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Speaker 1: Let go of the way you're supposed to behave the

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things you should walk, the things you should say.

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Speaker 2: You shocked us both.

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Speaker 3: You open the door, we both walk through, and now

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you're running through my body like the current, like the

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rising time, the fom.

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Speaker 4: The something about you.

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Speaker 5: Transcence time transcends time.

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Speaker 6: Leaps over decades between your.

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Speaker 2: Mind. There's a break. We can't tonight.

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Speaker 7: We can tonight to try to stop it.

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Speaker 2: Would be a food.

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Speaker 6: F sumaraniski, the need for retreat.

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Speaker 2: Now look in your an.

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Speaker 8: Said seat. Chose it out of moday. Nothing good of

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a game? Tu say it inside. You shocked us both

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over the door.

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Speaker 3: We both walk and you're running through my body like

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a current rising time.

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Speaker 2: Bob, do something.

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Speaker 5: About transcence time, transcend time, leave silver.

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Speaker 2: Decades between your.

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Speaker 4: Smile. There's something can stop stock.

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Speaker 9: It's a great track. I love that. That is Fool's

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Fight by Jesse Kilgis, and we're gonna be talking to

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Jesse in just a moment. Welcome everybody. We have entered

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our number three of Matt Connorton Unleashed and we are

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live from the studios of w m n H ninety

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five point three FM and Glorious Manchester, New Hampshire. Today

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is Saturday, December thirteenth, twenty twenty five. Genius here at

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the news table and let's see joining us, joining us

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via WhatsApp. Jesse Kilga is here. Jesse. Can you hear us?

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Speaker 10: Yes, I Ken, can you hear me?

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Speaker 9: Absolutely? Yes, you sound great. Welcome to the show.

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Speaker 10: Thank you, Thank you so much.

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Speaker 9: Yeah, I love that song. It's one of those things

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he just kind of sway to you know when you

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hear it, that's really really good. Well, thank you also,

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so we we love your sound. Also excited to talk

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to you because we were playing actually I played at

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the end of the Last Hour Win by Charlie neland

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because I was very as I was reading about you,

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I was quite pleased to see that that you've worked

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with Charlie because he was actually on the show with

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us recently and we had a fascinating conversation. He's an

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amazing guy. Oh great, But he's he's your producer. Is

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that correct?

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Speaker 10: Well, he produced this record.

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Speaker 2: Yeah.

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Speaker 11: I've worked with multiple different people on all the different

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records I've made, but Charlie and I have been working

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on and off for almost twenty years.

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Speaker 9: Oh no, kidding. Wow, yeah, Oh that's amazing.

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Speaker 10: Yeah, he produced this one.

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Speaker 9: What is it about? What is it about working with

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Charlie out? Because the record is great? They have a

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Howard Johnson's there. I love it. What is it about?

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What is it about working with Charlie that that brings

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out out this great music in you?

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Speaker 11: Well, Charlie's just multi talented, plays a bunch of different

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instruments and is a great engineer and producer.

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Speaker 8: Yeah.

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Speaker 11: But yeah, but IM a wonderful person too, So he's

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just very easy to work with.

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Speaker 9: Yeah, yeah, no, that makes sense. That makes sense. And

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tell us about the title, by the way of the album.

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I love the title. There's a Howard that they have

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a Howard Johnson's there.

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Speaker 11: So that's a line from my song Howard Johnson's and

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I wrote that song. I took a poetry writing workshop

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with the performance artist Karen Finley and the theme of

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the workshop was Dog Day Afternoon and Oh we had

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to watch the movie and then we had his poetry

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workshop inspired by that and this. I took this workshop

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about a month after my father died and his name

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was Howard. And there's a line in the movie where

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al Pacine says something like I'm going to Algeria.

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Speaker 10: They have a Howard Johnson's or something.

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Speaker 11: I just really stood out to me because my dad's

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name was Howard and it was just so ridiculous to

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the line. Yeah, yeah, I wrote a song kind of

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based around that.

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Speaker 9: Oh that's cool. That's funny too. That's such a great film.

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But I haven't watched it in so long, and I

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didn't I didn't even remember that line until you said it.

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Speaker 2: It holds up.

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Speaker 10: It's such a good movie.

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Speaker 9: Yeah, yeah, it does, it does absolutely absolutely. And what

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can you tell us about Fool's Fight? That's a that's

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a great track. I really like that as I thank you. Yeah, yeah, yeah, that's.

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Speaker 12: You know.

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Speaker 11: That was kind of inspired a little bit by some

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books I was reading by Ellena Ferrante, but it's also

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inspired by my own life and experiences. But I have

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a songwriting club with my friend Rembert Block, who sings

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back up on that song. Okay's She's a great singer, songwriter,

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multi instrumentalist. She and I have a club of two

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people we meet every month and have to share a

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new song.

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Speaker 9: Okay.

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Speaker 11: So that song came out of that process, which is

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really useful to have you know, a deadline every month.

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Speaker 9: Yeah, I'm curious about that because that's such an interesting

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concept to me, because is it like, because obviously everybody

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writes differently. Some people like to some people need to

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feel a little bit of pressure, you know, to really

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get the known writing. Some some people can't stop writing,

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and they actually write more music than they could ever

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or books or whatever it is, than they could ever

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actually use. Like, do you find that useful to have

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that little bit of pressure, like to have that deadline?

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Speaker 4: I do.

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Speaker 10: E've been REMEMBERT and I have had this club for

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over two years now. It's really useful.

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Speaker 11: Just sometimes I feel more productive with writing and like

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I have more ideas. But sometimes it's just useful to

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flex the muscle, even if I don't like the song.

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Speaker 10: Yeah, it comes out of it.

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Speaker 9: Yeah yeah, yeah, it kind of forces well obviously, and

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you know it's a successful partnership. Clearly. Are any of

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the other songs on the album? Did they also come

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out of that?

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Speaker 13: Yes?

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Speaker 11: Saint Teresa in Ecstasy from that process?

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Speaker 10: Hm, what else is on there?

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Speaker 2: Yeah?

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Speaker 10: I think all of them except for Howard Johnson's.

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Speaker 9: Oh No kidding okay, yeah, excellent, excellent And what about

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your approach. You know, I was, I was reading something about,

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you know, nostalgia clever layered nostalgia online. I mean, is

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that is that something that that you might have uh

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said or I forget exactly where I saw that. As

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I was researching you, I thought you had said something

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about that somewhere.

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Speaker 10: That doesn't ring a bell.

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Speaker 9: Yeah, but.

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Speaker 10: I think that you know, some of my songs are

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can be pretty nostalgic.

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Speaker 9: Yeah, but yeah, Well it's funny though, because there's almost

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a timelessness to it in a way, like you listen

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to a song like Fool's Fight and and that could

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that could have been any time? Really, you know, that's

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obviously it's it's a current song, but it could have

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been you know, it could have been ten, twenty thirty

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years ago and it would fit in any era if

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if that makes sense, and which I think, which I

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think is cool when you have something that it could

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it could have come out anytime and it would have

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sounded relevant to that period.

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Speaker 10: Oh cool, that's a that's a really nice compliment, thank you.

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Speaker 9: Yeah, no, no, like I said, I mean, and the

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whole thing is it sounds like that to me. It

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kind of reminds me a little bit of you know,

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it's funny. I remember when I was a kid and

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the MTV at a show called one hundred and twenty

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Minutes on Sunday nights, and it was two hours of

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It was two hours of music that you wouldn't necessarily

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hear on mainstream radio at that time. And uh and

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a lot of the music, you know, the alternative music

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from that period. I remember it. It had that sort

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of sort of that timeless thing about it where it

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was like, Okay, this is this is something happening now

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that's not in the mainstream, but this could have this

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could have happened ten years ago and it would have

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sounded you know, or maybe it would happen in the

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future and it would sound good. So yeah, yeah, yeah, yeah.

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I'm also really curious to ask about your acting career.

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Uh yeah, sure, that's that's it interesting to me and

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and and I'm very interested too in how that informs

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your approach to music or or whether you kind of

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compartmentalize all that as some people do, or or or

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you know, or do the two kind of influence each other.

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Speaker 11: Well, I don't act anymore. It used to be my

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prime primary art forum. I haven't acted in about twenty years.

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Speaker 9: I all walked out on it, Okay, but I did.

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Speaker 11: I did, you know, go to college and graduate school

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for it.

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Speaker 10: And I did work professionally on.

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Speaker 11: The stage in England, and I did one movie The

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Crucible with Daniel da Lewis, and one on a writer Wow,

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and yeah, and but I had this amazing experience working

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on it. I was part of a Tom Waits musical

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that the star was Mary Unfaithful and the other star

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was Mary Margaret O'Hara, who's another amazing songwriter, singer, songwriter,

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okay Canadian. If you don't know her, she's worth looking up.

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And the band of that show was incredible. The music

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was by Tom Waits and the the band with all

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these musicians who had worked with all of my favorite musicians,

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and Mary and Faithful was one of my favorite.

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Speaker 10: Singers at the time.

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Speaker 11: And it was an incredible experience and it made me

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think that I wanted to maybe not act anymore real

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kind of yeah, And that's when I started to think

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about focusing on music more because I have always.

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Speaker 10: Been a singer.

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Speaker 11: But yeah, and in terms of how my acting life

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background perform informs my writing, I think creativity is just

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seamless and you can direct it towards any art form.

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So it's the same energy I use for same energy

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I would have used for acting.

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Speaker 10: Just I funnel into music and I perform live all

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the time.

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Speaker 11: I still really love performing as a singer, so that

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kind of informs my per formance style.

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Speaker 9: When back in acting, when you were really heavy with

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the acting career, when when that was your primary focus,

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was it always kind of in the back of your

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mind that that maybe you might sort of switch to

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a different modality with your creativity or or you know.

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Speaker 11: Or yeah, I've always been interested in creative writing, and

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I've always been a singer, so it's and I never

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really liked musical theater. Yeah, I mean Tom Waite's musical

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is different than regular musical theater. But so it was

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always in the back of my mind what to do

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about music, how to incorporate it into my life.

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Speaker 9: Yeah, oh okay, okay, very good, very good. So then

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it was so then it was working on that musical

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that made you think, okay, that's the that that kind

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of gave you a push more into that direction.

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Speaker 14: Yeah.

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Speaker 11: Yeah, and I and after that musical, I actually had

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to move back to the States from England. Okay, and

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because I would get a visa for every acting job

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I got there, but I couldn't get an overriding visa

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to just like get a job while I wasn't acting,

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and so so that was tricky, and I decided to

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move back to the States.

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Speaker 10: And the acting world in the States is very different

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from in Europe, and.

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Speaker 11: So I just kind of fell out of love with

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that and started experimenting with music.

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Speaker 9: Okay, okay, Yeah, when when you say the acting world

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is very different in the United States, what do you mean?

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I mean, you don't have to you don't have to

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get too far into the weeds. But I'm just I'm

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just curious.

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Speaker 11: I feel like it's more of a respected art form

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in the UK, especially, there's a real tradition of you know,

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going to drama school and studying the craft, which I loved,

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and here it's very commercial.

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Speaker 9: Yeah, no, that makes sense, that makes sense.

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Speaker 2: Yeah.

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Speaker 9: What was it like working with Tom Waits. He seems

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like he's probably an intense guy, but I don't know.

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Speaker 11: Well, he actually wasn't part of our production. He eyed

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from Afar because this was in London and it was

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a remount of The Black Writer, which I think was

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first done in the nineties. Oh. The director was Robert Wilson,

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who just passed away, and it was written by Tom

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Waits and William Burrows. Gotcha, Yeah, but Tom Waits wasn't

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part of the rehearsal process.

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Speaker 9: Oh okay, interesting interesting.

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Speaker 15: Yeah.

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Speaker 9: So then so then when you came back to the

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United States, I mean, was that was it right away

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that you that you got out of acting or did

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you kind of work your way out slowly or it.

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Speaker 10: Was gradual I would say within a year or so.

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Speaker 11: Yeah, Wow, Yeah, I just I stopped liking it. Yeah,

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And I feel like it's such a tricky profession that

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if I figured, if I wasn't enjoying it, then it

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wasn't worth putting my energy into anymore.

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Speaker 9: Right, absolutely, I mean everything always looks so glamorous from

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the outside, right, but when you're actually doing it, you know,

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people don't see what really goes into it. Yeah, and

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it's it's yeah, I can imagine, it's you know, it's

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enormously challenging when you so when you made that switch,

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you know, and then you're doing music, did you ever

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or maybe even today, like, do you ever think back

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and do you ever feel like getting back into acting

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or is that definitely completely behind you.

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Speaker 10: It's definitely completely behind me. Yeah.

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Speaker 11: I just burnt out on it, and the whole idea

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of that makes me feel uncomfortable.

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Speaker 9: Yeah.

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Speaker 11: Yeah, yeah, so no, I mean, if somebody offered me

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a million dollars to be in a movie, I would

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do it.

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Speaker 9: Well, of course. Yeah. Yeah. Somebody offered you a role

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in a superhero franchise or something, you know, you'd have

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to say yes to that.

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Speaker 11: Yeah, yeah, but but yeah, I've I put that to

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rest a while ago, and I haven't looked back.

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Speaker 10: Yeah.

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Speaker 9: Yeah, Well you're on a great path now. Like I said,

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I love I love what you're doing. Have do you

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do you write any song? Like have you written any

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specific songs about your experience in in acting?

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Speaker 5: I have not?

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Speaker 11: Okay, okay, yeah no I haven't, but you know what

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I am doing now. Also in addition to music, is

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I just trained to be a breathwork practitioner. I saw

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that you're a hypnotherapist.

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Speaker 9: I am, yes, yes, yeah, oh good for you.

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Speaker 11: So that's kind of yeah, And I would say that

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that's maybe influencing the way I write or the way

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I saying even.

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Speaker 9: Well, that makes sense, that makes sense. Yeah, yeah, breathing

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is such an important part of of how you're saying.

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I've been looking into breath work myself actually because I

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use it cool. Well, I use a little bit of

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it in my sessions, you know, when I tell the

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client to you know, focus on your breathing and focus

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on the rhythm of your breathing and all of that.

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But but I've been thinking about really learning, you know,

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really getting into it and learning more about breath work

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because I think it would be helpful and everything else

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I do, or or even you know, even doing the

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radio show, just not running out of air when I'm

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you know, talking and you know sometimes if you're talking

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a lot, you know. Yeah, but uh no, that's that's

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really cool that you're doing that, And yeah, I would

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imagine that would be very helpful with your singing.

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Speaker 11: Actually, yeah, it's actually it's not any sort of like

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gentle meditation that I'm doing. It's yeah, it's this three

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part proniama all through the mouth, and you oxygenate your

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brain so much that that your brain shuts off and

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just all your feelings come out. So people people don't

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find it gentle. It's often kind of like, uh, people

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often cry oh wow, but it's it's really intense but

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powerful and useful.

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Speaker 9: Yeah about that. That's very very interesting. That's very interesting. Well,

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that's wild. That's wild.

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Speaker 11: Yeah.

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Speaker 9: And as far as your your music, are you do

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you play out? Do you play these songs out? Excellent

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all the time.

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Speaker 10: I just had a record release.

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Speaker 11: Actually, Charlie and I shared a bill for both of

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our record releases at this club in New York that's

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called Berlin, okay. And I sing regularly with this band

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called the Loser's Lounge at Joe's Pub, and I sing

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with a couple other bands too, But yeah, I perform

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almost once a week these days.

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Speaker 9: Oh wonderful, good good.

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Speaker 11: Yeah you're in New York, right, Yeah, I am in

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New York.

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Speaker 9: Yeah, excellent, excellent.

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Speaker 5: Oh.

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Speaker 9: The other thing I wanted to ask you to getting

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back to they a Howard Johnson's there. The artwork. I

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really like the cover.

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Speaker 11: Oh thanks, Yeah, that was my friend Scott MX Turner

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did that. I love it too.

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Speaker 9: It's very retro it is it is maybe maybe that's

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where I got the idea about the nostalgia, but yeah,

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it is very retro. Yeah, it's very cool. Yeah, that

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is excellent. That is excellent. And then what about what

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do you have in the future, what's kind of your trajectory.

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I mean, obviously, you know this album hasn't been out

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that long.

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Speaker 11: Right right, Well, you know, I did an artist residency

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this summer in Iceland. I was in East Iceland for

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a month, oh wow, and I was writing all new

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songs there, and they gave me this beautiful space, this

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recording studio and all the instruments. But I brought these

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00:19:04,119 --> 00:19:06,599
tiny synths that I was playing. So I've written a

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whole bunch of new songs on these tiny synths. Found

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nothing like like the current record that I'm really excited

360
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about this new stuff. So I'm gonna be recording that

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with my friend John Kengla, who plays guitar in my band.

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We're going to be recording that sometime this year and

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hoping to put that out. I don't know when, but

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that's what I'm into right now. Okay, synth music, Yeah.

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Speaker 9: Okay, very good, very good.

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Speaker 11: Yeah.

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Speaker 9: Well, Jesse, it's it's been wonderful speaking with you. We're

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going to you know, in a moment, we're going to

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play this other track after We Let You Go, we're

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going to play Saint Teresa in Ecstasy.

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Speaker 10: Oh cool?

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Speaker 9: What should we know about that song? It's with such

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an interesting title, oh thank you.

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Speaker 11: Well, that was inspired by I was in Rome and

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two different friends said, Oh, you have to go see

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this sculpture in this little church and it's just magnificent.

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Speaker 10: This culture. It's called the Ecstasy of Saint Teresa.

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Speaker 11: Okay, And it has like this panel of gold above

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the sculpture and there's a window above it and when

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the sunlight hits the gold that lights up the statue.

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It's just really incredible. And the song is about that,

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just being really moved by seeing that.

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Speaker 9: Okay, Okay, yeah, outstanding?

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Speaker 11: Thank you?

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Speaker 9: And where's before We Let you Go? Where's the best

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place for people to go online to keep up with

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everything that you're doing, all your music and everything.

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Speaker 11: I post the most stuff on Instagram, Okay, so it's

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just Jesse Jesse Kilgus on Instagram. And then the best

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place to check out my music is band camp, especially

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if people want to buy it, because band camp gives

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the artists the most money. Yeah, But in terms of

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staying up to do up to date on news, I

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would say Instagram.

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Speaker 9: And I like to tell people too, I love band camp,

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and I like to tell people not only does band

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camp give the artists the most money, but you get

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you get a high quality file, You get a better

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sounding file than you do if you just you know,

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stream on YouTube or whatever. So I really encourage people

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to use band camp as well.

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Speaker 10: Nice.

403
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Speaker 9: Yeah, absolutely all right, Jesse killed Gus, thank you so much. Well,

404
00:21:10,279 --> 00:21:12,240
definitely when you've got some new stuff, when you got

405
00:21:12,279 --> 00:21:16,119
some new music, we'll definitely have you back. Absolutely love

406
00:21:16,160 --> 00:21:18,920
what you're doing, what we enjoyed speaking with you this morning.

407
00:21:20,799 --> 00:21:23,680
Absolutely we're gonna hit this track Saint Teresa in ecstasy

408
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will let you go. Oh and and again, congratulations on

409
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the breath work. And I got to learn more about that.

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I'm very curious about that. So we might have to.

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Speaker 5: Oh very good.

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Speaker 9: I'll check out the site and we we might we

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might have to have you back to to talk about

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that too, so we might we might have you back.

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Really outstanding. All right, all right, Jesse, thank you so much,

416
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Bye bye, all right, very cool. That was Jesse killed

417
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Gus from New York City. Check out her album. They

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have a Howard Johnson's there. It is available on band

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camp and we're gonna play this track, uh, this is

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a Saint Teresa in Ecstasy, and then when we come back,

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we're gonna have Evan's from Audio Gust with us on

422
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Microsoft Teams. Hopefully we don't have any tech issues with teams.

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That was unusual what happened there with with WhatsApp. We

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don't usually have any trouble. But I'll clean it up

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on the on the podcast version. But here it is.

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This is Saint Teresa in Ecstasy by Jesse Kilgas.

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Speaker 7: In roam, I found expansion. My heart exploded in till

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00:22:41,799 --> 00:22:49,160
night like one of those room and candles.

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Speaker 3: Let flicker and brighten up the night, or like.

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Speaker 11: Saint Theresa, and next to see the.

431
00:23:01,480 --> 00:23:08,039
Speaker 1: Day she had her epiphany the agel, shein an row

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into her.

433
00:23:09,279 --> 00:23:16,160
Speaker 3: Heart, and the sky lit up with the great event

434
00:23:16,839 --> 00:23:22,799
and danced over the monuments, and the world passed for

435
00:23:22,960 --> 00:23:31,200
a day and selebration, and she fell overwhelmeding joy and.

436
00:23:31,319 --> 00:23:36,079
Speaker 16: Love and exquisite pain coming from above.

437
00:23:36,440 --> 00:23:41,160
Speaker 3: And everything combined into the supply.

438
00:23:44,000 --> 00:23:48,680
Speaker 4: Until eryyterrecer.

439
00:23:51,039 --> 00:24:12,680
Speaker 3: Be came divol, walking around the room and form listening

440
00:24:12,799 --> 00:24:19,480
to sinnate or con I do not want, but I

441
00:24:19,759 --> 00:24:28,279
haven't got, making a pilgrimage of Palatine Hill on my.

442
00:24:28,480 --> 00:24:33,000
Speaker 10: Way to see the Bernie that came.

443
00:24:33,079 --> 00:24:35,960
Speaker 7: Sohly recommended to me.

444
00:24:39,960 --> 00:24:44,359
Speaker 4: A humble priest let me in the tiny.

445
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Speaker 3: Tool box of a church, where statues line in the

446
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walls and gold.

447
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Speaker 4: Paint crumbles from the ceiling.

448
00:24:55,599 --> 00:24:57,599
Speaker 6: I carry on down the.

449
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Speaker 8: Aisle, chast any feed or so, and as a.

450
00:25:04,839 --> 00:25:12,960
Speaker 6: Ray of light pierces through the window, and it catches.

451
00:25:12,720 --> 00:25:15,640
Speaker 2: The gold and rays on fire.

452
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Speaker 5: And aluminaid the sculpture's face, and I lose myself.

453
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Speaker 3: And of this transit and brains.

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Speaker 16: I see say Toresa and acts to see the day

455
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she had her apuffany.

456
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Speaker 2: The angel shooting in her arrow.

457
00:25:38,839 --> 00:25:45,160
Speaker 3: Enter her heart, and the sky lit up with the

458
00:25:45,400 --> 00:25:49,039
great event and danced over the.

459
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Speaker 16: Manument, and the world stopped in time, ceased to exist,

460
00:25:57,839 --> 00:26:04,039
and I felt over aware, enjoyed love, an exquisite.

461
00:26:03,599 --> 00:26:10,039
Speaker 5: Pain coming from about thverything combined.

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Speaker 2: Into the sublie. As I see a narrator recon they

463
00:26:21,599 --> 00:26:39,079
can't dev they can't divide.

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Speaker 17: You're listening to Matt Connorton unleashed on double im an

465
00:27:04,000 --> 00:27:05,720
h ninety five point three.

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00:27:28,039 --> 00:27:34,359
Speaker 18: Just look at your smile, keep listening eyes then Nicklas

467
00:27:34,519 --> 00:27:40,119
on you, but get from last year. I see your

468
00:27:40,200 --> 00:27:46,319
lips moving as I not approving, but in your eyes

469
00:27:46,359 --> 00:27:47,240
a narrow.

470
00:27:48,359 --> 00:27:50,160
Speaker 2: And oh if you are a narrow.

471
00:27:51,480 --> 00:27:53,920
Speaker 14: This is the point where I want to disappear.

472
00:27:57,240 --> 00:28:03,400
Speaker 2: You just roll out I was anywhere, but he Doey

473
00:28:03,720 --> 00:28:05,599
has to do the stands gain.

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00:28:08,720 --> 00:28:14,559
Speaker 12: We're playing the arguments you I don't know where in

475
00:28:14,759 --> 00:28:19,200
disrespect to you with not my side.

476
00:28:19,839 --> 00:28:23,000
Speaker 2: Sorry, I hear what he was saying.

477
00:28:29,079 --> 00:28:33,400
Speaker 13: Another statis meeting and I'm just stair eating.

478
00:28:34,880 --> 00:28:39,200
Speaker 2: I'm shocking to attention when you ask my opinion.

479
00:28:40,960 --> 00:28:43,359
Speaker 9: This is the point where I wanna disappear.

480
00:28:46,720 --> 00:28:49,000
Speaker 12: You just found out that I was anywhere with he

481
00:28:52,559 --> 00:28:58,759
do We has to do the stance again. We're playing

482
00:28:59,160 --> 00:29:06,960
arguments from my don't know disrespect to you as they chance.

483
00:29:08,599 --> 00:29:08,880
Speaker 2: Time.

484
00:29:09,319 --> 00:29:12,480
Speaker 12: Sorry, I hear what you said.

485
00:29:15,640 --> 00:29:19,400
Speaker 19: I'm sorry I didn't he I'm sorry I.

486
00:29:19,480 --> 00:29:23,559
Speaker 20: Didn't you want Tom said, I'm sorry I didn't he.

487
00:29:24,319 --> 00:29:26,079
Speaker 6: I'm sorry I didn't you want.

488
00:29:26,240 --> 00:29:29,480
Speaker 20: He said, I'm sorry I didn't here.

489
00:29:30,160 --> 00:29:31,079
Speaker 2: I'm sorry I.

490
00:29:31,119 --> 00:29:34,000
Speaker 12: Didn't you want. You said, you know what you have

491
00:29:34,240 --> 00:29:41,519
to do this dance again. Argument from I don't know why.

492
00:29:43,559 --> 00:29:47,880
Speaker 2: I don't know what to with my chance.

493
00:29:49,319 --> 00:29:49,559
Speaker 4: Time.

494
00:29:49,680 --> 00:29:57,000
Speaker 12: I'm sorry, I hear what he was saying. Do we

495
00:29:57,200 --> 00:29:59,000
have to do this hands again?

496
00:30:15,480 --> 00:30:16,039
Speaker 9: How catchy?

497
00:30:16,160 --> 00:30:16,359
Speaker 1: Is that?

498
00:30:17,200 --> 00:30:17,440
Speaker 11: Wow?

499
00:30:17,960 --> 00:30:19,880
Speaker 9: That is I didn't hear what you said. The project

500
00:30:20,039 --> 00:30:22,920
is Audio Guest and let's see. We have Chris Evans

501
00:30:22,960 --> 00:30:25,759
from Audio Guests here with us via Microsoft Team.

502
00:30:25,799 --> 00:30:28,160
Speaker 20: Hello Chris, Hello, what are you doing?

503
00:30:28,359 --> 00:30:28,559
Speaker 2: Good?

504
00:30:28,640 --> 00:30:30,680
Speaker 9: Good, Welcome to the show. I love that song. I

505
00:30:30,759 --> 00:30:33,519
love the whole album of course, that is from Falling

506
00:30:33,599 --> 00:30:36,839
from Down, and it's just so like, you know, it's

507
00:30:36,839 --> 00:30:38,720
the kind of song you tell people, at least I

508
00:30:38,799 --> 00:30:40,720
tell people, you know, if that didn't make you move,

509
00:30:41,319 --> 00:30:43,279
you know, check your pulse, you might be dead. It's

510
00:30:43,319 --> 00:30:45,880
just really really catchy. And I love the vocals, the

511
00:30:45,960 --> 00:30:48,839
layered vocals, everything about that is just it's just really good.

512
00:30:48,880 --> 00:30:49,279
I love that.

513
00:30:50,359 --> 00:30:52,720
Speaker 20: Thank you. I appreciate that a song.

514
00:30:53,599 --> 00:30:57,240
Speaker 9: Absolutely absolutely. And you are in Seattle, is that correct?

515
00:30:58,000 --> 00:30:58,200
Speaker 20: Yeap?

516
00:30:58,319 --> 00:31:00,799
Speaker 9: Just outside, just outside it's yeah, ah wow, quite a

517
00:31:00,880 --> 00:31:06,119
music scene there. Yeah, absolutely absolutely. What can you tell

518
00:31:06,200 --> 00:31:08,400
us about the album Falling from Down? I did listen

519
00:31:08,480 --> 00:31:10,759
to the whole thing. I really really like it. Like

520
00:31:10,799 --> 00:31:13,079
I said, I love what you're doing. Sonically, and there's

521
00:31:13,200 --> 00:31:16,680
nothing that I've heard recently that sounds quite like it,

522
00:31:17,200 --> 00:31:18,599
But what can you tell us about it?

523
00:31:20,680 --> 00:31:25,519
Speaker 13: This is my third album, that one this year, and yeah,

524
00:31:25,559 --> 00:31:28,319
it's sort of a it's it's it's sort of a

525
00:31:28,400 --> 00:31:29,880
song about the times these days.

526
00:31:29,759 --> 00:31:33,960
Speaker 20: Basically, like with all sort of angst and and and

527
00:31:34,119 --> 00:31:34,400
sort of.

528
00:31:36,720 --> 00:31:39,519
Speaker 13: Sort of angst about communication, about what's going on in

529
00:31:39,599 --> 00:31:41,279
the world and things like that, and then how people

530
00:31:41,279 --> 00:31:43,880
are pretty stressed about this. And it starts off, you know,

531
00:31:44,000 --> 00:31:46,599
with just sort of a set of a darker set

532
00:31:46,640 --> 00:31:48,599
of songs and than all my previous albums, I think,

533
00:31:49,759 --> 00:31:52,319
songs like Isotope and Falling from Down. And then it

534
00:31:52,400 --> 00:31:55,559
hits a song called Easier, which is sort of it's

535
00:31:55,559 --> 00:31:57,799
sort of a reflection of the whole album, which sort

536
00:31:57,799 --> 00:31:59,839
of asked the question, man, it seems like it could

537
00:31:59,839 --> 00:32:01,359
be if I didn't know what was going on, like

538
00:32:01,400 --> 00:32:04,920
if you weren't paying attention to the news and things

539
00:32:05,000 --> 00:32:07,119
like that, it seems like life might be easier. But

540
00:32:07,440 --> 00:32:10,160
yet you really can't avoid it because it sort of

541
00:32:10,240 --> 00:32:12,559
keeps coming back to you. But the whole sort of

542
00:32:12,640 --> 00:32:15,160
shift in that song where it goes from being this

543
00:32:15,240 --> 00:32:18,400
sort of introspective thing to the sort of pop punk

544
00:32:18,640 --> 00:32:19,240
banger of a.

545
00:32:20,720 --> 00:32:22,759
Speaker 20: Ridge, and then it comes back into the sort of

546
00:32:23,039 --> 00:32:24,759
the final verse there, and.

547
00:32:24,799 --> 00:32:26,839
Speaker 13: Then the whole album sort of shifts at that point

548
00:32:26,880 --> 00:32:28,799
where it sort of goes into, hey, things are a

549
00:32:28,799 --> 00:32:31,799
little bit more. You know, it's as if you weren't

550
00:32:31,799 --> 00:32:33,200
paying attention to all of that, and we could just

551
00:32:33,240 --> 00:32:35,440
sort of get back to songs about people and about

552
00:32:35,519 --> 00:32:37,359
relationships and about the way you feel. And that's sort

553
00:32:37,400 --> 00:32:40,440
of where you know, I didn't hear what you say

554
00:32:40,519 --> 00:32:42,519
comes in sort of in that middle part of the album, right,

555
00:32:42,599 --> 00:32:43,759
and then it sort of slides.

556
00:32:43,480 --> 00:32:44,559
Speaker 20: Back towards the end of the album.

557
00:32:44,599 --> 00:32:46,680
Speaker 13: So it's you know that the whole album is sort

558
00:32:46,680 --> 00:32:50,839
of a reflection of the song Easier Written Large.

559
00:32:51,200 --> 00:32:54,160
Speaker 9: Okay, okay, yeah, we'll play that one at the end

560
00:32:54,160 --> 00:32:56,559
of our conversation because that's another great track. Like I said,

561
00:32:56,559 --> 00:32:59,920
I like the whole thing. But but yeah, it's interesting too,

562
00:33:00,160 --> 00:33:03,559
how you know you're able to uh take these themes

563
00:33:03,680 --> 00:33:06,839
of of angst and and all of it that that

564
00:33:06,960 --> 00:33:11,039
people feel and but but do something that's actually fun

565
00:33:11,160 --> 00:33:15,680
and interesting to listen to, you know, because it's it's uh,

566
00:33:16,240 --> 00:33:18,759
if if you can take something that's dark or negative

567
00:33:18,839 --> 00:33:20,799
or however you want to think about it, but make

568
00:33:20,880 --> 00:33:22,079
something positive out of it.

569
00:33:22,519 --> 00:33:22,680
Speaker 21: You know.

570
00:33:22,960 --> 00:33:25,039
Speaker 9: That's that's the best way I think to be able

571
00:33:25,119 --> 00:33:27,759
to relate to people and and say here, here, here's

572
00:33:27,799 --> 00:33:29,519
what I'm saying. But but I'm putting it in a

573
00:33:29,599 --> 00:33:32,599
package that that you're going to enjoy listening to, and

574
00:33:32,680 --> 00:33:35,319
maybe we can kind of connect and relate on that level.

575
00:33:35,400 --> 00:33:38,920
And uh so I think it's great. You know, it's

576
00:33:39,759 --> 00:33:42,279
melodic and like a lot of these tracks are really fun.

577
00:33:42,400 --> 00:33:44,519
What about now, specifically that song, I didn't hear what

578
00:33:44,559 --> 00:33:46,960
you said. I'm curious to know more about that. It

579
00:33:47,039 --> 00:33:50,119
seems to address, as is evidenced by the title, you know,

580
00:33:50,200 --> 00:33:54,960
miscommunication and misunderstanding And and was there something specific that that,

581
00:33:55,319 --> 00:33:58,119
uh sort of pushed you to write that, or or

582
00:33:58,279 --> 00:33:59,960
maybe just more of a general thing.

583
00:34:00,480 --> 00:34:03,119
Speaker 13: Like like many people, I'm a bit on the ady

584
00:34:03,200 --> 00:34:08,320
d side, and and I've certainly run issues where my head,

585
00:34:08,559 --> 00:34:10,760
you know, sort of my mind wandered in the middle

586
00:34:10,760 --> 00:34:13,039
of a conversation and I realized that I'm not quite

587
00:34:13,079 --> 00:34:14,960
paying attention to this person that I'm supposed to be

588
00:34:15,000 --> 00:34:18,400
talking to right now. They don't know this yet, but

589
00:34:19,039 --> 00:34:21,920
it's true, and so I am sort of nodding along,

590
00:34:22,159 --> 00:34:24,119
and yet my head is somewhere else, just sort of

591
00:34:24,159 --> 00:34:25,800
like in the beginning of that song where it's like

592
00:34:25,960 --> 00:34:28,079
this sort of persons just start talking to a girl

593
00:34:29,079 --> 00:34:31,599
and sort of daydreaming and thinking about her and looking

594
00:34:31,679 --> 00:34:33,159
at the you know, the necklace that she's wearing.

595
00:34:33,199 --> 00:34:34,480
Speaker 20: Oh yeah, I got that for her back.

596
00:34:34,880 --> 00:34:35,280
Speaker 3: What was that?

597
00:34:35,320 --> 00:34:37,480
Speaker 20: When was that back in June? I think it was.

598
00:34:37,559 --> 00:34:42,000
Speaker 13: And then she's saying something and you're realizing I'm not

599
00:34:42,440 --> 00:34:46,719
hearing this, And in the song, she realizes that she's

600
00:34:46,760 --> 00:34:48,840
not being listened to, and yet she's looking right at

601
00:34:48,880 --> 00:34:51,320
her right. She gets a little b upset about it,

602
00:34:51,960 --> 00:34:55,400
which is understandable. Any feels bad about this. I feel

603
00:34:55,480 --> 00:34:59,480
bad about this, but it's it's not a it's not on.

604
00:34:59,519 --> 00:35:01,760
Speaker 9: Purpose, right, right exactly.

605
00:35:02,639 --> 00:35:04,280
Speaker 20: And then the second verse is the same thing happens,

606
00:35:04,280 --> 00:35:05,079
except for your at work.

607
00:35:05,159 --> 00:35:05,239
Speaker 1: Right.

608
00:35:05,280 --> 00:35:07,920
Speaker 13: You're in a meeting somewhere and you're just sort of daydreaming.

609
00:35:07,920 --> 00:35:09,719
You didn't expect anybody talking to you in the first place,

610
00:35:09,800 --> 00:35:11,119
and so you're just sort of in some meeting and

611
00:35:11,199 --> 00:35:12,639
then they ask you a question.

612
00:35:12,800 --> 00:35:15,480
Speaker 20: You're like, oh, wait, what I have no idea what

613
00:35:15,559 --> 00:35:16,320
he was talking about.

614
00:35:16,400 --> 00:35:18,199
Speaker 13: And you're sort of, you know, sort of embarrassing to

615
00:35:18,239 --> 00:35:20,480
get caught in one of those moments there of you

616
00:35:20,559 --> 00:35:22,440
were supposed to be paying attention and you weren't.

617
00:35:22,760 --> 00:35:25,880
Speaker 20: Right totally, everybody knows this now and what are you

618
00:35:25,920 --> 00:35:26,280
gonna do?

619
00:35:26,599 --> 00:35:26,719
Speaker 21: Right?

620
00:35:27,320 --> 00:35:30,760
Speaker 9: And it's and it's universal. Everyone's been in situations like that.

621
00:35:31,639 --> 00:35:34,920
But you know, it's all stuff that happens to everybody. Absolutely,

622
00:35:35,000 --> 00:35:37,079
But yeah, in the moment, though, it feels it's such

623
00:35:37,119 --> 00:35:38,000
a terrible feeling.

624
00:35:38,719 --> 00:35:39,559
Speaker 20: Yeah, exactly.

625
00:35:41,320 --> 00:35:43,920
Speaker 9: I'm curious too about your history. So you you were

626
00:35:44,440 --> 00:35:47,440
you played guitar and bass in some eighties bands, Is

627
00:35:47,480 --> 00:35:47,920
that correct?

628
00:35:48,639 --> 00:35:48,840
Speaker 20: Yeah?

629
00:35:48,880 --> 00:35:51,400
Speaker 13: I was in a few bands back in the eighties

630
00:35:51,440 --> 00:35:53,599
actually a little bit in the end of the nineties

631
00:35:53,599 --> 00:35:57,280
as well, Okay, And nothing big though, I mean, you know,

632
00:35:57,679 --> 00:35:59,480
just we were all sort of thlearning and getting better

633
00:35:59,559 --> 00:36:03,320
and playing things and planning clubs and and uh this

634
00:36:03,559 --> 00:36:06,079
this is like back in Ohio and Michigan and places

635
00:36:06,119 --> 00:36:06,280
like that.

636
00:36:06,559 --> 00:36:09,199
Speaker 20: Sure, uh yeah.

637
00:36:09,360 --> 00:36:12,360
Speaker 13: And then and then I sort of, you know, once

638
00:36:12,400 --> 00:36:15,840
I once I finished university and at the University of Michigan,

639
00:36:16,000 --> 00:36:20,159
I was, uh, you know, we're trying to do something

640
00:36:20,320 --> 00:36:22,400
interesting I wanted. I wanted to do a recording thing.

641
00:36:22,519 --> 00:36:25,519
We started a company doing podcasts, but it was a

642
00:36:25,559 --> 00:36:27,159
little bit early for podcasts because it was.

643
00:36:27,119 --> 00:36:27,760
Speaker 20: The late eighties.

644
00:36:27,960 --> 00:36:28,199
Speaker 5: Wow.

645
00:36:29,559 --> 00:36:31,679
Speaker 13: So yeah, I mean the thing we made were if

646
00:36:31,719 --> 00:36:33,639
you listen to the now you like, those are podcasts,

647
00:36:33,679 --> 00:36:37,519
but it was wow, way too early for that. We

648
00:36:37,760 --> 00:36:41,440
shipped them out on audio cassettes to like there's company communication.

649
00:36:41,000 --> 00:36:43,599
Speaker 20: Kind of thing. Okay, but it was definitely too early

650
00:36:43,639 --> 00:36:43,800
for that.

651
00:36:43,960 --> 00:36:47,400
Speaker 13: So I sort of shifted into writing software and uh

652
00:36:48,599 --> 00:36:50,760
uh you know, was in this is the Massachusetts actually

653
00:36:50,760 --> 00:36:54,719
this is in Boston and Cambridge area, and uh yeah.

654
00:36:54,800 --> 00:36:56,639
So I worked you know for a company doing you know,

655
00:36:56,760 --> 00:36:59,960
router tech support and then writing code and building applications

656
00:37:00,159 --> 00:37:03,360
and building things in the Mac. And then eventually one

657
00:37:03,400 --> 00:37:05,239
of the things that we did caught the eye of

658
00:37:05,360 --> 00:37:08,440
Apple and Microsoft, and they flew me out to California

659
00:37:08,480 --> 00:37:11,280
and ended up working for Microsoft for twenty years off

660
00:37:11,320 --> 00:37:15,760
and on, wow, and and some other places in between

661
00:37:15,840 --> 00:37:19,880
some startups and some personal projects. And then a few

662
00:37:19,920 --> 00:37:24,199
years ago I finally finished that and said I really

663
00:37:24,199 --> 00:37:27,320
want to do the music thing again, and so yeah,

664
00:37:27,599 --> 00:37:31,440
I sort of left Microsoft and software at that point

665
00:37:31,639 --> 00:37:35,440
and started writing songs. And that's what the last it's

666
00:37:35,800 --> 00:37:37,119
been pretty much for the last three years.

667
00:37:37,199 --> 00:37:40,719
Speaker 9: Oh, excellent, excellent. Now, was that always kind of in

668
00:37:40,800 --> 00:37:43,519
the back of your mind that you would end up

669
00:37:43,760 --> 00:37:47,400
back with doing music, or was there a moment of

670
00:37:47,480 --> 00:37:50,440
epiphany where you realized you had to get back to it,

671
00:37:50,920 --> 00:37:53,440
or how did you, like just kind of mentally, how

672
00:37:53,480 --> 00:37:55,239
did you get back to a place where you said, no,

673
00:37:55,519 --> 00:37:57,800
I need I need to really jump back into this

674
00:37:57,960 --> 00:37:59,360
full force, I need to do music.

675
00:38:00,840 --> 00:38:04,880
Speaker 13: I'd always I bounced back and forth doing music at

676
00:38:05,079 --> 00:38:08,239
different times during that the you know, the software times,

677
00:38:08,800 --> 00:38:10,360
so you have you never I would.

678
00:38:10,239 --> 00:38:12,079
Speaker 9: You never disengaged entirely from it.

679
00:38:12,519 --> 00:38:14,480
Speaker 13: Well, I mean there were years where I did almost

680
00:38:14,519 --> 00:38:16,599
nothing with it, and the guitar sort of stayed in

681
00:38:16,679 --> 00:38:18,639
the closet. But I had the guitars, and then every

682
00:38:18,679 --> 00:38:20,480
few years I would sort of you know, open up

683
00:38:21,599 --> 00:38:24,119
like logic pro and and try to figure out some

684
00:38:24,159 --> 00:38:25,840
more stuff on it and maybe do a few songs

685
00:38:25,920 --> 00:38:26,079
on it.

686
00:38:26,320 --> 00:38:26,880
Speaker 20: And then.

687
00:38:28,280 --> 00:38:30,400
Speaker 13: And then stopped for a while and sort of would

688
00:38:30,400 --> 00:38:31,519
it would come and go. And we had you know,

689
00:38:32,519 --> 00:38:33,920
a family in there, we had kids in there, so

690
00:38:33,960 --> 00:38:38,159
a whole bunch of things happened, ye, But I always

691
00:38:38,400 --> 00:38:41,760
loved that. And there was an aspect of creating, writing

692
00:38:41,840 --> 00:38:44,519
songs and creating songs and recording them and doing the

693
00:38:44,559 --> 00:38:47,760
whole thing that that I loved. And you know, back

694
00:38:47,800 --> 00:38:50,199
in back in the University of Michigan, I ended up

695
00:38:50,239 --> 00:38:52,920
in a dorm that had a recording studio in the basement,

696
00:38:52,920 --> 00:38:54,960
the student run recording studio, and learned a whole bunch

697
00:38:54,960 --> 00:38:57,239
of stuff back then about doing this on you know,

698
00:38:57,800 --> 00:38:59,840
reil the real tape recording and things like that, and

699
00:39:01,760 --> 00:39:04,079
I just love doing it. And so every once in

700
00:39:04,119 --> 00:39:05,880
a while I would, you know, do some more of that.

701
00:39:06,079 --> 00:39:08,880
And then it was the point where it's like I've

702
00:39:09,639 --> 00:39:12,599
I think I'm done with the full time software thing.

703
00:39:13,639 --> 00:39:15,719
It wasn't more that I really wanted to get out

704
00:39:15,719 --> 00:39:22,360
of it. And and during the pandemic, we bought a

705
00:39:22,400 --> 00:39:24,440
place up here on Widbey Island and it had a

706
00:39:24,559 --> 00:39:27,880
four car garage and I don't have four cars, so

707
00:39:28,679 --> 00:39:29,400
took half of that.

708
00:39:29,559 --> 00:39:30,800
Speaker 20: And made it into a little studio.

709
00:39:31,800 --> 00:39:35,280
Speaker 13: Nice made it soundproof so that when when you're recording

710
00:39:35,320 --> 00:39:39,199
a song, I think musician will know this that you

711
00:39:39,280 --> 00:39:40,719
play the same part over and over and over and

712
00:39:40,800 --> 00:39:43,880
over and over again, and to anybody who's not involved

713
00:39:43,920 --> 00:39:48,119
in that, it's really annoying. But if you're doing it,

714
00:39:48,239 --> 00:39:49,440
you need to do that so you can hear it.

715
00:39:49,559 --> 00:39:51,679
Then you're making all these little fine tweets and stuff

716
00:39:51,679 --> 00:39:54,800
like that. So building a room that was soundproofed meant

717
00:39:54,920 --> 00:39:57,519
that I could do that and not bother anybody else.

718
00:39:58,199 --> 00:40:01,440
And I could do that without having any you know,

719
00:40:01,719 --> 00:40:04,239
cars or dogs or whatever it is barking well and

720
00:40:04,360 --> 00:40:06,440
trying to record vocals or guitars or something like that.

721
00:40:06,559 --> 00:40:10,159
And so once I sat up the space, it was like, okay, wait,

722
00:40:10,239 --> 00:40:15,199
I could do this for real now. And that sort

723
00:40:15,239 --> 00:40:19,400
of coincided with the hey, I'm sort of feel like

724
00:40:19,400 --> 00:40:22,880
I'm done with the software business, and which has an

725
00:40:22,920 --> 00:40:25,559
ironic twist on that one, but we'll get that later, okay, okay,

726
00:40:26,519 --> 00:40:30,079
And yeah, so I started I just started writing songs

727
00:40:30,119 --> 00:40:31,039
and realized that I can.

728
00:40:31,199 --> 00:40:32,679
Speaker 20: I can do this full time now.

729
00:40:34,199 --> 00:40:37,159
Speaker 13: And I think that's what you know, twenty to thirty

730
00:40:37,199 --> 00:40:39,440
years and software will do for at least, let's set

731
00:40:39,519 --> 00:40:42,519
up we can we can dedicate time with this. Yeah,

732
00:40:42,599 --> 00:40:45,559
I'm very appreciative of that, and so yeah, so I

733
00:40:45,639 --> 00:40:49,239
started doing this all the time, and then writing with

734
00:40:49,559 --> 00:40:55,159
other people and getting involved with, you know, a bunch

735
00:40:55,159 --> 00:40:58,480
of different songwriter communities and collaborating and and writing with

736
00:40:58,519 --> 00:41:02,559
other groups of people and and producing the songs. And

737
00:41:04,360 --> 00:41:08,159
did my first album very early. Actually, I go back

738
00:41:08,159 --> 00:41:09,440
and look at them, like, there's some songs in therely

739
00:41:09,480 --> 00:41:11,119
I love, but it's it's clearly early.

740
00:41:11,599 --> 00:41:11,840
Speaker 9: Yeah.

741
00:41:12,920 --> 00:41:14,440
Speaker 13: But then I spend a bunch you know, I just

742
00:41:14,599 --> 00:41:16,559
did a lot of writing, and you knew a lot

743
00:41:16,599 --> 00:41:20,119
of it, and you keep you know, keep at it,

744
00:41:20,239 --> 00:41:23,039
and you get better at it. And yeah, so the

745
00:41:23,159 --> 00:41:25,400
songs have gotten better, the production has gotten better, the

746
00:41:25,400 --> 00:41:28,920
collaborations have gotten better, and uh yeah, so I just

747
00:41:29,159 --> 00:41:31,719
love that. It's just so satisfying to be able to

748
00:41:31,760 --> 00:41:33,960
come in here each day and just work on it

749
00:41:34,039 --> 00:41:37,239
and write some new songs. And and the tough part

750
00:41:37,320 --> 00:41:38,239
is keeping track of all of it.

751
00:41:38,239 --> 00:41:40,960
Speaker 9: Because there's a lot right right, no doubt are you?

752
00:41:41,239 --> 00:41:45,320
Are you doing everything yourself in terms of the instruments,

753
00:41:46,000 --> 00:41:47,280
is all the playing on these?

754
00:41:47,440 --> 00:41:50,519
Speaker 13: Is that all you yeah, these are all me okay,

755
00:41:52,119 --> 00:41:54,880
and uh and and I as you'll you know, you've

756
00:41:54,920 --> 00:41:56,199
listened to it. So there's a few songs where I

757
00:41:56,239 --> 00:42:01,280
have some guest vocalists in yeah, and those usually off

758
00:42:01,440 --> 00:42:03,000
off of those people that I write with. You know,

759
00:42:03,039 --> 00:42:05,599
they'll they'll they'll join in for for you know, one

760
00:42:05,599 --> 00:42:07,800
of the songs we collaborate on. But most of the

761
00:42:07,880 --> 00:42:10,239
songs there are just me. I wrote to myselves and

762
00:42:10,599 --> 00:42:12,599
produce the whole thing and recorded and it's on me.

763
00:42:12,840 --> 00:42:16,280
Speaker 9: Okay, wow. I mean that must be incredibly liberating. I mean,

764
00:42:16,320 --> 00:42:18,760
it sounds like you enjoy collaboration, but at the same time,

765
00:42:19,039 --> 00:42:21,920
I would imagine to be able to do so much

766
00:42:21,960 --> 00:42:24,199
of it yourself, aside from you know, guest vocalists as

767
00:42:24,239 --> 00:42:26,960
you mentioned. I mean, that's got to be pretty pretty satisfying,

768
00:42:27,039 --> 00:42:27,880
I would guess.

769
00:42:28,360 --> 00:42:28,760
Speaker 11: And it is.

770
00:42:28,920 --> 00:42:31,320
Speaker 13: I think it comes from a you know, I don't know,

771
00:42:31,440 --> 00:42:33,840
maybe not the best place of I don't like getting

772
00:42:33,960 --> 00:42:36,639
stuck or I'm blocked on waiting for someone.

773
00:42:36,440 --> 00:42:39,000
Speaker 20: Else to be able to finish something right, yep.

774
00:42:39,840 --> 00:42:41,159
Speaker 13: And if it was a point where it's like, oh,

775
00:42:41,159 --> 00:42:43,159
I'd love to do more, but oh this person's I

776
00:42:43,239 --> 00:42:45,440
need them to do this, but they're busy, or that

777
00:42:45,559 --> 00:42:47,119
you know, I can't get back, they won't get back

778
00:42:47,159 --> 00:42:48,519
in touch with me, or those kinds of things.

779
00:42:48,559 --> 00:42:51,480
Speaker 20: And I just I hate the idea of being stuck.

780
00:42:51,480 --> 00:42:53,000
Speaker 9: Yes, yes, blocked on it.

781
00:42:53,719 --> 00:42:55,960
Speaker 20: And so by being able to do any of.

782
00:42:56,000 --> 00:43:00,280
Speaker 13: The parts, I'm never blocked, right, So I can always

783
00:43:00,320 --> 00:43:02,760
finish songs and release them and and those kinds of things,

784
00:43:02,800 --> 00:43:05,599
and I'm not stuck by someone else. But at the

785
00:43:05,639 --> 00:43:10,320
same time, you know, a having there are songs that

786
00:43:10,559 --> 00:43:13,639
I write sometimes that we write that are songs to

787
00:43:13,679 --> 00:43:16,039
be sung by a woman, and I can't do that,

788
00:43:18,440 --> 00:43:20,800
and so that's you know, it's it's having having a

789
00:43:21,280 --> 00:43:23,159
group of people that I can write with or or

790
00:43:23,599 --> 00:43:25,239
call on say hey, I think the song would be

791
00:43:25,480 --> 00:43:27,960
amazing with your voice, and having to be able to

792
00:43:28,039 --> 00:43:29,400
jump in is just wonderful.

793
00:43:29,599 --> 00:43:32,239
Speaker 9: Well with AI tools though, and and you know this,

794
00:43:32,800 --> 00:43:33,599
you probably could.

795
00:43:33,719 --> 00:43:33,840
Speaker 11: Uh.

796
00:43:35,400 --> 00:43:37,920
Speaker 20: I've played around with that a little bit, but I

797
00:43:38,400 --> 00:43:40,760
don't like. I don't like the results. I mean, they're

798
00:43:40,760 --> 00:43:41,880
getting better, but it's.

799
00:43:44,039 --> 00:43:48,960
Speaker 13: There's something that's that definitely feels more, uh, you know,

800
00:43:49,280 --> 00:43:53,000
connecting yes, an actual person singing it with the A.

801
00:43:53,599 --> 00:43:55,199
Speaker 20: I mean, sometimes the A voices are a little bit

802
00:43:55,199 --> 00:43:55,639
too perfect.

803
00:43:55,719 --> 00:43:58,920
Speaker 13: Sometimes they're you know, they don't they don't breathe because

804
00:43:58,920 --> 00:43:59,800
they don't have to breathe.

805
00:44:00,119 --> 00:44:00,559
Speaker 9: That's true.

806
00:44:00,880 --> 00:44:04,480
Speaker 13: The way that they see something, you know it it

807
00:44:04,800 --> 00:44:09,360
starts to feel something just a little bit off in it.

808
00:44:09,480 --> 00:44:12,119
And so yeah, it's it's you know, so I've tried

809
00:44:12,119 --> 00:44:13,880
it and and for you know, when if I'm writing

810
00:44:13,960 --> 00:44:17,159
something for a film or a TV show or something

811
00:44:17,239 --> 00:44:20,360
like that, then you know, something for for a sinc opportunity.

812
00:44:20,440 --> 00:44:22,360
It doesn't quite matter as much if you use some

813
00:44:22,440 --> 00:44:25,280
of those things sometimes. But yeah, but if but if

814
00:44:25,320 --> 00:44:26,920
I can get it, you know, actual person seeing it,

815
00:44:27,000 --> 00:44:28,960
it's always going to feel a bit more connected.

816
00:44:28,840 --> 00:44:33,639
Speaker 9: Right, right. Have you been surprised by by the reception

817
00:44:33,800 --> 00:44:36,679
I saw Let's see I saw something here from Spill

818
00:44:36,800 --> 00:44:40,920
magazine said it's infectious, feel good rock introspection and hope

819
00:44:41,039 --> 00:44:45,440
A Sonics Morgas Sport. That's pretty cool. That's that's that's

820
00:44:45,480 --> 00:44:46,519
definitely I praise.

821
00:44:48,199 --> 00:44:51,880
Speaker 20: Yeah, it's been great. Yeah, it's been just a little

822
00:44:51,880 --> 00:44:53,199
over months since the album came out.

823
00:44:54,719 --> 00:44:57,880
Speaker 13: Uh, and yeah, it's been really just wonderful to see

824
00:44:58,360 --> 00:45:01,159
you know, the the reviews of it and great, Uh,

825
00:45:01,360 --> 00:45:03,480
the people I've heard from who've listened to it, I've

826
00:45:03,480 --> 00:45:05,880
really enjoyed it. It's it's a it's there's a lot

827
00:45:05,920 --> 00:45:08,239
of different sort of It's a little bit more stylistically

828
00:45:08,320 --> 00:45:10,119
diverse than my second album, which is a little bit

829
00:45:10,159 --> 00:45:13,519
more sort of power pop pop, you know, uh pop

830
00:45:13,559 --> 00:45:16,880
punk type stuff, and this album has some of that certainly,

831
00:45:17,440 --> 00:45:22,000
but you know, with with songs like you know, Isotope

832
00:45:22,000 --> 00:45:25,480
and Falling from Down, which are definitely harder rock kind

833
00:45:25,519 --> 00:45:28,760
of songs, which and I come from, you know, in

834
00:45:29,039 --> 00:45:30,880
in in those bands in the eighties, we've played a

835
00:45:30,920 --> 00:45:33,239
lot of you know, hard rock metal songs like Black

836
00:45:33,280 --> 00:45:37,599
Sabbath and you know whatever, and so I love a

837
00:45:37,639 --> 00:45:42,159
good crunchy guitar part. Yeah, uh, and so I was

838
00:45:42,280 --> 00:45:46,360
really I loved doing those tunes. But then songs like

839
00:45:46,639 --> 00:45:49,079
You at My Door, which has Lana Tani singing on it,

840
00:45:50,559 --> 00:45:53,800
is you know, a more sort of traditional piano ballad

841
00:45:53,960 --> 00:45:56,719
song but with a bit of a shift in it, uh,

842
00:45:56,920 --> 00:46:00,639
twist in the story, and that's you know, that was

843
00:46:00,639 --> 00:46:02,199
sort of a different thing. But I just loved that

844
00:46:02,320 --> 00:46:04,360
song so much that that partument was like, I just

845
00:46:04,400 --> 00:46:06,119
want to have it on the album. And then when

846
00:46:06,159 --> 00:46:08,039
I and I got heart to sing it was great.

847
00:46:08,440 --> 00:46:11,519
Speaker 9: Yeah. Yeah, I'm curious too. I have to ask you

848
00:46:11,559 --> 00:46:13,920
and you probably got this question a lot. But being

849
00:46:14,000 --> 00:46:17,320
where you are geographically, I mean, has that influenced your

850
00:46:17,400 --> 00:46:20,800
sound at all or I mean being in Seattle or

851
00:46:21,320 --> 00:46:23,920
Seattle A Jason, Are you actually in Seattle or even

852
00:46:23,960 --> 00:46:24,719
one of those suburbs.

853
00:46:24,760 --> 00:46:25,599
Speaker 20: I was in Seattle.

854
00:46:25,639 --> 00:46:27,880
Speaker 13: I lived in Seattle, you know, we lived in Seattle

855
00:46:27,960 --> 00:46:30,400
until until we bought this place up here and we

856
00:46:32,559 --> 00:46:35,000
and uh so, I you know, I've been in the

857
00:46:35,079 --> 00:46:39,360
area for since the nineties, so it's yeah, yeah, I've

858
00:46:39,480 --> 00:46:42,119
been all of the airplace in the area basically. But yeah,

859
00:46:42,159 --> 00:46:44,719
we were in in in Seattle proper for a while,

860
00:46:45,960 --> 00:46:51,639
which was great. U until the pandemic Yeah, yep, yep,

861
00:46:52,400 --> 00:46:54,760
less so I mean it was still fine, but it

862
00:46:54,880 --> 00:46:56,360
was you know, you couldn't go do a lot of

863
00:46:56,400 --> 00:46:58,480
the things that that were great about being in the city,

864
00:46:59,280 --> 00:47:03,119
right uh and uh yeah, so I mean I I

865
00:47:03,719 --> 00:47:06,639
you know, I love the Seattle bands, particularly from the

866
00:47:06,679 --> 00:47:10,840
nineties of Pearl Jam and and and Nirvana and Sound

867
00:47:10,880 --> 00:47:11,519
Garden and.

868
00:47:12,039 --> 00:47:14,000
Speaker 20: You know, all of that sound is just you know,

869
00:47:14,239 --> 00:47:17,480
was huge. And yeah, there's a lot of nineties sound

870
00:47:17,559 --> 00:47:18,079
in what I do.

871
00:47:18,880 --> 00:47:22,840
Speaker 9: Yeah, yeah, absolutely, so yeah, absolutely.

872
00:47:22,400 --> 00:47:23,760
Speaker 20: You know, it was it's a huge influence.

873
00:47:23,760 --> 00:47:25,840
Speaker 13: I wasn't actually here for most of the nineties, so

874
00:47:25,960 --> 00:47:28,800
I wasn't here during the early nineties when all the

875
00:47:28,840 --> 00:47:30,719
stuff was happening because I was in Massachusetts then, but

876
00:47:32,280 --> 00:47:36,320
it was uh, yeah, it's it's it's still part of

877
00:47:36,360 --> 00:47:38,559
the feel here. Going to go to the airport and

878
00:47:38,599 --> 00:47:41,960
there's all sorts of you know, pictures in the airport

879
00:47:42,079 --> 00:47:43,000
of of Pearl.

880
00:47:42,840 --> 00:47:43,599
Speaker 20: Jam and Nirvana.

881
00:47:43,800 --> 00:47:47,280
Speaker 13: I can imagine, yeah, Hendrix and and all these you

882
00:47:47,320 --> 00:47:48,880
know things, because it's just a big part of what

883
00:47:49,079 --> 00:47:52,440
Seattle is and uh and the feel is still there

884
00:47:52,480 --> 00:47:52,679
for that.

885
00:47:52,960 --> 00:47:55,519
Speaker 9: Yeah, yeah, no doubt. Well, by the way, where does

886
00:47:55,559 --> 00:47:58,079
the name audio Guests come from? What's the meaning behind

887
00:47:58,079 --> 00:47:58,800
audio Gusts?

888
00:48:00,199 --> 00:48:02,159
Speaker 20: So I guess there's two parts of it.

889
00:48:02,239 --> 00:48:05,159
Speaker 13: One, I can't use my regular name, Chris Evans, because

890
00:48:05,960 --> 00:48:07,159
there's an awful lot of them out there.

891
00:48:07,280 --> 00:48:09,599
Speaker 9: Yeah, common common name, one of them being very famous.

892
00:48:10,000 --> 00:48:12,400
Speaker 13: Some of them are very well known depending on where

893
00:48:12,400 --> 00:48:14,760
you are. There's another one in England who's very well known.

894
00:48:17,440 --> 00:48:17,559
Speaker 8: Uh.

895
00:48:18,000 --> 00:48:20,559
Speaker 13: And so I needed to have an artist named that

896
00:48:20,679 --> 00:48:24,480
was something else. So audio gust is a it was

897
00:48:24,639 --> 00:48:26,280
something that I could that I could get that was

898
00:48:26,760 --> 00:48:29,800
you know available. Yeah, and you know, there weren't a

899
00:48:29,840 --> 00:48:32,960
lot of other people doing it. But you could think

900
00:48:33,000 --> 00:48:36,639
of like singing as just sort of a combination of wind,

901
00:48:37,000 --> 00:48:41,119
air and sound. Yeah, and all sound really is sort

902
00:48:41,159 --> 00:48:43,480
of waves and it's just sort of vibrations through the air.

903
00:48:43,679 --> 00:48:46,320
So it's you know, it's moving air. It is is

904
00:48:46,440 --> 00:48:48,480
sort of a sound. It is motion.

905
00:48:49,119 --> 00:48:49,360
Speaker 12: It is.

906
00:48:51,239 --> 00:48:54,679
Speaker 20: Yeah, just sort of a cross of of of sound

907
00:48:54,760 --> 00:48:55,119
and motion.

908
00:48:55,519 --> 00:48:58,079
Speaker 9: Yeah, that makes sense, makes sense.

909
00:48:58,079 --> 00:48:58,400
Speaker 19: I like it.

910
00:48:58,480 --> 00:49:01,320
Speaker 9: It's a cool name. Definitely a cool name. We're almost

911
00:49:01,360 --> 00:49:04,639
out of time, Chris, it goes quickly. What's the ironic

912
00:49:04,679 --> 00:49:06,880
twist about your software career?

913
00:49:07,679 --> 00:49:07,920
Speaker 20: Ah?

914
00:49:08,199 --> 00:49:11,679
Speaker 13: So, as I was writing all of these songs, and

915
00:49:12,559 --> 00:49:13,880
when you write a song, there's a whole bunch of

916
00:49:13,920 --> 00:49:15,760
information you need to track along with it, like for

917
00:49:15,880 --> 00:49:17,440
of course, what are the lyrics and what key is

918
00:49:17,480 --> 00:49:20,039
it in? But also like what do I need to

919
00:49:20,079 --> 00:49:22,679
do still on this recording of it? And you know

920
00:49:22,880 --> 00:49:25,000
where if I registered it with the different all the

921
00:49:25,039 --> 00:49:27,280
different places you register songs with, and what's the link

922
00:49:27,320 --> 00:49:30,400
to it on Spotify versus Apple Music versus whatever else?

923
00:49:30,440 --> 00:49:32,719
And so I did what a software guy does as

924
00:49:32,760 --> 00:49:35,760
I wrote an app. Ah, I used to track all

925
00:49:35,840 --> 00:49:37,760
of my songs and all of my recordings and all

926
00:49:37,800 --> 00:49:40,719
the people that I write with and and the current

927
00:49:40,760 --> 00:49:43,599
state of all of them. And I've recently realized, after

928
00:49:44,000 --> 00:49:45,519
you know, showing a bunch of people and letting them

929
00:49:45,519 --> 00:49:47,159
sort of play around with it, that I need to

930
00:49:47,239 --> 00:49:50,079
release this app because it's a really really useful tool

931
00:49:50,159 --> 00:49:54,559
for songwriters and music producers and such to do this.

932
00:49:54,760 --> 00:49:56,960
So sometime in the next month or two, I'm going

933
00:49:57,000 --> 00:49:59,199
to be releasing this app called studio Notes, which is

934
00:50:00,159 --> 00:50:02,599
exactly that. It's an app for organizing all of your

935
00:50:02,960 --> 00:50:05,639
songs and and it's not you know, we don't, I

936
00:50:05,639 --> 00:50:07,559
don't store the music on there. They's playing a place

937
00:50:07,559 --> 00:50:09,280
where you can anxious store the files. But it's yeah,

938
00:50:10,920 --> 00:50:13,079
it's all of the information about all of the songs

939
00:50:13,119 --> 00:50:15,559
you write, and the recordings of them, in the current

940
00:50:15,599 --> 00:50:18,320
state of them, and the collaborations and who has signed

941
00:50:18,360 --> 00:50:20,239
what agreements and all of those kinds of things.

942
00:50:20,400 --> 00:50:22,639
Speaker 9: Oh, that is extremely cool and very useful, and I'm

943
00:50:22,639 --> 00:50:24,719
sure a lot of our listeners will enjoy hearing about

944
00:50:24,719 --> 00:50:27,400
that because you know, a lot of a lot of musicians,

945
00:50:27,480 --> 00:50:29,440
and you know, people who make up our audience. There's

946
00:50:29,440 --> 00:50:31,239
a lot of musicians, a lot of industry people, so

947
00:50:31,360 --> 00:50:33,599
that's that's very cool. So it's called Studio Notes.

948
00:50:34,400 --> 00:50:36,719
Speaker 20: Yeah, and and the website is up right now.

949
00:50:37,079 --> 00:50:38,760
Speaker 13: You can't actually the store app is not in the

950
00:50:38,760 --> 00:50:42,119
story yet, Okay, studio is Studio notes dot app. Oka

951
00:50:43,000 --> 00:50:46,079
probably shouldn't have said that, but I did, because the

952
00:50:46,159 --> 00:50:47,719
website's up there. The link to go to the store

953
00:50:47,800 --> 00:50:49,400
course doesn't work yet because yea, it's not in the store.

954
00:50:49,440 --> 00:50:51,119
But if you know, if anybody's curious, you can go

955
00:50:51,159 --> 00:50:54,280
and sort of see what it's about, and you know,

956
00:50:54,440 --> 00:50:56,079
send me a comment or whatever if your just did.

957
00:50:56,119 --> 00:50:59,400
And I'll make sure to let everybody who does know

958
00:50:59,599 --> 00:51:01,840
when it's actually a up in life of the story.

959
00:51:01,840 --> 00:51:02,880
Speaker 20: But I'm sort of finishing nothing.

960
00:51:03,119 --> 00:51:05,599
Speaker 9: Oh, extremely cool, very good, very good, Chris. This is

961
00:51:05,679 --> 00:51:07,440
I wish we had more time. I could definitely talk

962
00:51:07,440 --> 00:51:09,760
to you longer. You're you're an interesting guy and I'm

963
00:51:10,159 --> 00:51:13,880
very I love your love your music. But but yes, yes,

964
00:51:14,239 --> 00:51:15,920
we are approaching the top of the hour, so we'll

965
00:51:15,960 --> 00:51:19,079
start to wind down. I'm gonna close the segment with

966
00:51:19,239 --> 00:51:21,239
this track Easier that we were talking about. This is

967
00:51:21,280 --> 00:51:23,639
another another great song from the album.

968
00:51:23,840 --> 00:51:24,800
Speaker 2: But where's the.

969
00:51:24,800 --> 00:51:26,480
Speaker 9: Best place for people to go to learn? More and

970
00:51:26,599 --> 00:51:29,679
keep up with everything that that you're doing as audio guests.

971
00:51:30,920 --> 00:51:35,480
Speaker 13: Uh, audio gust dot com is the website perfect sort

972
00:51:35,480 --> 00:51:37,199
of the center of everything. You can follow me of

973
00:51:37,239 --> 00:51:41,440
course on audio guest music, on on Instagram or you know,

974
00:51:41,519 --> 00:51:44,320
I'm in Threads and a bunch of those places, but uh, yeah,

975
00:51:44,360 --> 00:51:46,320
the the core of that would be your guest dot

976
00:51:46,360 --> 00:51:48,039
com is where I usually try to keep everything.

977
00:51:49,199 --> 00:51:49,840
Speaker 20: Yeah up to date.

978
00:51:50,119 --> 00:51:53,679
Speaker 9: Yeah, absolutely, absolutely well, Chris, thank you so much. We're

979
00:51:53,719 --> 00:51:57,480
going to play this track in a moment easier. Love

980
00:51:57,719 --> 00:51:59,760
love the love the song, and I love the album,

981
00:51:59,840 --> 00:52:03,840
and congratulations on everything that you're doing. And we look

982
00:52:03,880 --> 00:52:06,159
forward to having you back when you've got new music

983
00:52:06,239 --> 00:52:07,920
or jeez, we might even have you back on sooner

984
00:52:08,000 --> 00:52:10,159
to talk about the app when when it comes out,

985
00:52:10,199 --> 00:52:11,360
because like I said, I think a lot of our

986
00:52:11,400 --> 00:52:13,119
listeners would be very interested in that. But I love

987
00:52:13,159 --> 00:52:15,679
the album Falling from Down. Everyone should listen to the

988
00:52:15,719 --> 00:52:18,880
whole thing. It's it's really really good. So we'll hit

989
00:52:18,960 --> 00:52:20,559
that track and we'll let you go for now. But

990
00:52:20,840 --> 00:52:23,320
Chris Evans Audio Gust, thank you so much and we'll

991
00:52:23,360 --> 00:52:23,960
talk to you soon.

992
00:52:24,840 --> 00:52:26,320
Speaker 20: Thank you. I appreciate that much, all right.

993
00:52:26,400 --> 00:52:30,679
Speaker 9: Absolutely take care, Bye bye. All right, what an interesting guy,

994
00:52:30,800 --> 00:52:33,840
Chris Evans. His project is Audio Gust. We're gonna play

995
00:52:33,880 --> 00:52:37,039
this track easier and we are rapidly approaching the end

996
00:52:37,079 --> 00:52:39,519
of the show, so that'll probably be it for this week.

997
00:52:39,760 --> 00:52:41,639
Thank you to everybody who joined us today. Of course

998
00:52:41,679 --> 00:52:43,800
the guys from Down Boys, they were in studio with us.

999
00:52:43,840 --> 00:52:47,639
That was wonderful. We talked to Jesse Kill Gus and

1000
00:52:48,039 --> 00:52:51,639
Dots and Moon and a nice busy show. And let's

1001
00:52:51,639 --> 00:52:55,239
see if you want to keep up with everything I'm doing.

1002
00:52:55,559 --> 00:52:57,960
Sometimes I forget to plug my own website, Matt connorton

1003
00:52:58,039 --> 00:53:00,320
dot com. If you miss any part of today show,

1004
00:53:00,360 --> 00:53:01,639
it will be up in just a little bit w

1005
00:53:01,920 --> 00:53:04,559
MNH Radio dot org and at my website Matt Connorton

1006
00:53:04,920 --> 00:53:07,400
dot com. And uh, that's gonna do it for us

1007
00:53:07,480 --> 00:53:09,199
for now. We're gonna talk to you a little bit

1008
00:53:09,239 --> 00:53:11,400
later by everybody. And here it is. This is easier

1009
00:53:12,000 --> 00:53:13,760
and the project is Audio Guest.

1010
00:53:23,559 --> 00:53:35,239
Speaker 14: I shouldn't watch the head stirred up anger rensmile.

1011
00:53:41,039 --> 00:53:50,679
Speaker 19: I see all the wing signs, so I don't sleep

1012
00:53:50,960 --> 00:54:01,440
that well, says.

1013
00:54:00,119 --> 00:54:01,400
Speaker 14: It would get it.

1014
00:54:04,079 --> 00:54:05,119
Speaker 20: If I didn't know.

1015
00:54:15,199 --> 00:54:26,519
Speaker 15: Coastline shifted a big storms doing less the more weird

1016
00:54:26,760 --> 00:54:42,400
warm Friday, being on and informed. So I follow every

1017
00:54:42,840 --> 00:54:45,360
failing warm.

1018
00:54:50,360 --> 00:54:59,039
Speaker 2: Days and would be if I didn't know. If I

1019
00:54:59,199 --> 00:55:09,639
didn't know, No, I didn't know. I wake up early

1020
00:55:09,920 --> 00:55:11,239
and I jump out of bed.

1021
00:55:11,800 --> 00:55:14,239
Speaker 12: I step outside and trying to sun.

1022
00:55:14,119 --> 00:55:17,440
Speaker 2: On my neck and got nowhere. He's taking his face

1023
00:55:17,519 --> 00:55:18,239
in my hand.

1024
00:55:18,920 --> 00:55:21,360
Speaker 20: Wanted anywhere, seem on it.

1025
00:55:22,159 --> 00:55:24,400
Speaker 12: I know anything I want to need.

1026
00:55:24,360 --> 00:55:26,480
Speaker 2: Any proof gets conform of me.

1027
00:55:26,760 --> 00:55:28,480
Speaker 20: It shouldn't be a control you too.

1028
00:55:29,000 --> 00:55:32,679
Speaker 12: My contents would be the profat extrem.

1029
00:55:33,679 --> 00:55:35,480
Speaker 9: But then my gat comes here.

1030
00:55:37,119 --> 00:55:38,599
Speaker 2: And if I turned down and.

1031
00:55:44,280 --> 00:55:51,360
Speaker 15: I was raised, don't own cool stand man by Avery long,

1032
00:55:52,440 --> 00:55:54,159
believe in his history.

1033
00:55:54,519 --> 00:55:59,079
Speaker 9: Flew the flag in for my soul and stuff.

1034
00:55:59,239 --> 00:56:08,599
Speaker 15: Because now the virtue face the craft comburations.

1035
00:56:07,239 --> 00:56:08,880
Speaker 21: Fast sha pass.

1036
00:56:09,519 --> 00:56:13,239
Speaker 14: So I resist, but face the facts.

1037
00:56:15,159 --> 00:56:19,039
Speaker 2: So it would be.

1038
00:56:23,800 --> 00:56:38,079
Speaker 12: Most day it would be easy. Every day would be easy.

1039
00:56:39,360 --> 00:56:40,559
Speaker 2: If I didn't know.

1040
00:56:46,239 --> 00:56:48,320
Speaker 20: You are listening to W and H N.

1041
00:56:53,000 --> 00:56:58,039
Speaker 18: Command God, don't get supprimely maxill coming.

1042
00:57:33,320 --> 00:57:37,679
Speaker 17: You are listening to Matt Connorton Unleashed on W M

1043
00:57:37,719 --> 00:57:39,679
n H ninety five point three.

1044
00:57:47,119 --> 00:57:47,679
Speaker 20: Point three.

1045
00:57:57,639 --> 00:58:01,360
Speaker 21: You are listening to W M N H L ninety

1046
00:58:01,440 --> 00:58:05,480
five point three FM, broadcasting from the top of one

1047
00:58:05,519 --> 00:58:09,280
thousand Elm Street. Our studios are located at one nineteen

1048
00:58:09,320 --> 00:58:14,079
Canal Street and licensed to Manchester Public Television Service in Manchester,

1049
00:58:14,239 --> 00:58:18,960
New Hampshire. Contact us by email at wm NH nine

1050
00:58:19,119 --> 00:58:22,920
five three at gmail dot com, or through our website

1051
00:58:23,159 --> 00:58:25,800
at wmnhradio dot org.