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Speaker 1: Welcome back everybody. We are well into our third hour

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New Marrow trace of Matt Connorton Unleashed and we are

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live from the studios of wm NH ninety five point

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three FM in Glorious Manchester, New Hampshire, streaming at Matt

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connorton dot com slash Live. Today is Saturday, September twenty one,

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two thy twenty four and we just heard a track

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called four and Ever and that is wisely done and

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we have Stephen Michael Done is here with us live

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in studio. Hello, welcome. Oh, I don't have your mic up.

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I apologize for that. Let's try that again.

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Speaker 2: Hello, Hello sir, there we go.

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Speaker 1: We switched switched on Mike's at the last minute. There,

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but now that sounds good, so welcome. It has been

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quite a long time since you and I talked.

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Speaker 2: Yes, sir, it's been a lifetime.

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Speaker 1: I have interviewed you before. What it must have been

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fifth like literally like fifteen years ago. Yes, is that

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even possible. It's amazing. That doesn't even seem possible to me.

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It's funny because you would uh, you had reached out

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to us, and you had mentioned uh at the time

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you were in the band supplication, and I remember I

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think in your message you said something like I don't

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know if you remember me or and I was like, oh,

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of course I remember the band. And then I saw

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your picture on Facebook and I was like, oh, yeah,

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I totally remember you. But uh yeah, so that was yeah,

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that was quite some time ago. And you said I

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actually interviewed you twice back then.

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Speaker 2: Yeah. Yeah, one was with our drummer and bass player,

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and the second one was just the bass player.

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Speaker 1: Okay, Scott, right, Scott Perry. Yeah, Scott and I are

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still in touch.

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Speaker 2: He did.

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Speaker 1: He did a podcast a few years ago called Courtesy Call,

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and and I was I was involved in that a

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little bit, helped him with that.

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Speaker 2: But oh fantastic.

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Speaker 1: Yeah, yeah, yeah, because I remember the interview with What

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I remember about the interview with you and Scott Boy

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is that you were relentless in picking on him, you know,

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and it was it was a fun way. Yeah, you know,

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it was obviously there was camaraderie, although there were a

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couple of moments there where he did seem legitimately frustrated.

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Speaker 2: But I don't know, if you know the Jason Newstead

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situation where they where they hazed him ridiculous.

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Speaker 1: Oh of course, yeah, that was it.

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Speaker 2: Was we were kids and kind of a holes, you know,

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that's that's what happens. He was new, No, it was.

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Speaker 1: It was fun though. It was funny and all those

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all those interviews are still available online too, but jeez,

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I might have to go back and revisit that. Yeah,

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that was that was fun. But now how long were

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how long did you guys work together? In Supplication? That

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that was a while, right, that that band went on?

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Speaker 2: Yeah, I mean we took a four year hiatus just

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for families and issues and things, and we came back

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last year. Actually okay, you know, stronger than ever. We

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got a new bass player.

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Speaker 1: Oh very good fits.

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Speaker 2: The band, and there was no hazing period necessary. Yeah,

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we are all adults. Is a different time, yeah, yeah, no,

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it's like fifteen years.

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Speaker 1: Yeah.

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Speaker 2: I started in seven with them and wow around COVID area,

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took a break, yep, and then back at it.

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Speaker 1: So Supplication so that exists now you guys are still

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doing that. Yeah, outstanding. Good for you, Good for you.

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And in addition to that, so we have wisely done

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is the official name of this project. Yeah, and this

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and this is all you correct?

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Speaker 2: Yeah, doing the drums, bass, guitars, vocals, mixing. I had

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to reach out for artwork. I wanted to do it myself.

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I'm somewhat of an artist, yeah, painter, but uh yeah.

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Speaker 1: What what went into the decision to And obviously, like

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I said, you know, you've still got the band supplication,

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But what went into the decision because that's a lot

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to take on. Like, I've always been really impressed. You know,

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I'm a musician. I've played in bands, but I've never

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done anything where and I've always got I wondered what

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it would be like to do something where I'm doing

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everything myself and it's, you know, entirely my vision, which

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it sounds like it would be very rewarding, but it

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also sounds like a hell of a lot of work

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and just an enormous challenge. So what what went into

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your decision to do this project?

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Speaker 2: Originally I had a friend who was going to going

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to do vocals, and he, hey, have you already? He

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took his life, So.

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Speaker 1: Oh my god, I'm sorry to hear that.

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Speaker 2: Wow, I decided just to keep on trucking.

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Speaker 1: Yeah, oh wow, that's terrible. So he was going to

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do the vocals and you were going to do everything else?

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Was that the original plan?

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Speaker 2: Yeah, and I'm just like, no, I'm going to do this.

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Speaker 1: Yeah wow, oh that's horrible. But so uh was this?

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Is this the first project where you've done lead vocals.

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Speaker 2: Or I've dabbled in doing so stuff before, but never

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the music was never this well put together. It was

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never I never saw it as presentable. Yeah, you know,

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but there was a copyright claim issue and that had

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a lot to do with the naming of everything. But

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I took a few years back, step back and really

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worked on my songwriting and came back with this wisely

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done project.

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Speaker 1: What was the I'm fascinated Anything involving copyright and trademark

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is fascinating to me. Like what happened?

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Speaker 2: What was the issue? So I didn't know because I'm

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foolish and this was beyond my time. But there was

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a band whom name was sam Hean, but they didn't

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copyright the name, and for me, it was a super

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I had a super like black metal mindset, you know. Yeah,

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so I thought that was perfect, perfect name, perfect name.

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Didn't look into it. It was just like released album,

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you know, Oh no kidding, Yeah, yeah, you know, it

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didn't go anywhere, but that's fine. And they talked to

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me like hey, and I was like, oh ho, I

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didn't know.

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Speaker 1: Yeah, yeah, a lesson learned. Yeah right, yeah, Now does

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any of this music and uh and and well we'll

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play some more of it as we go. But does

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any of this also cross over into supplication or are

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you keeping this all completely separate?

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Speaker 2: Yeah? No, I was really influenced by black metal music

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and I was trying to bring that into Supplication and

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it didn't work. It didn't jive with the guys. It

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didn't you know what I mean. So this is all separate.

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Speaker 1: Okay, Okay, that surprises me actually that that you weren't

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able to because from what I remember about Supplication, I mean,

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it's pretty pretty well. The sound may have changed, though

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I haven't heard you guys in a in a long time.

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Speaker 2: More less shreddy, more consistently groovy okay you know, slam

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yeah yeah yeah, chugging along yeah.

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Speaker 1: And with this material, I mean, do you have any

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plans to perform this in any way? I'm not. I'm

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not sure how you would do it. It's just you.

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Speaker 2: But there is a one man band out there called

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Putrid Pile who goes out and tours and he's he's

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a legend now, but he's been doing that for like

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twenty years. I couldn't see myself, uh doing that, but

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I could see myself consistently releasing records. Yeah, you know,

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in a timely manner.

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Speaker 1: And this has a lot of tracks, which is interesting

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to me because you know, we live in a time

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where you can you can do it so many different ways.

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You know, some artists just release singles. Some artists will

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release a series of singles with the goal ultimately for

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it to become an album. You know, sort of of

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the inverse of how it used to be. You release

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an album and then you release singles from the album.

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Some artists just only release singles and that's all they

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ever do. So some release an EP. You know, we

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had the Forest Forgets On in the first hour, and

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they have an any EP that just came out. What

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went into your decision to make a full album, because again,

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it's like you've already you've already taken on the responsibility

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of doing this all yourself. You're not only doing it

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all yourself, but you're you're made a whole album out

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of this.

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Speaker 2: Yeah, I mean that was the goal to begin with.

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It was never It was never about you know, getting

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music out there and just doing it. It was doing it

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for myself and doing it for doing it for them,

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for the memory of it.

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Speaker 1: Yeah. But is it uh? Is it something that I

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don't know if? Well? Is there less pressure in terms

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of supplication? Obviously being in a band with a bunch

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of guys, you know, you want to do as much

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as you can in terms of you want as large

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an audience as you can get and whatnot and play

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all these shows and stuff. So is this as a

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solo project, is this more kind of you don't have

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that pressure?

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Speaker 2: Uh? Yeah. I can just pretty much do what I want.

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I you know, just I suppose I can release singles

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and do everything like that. I just wanted to get

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this out there. Yeah, you know, I I have I

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have my next record in mind, you know, I just

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want to keep going with some music.

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Speaker 1: Yeah yeah, yeah, yeah, that's that's awesome. Uh, well, we

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can play another track. Do you have a what what

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do you have in mind? I put you on the

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spot here.

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Speaker 2: How about praise? Praise?

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Speaker 1: Gotcha? Any kind of a story behind this? Yeah?

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Speaker 2: Absolutely, it's basically you know, reflecting on my upbringing and

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now that I have a son, how it reflects with

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him and how it's basically full circle.

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Speaker 1: And yeah, so this is a very personal song.

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Speaker 2: Yeah, sounds like yeah, this whole album, it's very different

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from Supplication that's which which is you know, normal death metal.

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This is very personal everything on the record.

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Speaker 1: So yeah, all right, let's give this a listen. This

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is wisely done and the track is called Praise.

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Speaker 3: Said why girls got by day? Mom said had time Mom?

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Speaker 4: Right, I sh sho so well.

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Speaker 5: Right? Why got do by a bys.

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Speaker 6: Goot swash all by my bob, my jab I I yeah.

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Speaker 7: Ball call out frid b my dad, No no not

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I john my.

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Speaker 4: Baby ba battle shaw I had my back bottle shirt.

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Speaker 6: And shirt well show oh to street?

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Speaker 5: Why go about pretty?

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Speaker 6: Got a shaw time? Oh I got shape?

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Speaker 7: Shot got by shock but I ex fine a shot.

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Speaker 5: SI.

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Speaker 1: The track is Praise the Artist is wisely done here

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with us live in studio, and yeah, we're talking off

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air a little bit about the track. You know, you

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were pointing out how you kind of do a thing

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there where the chorus that actually slows down instead of

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speeding up like you might like you might expect, and

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it sounded like too. Was there another were the vocals

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layered in that? Yeah, it sounded Yeah, it kind of

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added some texture to it that I liked.

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Speaker 2: I am not brave enough to do a solo take

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right right.

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Speaker 1: I'm always fascinated too by singers who can do that.

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We we talked about this a little bit with Griffin

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from the Forest Forgets. You know, in their music, you know,

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he sings it clean for the most part, but then

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there's some there's some screams, usually kind of toward the

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end as the song builds. But to be able to

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sing like that, what is your like? Do you have

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any kind of a protocol to kind of protect your voice,

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protect your vocal chords, because I would imagine that. I mean,

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if I tried to do that, I'd probably uh destroy

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my larynx or something. I mean, how do you how

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do you do that? And how do you learn to

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do that?

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Speaker 2: Basically singing along to songs you like songs, you know,

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but if there's any pressure in your throat or anything

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like that, you're not doing it right. You're supposed to

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come from your gut, Yeah, you know, the tone comes

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from your throat if you think of it like that. Yeah,

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and also how you position your tongue if you put

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it in the through for your mouth and yeah, I

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don't want to yeah yeah.

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Speaker 4: Yeah.

239
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Speaker 1: Griffin was kind of saying too, if as long as

240
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like it's not it sounds difficult, but it's not difficult

241
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if you learn to do it correctly, which is important too,

242
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because if you learn to do it correctly, you're a

243
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lot less likely to hurt yourself, you know, because there's

244
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no shortage of stories of you know, singers who've had

245
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to have you know, usually as when they get older,

246
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they have to have throat surgeries and you know, because

247
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they've put all this stress and strain on their vocal

248
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cords over the years. But was it h Have you

249
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always been able to do that? Because I would imagine like,

250
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do you do backing vocals in supplication?

251
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Speaker 2: Yeah? Absolutely, Yeah, so you already had that that skill, Yeah,

252
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pretty much. It was it was learning to try to

253
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to sing normally. That's the key, that's the right right.

254
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Speaker 1: There's that it's it's kind of a famous among musicians.

255
00:16:53,320 --> 00:16:56,360
What is it called the zen of screaming? Do you

256
00:16:56,440 --> 00:17:00,720
know the she's a teacher, Yeah, she's a vocal coach. Yeah,

257
00:17:01,000 --> 00:17:03,960
I think it's called the Zen of Screaming and uh,

258
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and she has a DVD or now you know, you

259
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probably just stream it now. But that that I've been

260
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hearing about from from singers who sing those aggressive vocals

261
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for probably twenty years now. But but I guess she

262
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kind of she's known. I wish I could remember her name,

263
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but I guess, right, I guess she's known for being

264
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kind of the best teacher in terms of again, how

265
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to do that, how to do that safely. But when

266
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you're recording this music and you're singing like that, you

267
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have to take you have to take breaks and kind

268
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of let your your vocal chords recover or are you

269
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able to just maintain that?

270
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Speaker 2: No, I can pretty much roll with it. I'll do

271
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a verse, you know, I'll I'll mix it a little bit.

272
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I'll do the underlaying verse and then just move on.

273
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Speaker 1: Yeah.

274
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Speaker 2: So I mean I can do it for six hours.

275
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It just wow, you know, just kind of I guess

276
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it ebbs and flows. Yeah, I'm not screaming on minutes

277
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on end, right, right, right?

278
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Speaker 1: And can you tell me about your recording process? You know,

279
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I'm a recording nerd. I love hearing about this stuff.

280
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And you know it's funny just as we were talking

281
00:18:07,759 --> 00:18:11,079
earlier about especially you know since the last time I

282
00:18:11,200 --> 00:18:13,319
interviewed you. Uh, there's so many different ways now to

283
00:18:13,400 --> 00:18:15,519
release music. There's also so many different ways now to

284
00:18:15,599 --> 00:18:17,640
record music. You know, you can you can go to

285
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a recording studio like a lot of our guests, for example,

286
00:18:21,880 --> 00:18:25,599
they go to Eric Sotter at Blackheart. You can do

287
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that and and get great results. But you can also,

288
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if you know what you're doing, you can record in

289
00:18:31,079 --> 00:18:35,000
your living room and get great results too. What's what's

290
00:18:35,079 --> 00:18:35,759
your process?

291
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Speaker 5: What? What?

292
00:18:36,400 --> 00:18:37,680
Speaker 1: How did you record this music?

293
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Speaker 2: This is as di I Y cheap as possible, the

294
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total black metal essence if you know anything about black

295
00:18:46,319 --> 00:18:51,000
metal recording on a little you know, tape tape recorder. Yeah, yeah,

296
00:18:51,200 --> 00:18:56,079
that essence. But now new in the new age, ye

297
00:18:57,480 --> 00:19:05,759
just starting mostly USB USB microphones, electronic drums. I got

298
00:19:05,799 --> 00:19:09,920
an SD twelve hundred kit, yeah, and that I tweaked

299
00:19:09,960 --> 00:19:12,440
it to make it sound as real as possible, so

300
00:19:13,200 --> 00:19:17,200
hopefully you wouldn't be able to tell. Yeah, But as

301
00:19:17,359 --> 00:19:22,119
actual writing and that goes, I start with guitar, get

302
00:19:22,160 --> 00:19:25,759
the skeleton of the song, and then I'll click it

303
00:19:25,839 --> 00:19:30,279
out with a metronome and then record drums to the

304
00:19:30,839 --> 00:19:35,880
scratch guitar, oh for real interesting, Okay, and then I'll

305
00:19:35,920 --> 00:19:39,000
do real guitars over that and real you know everything else.

306
00:19:39,839 --> 00:19:44,960
Speaker 1: Yeah, so for you, So it's easiest to get that

307
00:19:45,160 --> 00:19:48,880
scratch guitar track down first, so you know where you

308
00:19:49,000 --> 00:19:51,519
are in the song, and then you do the Yeah,

309
00:19:51,559 --> 00:19:54,599
the drums do sound realistic. That's another thing too, that's

310
00:19:54,640 --> 00:19:58,200
amazing about I know geez, because there was a time

311
00:19:58,440 --> 00:20:02,200
when you know, you could tell, right, like like twenty

312
00:20:02,279 --> 00:20:04,799
years ago if you heard something I mean, not necessarily

313
00:20:04,880 --> 00:20:07,880
something recorded with a drum machine and a million dollar studio,

314
00:20:08,160 --> 00:20:10,759
because they would obviously have a very very good drum machine.

315
00:20:11,039 --> 00:20:13,319
But you know, if you listen to somebody's demo and

316
00:20:13,400 --> 00:20:15,640
it was done with a drum machine, you could tell, yeah,

317
00:20:15,640 --> 00:20:18,359
you know what I mean. But now the drum sounds

318
00:20:18,400 --> 00:20:23,039
are so. We had a guest on a couple of

319
00:20:23,119 --> 00:20:27,279
years ago. I forget his actual h his government name

320
00:20:27,319 --> 00:20:30,279
as they say, but he has a project called Downhill

321
00:20:30,400 --> 00:20:33,559
Rollers and it's all him and I just I was

322
00:20:33,720 --> 00:20:36,079
floored when he told me that those were pre programmed

323
00:20:36,119 --> 00:20:39,160
drums on pro program drums on his tracks because they

324
00:20:39,240 --> 00:20:41,400
sounded so realistic. I was like, I can't believe you

325
00:20:41,519 --> 00:20:43,519
got such a realistic you know, I mean it really

326
00:20:43,599 --> 00:20:45,759
does sound like a live drummer. I know some of

327
00:20:45,839 --> 00:20:48,680
these programs too, they have I think they just call

328
00:20:48,720 --> 00:20:51,799
it a humanizer effect where you can that you can

329
00:20:51,880 --> 00:20:54,559
put on it so that it's not quite perfect.

330
00:20:55,440 --> 00:20:57,680
Speaker 2: So that that sounds wild to me. I know, right, No,

331
00:20:57,960 --> 00:21:01,920
this is not quantized, be corrected. This is not you know,

332
00:21:02,200 --> 00:21:02,839
this is not that.

333
00:21:03,279 --> 00:21:08,559
Speaker 1: Yeah, yeah, no, so that's uh, that's amazing. Is the process?

334
00:21:09,480 --> 00:21:12,400
Like if you could put an average on it, how

335
00:21:12,559 --> 00:21:14,720
long does it take? How long did it take you

336
00:21:14,799 --> 00:21:15,880
to record each track?

337
00:21:16,400 --> 00:21:22,279
Speaker 2: Each song on this album, between like writing itself and

338
00:21:23,240 --> 00:21:25,640
recording and everything that goes along with it, probably one

339
00:21:25,720 --> 00:21:30,200
hundred hours of track no kidding, wow, I mean that's

340
00:21:30,240 --> 00:21:35,319
a lot of mixing and too, So that's accounting everything.

341
00:21:36,119 --> 00:21:38,000
Speaker 1: So you do all the mixing yourself and everything.

342
00:21:38,160 --> 00:21:41,759
Speaker 2: Yes, unfortunately that is the most tedious. I dislike that

343
00:21:42,039 --> 00:21:42,400
the most.

344
00:21:43,000 --> 00:21:48,079
Speaker 1: Yeah yeah, well yeah, You're fatigue is probably a big problem,

345
00:21:48,240 --> 00:21:48,559
right sir.

346
00:21:48,720 --> 00:21:50,960
Speaker 2: Yeah, yeah, I don't know if you guys know that

347
00:21:51,119 --> 00:21:53,480
meme where it's a I've been working on my record

348
00:21:53,519 --> 00:21:55,559
for six hours all night and now it sounds worse.

349
00:21:55,759 --> 00:21:59,519
Speaker 1: Yeah, yeah, yeah, do you have to Yeah for a

350
00:21:59,599 --> 00:22:02,680
listener who don't know. Uh, you know, if if you

351
00:22:03,440 --> 00:22:06,359
listen to something over and over again as you're working

352
00:22:06,440 --> 00:22:08,480
on it, you kind of get you know, part of

353
00:22:08,519 --> 00:22:10,480
it is psychological, right, you kind of get sick of it,

354
00:22:10,559 --> 00:22:11,759
and part of it I think that I think there

355
00:22:11,799 --> 00:22:14,319
is a physical ear fatigue too that can happen, especially

356
00:22:14,680 --> 00:22:16,599
you know if you've got your headphones really loud because

357
00:22:16,640 --> 00:22:18,920
you don't want to miss anything, but then you know,

358
00:22:19,119 --> 00:22:22,039
you start to get your ears are ringing. You've got tonight,

359
00:22:22,119 --> 00:22:24,319
this and the you know, the whole deal. So yeah,

360
00:22:24,319 --> 00:22:26,319
I mean you probably I assume over the course of

361
00:22:26,359 --> 00:22:28,279
this project there were probably many a moment that you

362
00:22:28,359 --> 00:22:30,559
had to just get up and walk away from it.

363
00:22:30,640 --> 00:22:36,119
Speaker 2: Right you know, yeah, no, absolutely it I I quantify

364
00:22:36,400 --> 00:22:39,279
like trying to move a mountain with a bucket. It's

365
00:22:39,359 --> 00:22:41,079
like just lit a little bit at a time. Yeah,

366
00:22:41,079 --> 00:22:43,000
you know, it's a daily process. It's something you got

367
00:22:43,079 --> 00:22:45,759
to do every day. It's like working out, you know, Yeah,

368
00:22:45,839 --> 00:22:48,319
you've got to do it, got to build momentum and.

369
00:22:49,960 --> 00:22:53,160
Speaker 1: You know, yeah, how do you say motivated. I mean,

370
00:22:53,200 --> 00:22:55,240
do you over the course of recording this, did you

371
00:22:55,319 --> 00:22:56,960
ever have a moment where you thought, I don't know

372
00:22:57,039 --> 00:22:59,160
if I don't know if I'm on the right the

373
00:22:59,279 --> 00:23:01,960
right track here, no pun intended, but yeah.

374
00:23:01,880 --> 00:23:06,920
Speaker 2: Only all the time. Yeah, yeah, no, I I was

375
00:23:06,960 --> 00:23:10,039
pretty dead set on what I wanted to do. There

376
00:23:10,119 --> 00:23:12,880
was there was a few songs I didn't make the record, yeah,

377
00:23:13,279 --> 00:23:18,680
but motivation wise, it just came from came from losing

378
00:23:18,720 --> 00:23:19,160
my buddy.

379
00:23:19,519 --> 00:23:25,480
Speaker 1: H So, yeah, do you plan to You strike me

380
00:23:25,519 --> 00:23:28,680
as someone who probably writes a lot. I assume you

381
00:23:28,759 --> 00:23:31,079
have other music that you've written. Do you plan to

382
00:23:31,200 --> 00:23:33,839
continue past this album? Do you plan to do another

383
00:23:33,880 --> 00:23:34,559
one in the future?

384
00:23:34,799 --> 00:23:38,680
Speaker 2: Yeah, My next one is Uncherished. I have nine songs

385
00:23:38,759 --> 00:23:39,279
ready for it.

386
00:23:39,480 --> 00:23:42,400
Speaker 1: Oh wow. Yeah, yeah, so you're already you're already working

387
00:23:42,440 --> 00:23:42,640
on it.

388
00:23:42,720 --> 00:23:44,359
Speaker 2: I've been. I've been sitting on this record for a

389
00:23:44,440 --> 00:23:44,880
little while.

390
00:23:45,119 --> 00:23:45,680
Speaker 1: Yeah, so.

391
00:23:47,559 --> 00:23:50,640
Speaker 2: You know, over the past few months, just been writing

392
00:23:50,839 --> 00:23:53,720
and letting those juices flow and all that.

393
00:23:54,119 --> 00:23:58,200
Speaker 1: Yeah. Yeah, outstanding. Well, let's yeah, let's playin it. Yeah.

394
00:23:58,200 --> 00:23:59,920
Oh yeah, we got plenty of time. Let's play another one.

395
00:24:00,599 --> 00:24:01,599
What should we play next?

396
00:24:05,119 --> 00:24:05,799
Speaker 2: Queen or King?

397
00:24:07,079 --> 00:24:12,359
Speaker 1: Queen or King all right? And why am I not

398
00:24:12,559 --> 00:24:16,079
seeing that? I'm seeing Queen of Queen of Escalation.

399
00:24:16,400 --> 00:24:18,559
Speaker 2: Yeah? Oh is that it? Yeah, let's roll with that.

400
00:24:18,759 --> 00:24:21,359
Speaker 1: Oh, I see you weren't saying okay Queen or uh.

401
00:24:21,440 --> 00:24:24,960
I'm sorry. Oh you were offering me two options because

402
00:24:24,960 --> 00:24:28,359
you have you have Queen of Escalation and King of inattention.

403
00:24:28,519 --> 00:24:32,680
Speaker 2: Okay, all right, I'm taking shots at myself and everyone else.

404
00:24:34,000 --> 00:24:36,519
Speaker 1: What's the okay? So Queen of Escalation will play and

405
00:24:36,640 --> 00:24:38,599
what's a story behind this one?

406
00:24:40,000 --> 00:24:44,920
Speaker 2: Just a significant other at the time and a relationship song. Yeah, yep.

407
00:24:45,759 --> 00:24:48,240
Can never win, you can never get ahead, you can

408
00:24:48,319 --> 00:24:52,680
never You know, everyone's been there, so I hope not everyone.

409
00:24:52,799 --> 00:24:56,640
Speaker 1: But I have to ask has she heard this that

410
00:24:56,839 --> 00:24:57,160
you know of?

411
00:24:58,160 --> 00:24:58,319
Speaker 2: Yes?

412
00:25:00,920 --> 00:25:02,920
Speaker 1: And what how did she like it?

413
00:25:03,480 --> 00:25:04,119
Speaker 2: Let's just into it.

414
00:25:04,559 --> 00:25:07,799
Speaker 1: She is good, okay, goad no love love Okay, that's good.

415
00:25:08,559 --> 00:25:10,279
All right, Let's give this a listen. This is Queen

416
00:25:10,319 --> 00:25:13,039
of Escalation by Wisely Done.

417
00:26:01,359 --> 00:26:04,279
Speaker 6: Man. I'm by spot By show.

418
00:26:04,640 --> 00:26:15,000
Speaker 8: You talk of those when work will all broad stop farther,

419
00:26:15,279 --> 00:26:21,559
I w W talk by left for the adverse, says

420
00:26:21,680 --> 00:26:22,359
your show.

421
00:26:26,000 --> 00:26:27,240
Speaker 6: I've John start.

422
00:26:27,160 --> 00:26:29,559
Speaker 3: Weird side.

423
00:26:32,240 --> 00:26:39,240
Speaker 4: Till sat Com wat sound my sounds, so.

424
00:26:42,440 --> 00:26:43,920
Speaker 6: Do shop to do so.

425
00:26:47,759 --> 00:26:55,759
Speaker 8: I blot my chin ostout the door, stating wherever.

426
00:26:55,680 --> 00:26:56,599
Speaker 6: Work wise.

427
00:26:59,119 --> 00:27:03,799
Speaker 7: Ip talking about wine my why to all.

428
00:27:05,920 --> 00:27:10,680
Speaker 6: Job sixt so on for two to nut sound now

429
00:27:10,839 --> 00:28:14,640
outside out pow like no, so I call.

430
00:28:21,519 --> 00:29:00,119
Speaker 9: Oh, I'm going to have all your hapco.

431
00:28:43,920 --> 00:28:54,319
Speaker 6: Sound sign your song skil ser call my song sa

432
00:28:54,839 --> 00:29:15,000
son snell chat Wow.

433
00:29:48,160 --> 00:29:51,359
Speaker 1: That is queen of escalation. The project is wisely done

434
00:29:51,519 --> 00:29:54,480
and we have Stephen Michael done with us here live

435
00:29:54,680 --> 00:29:58,960
in studio and that is all him and h very

436
00:29:59,119 --> 00:30:07,319
very cool. Now, are you in terms of going forward

437
00:30:07,400 --> 00:30:12,119
with this will because you you mentioned was it I

438
00:30:12,200 --> 00:30:14,160
forget en if it was? Oh no, I was on aeron. Yeah,

439
00:30:14,200 --> 00:30:16,680
we're talking about the next project. You've already got songs

440
00:30:16,759 --> 00:30:19,839
written and ready to go. Yes, Do you have a

441
00:30:19,920 --> 00:30:22,400
theme in mind for that project as well, because this

442
00:30:22,480 --> 00:30:24,359
one seems to have you know, you told this kind

443
00:30:24,400 --> 00:30:27,680
of the backstory of how this came about. Is is

444
00:30:27,720 --> 00:30:29,759
there some sort of a theme with the next album

445
00:30:29,839 --> 00:30:30,920
or is it just going to be more of a

446
00:30:31,000 --> 00:30:32,160
collection of songs or.

447
00:30:34,440 --> 00:30:38,039
Speaker 2: In the same way that this is a collection of songs,

448
00:30:38,160 --> 00:30:42,079
we're loosely based around you know, myself and everything in

449
00:30:42,160 --> 00:30:44,960
my life. Yeah, it'll be more of the same. Yeah,

450
00:30:45,160 --> 00:30:49,400
but the music is I think stepped up, and I

451
00:30:51,200 --> 00:30:53,240
I'm definitely taking notes from this album.

452
00:30:53,519 --> 00:30:59,240
Speaker 1: Yeah yeah. Will you're will your approach change or I

453
00:30:59,319 --> 00:31:01,519
mean in terms of because again, you know, you're doing

454
00:31:01,559 --> 00:31:04,519
everything yourself, so that gives you the freedom to really

455
00:31:04,599 --> 00:31:06,440
kind of do it however you want, well your your

456
00:31:06,519 --> 00:31:09,559
process change at all, or do you think you're gonna

457
00:31:09,599 --> 00:31:11,079
do it pretty much the same way.

458
00:31:11,759 --> 00:31:13,920
Speaker 2: I'm gonna do it the same way. The songs are

459
00:31:13,920 --> 00:31:18,559
a little simpler. I can do more layers with guitars

460
00:31:18,720 --> 00:31:25,799
and more harmonies, more solos. Yeah, yeah, improve to me anyway. Yeah, yeah,

461
00:31:26,000 --> 00:31:27,839
it feels it feels good to me. They feel good.

462
00:31:28,160 --> 00:31:30,519
Speaker 1: Do you intend to bring in any guest musicians or

463
00:31:30,599 --> 00:31:33,200
guest vocalists or anything like that, or is it important

464
00:31:33,240 --> 00:31:35,640
to you to kind of keep this, keep this as

465
00:31:35,720 --> 00:31:39,279
your you know, your expression and so forth.

466
00:31:39,799 --> 00:31:43,799
Speaker 2: I'd never considered it, to be honest. Yeah, I think

467
00:31:43,839 --> 00:31:48,880
I'm just gonna keep it just just from how from

468
00:31:48,960 --> 00:31:51,440
how it started with me and my buddy. I think

469
00:31:51,640 --> 00:31:52,880
i think I'm gonna keep it just me.

470
00:31:53,200 --> 00:31:57,279
Speaker 1: Yeah, yeah, no, that makes sense. Does anybody from supplication

471
00:31:57,400 --> 00:31:59,400
ever say hey, man, i'd like to I'd like to

472
00:31:59,440 --> 00:32:02,519
help you with the or do they do they understand

473
00:32:02,599 --> 00:32:04,880
that this is this is yours and you want to

474
00:32:04,960 --> 00:32:05,599
keep it separate.

475
00:32:06,039 --> 00:32:09,559
Speaker 2: No, they're they're definitely cool with it. They they helped

476
00:32:09,599 --> 00:32:12,759
me pick songs and yeah, you know good. You know

477
00:32:13,039 --> 00:32:15,960
it's not like, oh, yeah, he's he's doing his thing

478
00:32:16,400 --> 00:32:17,839
when he has time, right right.

479
00:32:20,440 --> 00:32:21,119
Speaker 1: No, that's good.

480
00:32:21,880 --> 00:32:24,960
Speaker 2: That's good that there's no issues there. That's how this

481
00:32:25,000 --> 00:32:25,799
whole thing came about.

482
00:32:25,880 --> 00:32:26,000
Speaker 6: You know.

483
00:32:26,119 --> 00:32:28,000
Speaker 2: I was like, you know, we're not really getting a

484
00:32:28,039 --> 00:32:30,000
lot of things done in the band. It's taken a

485
00:32:30,039 --> 00:32:32,519
long time. It's taken years. I'm just gonna learn how

486
00:32:32,519 --> 00:32:35,799
to play drums. Yeah, and then you know, ten fifteen

487
00:32:35,880 --> 00:32:36,319
years later.

488
00:32:36,599 --> 00:32:42,200
Speaker 1: Yeah, we should explain to people too who are listening

489
00:32:42,240 --> 00:32:45,119
who might not know. You know, we've referred to this

490
00:32:45,359 --> 00:32:49,119
genre as black metal. Can you define that for our listeners.

491
00:32:48,720 --> 00:32:53,039
Speaker 2: Who, Well, it's definitely not true black mel because that

492
00:32:53,160 --> 00:32:57,039
matters because these people are very elitist and categorical and

493
00:32:57,440 --> 00:33:01,480
gay keeping and don't listen to me. It's metal with

494
00:33:01,880 --> 00:33:06,000
some black metal influences, okay, but definitely has the spirit. Yeah,

495
00:33:06,079 --> 00:33:07,160
the lo Fi Spirit.

496
00:33:07,400 --> 00:33:07,640
Speaker 1: Yeah.

497
00:33:09,759 --> 00:33:13,720
Speaker 2: Yeah, black metal itself, like from the eighties, like the

498
00:33:13,799 --> 00:33:18,640
whole you know, Norwegian stuff, Yeah, Satanic Panic and all that,

499
00:33:18,839 --> 00:33:23,279
and then forty years later it's just kind of a influence.

500
00:33:23,759 --> 00:33:26,039
Speaker 1: Yeah. I mean it's tricky when you get into genres

501
00:33:26,079 --> 00:33:28,920
and labels and everything, because you're right, I mean, people

502
00:33:29,480 --> 00:33:35,079
people argue over you know, what is well, first of all,

503
00:33:35,160 --> 00:33:38,079
people have difficulty even agreeing what is quote unquote metal.

504
00:33:38,440 --> 00:33:40,880
You know, some some people have a very narrow definition

505
00:33:40,960 --> 00:33:43,240
of metal. Some people think that only the very heaviest

506
00:33:43,359 --> 00:33:46,039
of metal is truly metal. Yeah, and some people think

507
00:33:46,079 --> 00:33:48,359
a band like Poison, you know, we used to call

508
00:33:48,440 --> 00:33:51,240
it hair metal. You know, it's like, well metal though,

509
00:33:51,640 --> 00:33:55,079
is that? You know, it's it's uh, you know, nobody agrees.

510
00:33:55,279 --> 00:33:57,400
Speaker 2: Or a kid might say now like oh Disturbed or

511
00:33:57,519 --> 00:34:00,160
five Finger Death Punch, like yes, okay, they are they

512
00:34:00,200 --> 00:34:03,759
are metal, yes, but whether or not those who are

513
00:34:03,799 --> 00:34:04,799
into medal like them.

514
00:34:05,319 --> 00:34:10,000
Speaker 1: Right, Yeah, Yeah, I worked in so I used to uh,

515
00:34:10,400 --> 00:34:12,280
well when an interview do before I was working there

516
00:34:12,360 --> 00:34:16,519
actually at Strawberries you remember Strawberries Befoh yeah, I love that. Yeah,

517
00:34:16,880 --> 00:34:21,920
and then eventually Fye because they bought us. But I

518
00:34:22,039 --> 00:34:25,599
worked in different locations over the years with that company,

519
00:34:25,639 --> 00:34:29,280
and there was one there was one location. You know

520
00:34:29,360 --> 00:34:31,960
how the CDs, remember, they would be broken out by category,

521
00:34:32,559 --> 00:34:35,159
so you add most of the stores, you know, like

522
00:34:35,440 --> 00:34:39,320
anything popular. You know, we had like we had a pop,

523
00:34:39,559 --> 00:34:43,159
R and B rock section which is what dominated the store,

524
00:34:43,679 --> 00:34:46,079
which would basically, you know, like you would have Disturbed

525
00:34:46,119 --> 00:34:48,119
in there, but you would also have Jennifer Lopez in

526
00:34:48,159 --> 00:34:50,559
There was just kind of everything sure, you know, everything

527
00:34:50,639 --> 00:34:53,840
that wasn't considered quote unquote niche or niche I guess

528
00:34:53,880 --> 00:34:55,159
now everyone says niche.

529
00:34:55,239 --> 00:34:57,320
Speaker 2: But there was world.

530
00:34:57,880 --> 00:35:00,679
Speaker 1: Yeah, there was one location that I worked in that

531
00:35:00,760 --> 00:35:04,480
actually had a metal section because I guess they felt

532
00:35:04,559 --> 00:35:06,360
that it I can't remember which one it was, but

533
00:35:06,480 --> 00:35:10,559
I guess they felt that it was appropriate for that location.

534
00:35:11,239 --> 00:35:14,039
But it was weird because I always thought it was

535
00:35:14,280 --> 00:35:17,360
just awkward because inevitably, you know, people would come in

536
00:35:17,440 --> 00:35:19,760
and they'd be looking for things in the metal section

537
00:35:20,119 --> 00:35:22,039
that wouldn't be there that they thought should be there,

538
00:35:22,079 --> 00:35:24,960
but they'd be in this broader pop rock section and

539
00:35:25,079 --> 00:35:27,480
there and there'd be people who would be like, well,

540
00:35:27,719 --> 00:35:29,559
you know, they'd find things in the metal section that

541
00:35:30,400 --> 00:35:32,320
you know, they didn't think should be there, and they

542
00:35:32,639 --> 00:35:36,960
would would complain about that. And that same location we

543
00:35:37,000 --> 00:35:40,079
also had a punk section, and you can imagine what

544
00:35:40,159 --> 00:35:42,719
a nightmare that would be, you know, because you know,

545
00:35:42,840 --> 00:35:44,800
you put Green Day in there and then people are

546
00:35:44,880 --> 00:35:47,960
mad about it. Do you have great? Well, you know,

547
00:35:48,079 --> 00:35:50,280
we generally consider them a punk band, but why they're

548
00:35:50,320 --> 00:35:51,360
not real punkin.

549
00:35:51,360 --> 00:35:52,920
Speaker 2: You know, it's just like, do we need a pop

550
00:35:52,960 --> 00:35:54,159
punk section? Yeah?

551
00:35:54,960 --> 00:35:58,519
Speaker 1: It just we probably should have had one. But you know,

552
00:35:58,840 --> 00:36:01,119
when you get into the label and the genres and everything,

553
00:36:01,159 --> 00:36:01,639
it's tricky.

554
00:36:01,760 --> 00:36:05,239
Speaker 2: Yeah, yeah, yeah, I found so many random fines and

555
00:36:05,960 --> 00:36:09,559
fantastic albums just through through looking. I missed I miss

556
00:36:09,639 --> 00:36:12,199
actual CDs? Yes, absolutely, yeah.

557
00:36:12,679 --> 00:36:14,800
Speaker 1: Do you plan to release release this on or maybe

558
00:36:14,800 --> 00:36:16,559
you already have is a CD?

559
00:36:16,719 --> 00:36:18,880
Speaker 2: Or I want to get it picked up my label

560
00:36:18,920 --> 00:36:22,079
and just do a small yeah, you know, one hundred

561
00:36:22,119 --> 00:36:23,519
five hundred thousand whatever it is.

562
00:36:23,880 --> 00:36:28,159
Speaker 1: Yeah, yeah, no, that's that's great. His supplication. Do you

563
00:36:28,199 --> 00:36:30,000
guys have anything out on CD currently?

564
00:36:30,840 --> 00:36:33,280
Speaker 2: Yeah? I almost gave you one, but I'm a terrible.

565
00:36:34,719 --> 00:36:35,199
Speaker 1: That's all right.

566
00:36:35,679 --> 00:36:38,000
Speaker 2: It was from two years ago. We had an album. Okay,

567
00:36:38,039 --> 00:36:40,840
I can't tell you a little record label. But yeah, yeah, yeah,

568
00:36:42,239 --> 00:36:44,400
we'll have we'll have a new EP coming out next year.

569
00:36:44,519 --> 00:36:46,559
Oh excellent, excellent, we got eight songs.

570
00:36:47,280 --> 00:36:49,960
Speaker 1: That's another thing I remember from my days at Strawberries

571
00:36:50,039 --> 00:36:52,039
was when everyone would talk about how oh you know,

572
00:36:52,320 --> 00:36:55,159
because like I was working there when Napster first became

573
00:36:55,199 --> 00:36:59,039
a big deal. Oh sure, and uh, everybody was like, oh,

574
00:36:59,119 --> 00:37:01,639
that's the end of CD, you know, And then Napster

575
00:37:01,760 --> 00:37:04,480
kind of faded. But then Spotify came in and you know,

576
00:37:04,719 --> 00:37:06,800
iTunes and everything, and everybody was like, oh, that's the

577
00:37:06,920 --> 00:37:09,280
end of CDs. And here we are in twenty twenty

578
00:37:09,320 --> 00:37:12,480
four and there's still you know, like our first guests,

579
00:37:12,480 --> 00:37:14,519
the Forrest Forgets, gave us a CD. You know, there's

580
00:37:14,519 --> 00:37:15,199
still lots of CD.

581
00:37:15,320 --> 00:37:15,480
Speaker 5: Yeah.

582
00:37:15,480 --> 00:37:16,320
Speaker 2: I told you I was a bad guest.

583
00:37:16,440 --> 00:37:19,800
Speaker 1: Yeah, alright, that's all right. It's the thought that counts.

584
00:37:19,920 --> 00:37:23,480
Speaker 2: Yeah, I did. I was, I was here, I was

585
00:37:23,519 --> 00:37:25,239
on the throne. I'm like, yeah, I should totally get

586
00:37:25,280 --> 00:37:27,320
him something, right.

587
00:37:29,000 --> 00:37:33,039
Speaker 1: But you're no, you didn't need to know where you

588
00:37:33,119 --> 00:37:33,519
were thinking.

589
00:37:33,719 --> 00:37:35,159
Speaker 2: Oh, come on, that doesn't matter.

590
00:37:35,559 --> 00:37:36,280
Speaker 1: It's fine.

591
00:37:36,440 --> 00:37:36,760
Speaker 3: Some of it.

592
00:37:37,199 --> 00:37:39,239
Speaker 1: We're men. We do our best thinking there, right.

593
00:37:39,400 --> 00:37:40,519
Speaker 2: I was on the drum throne.

594
00:37:40,960 --> 00:37:43,360
Speaker 1: Right, that's that's that's clearly what you meant.

595
00:37:43,519 --> 00:37:47,039
Speaker 2: Yes, highlight.

596
00:37:48,679 --> 00:37:51,719
Speaker 1: And what about any kind of visual representation for any

597
00:37:51,719 --> 00:37:53,440
of these songs you plan to do any any kind

598
00:37:53,440 --> 00:37:54,199
of videos or anything.

599
00:37:54,440 --> 00:37:59,400
Speaker 2: Yeah, you know Rob Thomas kid very well, Yeah he does.

600
00:37:59,800 --> 00:38:00,880
He as his video.

601
00:38:01,159 --> 00:38:04,360
Speaker 1: Oh he's killing it right now. Yeah. Yeah, he found

602
00:38:04,440 --> 00:38:09,119
his Fourth Kind Films niche Yeah, yep, Yeah, Rob's doing great.

603
00:38:10,800 --> 00:38:14,880
I've interviewed him. He actually, he might hold the record

604
00:38:15,079 --> 00:38:20,039
for a number of times interviewed by me. Oh, I've

605
00:38:20,119 --> 00:38:25,000
probably interviewed him. Not quite double digits, but close.

606
00:38:25,760 --> 00:38:27,159
Speaker 2: He is relentless in his work.

607
00:38:27,280 --> 00:38:30,599
Speaker 1: Yes, yes, and he's fascinating to talk to a great guy,

608
00:38:31,199 --> 00:38:34,199
so talented. But I think the next time I interview him,

609
00:38:34,280 --> 00:38:36,039
because I'm sure we'll have him on the show again soon.

610
00:38:36,679 --> 00:38:39,480
Uh it may it may not be as Kdaver, it

611
00:38:39,599 --> 00:38:42,400
may be as as as Rob because I think he's

612
00:38:42,519 --> 00:38:45,519
kind of now that he's so successful with Fourth Kind Films,

613
00:38:45,519 --> 00:38:47,360
I think he's kind of leaving Kadaver behind.

614
00:38:47,559 --> 00:38:51,440
Speaker 2: Yeah yeah, yeah, sorry I didn't know a name on

615
00:38:51,519 --> 00:38:53,559
the spot, but oh the.

616
00:38:53,679 --> 00:38:57,039
Speaker 1: Fourth Kind Films. Yeah yeah, yeah, but no, he's he's

617
00:38:57,079 --> 00:39:02,079
doing fantastic. Yeah, so you're gonna do a video with him? Yeah, excellent,

618
00:39:03,239 --> 00:39:04,840
very cool. Do you know what what track yet?

619
00:39:04,960 --> 00:39:07,320
Speaker 2: Or I have absolutely no idea? Yeah, it's such a

620
00:39:07,559 --> 00:39:09,519
It was pull and teeth trying to figure out which

621
00:39:09,559 --> 00:39:11,840
songs I was gonna play here the way here.

622
00:39:11,840 --> 00:39:16,920
Speaker 1: Yeah, yeah, no doubt, no doubt. Well we do, we

623
00:39:17,039 --> 00:39:19,440
have time, Well, we'll play Uh, we'll play one more.

624
00:39:19,480 --> 00:39:21,480
In a moment, I was thinking maybe we should play

625
00:39:21,519 --> 00:39:23,920
the We'll play the King of an attention since we

626
00:39:24,000 --> 00:39:25,400
played the Queen of Escalation.

627
00:39:25,599 --> 00:39:26,400
Speaker 2: All right, sounds good.

628
00:39:26,480 --> 00:39:29,400
Speaker 1: And I have a feeling and not just because of

629
00:39:29,480 --> 00:39:32,159
the royalty presented by the titles, but I have a

630
00:39:32,199 --> 00:39:34,599
feeling these are these are these songs connected? Is this

631
00:39:34,719 --> 00:39:38,039
also a relationship related song?

632
00:39:38,320 --> 00:39:38,519
Speaker 3: Yeah?

633
00:39:38,719 --> 00:39:40,840
Speaker 2: Yeah? Taking shots at myself this time?

634
00:39:41,000 --> 00:39:44,039
Speaker 1: Ah yes, same same relationship though.

635
00:39:45,320 --> 00:39:50,159
Speaker 2: Or that and with added context of my son. Oh okay,

636
00:39:50,639 --> 00:39:53,360
he's uh, he's a very bright little boy, but he's

637
00:39:53,400 --> 00:39:58,239
also he's also special needs. Okay, okay, there's there has

638
00:39:58,320 --> 00:40:01,719
been blame and there has been heartache and it's been

639
00:40:01,760 --> 00:40:02,320
a long road.

640
00:40:02,639 --> 00:40:06,920
Speaker 1: Yeah no, that's that's uh, that's challenging though, so you know, good,

641
00:40:07,000 --> 00:40:08,960
good for you to be able to handle that, oh,

642
00:40:09,159 --> 00:40:13,599
thank you and absolutely absolutely And where should people go online?

643
00:40:13,599 --> 00:40:15,119
I want to make sure everyone knows where to find

644
00:40:15,159 --> 00:40:16,559
your music. Where's the best place to go?

645
00:40:17,199 --> 00:40:17,320
Speaker 5: Uh?

646
00:40:17,920 --> 00:40:22,719
Speaker 2: Facebook, Apple, Amazon, pretty much all the little streaming services

647
00:40:22,800 --> 00:40:27,840
that people use and don't Yeah, yeah, right now. You

648
00:40:27,960 --> 00:40:30,880
can get hold of me pretty much every day on TikTok. Okay,

649
00:40:31,000 --> 00:40:34,440
that's been a big thing at Stephen Michael Dunn. But

650
00:40:34,639 --> 00:40:39,559
I'm always posting wisely done stuff and I'm posting supplication stuff.

651
00:40:40,360 --> 00:40:45,239
Speaker 1: And yeah, excellent, excellent, very good. So we'll uh, we'll

652
00:40:45,280 --> 00:40:47,760
hit that track in a moment. And Jenny, you want

653
00:40:47,800 --> 00:40:49,119
to plug your your website.

654
00:40:49,679 --> 00:40:52,039
Speaker 10: Sure you can check out more on me at Gencoffee

655
00:40:52,079 --> 00:40:54,079
dot com j E N N C O F f

656
00:40:54,199 --> 00:40:56,159
U I dot com. And don't forget one of my

657
00:40:56,239 --> 00:40:59,719
paintings is hanging at the Mosaic Art Collective, part of

658
00:40:59,760 --> 00:41:02,039
the Full Circle the Speed of Light Show, which is

659
00:41:02,119 --> 00:41:05,719
on exhibit for the month. Check it out at sixty

660
00:41:05,800 --> 00:41:07,719
six Hanover Street here in the Queen City.

661
00:41:08,079 --> 00:41:10,599
Speaker 1: Yes, and that will be up until the end of September,

662
00:41:10,679 --> 00:41:12,679
the end of the month. Yeah. The painting, yeah, yeah,

663
00:41:12,840 --> 00:41:13,159
very good.

664
00:41:13,360 --> 00:41:15,159
Speaker 10: And they are doing in our call right now for

665
00:41:15,280 --> 00:41:18,360
the next show on spell Bounds. I'll go check it out, submit.

666
00:41:18,159 --> 00:41:21,800
Speaker 1: Your work, yes, yes, and let's see so if you

667
00:41:21,840 --> 00:41:23,239
miss any part of today's show and it will be

668
00:41:23,320 --> 00:41:26,159
up in just a little bit at Wmnhradio dot organ

669
00:41:26,199 --> 00:41:28,719
at my website Matt Connorton dot com. Thank you again,

670
00:41:28,760 --> 00:41:30,920
of course to the Forest Forgets for joining us in

671
00:41:31,039 --> 00:41:32,960
the first hour, and of course in the second hour.

672
00:41:33,039 --> 00:41:36,199
We had justin from four HM Clothing along with Joey

673
00:41:36,239 --> 00:41:40,280
Painter here and really loved speaking with them and Stephen

674
00:41:40,320 --> 00:41:42,320
Michael done. Thank you again so much, my friend for

675
00:41:42,599 --> 00:41:44,760
reaching out. It's great to see you. It's it's been

676
00:41:44,800 --> 00:41:45,840
a long day as well.

677
00:41:45,920 --> 00:41:47,239
Speaker 2: Yes, absolutely yeah.

678
00:41:47,320 --> 00:41:49,360
Speaker 1: Where do the years go? And as we get older

679
00:41:49,400 --> 00:41:50,199
the time goes quicker?

680
00:41:50,239 --> 00:41:52,360
Speaker 2: If you notice, absolutely, it's not a good thing.

681
00:41:52,840 --> 00:41:53,519
Speaker 1: It's not a good thing.

682
00:41:53,599 --> 00:41:56,679
Speaker 2: I remember what did you eat last week?

683
00:41:57,639 --> 00:41:57,840
Speaker 6: Oh?

684
00:42:01,920 --> 00:42:02,400
Speaker 2: Exactly?

685
00:42:02,800 --> 00:42:05,239
Speaker 1: All right, So we will we will close out with this.

686
00:42:05,639 --> 00:42:08,519
This is uh wisely done, is the project, and this

687
00:42:08,760 --> 00:42:12,159
is called King of inattention