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Speaker 1: I love it. That is called I Get Blamed.

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Speaker 2: The band is the Fodds, and we've got Rob Critchley

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on the line via WhatsApp.

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Speaker 1: Rob, are you there, I'm here, Matt.

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Speaker 3: Can you hear me?

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Speaker 1: I can, Yes, Welcome back to the show.

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Speaker 4: It's great, so much for having me.

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Speaker 2: Absolutely, I love that track and you would sent that

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one to us specifically for today.

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Speaker 1: So is that now?

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Speaker 2: I know that's not the but it's not quite the

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newest single, right because I think you've had a couple

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since then.

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Speaker 3: Correct, We've been on a bit of a role. Yeah,

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it's been good.

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Speaker 4: As a sort of spoke about last time, like, finding

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people to actually sing for us is one of our

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biggest challenges. Yeah, and as we've put more music out,

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people have heard it, and as we've approached them, they've

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been a little bit more willing to engage with us.

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Speaker 3: So we say, so those.

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Speaker 4: Guys Headphones Jack, I heard about them a long time

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ago and I just reached out to them and they

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were like, this is a cool tune, Like, but it

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took us, you know, a good sort of six months

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to put it down and get everything ready.

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Speaker 3: And they're they're busy, they're gigging, and they've got their

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own stuff to do.

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Speaker 4: So we you know, you've got to fit fit all

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these things in around life. So while we're doing I

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get blamed. We're also doing like two or three others.

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So we found ourselves in a situation where we had like,

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you know, I think four pretty much completed songs, and we.

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Speaker 3: Were like, we don't know what to do with this,

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you know.

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Speaker 4: Like, how do how do we even like process it?

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So we thought, right, let's just you know, when they're done,

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we'll release and we'll give each one a month and

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move on to the next one. And it's turned out

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to be quite It turned out to be quite a

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good process because you sort of not that we're massively relevant,

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but you stay like, you know, producing things, and things

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keep hitting you know, the outside world, and you know,

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it builds a little bit of momentum behind it, and

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it's worked out really well for us.

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Speaker 3: So we've got songs up to January. We're going to

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have a release on.

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Speaker 4: Nineteenth and December, and also I think it's the twenty

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second of January.

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Speaker 3: Okay, we've got and then we've got nothing else.

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Speaker 4: So February we're like, okay, we need to write something

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or we need to like we've got you know, three

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or three or four other songs, right it works, but

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they're not really very mature, you know. Like we've got

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one out to one singer and he's done something with

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it and you know it's gotten okay, but like it

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needs a lot of work, and we've got.

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Speaker 3: Another one and out to another.

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Speaker 4: We've got a band in New Zealand of all places

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looking at it one and obviously there's a time difference.

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You've got a factor in and yeah, you know, and

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we sent it to them and do it light right,

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we'll have a look.

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Speaker 3: I know, it's only a couple of weeks ago.

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Speaker 4: Yeah, and I checked in and they were like nothing yet, okay,

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all right, and it's coming up to Christmas and people

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get busy and of course I don't think we'll have

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anything impact from people until January and then okay, so

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the timelines like sort of change a little bit and

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you're sort of going through all.

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Speaker 3: This in your head. Yeah, you really want to put

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something else out because everything, everything that we've.

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Speaker 4: Done, like you're getting a little bit of a role

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and you're.

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Speaker 3: Saying, okay, this is this is you know, the way,

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a good way of releasing things and a good way

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of you know, the way a band should work.

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Speaker 2: Yeah, I kind I kind of chuckled, because I remember

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when we had you on the first time, you were

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talking about how there was you had one instance where

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you would send somebody, you would send a vocalist a

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song to work on, and like six months went by

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and they still hadn't gotten the act to you what

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they had done, and you finally had to move on.

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And from what I call I don't remember what song

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it was, but from what I remember you saying, it

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all worked out for the best because then you found

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another vocalist who just did a fantastic job on it

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and the song came out better than you imagined it anyway.

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Speaker 1: But so it kind of all worked out.

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Speaker 2: But it can be frustrating when you're depending on other people,

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you know, to do their part.

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Speaker 1: And then you get back to here, right, Yeah, that's the.

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Speaker 4: One that's going to be released in January. Oh, So

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we found someone who was like really receptive to it,

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and he really wanted to get involved and he wanted

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to do some music on it, and you know, we

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went back and forth and he said, let me try

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something like this, and he's doing quite.

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Speaker 3: A lot of the work, which is brilliant.

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Speaker 4: You know that we want people to be engaged with it,

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and it works out so much, so much better when

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people are coming back and forth and we really like,

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we like them to go, can we try this instead

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of this?

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Speaker 3: Right? Yeah, yeah, let's.

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Speaker 4: Let's say, because that's what a collaboration should be, just

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sending it should be, just sending a song out and

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words coming back and we go, okay, we'll use those words.

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Speaker 3: Yeah.

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Speaker 2: So would you so yeah, would you say this is

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would you say this has been your busiest period with

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the thoughts?

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Speaker 3: Oh for sure, Yeah, for sure.

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Speaker 4: Yeah. We don't really know anything different, to be honest,

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because like we're still such I say, we're an immature band,

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like we've we did the Don't Argue projects and that

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was just was like regurgitating stuff that.

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Speaker 3: We did like twenty five years ago.

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Speaker 4: Sure, we still had to we still had to find

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people to do that, and that's that's what took the time, right.

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And then then when we released Shopping and the ineffectual

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Shopping was an old song, we yeah, all old band

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didn't want to use so it got released like in

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the two thousands, so late nineties, and when when all

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wanting to re re record other things from that period,

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Like he was with a different band and they put

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out a remote album John Covid and Shopping Shopping didn't

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make that cut for whatever reason, and so he.

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Speaker 3: Says, right, let's do it.

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Speaker 4: Let's put a Fotts take on it.

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Speaker 3: And we did that. So the song was already there.

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Speaker 4: We just like found a a vocalist, Laura, who did

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an amazing job. Like I tweaked the words a little bit,

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he bumped up the music a little bit, and then

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that was that and then the ineffectuals. It was just

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like so quick because he put the music down and

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it started off with his words and that's basically all

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his stuff, so there was really nothing for me to do.

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Speaker 3: And he was like, I don't like this. I don't

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like these words. Will you change them?

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Speaker 4: So I changed them as we went along. So I

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was writing as Joe was going back, and Joe like,

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you know, sender take it, and I go, his vocals

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are always amazing, and I go, like, askedufs terrible, So

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we needed to like, you know, make it better to

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fit his vocals. As we went along, so and Joe

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just turned the things around in a couple of days,

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like he was incredible to work with. So me or

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we're like, we've got to match this. So we had

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to really really level up our game. And so the

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willards sort of came out. They don't they don't really

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mean anything.

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Speaker 3: It's like it's one of those things where you can.

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Speaker 4: Say, oh, he's talking about it, so he's talking about that,

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I'm not really I'm trying to fit something in together

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in quite a short amount of time. And if it

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comes out, if it comes out to some someone thinks this,

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this is what he's talking about. That's brilliant. That's that's

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how I want it. I want it to be interpreted

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how you want to interpret right, right, just just like

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good words, and that's how I try and write my

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words anyway, like stuff that sounds.

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Speaker 3: Like it belongs together.

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Speaker 4: Right. So, so after the ineffectuals were done, we had

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like I've got you know, it's basically poetry. So you

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write poetry and then see what happens. See if there's

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a a lyric or some sort of guitar or you know,

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some sort of beat which goes with those lyrics, with

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those pubems. So these all.

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Speaker 2: I'm sorry, so I so just to clarify too for

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a listener. So, so these all start with you, like

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you said, you're you're you're coming up with the words,

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and that's that's where all of these begin. Right, That's

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that's like the that's like the one thing that everything

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that the Fodds does as a collective, that's the one

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thing that that is the through line.

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Speaker 3: Right. Yeah, it's it's my it will always be my words. Yeah,

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and in my head.

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Speaker 4: You can try and put them to a beat or

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a tempo or a and then I put them in

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like a shared folder. Yeah, and I'll have a look

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at them, and he'll go, oh, I've got this. I've

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got this line that I wrote on the guitar. See

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if you can put anything together or what he's doing

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at the moment with one. Because I've said I've got

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these lyrics, he says, I've got something in my head.

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Speaker 3: I'm going to try and you know, flesh that out

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and use these lyrics for it.

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Speaker 4: So they're always a little bit you know, individual, they're

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was a little bit different, but it's basically him and

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I like trying to balance what each of us has

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come up with.

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Speaker 1: Right.

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Speaker 2: We should talk a little bit too about how this

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all works, because for for listeners, especially people listening to

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the show who maybe didn't hear our previous conversation I

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think I had said to you. To me, it seems

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like like the Fods, it's not so much a band,

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it's a collective, right, because you work with all these

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different people. So someone who doesn't know that might be

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confused about Wait a minute. You know, you're sending tracks

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to this person and waiting for them to get back

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to you with this, and you've got this other person

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you're you're working with, So this is I mean, and

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it's it's worked this way for a while, right, Like

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you you essentially you work with a lot of different

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different people. I mean obviously some of the same people too, right,

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But but but you work with with a lot of

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people on these tracks. They all start the same way, right,

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They all start with your lyrics. But what happens after that,

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each each song kind of kind of has its own, uh,

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its own path, shall we say?

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Speaker 3: Yeah?

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Speaker 4: Yeah, absolutely, each one has its own life. Yeah, and

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that sort of depends on who we choose to to

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get involved with because everyone works differently, so some people,

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you know, like to spend the time and take it

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a bit of effort and you know, work work with

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it how they want to work with it. And some

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people just want to bang it out and do what

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they think.

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Speaker 3: Is right and move on to the next thing.

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Speaker 4: So everyone works differently, So we don't really know if

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we will send it out to a vocalist and we

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don't really know what they're going to send back, right,

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And that that that's half the joy of it, to

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be honest. Like, there's a there's a song on They

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Don't Argue EP. It's called Volumes of Silence, and I

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love it. I think it's a really good song. And

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we did that, wrote those songs like when we were

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teenagers at school and I don't I don't really I

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was out of the music for twenty odd years. I

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don't really remember writing that song. I don't really remember

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how it sounded. When we put it together in twenty

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twenty four when we were doing the Don't Argue EP,

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I was like to well, I was like, I know

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this is a good song, but I don't really remember

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how I mean, he played it and we were like okay,

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like and we built it and we had it good

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enough to send out to a vocalist.

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Speaker 3: We found this guy from the band j h H.

243
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It's called Jeff. He had this like.

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Speaker 4: If you sort of think back to you know, I'm

245
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from originally from Manchester in the UK, and he had

246
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that sort of you know Ian Brown James sort of vibe,

247
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you know, like he he sounded like he could have

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been from that era.

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Speaker 3: We're like, okay, we'll try him. And he came back

250
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and he did it.

251
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Speaker 4: So differently than what we thought he would do it really,

252
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and we were like, it's amazing, it's brilliant.

253
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Speaker 3: It's different. That's it's like the whole process. That's like

254
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the whole thing. And there's been a couple that come

255
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back and we've gone, oh, no, like what do we

256
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do this? It's really it's really not what we wanted.

257
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Speaker 4: And I really like they've done it in the wrong

258
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key or they done it like so we have to

259
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then make that decision. Do you do you go back

260
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and talk to them and say, right, we know you

261
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we gave you a bit of a free reign here,

262
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but we don't also like you to change this a

263
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little bit and change this a little bit and building

264
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building that way and most people are quite they're open

265
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to that. They don't mind being told what to do.

266
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What was there was one guy is like, I think

267
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it should be done like this, probably, don't.

268
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Speaker 3: You know, You've you've got.

269
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Speaker 4: To be quite diplomatic and you've got to be quite

270
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you know, sensitive to other artists feelings as well, because

271
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they're putting their time, they're putting their time and their

272
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energy and not pain. You know, they're not getting any

273
00:13:54,679 --> 00:13:57,320
you know, not giving them a thousand dollars every time

274
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they some lyrics for us. Right, So it's always a

275
00:14:02,639 --> 00:14:04,679
fine balance and we've got to be happy and they've

276
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got to be happy. And like we as we've gone

277
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out to artists, we we've sort of made that clear

278
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in the in the stuff that we send out to them.

279
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We stay right, would love you to do this. But

280
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if you're not happy, if we're not happy, you know,

281
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we you know.

282
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Speaker 3: We can shake hands and walk away from it.

283
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Speaker 4: And we've got because now we've got like a little

284
00:14:27,159 --> 00:14:33,080
bit of you know, we're on our seven to eight

285
00:14:33,159 --> 00:14:36,679
song with nearly up to you know, doing an album. Yeah,

286
00:14:37,039 --> 00:14:38,679
because we've got that behind us. Now we've got a

287
00:14:38,720 --> 00:14:41,000
bit more confidence and we've got and we we have

288
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the sort of ability to say to them.

289
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Speaker 3: It's I would say, not good enough. It's it needs

290
00:14:48,240 --> 00:14:51,200
to be different, it needs to go a different way.

291
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So it's exciting.

292
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Speaker 4: And these last we're up to seven songs that are

293
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completely and we want to put a song album out

294
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at the end, at the end of Q one, oh excellent.

295
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Speaker 3: And it's been it's been something that always wants to do.

296
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Speaker 4: It's like, uh, you know, it's it's really something that

297
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he's passionate about and say, right for him personally putting

298
00:15:21,600 --> 00:15:23,960
an album out after you know.

299
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Speaker 3: Years and years of writing songs and music, it's going

300
00:15:26,240 --> 00:15:28,000
to it's going to be really something.

301
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Speaker 4: I'm really hoping that it's going to be great for him.

302
00:15:32,919 --> 00:15:36,960
I just want to make sure that what we put out,

303
00:15:37,279 --> 00:15:39,480
you know, in the ten track format, however it's going

304
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to look like, is it's what he wants.

305
00:15:42,039 --> 00:15:45,799
Speaker 2: So I would imagine I would imagine too that there

306
00:15:45,879 --> 00:15:49,120
must be a challenge inherent in that. I mean, you know,

307
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I know it's you're not you're not at the stage

308
00:15:51,720 --> 00:15:54,000
out of probably thinking about the order of the tracks

309
00:15:54,080 --> 00:15:56,360
or anything, I would assume, but when you when you

310
00:15:56,399 --> 00:16:00,279
do get to that point, because because of of the

311
00:16:00,279 --> 00:16:02,399
way this project works, and like I said, it's more

312
00:16:02,440 --> 00:16:05,600
of a collective than a band. So each song, you know,

313
00:16:05,759 --> 00:16:07,919
you've got different vocalists, you've got different you know, each

314
00:16:07,960 --> 00:16:10,399
song kind of really takes on its own character because

315
00:16:10,399 --> 00:16:14,000
when you're putting an album together, artists try to approach

316
00:16:14,000 --> 00:16:17,879
it like, Okay, there has to be you know, regardless

317
00:16:17,919 --> 00:16:20,360
of when or how these songs were written or how

318
00:16:20,399 --> 00:16:22,600
they were recorded, et cetera, there has to be some

319
00:16:22,639 --> 00:16:26,960
sort of cohesion that that kind of binds all these

320
00:16:26,960 --> 00:16:30,279
songs together. And I wonder, I mean, are you already

321
00:16:30,320 --> 00:16:33,039
thinking about the challenge of that. I mean, obviously there's

322
00:16:33,039 --> 00:16:35,279
a through line, right because they all start the same way.

323
00:16:35,320 --> 00:16:38,759
They all start with you and your words. So maybe

324
00:16:38,799 --> 00:16:41,279
that maybe that's the answer, Maybe that's the through line,

325
00:16:41,320 --> 00:16:42,879
But I don't know, I mean, are you are you

326
00:16:42,919 --> 00:16:44,320
already thinking about that?

327
00:16:44,759 --> 00:16:45,440
Speaker 1: At this point?

328
00:16:46,519 --> 00:16:49,120
Speaker 4: We have and we we sort of throw it out

329
00:16:49,120 --> 00:16:52,639
there and you know, when a song gets completed, so

330
00:16:52,720 --> 00:16:57,559
we've got like a seven track list of the moment, okay,

331
00:16:58,240 --> 00:17:03,399
and as the two ball are very different, So what

332
00:17:03,440 --> 00:17:06,720
you're saying is that absolutely correct.

333
00:17:07,680 --> 00:17:11,200
Speaker 3: We can't decide on what track to open with.

334
00:17:12,720 --> 00:17:16,119
Speaker 4: We've pretty much decided what track to close with, and

335
00:17:16,160 --> 00:17:18,920
then there's you know, everything that goes on in the middle.

336
00:17:19,680 --> 00:17:25,000
And I think we'll probably only know this once the

337
00:17:25,039 --> 00:17:30,720
ten tracks have been finished. You know, we'll see I

338
00:17:31,119 --> 00:17:33,920
know it can be an important thing. And we do

339
00:17:33,960 --> 00:17:37,000
want to do physical albums, you know, we do want

340
00:17:37,079 --> 00:17:40,240
to you know, put this as an old fashioned LP,

341
00:17:41,039 --> 00:17:43,319
like five songs on one side, five songs on the other.

342
00:17:43,759 --> 00:17:48,880
Speaker 3: So they've got to be logical from that perspective. Yeah,

343
00:17:48,920 --> 00:17:51,920
at the moment, You're absolutely right, they aren't logical.

344
00:17:52,480 --> 00:17:55,920
Speaker 4: And I'm not saying I'm worried about it, like I'm

345
00:17:55,920 --> 00:17:57,839
going to get ten songs on an album and it's

346
00:17:57,880 --> 00:18:02,920
going to be we are going to be good. It

347
00:18:03,000 --> 00:18:05,119
is a challenge for us, It's it's a it's an

348
00:18:05,119 --> 00:18:09,559
interesting challenge, the one that we've never had to face

349
00:18:09,640 --> 00:18:13,440
before because I don't argue projects. Was just like, we

350
00:18:13,599 --> 00:18:16,200
know the order because that's the order that we used

351
00:18:16,240 --> 00:18:20,640
to play them live when we live every Yeah.

352
00:18:20,480 --> 00:18:22,519
Speaker 3: So we knew kick that was going to be in

353
00:18:22,519 --> 00:18:22,839
the middle.

354
00:18:22,880 --> 00:18:25,359
Speaker 4: We're going to know that Metal Dog is the opener,

355
00:18:26,079 --> 00:18:28,880
and so that's how we did it then, because that's

356
00:18:28,880 --> 00:18:30,880
what made sense to us this.

357
00:18:31,440 --> 00:18:33,880
Speaker 3: You know, we've not played one one of these songs live.

358
00:18:35,400 --> 00:18:36,359
Maybe that will change.

359
00:18:36,440 --> 00:18:41,759
Speaker 4: I don't know, but it's it's something that we have

360
00:18:41,799 --> 00:18:44,759
thought about. And every time a song, even even if

361
00:18:44,799 --> 00:18:47,240
it doesn't complete, you can sort of see where it's

362
00:18:47,240 --> 00:18:51,880
going when it's like in mid flow, and we can

363
00:18:52,160 --> 00:18:54,599
we can slide this in between these two songs that

364
00:18:54,599 --> 00:18:58,599
that could make a difference. So when we go through this,

365
00:18:59,799 --> 00:19:01,720
he sends me, what's happened, he says, this is my

366
00:19:01,960 --> 00:19:10,240
seventh song order. Yeah, yeah, no, no, So it will

367
00:19:10,240 --> 00:19:13,839
be a conversation that we will have in probably February

368
00:19:13,960 --> 00:19:14,440
or March.

369
00:19:14,720 --> 00:19:16,519
Speaker 1: Yeah.

370
00:19:15,119 --> 00:19:18,559
Speaker 2: Yeah, something too that I don't think we touched on

371
00:19:18,599 --> 00:19:21,240
this the last time when you were on the show

372
00:19:21,279 --> 00:19:24,359
before us. But I don't think we talked about distribution,

373
00:19:24,519 --> 00:19:26,680
because I'm curious now you don't you don't have the

374
00:19:26,960 --> 00:19:29,599
fons is not on Spotify, correct.

375
00:19:30,680 --> 00:19:36,319
Speaker 4: We we were having problems with them, okay. A few

376
00:19:36,920 --> 00:19:39,839
other artists have said the same thing to us. So

377
00:19:39,960 --> 00:19:41,920
we were on Spotify okay, and.

378
00:19:41,799 --> 00:19:46,359
Speaker 3: We're doing okay. And I don't know what caused it.

379
00:19:46,440 --> 00:19:48,519
I don't know if if.

380
00:19:48,319 --> 00:19:50,240
Speaker 4: You or anyone else out there who has been through

381
00:19:50,839 --> 00:19:54,039
issues with Spotify, they don't really want to talk to you.

382
00:19:54,039 --> 00:19:58,440
They'll talk to your distribution, right, and the distribution will

383
00:19:58,440 --> 00:19:59,240
come and talk to us.

384
00:20:00,119 --> 00:20:04,000
Speaker 3: And every month Spotify would.

385
00:20:03,880 --> 00:20:07,200
Speaker 4: Not like what's in huge numbers like two thousand or

386
00:20:07,200 --> 00:20:09,160
fifteen hundred or two thousand.

387
00:20:10,640 --> 00:20:14,200
Speaker 3: Streams. Yeah, particularly the ineffectuals.

388
00:20:14,319 --> 00:20:17,960
Speaker 1: Oh okay, And so you.

389
00:20:17,920 --> 00:20:21,279
Speaker 4: Know, we we weren't doing anything with We just put

390
00:20:21,279 --> 00:20:23,759
it out there and let it and I was always

391
00:20:24,400 --> 00:20:28,160
you know, sending links and sending stuff, but you know,

392
00:20:28,319 --> 00:20:31,960
we don't buy and downloads or.

393
00:20:31,880 --> 00:20:32,559
Speaker 3: Anything like that.

394
00:20:32,599 --> 00:20:36,279
Speaker 4: We we try and produce it organically or try and

395
00:20:37,279 --> 00:20:41,119
but we tried to. So after every month, you know,

396
00:20:41,240 --> 00:20:46,519
Spotify will go two thousand streams off gone, and we

397
00:20:46,559 --> 00:20:48,359
don't go distributing, and they'd.

398
00:20:48,200 --> 00:20:50,880
Speaker 3: Say, oh, you're.

399
00:20:50,160 --> 00:20:55,640
Speaker 4: Either getting on playlists that aren't you know, genuine.

400
00:20:55,240 --> 00:20:56,920
Speaker 3: Or the bot run or whatever.

401
00:20:58,400 --> 00:21:01,400
Speaker 4: And so after six months of this, we were just like,

402
00:21:02,680 --> 00:21:03,640
it's just not worth.

403
00:21:03,400 --> 00:21:09,119
Speaker 3: It because you're fighting like a huge conglomerate. Oh yeah,

404
00:21:09,200 --> 00:21:12,839
there's there's nothing really could do. So there was just

405
00:21:12,960 --> 00:21:15,039
no real point. And when we.

406
00:21:15,039 --> 00:21:21,160
Speaker 4: Left Spotify, the Ineffectuals had seven thousand streams. Whi's not

407
00:21:21,240 --> 00:21:26,720
bad in itself it's okay. Yeah, our Spotify rapped came

408
00:21:26,720 --> 00:21:28,680
out even though we were off Spotify, and I have

409
00:21:28,759 --> 00:21:35,680
not been on since since August. Yeah, they said, and

410
00:21:36,079 --> 00:21:39,119
our Spotify rapped that our biggest song of twenty twenty

411
00:21:39,119 --> 00:21:42,440
six was the Ineffectuals, which had been streamed thirty three

412
00:21:42,519 --> 00:21:47,920
thousand times real, So they right, So they have just

413
00:21:49,160 --> 00:21:51,720
you know, sort of admitted, and I put a post

414
00:21:51,759 --> 00:21:53,240
on there and I was I was a bit angry,

415
00:21:53,599 --> 00:21:57,000
and maybe I should have, but as I said, like

416
00:21:57,119 --> 00:22:00,880
in your vanity parade, that is Spotify, I raped, you've

417
00:22:01,240 --> 00:22:06,119
admitted that we had thirty three thousand genuine streams and

418
00:22:06,160 --> 00:22:08,319
that's what's in our Spotify rap. But we when we

419
00:22:08,400 --> 00:22:12,160
came off your platform. You called every single month and

420
00:22:12,319 --> 00:22:14,240
it stands to seven thousand, and.

421
00:22:15,440 --> 00:22:18,119
Speaker 3: We didn't have any comeback. We couldn't ask the question.

422
00:22:18,240 --> 00:22:22,240
Our distributor was scared of Spotify. They don't want to

423
00:22:22,279 --> 00:22:24,559
talk to them because we've got so.

424
00:22:24,519 --> 00:22:26,680
Speaker 4: Much power, And we were like, it doesn't really matter

425
00:22:26,720 --> 00:22:29,680
to us, right, It's great that we were getting stream

426
00:22:29,880 --> 00:22:31,720
and it's great that people were.

427
00:22:31,559 --> 00:22:35,240
Speaker 3: Listening to it, right every time, every time, you know.

428
00:22:35,240 --> 00:22:37,880
Speaker 4: We we tried to interact with them, or we tried

429
00:22:37,920 --> 00:22:42,559
to understand why they were treating us like this, and

430
00:22:42,599 --> 00:22:46,480
like basically what had happened is at the start of

431
00:22:46,480 --> 00:22:52,119
every month Spotify would say, oh, even, you know, fifty

432
00:22:52,359 --> 00:22:57,519
cents from your your streaming right, but we're going to

433
00:22:57,599 --> 00:23:02,039
knock two thousand streams off, so you down to like

434
00:23:02,119 --> 00:23:03,000
ten SAIDs or you.

435
00:23:03,079 --> 00:23:06,759
Speaker 3: Ows money or something like that. It was. It was

436
00:23:06,799 --> 00:23:08,759
just brutal. Every month we were like, oh, what they're

437
00:23:08,759 --> 00:23:09,480
going to do this month?

438
00:23:09,640 --> 00:23:12,400
Speaker 4: So we don't really we're not in this for the money,

439
00:23:12,680 --> 00:23:15,119
in this for the streams, like hopefully we get people

440
00:23:15,119 --> 00:23:17,599
to listen to us, hopefully don't like it. Yeah, but

441
00:23:17,720 --> 00:23:19,680
you know, we're at the end of the day, we're

442
00:23:19,680 --> 00:23:22,079
really doing it for you know, to get this album

443
00:23:22,119 --> 00:23:25,640
out and to make sure that what we put out

444
00:23:25,680 --> 00:23:27,559
continues to be quality.

445
00:23:27,720 --> 00:23:28,519
Speaker 3: And since we've.

446
00:23:28,319 --> 00:23:31,400
Speaker 4: Come off, we're not we're not sitting there like looking

447
00:23:31,400 --> 00:23:33,319
at streams and we're not worried about it.

448
00:23:33,359 --> 00:23:35,240
Speaker 3: And it doesn't matter when the first of the month

449
00:23:35,319 --> 00:23:37,240
comes around and right, you know.

450
00:23:37,759 --> 00:23:40,960
Speaker 4: There's nothing there to to to do. So I don't

451
00:23:41,000 --> 00:23:43,559
know if people I don't really follow it, to be honest,

452
00:23:43,720 --> 00:23:45,599
I don't know if people are listening on Apple or

453
00:23:46,400 --> 00:23:51,279
these are or wherever else. Sure, on everything else, so

454
00:23:51,799 --> 00:23:52,680
you can still get it.

455
00:23:52,720 --> 00:23:55,640
Speaker 1: But like, of course, yeah, you know, Spotify is.

456
00:23:55,640 --> 00:23:58,759
Speaker 3: Just such a they're not going to be bothered at

457
00:23:58,799 --> 00:24:02,680
we're not on it. It's going to make zero difference,

458
00:24:03,839 --> 00:24:09,759
right right. It saves us just like the.

459
00:24:08,559 --> 00:24:10,920
Speaker 4: The thoughts and people have been very supportive about it

460
00:24:10,960 --> 00:24:13,119
and come back and said, like, I wish we could

461
00:24:13,160 --> 00:24:16,440
do this, but we need I think it's you know

462
00:24:16,519 --> 00:24:19,920
a lot of people still think that, you know, our

463
00:24:20,000 --> 00:24:21,759
song could make it. You know, it could get a

464
00:24:21,839 --> 00:24:23,960
hundred thousand streams, it could get a million streams.

465
00:24:24,039 --> 00:24:28,039
Speaker 3: Yeah, do it, you know, do what's right for you.

466
00:24:29,920 --> 00:24:33,240
Speaker 4: For us, you know, I don't think we're ever going

467
00:24:33,279 --> 00:24:35,200
to get a hundred thousand streams or a million streams.

468
00:24:35,200 --> 00:24:35,599
You never know.

469
00:24:36,000 --> 00:24:38,759
Speaker 3: But if they do, they can go to you know,

470
00:24:38,839 --> 00:24:42,319
any other platform forther than Spotify. So it's just a

471
00:24:42,400 --> 00:24:43,079
little stance.

472
00:24:43,519 --> 00:24:46,000
Speaker 4: Yeah, it will make no difference, but it's made us

473
00:24:46,000 --> 00:24:46,519
feel better.

474
00:24:47,000 --> 00:24:47,279
Speaker 1: Sure.

475
00:24:47,359 --> 00:24:50,960
Speaker 2: Sure, Well it's difficult because you're in a position where,

476
00:24:51,079 --> 00:24:52,559
you know, and this is kind of the position that

477
00:24:52,640 --> 00:24:55,519
everybody's in in a sense, is that we're all sort

478
00:24:55,519 --> 00:24:58,680
of at the mercy of you know, it comes with

479
00:24:58,799 --> 00:25:00,880
big tech. And don't get me wrong, I love I

480
00:25:00,920 --> 00:25:02,960
love tech, and I love that we have all these

481
00:25:03,400 --> 00:25:05,920
resources that we didn't have when I was growing up

482
00:25:05,960 --> 00:25:11,400
and so forth. But you know, you're really at the

483
00:25:11,440 --> 00:25:14,559
mercy of these platforms, you know, no matter what you're doing.

484
00:25:14,640 --> 00:25:17,200
Like for example, I wasn't able to stream you know,

485
00:25:17,279 --> 00:25:20,759
I like to stream this show to Facebook when I'm live.

486
00:25:20,920 --> 00:25:22,799
I wasn't able to do that for a month because

487
00:25:22,799 --> 00:25:24,519
I was banned from live streaming.

488
00:25:24,599 --> 00:25:26,279
Speaker 4: And and and.

489
00:25:26,200 --> 00:25:29,480
Speaker 1: They don't like to tell you why. They don't.

490
00:25:29,519 --> 00:25:31,480
Speaker 2: They like to tell you that you did something wrong

491
00:25:31,720 --> 00:25:33,240
and so you're banned from And it was the only

492
00:25:33,279 --> 00:25:35,319
thing I was banned from. My account wasn't banned or anything.

493
00:25:35,319 --> 00:25:38,079
I just was banned from streaming. They like to tell

494
00:25:38,079 --> 00:25:40,519
you that you can't do this anymore for a while,

495
00:25:40,559 --> 00:25:42,920
but they don't like to tell you why. You know,

496
00:25:43,319 --> 00:25:44,799
it'd be nice to know why, so then I can

497
00:25:44,880 --> 00:25:46,559
avoid doing it again, But they don't like to tell

498
00:25:46,599 --> 00:25:48,480
you that. But we're all kind of at the mercy

499
00:25:48,559 --> 00:25:50,480
of you know, And they don't like to talk to you,

500
00:25:50,559 --> 00:25:52,519
just like Spotify doesn't like to talk to you. Facebook

501
00:25:52,559 --> 00:25:54,480
doesn't like to talk to you either. I'm amazed that

502
00:25:54,519 --> 00:25:56,519
I was able to get as much information as I did.

503
00:25:56,559 --> 00:25:59,200
You know, YouTube doesn't like to talk to you unless

504
00:25:59,240 --> 00:26:02,440
you're you know, unless you have you know, a million subscribers.

505
00:26:02,839 --> 00:26:05,480
Speaker 1: But yeah, yeah, we're all kind of at the mercy

506
00:26:05,519 --> 00:26:05,720
of that.

507
00:26:07,599 --> 00:26:13,119
Speaker 4: Like there's so many you know, radio shows and podcasts,

508
00:26:13,160 --> 00:26:18,200
and they like to tag bands on there, so the

509
00:26:18,240 --> 00:26:20,359
band actually knows that they're going to get played, which

510
00:26:20,400 --> 00:26:22,079
is really nice for the band. It's really nice for

511
00:26:22,160 --> 00:26:25,519
the for the podcast or for the radio show because

512
00:26:25,519 --> 00:26:28,640
they'll get you know, a listener for that hopefully. And

513
00:26:29,119 --> 00:26:31,920
if you can't tag something, you just don't know. So

514
00:26:33,720 --> 00:26:37,000
even trying to find out, you know, if you do

515
00:26:37,119 --> 00:26:40,079
okay on radio, it's not easy. You know, you've got

516
00:26:40,079 --> 00:26:44,519
to you've got to really you know, hunts for stats,

517
00:26:44,599 --> 00:26:48,880
and you know, we we use sort of I try

518
00:26:48,920 --> 00:26:51,880
and use what's called Online Box Radio and they do

519
00:26:51,920 --> 00:26:55,359
a few stats every now and then and they show

520
00:26:55,400 --> 00:26:59,359
which radio stations played it. But I'd say probably only

521
00:26:59,440 --> 00:27:04,759
twenty five sense of the radio stations actually subscribe to

522
00:27:04,880 --> 00:27:07,799
online Box, so you're not getting a full picture, right.

523
00:27:07,839 --> 00:27:10,200
And the one thing, the one thing with Spotify and

524
00:27:10,240 --> 00:27:13,279
they did it so cleverly is they show you exactly

525
00:27:13,359 --> 00:27:17,000
what is. You know, what's being played, and you can

526
00:27:17,039 --> 00:27:19,799
see that you've had, like, you know, ten streams or

527
00:27:19,799 --> 00:27:22,720
one hundred streams, and you know, it gives you a

528
00:27:22,720 --> 00:27:26,759
little bit of visibility around what you're actually doing.

529
00:27:27,279 --> 00:27:28,519
Speaker 3: And I've read.

530
00:27:28,359 --> 00:27:32,880
Speaker 4: I've read something the other day.

531
00:27:32,960 --> 00:27:35,079
Speaker 3: You know, if you're not getting those streams, it's what

532
00:27:35,680 --> 00:27:38,400
stops you making music. And I thought it was really

533
00:27:39,160 --> 00:27:43,039
quite poignant that you're not doing it for yourself, you're

534
00:27:43,039 --> 00:27:45,240
doing it for other people. And I think you've you've

535
00:27:45,279 --> 00:27:47,640
really got to be making music for yourself. And once

536
00:27:47,680 --> 00:27:50,440
you get into that mindset, it doesn't really matter what

537
00:27:50,599 --> 00:27:53,240
goes externally.

538
00:27:53,319 --> 00:27:54,720
Speaker 4: You know, you can do whatever you want and if

539
00:27:54,759 --> 00:27:56,480
you want to play gigs, you can play gigs. And

540
00:27:56,480 --> 00:27:58,720
if you want to, you know, set a goal for

541
00:27:58,839 --> 00:28:00,720
stream and you can do that or get on radio.

542
00:28:01,599 --> 00:28:02,759
Speaker 3: Well, if you're not.

543
00:28:02,720 --> 00:28:06,279
Speaker 4: Doing it for yourself first and foremost, then it doesn't

544
00:28:06,359 --> 00:28:08,519
really make too much sense to be doing it, because

545
00:28:09,160 --> 00:28:11,359
if you can't make yourself happy when you're doing it,

546
00:28:11,279 --> 00:28:14,079
it's got to be a joyful experience just making music.

547
00:28:14,720 --> 00:28:16,359
And it's one of the things that we talked about

548
00:28:16,359 --> 00:28:20,079
when we said, like we'll come off spot because it

549
00:28:20,160 --> 00:28:22,440
was just making things that a little.

550
00:28:22,160 --> 00:28:23,720
Speaker 3: Bit too much harder. And we've got you know, we've

551
00:28:23,720 --> 00:28:24,640
both got day jobs.

552
00:28:24,799 --> 00:28:29,400
Speaker 4: We spend them all our time, you know, chasing up

553
00:28:29,480 --> 00:28:30,680
and figuring out what's going on.

554
00:28:30,759 --> 00:28:33,039
Speaker 3: And we're just like, you know, want to try and put.

555
00:28:32,839 --> 00:28:36,960
Speaker 4: It out there, yeah and move on and like say, yeah,

556
00:28:37,000 --> 00:28:38,400
that was a really good song. We had a great

557
00:28:38,480 --> 00:28:40,920
experience with this this guy who sang it with us.

558
00:28:41,400 --> 00:28:43,599
We'll try and replicate that and the next time we

559
00:28:43,680 --> 00:28:45,720
go and then you know, we go again for another song.

560
00:28:45,799 --> 00:28:51,160
And the model, which we have absolutely stumbled upon because

561
00:28:51,920 --> 00:28:53,400
we don't know what we were going to be doing.

562
00:28:53,519 --> 00:28:54,440
Speaker 3: It works well for us.

563
00:28:54,759 --> 00:28:58,160
Speaker 4: So it's just like it's a good hobby from I

564
00:28:58,240 --> 00:29:00,839
get home from work and you know, I sit down

565
00:29:00,920 --> 00:29:02,039
for a couple of hours. If I could do it

566
00:29:02,039 --> 00:29:06,160
all on my phone and I can distribute to radio shows, yeah,

567
00:29:06,279 --> 00:29:12,319
find different contacts that may be able to help. And

568
00:29:12,319 --> 00:29:13,920
I don't know, like people may be getting a bit

569
00:29:13,960 --> 00:29:16,799
annoyed with me, but I spent quite a lot, spend

570
00:29:16,880 --> 00:29:19,119
quite a lot of time like sending emails out and saying,

571
00:29:19,279 --> 00:29:21,799
you know, here's.

572
00:29:20,680 --> 00:29:23,039
Speaker 3: A song which we think maybe maybe a good fit

573
00:29:23,119 --> 00:29:24,000
to your radio station.

574
00:29:24,240 --> 00:29:25,039
Speaker 1: That's what it takes.

575
00:29:25,119 --> 00:29:30,039
Speaker 4: Yeah, yeah, yeah, no, that's the way we do it. Now.

576
00:29:30,319 --> 00:29:32,480
Speaker 2: I can relate to what you were saying about radio

577
00:29:32,640 --> 00:29:34,839
because so one of the things that I do in

578
00:29:35,119 --> 00:29:37,920
my business, I'm a college radio promoter. So clients hire

579
00:29:37,960 --> 00:29:40,400
me to send their music out to college radio stations,

580
00:29:40,440 --> 00:29:42,640
and I do all the follow up and the tracking

581
00:29:42,680 --> 00:29:45,640
and everything and that. But the tracking is the most

582
00:29:45,759 --> 00:29:49,000
challenging part because a lot of these stations don't report

583
00:29:49,000 --> 00:29:51,240
to any kind of a service. So the only way

584
00:29:51,920 --> 00:29:55,480
I know for sure, you know, is when the when

585
00:29:55,480 --> 00:29:57,319
somebody at the radio station, the music director or the

586
00:29:57,359 --> 00:30:00,160
program director confirms directly with me that yes, we've we

587
00:30:00,200 --> 00:30:03,799
have this track in rotation. Okay, can you give me

588
00:30:03,839 --> 00:30:06,519
a spin count? The answer most of the time is no.

589
00:30:08,279 --> 00:30:11,079
Speaker 1: You know, but when we can, we.

590
00:30:11,039 --> 00:30:13,680
Speaker 2: Can tell you if it's in you know, heavy rotation

591
00:30:14,039 --> 00:30:17,440
or light rotation or whatever. But it's But it's the

592
00:30:17,920 --> 00:30:20,759
single most reliable way is just getting that information directly

593
00:30:20,799 --> 00:30:22,880
from the station because there's so many you know, it

594
00:30:22,960 --> 00:30:24,720
used to be easier too. There used to be college

595
00:30:24,799 --> 00:30:27,480
music Journal, which technically still exists, but not in its

596
00:30:27,519 --> 00:30:30,279
old form, and you know, you could get information through them,

597
00:30:30,599 --> 00:30:33,119
but now that you know that went away, they completely

598
00:30:33,160 --> 00:30:34,960
changed how they do it. They don't really do what

599
00:30:34,960 --> 00:30:36,880
they used to do. And now there's all these different

600
00:30:36,920 --> 00:30:41,319
services that you can subscribe to. But it's it's more difficult.

601
00:30:41,480 --> 00:30:44,839
Like it's easier in one sense to find services that

602
00:30:44,920 --> 00:30:47,880
report whether your music is being played at different stations,

603
00:30:48,319 --> 00:30:52,519
but it's hard to find one service that reports all

604
00:30:52,559 --> 00:30:55,960
of it. And and then to you know, and and

605
00:30:56,240 --> 00:30:58,640
actually and and some of these radio stations. They're just

606
00:30:58,720 --> 00:31:01,039
like the big tech company. They don't want to necessarily

607
00:31:01,119 --> 00:31:01,720
talk to you either.

608
00:31:04,039 --> 00:31:07,680
Speaker 4: That's all taking a leaf out of Spotify and Big Text.

609
00:31:08,039 --> 00:31:12,880
You know, stands the If big tech won't talk to.

610
00:31:12,839 --> 00:31:17,920
Speaker 2: You, right, right, why should w E R s in Boston,

611
00:31:17,920 --> 00:31:21,160
why should they talk to me either? You know, and

612
00:31:21,240 --> 00:31:23,799
they do but you know, but but but you mentioned

613
00:31:23,839 --> 00:31:26,279
it too. You have to be persistent, right, and that's

614
00:31:26,319 --> 00:31:28,720
that's really what it takes. You have to be persistent.

615
00:31:29,880 --> 00:31:33,440
Speaker 4: Yeah, you know, we we send an email out.

616
00:31:35,200 --> 00:31:36,039
Speaker 3: For every release.

617
00:31:37,160 --> 00:31:41,440
Speaker 4: And one of our problems is as well, so we

618
00:31:41,559 --> 00:31:42,799
we we've got a list. I don't know how.

619
00:31:42,759 --> 00:31:44,839
Speaker 3: Many email addresses are on it.

620
00:31:45,160 --> 00:31:48,079
Speaker 4: Yeah, I feel guilty. I feel I do feel quite guilty,

621
00:31:48,240 --> 00:31:51,599
but I know that it's kind of happen. So we

622
00:31:52,480 --> 00:31:54,240
send send this out and it takes like a few

623
00:31:54,279 --> 00:32:01,000
hours to send to every radio station. Well, we we

624
00:32:01,240 --> 00:32:06,640
don't stick to one genre. Oh you know, some of

625
00:32:06,640 --> 00:32:07,839
our stuff was a little bit heavier.

626
00:32:07,880 --> 00:32:08,279
Speaker 3: Some of it.

627
00:32:09,599 --> 00:32:11,839
Speaker 4: You know, it's come out as a bit bluesy. You know,

628
00:32:11,920 --> 00:32:17,440
there's punkin there. So every time we do a different song,

629
00:32:19,599 --> 00:32:23,160
you know you're looking for so, you know, for I

630
00:32:23,200 --> 00:32:24,680
get blamed, I was trying to send it out to

631
00:32:25,200 --> 00:32:29,200
punk stations if that's such a thing, you know, like

632
00:32:29,759 --> 00:32:34,039
a little bit more punky, right, and fanzines and podcasts

633
00:32:34,079 --> 00:32:38,799
and all that sort of stuff. And then after I

634
00:32:38,839 --> 00:32:42,799
get blamed, we released is very much enough And that

635
00:32:42,960 --> 00:32:45,759
is definitely not a punk song, you know. That's that

636
00:32:45,920 --> 00:32:48,680
that's a little bit moody and a bit bluesy and

637
00:32:48,759 --> 00:32:51,680
a bit ballady, and it's very different for what we

638
00:32:52,039 --> 00:32:55,400
what we again sort of set out to do. We

639
00:32:55,440 --> 00:32:58,680
know we wanted to do something a little bit different

640
00:32:59,480 --> 00:33:02,079
and for us, like being different is great. But when

641
00:33:02,079 --> 00:33:04,480
we send that song to the punk channel that we

642
00:33:04,559 --> 00:33:07,279
sent to last week, they're like, what is this you

643
00:33:07,440 --> 00:33:10,680
just sent us? We can't play this, And I'm like, well,

644
00:33:11,640 --> 00:33:16,680
I class ourselves as, like in the Massive Inverted Comments,

645
00:33:16,720 --> 00:33:19,799
a punk rock band. And if you have a look

646
00:33:19,839 --> 00:33:23,200
at the term of punk, it's basically anything, you know,

647
00:33:23,359 --> 00:33:28,599
like it's not like sticking to conformity and like playing

648
00:33:29,119 --> 00:33:31,160
two courts, you know, like.

649
00:33:31,319 --> 00:33:32,440
Speaker 1: Right, of course it can be.

650
00:33:33,079 --> 00:33:34,400
Speaker 3: Punk can be pretty much anything.

651
00:33:34,400 --> 00:33:37,160
Speaker 4: And listen, you listen to a band like the Clash,

652
00:33:38,119 --> 00:33:41,079
an original punk band, you know what, the biggest punk

653
00:33:41,079 --> 00:33:46,039
band around probably and you know, they do Clypso music

654
00:33:46,079 --> 00:33:49,480
and they do Middle Eastern music and they've done all

655
00:33:49,559 --> 00:33:53,680
sorts and it's just like punk can't be just you

656
00:33:53,680 --> 00:33:56,599
know what is stereotypically thought of like a punk song.

657
00:33:56,640 --> 00:34:01,720
It's like a short two minute blast, right, And so

658
00:34:02,319 --> 00:34:04,799
I know that we're sending you a blue song, you know,

659
00:34:04,839 --> 00:34:06,519
give it, give it a try. You don't have to

660
00:34:06,519 --> 00:34:09,159
play it, you know, and the next one will probably

661
00:34:09,159 --> 00:34:12,400
be more punk, right. But like some people come by

662
00:34:12,440 --> 00:34:16,880
and just so you know, on subscribed, delete me from

663
00:34:16,880 --> 00:34:17,559
this playlist.

664
00:34:17,679 --> 00:34:20,320
Speaker 3: You know, some are quite thanks for this, but I

665
00:34:20,360 --> 00:34:20,960
can't play this.

666
00:34:21,440 --> 00:34:24,280
Speaker 4: That's fine, you don't. You don't need to play everything,

667
00:34:24,320 --> 00:34:25,760
you know, everything's a little bit different.

668
00:34:26,960 --> 00:34:30,039
Speaker 2: I actually I feel I feel like the what you have,

669
00:34:30,159 --> 00:34:31,840
I mean, it does all you can put it all

670
00:34:31,840 --> 00:34:34,719
in the broader category of indie rock. I feel like,

671
00:34:34,840 --> 00:34:38,440
you know, I mean, it all fits that certainly.

672
00:34:38,840 --> 00:34:44,960
Speaker 4: That's exactly what we if we do market That's what

673
00:34:45,000 --> 00:34:47,519
we market ourselves as an indie punk crop band.

674
00:34:47,880 --> 00:34:52,519
Speaker 3: So we're sort of straddling genres, you know, and that's

675
00:34:52,559 --> 00:34:54,239
what we want to do, right And.

676
00:34:55,679 --> 00:34:58,320
Speaker 4: Going back to your point about the album, we've got

677
00:34:58,360 --> 00:35:02,039
like a a blue song and a punk song and

678
00:35:02,079 --> 00:35:05,880
then shopping and the ineffectuals which are probably just indie rock.

679
00:35:07,000 --> 00:35:12,800
And our latest release, which is a matter of time,

680
00:35:13,079 --> 00:35:14,519
has got a lot of synth in it.

681
00:35:14,880 --> 00:35:18,320
Speaker 3: It's got like a SyncE where at the bottom of it.

682
00:35:19,039 --> 00:35:20,880
So I don't I don't even know who to send

683
00:35:20,880 --> 00:35:22,320
that to be honest.

684
00:35:22,320 --> 00:35:25,960
Speaker 4: Do we send that to Electric because it's got a

685
00:35:26,000 --> 00:35:27,360
bit of cyincionata are they going to like that?

686
00:35:27,719 --> 00:35:27,960
Speaker 3: Yeah?

687
00:35:29,159 --> 00:35:31,639
Speaker 4: Or do we send it to the punk people like

688
00:35:31,880 --> 00:35:34,320
It's been played on a few rock chields and I'm

689
00:35:34,320 --> 00:35:37,599
like that's great. Well I'm not too sure it is rock,

690
00:35:38,639 --> 00:35:43,480
and so I just hope people see it for what

691
00:35:43,559 --> 00:35:46,280
it is. It's like, what's trying to be a little

692
00:35:46,320 --> 00:35:49,480
bit different and not send you like the same sort

693
00:35:49,480 --> 00:35:53,239
of thing every time. And some people really appreciate that,

694
00:35:53,320 --> 00:35:57,159
and some people don't like it. Well, it is what

695
00:35:57,239 --> 00:35:57,519
it is.

696
00:35:58,199 --> 00:35:59,719
Speaker 1: We should we should tell people too.

697
00:36:00,280 --> 00:36:02,679
Speaker 2: You are on band Camp, which that's one of my

698
00:36:02,719 --> 00:36:04,239
favorite resources for music.

699
00:36:05,239 --> 00:36:06,440
Speaker 3: It's it's a great place.

700
00:36:06,559 --> 00:36:09,960
Speaker 2: Everything's on band camp and band camp too. Something a

701
00:36:09,960 --> 00:36:11,840
lot of people don't realize is that you get a

702
00:36:11,920 --> 00:36:14,519
high quality file, a high bit rate file from band

703
00:36:14,519 --> 00:36:17,239
Camp that you don't necessarily get. So, for example, if

704
00:36:17,239 --> 00:36:20,840
you're just streaming music on YouTube, you know you're better

705
00:36:20,920 --> 00:36:23,880
off streaming music on band Camp and downloading it from

706
00:36:23,920 --> 00:36:27,239
there because you're going to get a much higher quality file.

707
00:36:28,360 --> 00:36:31,840
Speaker 4: I was shocked the difference. I didn't really listen to

708
00:36:31,840 --> 00:36:36,039
bank Camp. I knew it was out there, and then

709
00:36:37,320 --> 00:36:42,639
I I got sent some bank Camp stuff and I

710
00:36:42,679 --> 00:36:44,280
listened to it and I was like, this is brilliant.

711
00:36:44,840 --> 00:36:48,280
And then I put it on a Spotify playlist and

712
00:36:49,599 --> 00:36:50,920
it was terrible on Spotify.

713
00:36:51,119 --> 00:36:51,639
Speaker 1: Yeah.

714
00:36:52,039 --> 00:36:58,079
Speaker 4: Yeah, so you know, it was really my opening that

715
00:36:58,079 --> 00:36:59,960
that bank Camp's quality was so much better.

716
00:37:00,800 --> 00:37:01,159
Speaker 1: Yeah.

717
00:37:01,199 --> 00:37:03,880
Speaker 2: Absolutely, that's like I said, that's something that's something people

718
00:37:03,880 --> 00:37:04,760
don't realize.

719
00:37:06,119 --> 00:37:08,480
Speaker 1: Rob the time does go quickly. I want to make sure.

720
00:37:08,519 --> 00:37:10,360
Speaker 2: So I think we're going to end the segment when

721
00:37:10,360 --> 00:37:12,159
we when we wrap up in a couple of minutes

722
00:37:12,199 --> 00:37:14,000
with that song A matter of time. I really like

723
00:37:14,039 --> 00:37:17,000
that one a lot later in the show too. I

724
00:37:17,079 --> 00:37:19,239
might I might circle back and play a couple others

725
00:37:19,280 --> 00:37:21,280
if we have time, but I want to make sure

726
00:37:21,320 --> 00:37:24,800
because we were talking about, you know, not being on

727
00:37:24,840 --> 00:37:27,920
Spotify and where you are. Discoverability is a term that

728
00:37:27,960 --> 00:37:30,719
I use a lot. We want to make sure people

729
00:37:30,880 --> 00:37:32,880
do know where to find like where's the best places

730
00:37:32,920 --> 00:37:36,159
to go for people to find the fods and and

731
00:37:36,199 --> 00:37:37,920
to keep up with everything that you're doing.

732
00:37:39,039 --> 00:37:40,239
Speaker 3: And you can.

733
00:37:41,039 --> 00:37:44,320
Speaker 4: We're on Facebook and we're on Instagram and obviously bank

734
00:37:44,320 --> 00:37:48,840
camp is a good place for us, and we're on

735
00:37:49,599 --> 00:37:53,199
everything else apart from Spify. Yeah, just Spify that is

736
00:37:54,800 --> 00:37:58,199
I know it goes on for us now and there's

737
00:37:58,239 --> 00:37:59,960
there's gonna be some new places.

738
00:38:00,079 --> 00:38:01,599
Speaker 3: I can't remember what the card off the top of

739
00:38:01,599 --> 00:38:04,679
my head because it's all who basically does.

740
00:38:04,519 --> 00:38:08,480
Speaker 4: All the all this sort of stuff. But there's there's, there's,

741
00:38:08,559 --> 00:38:14,559
there's you know a bunch of new I guess they're

742
00:38:14,599 --> 00:38:17,760
trying to disrupt what Spotify and Apple and all these

743
00:38:18,320 --> 00:38:22,119
but like there's posts on our Instagram which explain it,

744
00:38:22,239 --> 00:38:25,599
and we're saying right now, we're not on Spotify, we'll

745
00:38:26,000 --> 00:38:28,800
we'll we'll try these places and the you know, the

746
00:38:29,599 --> 00:38:30,760
sort of people who've got.

747
00:38:32,239 --> 00:38:34,159
Speaker 3: Been in the same sort of situations have got fed

748
00:38:34,239 --> 00:38:35,840
up with big tech.

749
00:38:36,079 --> 00:38:40,719
Speaker 4: I guess I think that they're run by bands. Let

750
00:38:40,719 --> 00:38:43,159
me let me just have a quick look on my Instagram.

751
00:38:43,840 --> 00:38:44,360
Speaker 3: Yeah, and.

752
00:38:46,079 --> 00:38:48,039
Speaker 4: They were run by bands, and they said that they're gonna,

753
00:38:50,280 --> 00:38:53,559
you know, pay a little bit more and look after the.

754
00:38:53,519 --> 00:38:55,960
Speaker 3: Bands a bit better. So we'll see what. We'll see

755
00:38:56,000 --> 00:38:56,480
what happens.

756
00:38:59,599 --> 00:39:06,639
Speaker 4: What's foot it's what is it? So subvert subvert right,

757
00:39:06,760 --> 00:39:08,960
so that this is going to be like a new place.

758
00:39:10,199 --> 00:39:13,800
Speaker 1: I didn't know about this, So check it out.

759
00:39:13,679 --> 00:39:16,079
Speaker 4: And you know, if if new bands want to get

760
00:39:16,119 --> 00:39:21,599
on there, and it looks to be quite an interesting place,

761
00:39:21,960 --> 00:39:26,719
and what's happens. You know, anything that you know gives

762
00:39:27,039 --> 00:39:31,039
smaller artists a bigger platform is you know, something that

763
00:39:31,079 --> 00:39:31,920
we want to be involved in.

764
00:39:32,239 --> 00:39:36,480
Speaker 2: Absolutely, and we always need disruptors coming into the frame.

765
00:39:37,039 --> 00:39:39,840
You know, and and better to have more options than less,

766
00:39:39,840 --> 00:39:41,800
and and and all of it too. And you know,

767
00:39:41,840 --> 00:39:45,199
it does get scary when when you've got something like Spotify,

768
00:39:45,239 --> 00:39:49,639
that that becomes so dominant and and so important, you know,

769
00:39:49,719 --> 00:39:51,679
you know, to the point that as as you talked

770
00:39:51,679 --> 00:39:54,320
about earlier, to the point where your own distributor is

771
00:39:54,360 --> 00:39:57,639
afraid to even challenge them on anything. You know, that's

772
00:39:57,880 --> 00:40:00,199
that's how powerful they are. And that's that's too much.

773
00:40:00,280 --> 00:40:02,800
That's that's too much power concentrated in one place.

774
00:40:04,119 --> 00:40:07,000
Speaker 4: Absolutely, and you say, they're only going to get better.

775
00:40:07,039 --> 00:40:12,159
You see the other day Netflix Sport MGM.

776
00:40:11,840 --> 00:40:14,840
Speaker 1: They bought Warner Brothers, Netflix, Warner Brothers.

777
00:40:14,960 --> 00:40:19,440
Speaker 4: Yeah, how big Netflix going to be? You know, if

778
00:40:19,480 --> 00:40:24,559
that's happening, it's insane. The next thing Netflix, Netflix will

779
00:40:24,559 --> 00:40:28,840
probably buy, you know, well another story platform. Man can

780
00:40:28,880 --> 00:40:31,400
imagine it by Amazon or something like that. Yeah, just

781
00:40:31,639 --> 00:40:36,599
get bigger and bigger. So, I don't know, it's a

782
00:40:36,639 --> 00:40:38,039
strange and interesting place.

783
00:40:38,360 --> 00:40:42,320
Speaker 1: It is. It absolutely is. Well.

784
00:40:42,320 --> 00:40:45,960
Speaker 2: Listen Rob Critchley from the Thoughts. Always wonderful to talk

785
00:40:46,000 --> 00:40:49,039
with you. I really enjoy our conversations. We'll definitely do

786
00:40:49,079 --> 00:40:51,599
this again in the near future. Obviously, you've got uh,

787
00:40:52,000 --> 00:40:55,039
you've got more music coming, so there's always more to

788
00:40:55,079 --> 00:40:55,599
talk about.

789
00:40:56,679 --> 00:40:59,639
Speaker 3: Yeah, absolutely, when we get more, and.

790
00:41:00,159 --> 00:41:02,840
Speaker 4: We'll let you know about the album and please which

791
00:41:02,960 --> 00:41:05,159
order we put it in, and yeah, that would be

792
00:41:05,320 --> 00:41:08,280
that'd be a good place to uh to talk next.

793
00:41:08,320 --> 00:41:11,800
Speaker 2: I think absolutely absolutely. That sounds great. That sounds great. Yeah,

794
00:41:11,800 --> 00:41:14,519
so we'll we'll talk soon for sure. We're gonna let

795
00:41:14,559 --> 00:41:16,199
you go and I'm gonna hit this track a matter

796
00:41:16,239 --> 00:41:19,079
of time. Another great another great song from the Fods.

797
00:41:19,719 --> 00:41:21,679
We'll let you get going, but Rob, thank you so

798
00:41:21,760 --> 00:41:23,079
much and we'll talk to you soon.

799
00:41:23,119 --> 00:41:26,320
Speaker 3: Man, I appreciate you. Makee look after yourself.

800
00:41:26,000 --> 00:41:27,840
Speaker 1: All right, I will thank you, take care bye bye

801
00:41:28,559 --> 00:41:30,400
je all right.

802
00:41:30,440 --> 00:41:33,239
Speaker 2: That is Rob Pritchley from the Fods, and I do

803
00:41:33,360 --> 00:41:34,639
really enjoy talking with him