:43,039
to WESDSPT your missives.

998
00:58:43,079 --> 00:58:46,800
Speaker 20: Do WMNH ninety five three at gmail dot com or

999
00:58:46,920 --> 00:58:50,519
traverse the virtual corridors of wmnhradio dot org.

1000
00:58:50,679 --> 00:58:53,639
Speaker 15: Engage with our sonic vibrations by communing with us through

1001
00:58:53,679 --> 00:58:54,960
the digital channels and or

1002
00:58:55,119 --> 00:58:59,000
Speaker 20: Radio beckons eager to enthrall you with its mesmerizing cadence

1003
00:58:59,039 --> 00:59:01,880
and a vilap you, a symfony of foundless audits, horners,

1004
00:59:01,920 --> 00:59:05,280
One daughter, m hmmm