1 00:00:02,640 --> 00:00:06,160 Speaker 1: Behold the harmony of airwaves as you immerse yourself in 2 00:00:06,240 --> 00:00:11,480 the captivating frequencies of w MNHLP. The sonic heartbeats of Manchester, 3 00:00:11,880 --> 00:00:15,000 transcending through the ether at ninety five point three megahertz 4 00:00:15,039 --> 00:00:18,640 frequency modulation or transmissions emanate from the zenith of one 5 00:00:18,679 --> 00:00:21,199 thousand down Streets to ensure into the hearts of our 6 00:00:21,280 --> 00:00:24,839 creative realm at one nineteen Canal Street, where innovation and 7 00:00:24,960 --> 00:00:29,160 sound collode. They're the impro moder of Manchester Public Television 8 00:00:29,280 --> 00:00:32,479 Service in the venerable city of Manchester, New Hampshire, USA. 9 00:00:32,880 --> 00:00:34,719 Speaker 2: Enrich your auditory journey. 10 00:00:34,520 --> 00:00:37,880 Speaker 1: With the depth of our license to wesdenspt your missives 11 00:00:37,880 --> 00:00:41,600 to WMNH ninety five three at gmail dot com or 12 00:00:41,719 --> 00:00:46,119 traverse the virtual corridors of wmnhradio dot org. Engage with 13 00:00:46,200 --> 00:00:48,960 our sonic vibrations by communing with us through the digital 14 00:00:49,039 --> 00:00:52,640 channels or radio beckons, eager to enthrall you with its 15 00:00:52,719 --> 00:00:56,719 mesmerizing cadence and develop you with a symphony of boundless auditories. 16 00:00:56,719 --> 00:01:03,200 Speaker 3: Won Dude, w H rips the. 17 00:01:03,320 --> 00:01:18,760 Speaker 4: Doubles black out. 18 00:01:18,840 --> 00:01:21,400 Speaker 5: You've been using your mine nose out. 19 00:01:21,239 --> 00:01:23,920 Speaker 6: Already as a number four before years week. 20 00:01:23,799 --> 00:01:24,920 Speaker 3: It's what's in your time? 21 00:01:25,519 --> 00:01:27,519 Speaker 6: I say, I'm way as to number four. 22 00:01:27,719 --> 00:01:29,640 Speaker 5: A line out, and I know what you're doing. 23 00:01:29,640 --> 00:01:32,079 Speaker 6: As I was saying, I'll already as to number four, 24 00:01:32,640 --> 00:01:33,280 small out. 25 00:01:33,439 --> 00:01:35,640 Speaker 7: It's not no where, no minutes, I was saying, I 26 00:01:35,680 --> 00:01:39,599 don't the number four morning April nineteen eighty six, or 27 00:01:39,680 --> 00:01:44,920 routine procisor and rumping the corners post the build up 28 00:01:44,920 --> 00:01:48,959 a bus for dollar, you got a r answer the 29 00:01:49,319 --> 00:01:50,280 building of master. 30 00:01:51,480 --> 00:01:53,640 Speaker 6: You know your sister, there's still no one to do 31 00:01:54,120 --> 00:01:55,280 minutes proceed. 32 00:01:55,040 --> 00:01:57,560 Speaker 7: Or sin nias no ratic flester. 33 00:01:58,560 --> 00:02:02,840 Speaker 6: It was saying, no disaster, my child. You've been listen 34 00:02:02,920 --> 00:02:05,239 your night. I'm gonna as. 35 00:02:05,200 --> 00:02:07,079 Speaker 5: To number four or your towing. 36 00:02:07,200 --> 00:02:08,319 Speaker 8: It's what's a going your time? 37 00:02:08,919 --> 00:02:12,560 Speaker 6: I said, has to know four my house. No what 38 00:02:12,680 --> 00:02:15,520 you never is? Ill said, I'm gonna as to number four. 39 00:02:15,960 --> 00:02:16,719 It's all loud. 40 00:02:16,840 --> 00:02:19,039 Speaker 5: It's not a prison, that is I'm sad. 41 00:02:19,479 --> 00:02:41,719 Speaker 7: As to number four, Queen Crusoe raps as they were 42 00:02:41,879 --> 00:02:43,759 acts are your CRUs of saints God place? 43 00:02:43,800 --> 00:02:45,960 Speaker 6: I said, my racing it's na so loud. I though 44 00:02:46,039 --> 00:02:48,080 you were sitting sick. I tell my granny is you're 45 00:02:48,159 --> 00:03:01,000 killing a whing So we used to say, that's a sucker. 46 00:03:00,759 --> 00:03:02,800 Speaker 7: For some master, and that's like a day s I 47 00:03:02,840 --> 00:03:03,520 guess that's been. 48 00:03:03,400 --> 00:03:04,520 Speaker 6: A ray seven twenty years. 49 00:03:04,560 --> 00:03:07,400 Speaker 7: And second, so something that's a way scan on ros. 50 00:03:07,400 --> 00:03:08,840 Speaker 6: That's something say a jat. 51 00:03:25,719 --> 00:03:32,759 Speaker 7: Bring nineteen eighty six, or routine perceivesor slowing the coorpse 52 00:03:33,039 --> 00:03:36,520 build up with th for dollar us a ray actor, 53 00:03:37,599 --> 00:03:40,759 it's building no scester Really you. 54 00:03:40,840 --> 00:03:42,199 Speaker 6: Sister, I don't know what to do. 55 00:03:42,639 --> 00:03:47,520 Speaker 7: Then it's the Saint or Stillion's ray acting faster, saying 56 00:03:47,560 --> 00:03:48,439 all disaster. 57 00:03:50,479 --> 00:03:53,759 Speaker 6: Yeah, you're been those in your hive. I'm saying rat 58 00:03:54,039 --> 00:03:56,879 before or you're two weeks whatteen ring? No time? 59 00:03:57,560 --> 00:03:59,400 Speaker 5: I'm saying at a car. 60 00:04:10,919 --> 00:04:13,000 Speaker 2: That is reactor number four that is from the EP 61 00:04:13,719 --> 00:04:17,079 radiation sickness. I love that. That is so good. It 62 00:04:17,199 --> 00:04:20,120 is Matt Connorton Unleashed. We are live on this Saturday morning. 63 00:04:20,399 --> 00:04:22,839 Jenny is here, of course at the news table, present 64 00:04:22,920 --> 00:04:26,240 account it far and joining us via Skype is the 65 00:04:26,279 --> 00:04:28,000 great Dylan Reynolds Dillan. Are you there? 66 00:04:28,879 --> 00:04:29,240 Speaker 9: I am? 67 00:04:29,399 --> 00:04:30,360 Speaker 3: How are you good? 68 00:04:30,480 --> 00:04:32,839 Speaker 2: Good? Hey man? I love that. I love that track. 69 00:04:33,000 --> 00:04:37,319 I love this EP really great stuff, and I'm so 70 00:04:37,399 --> 00:04:40,480 happy to talk to you this morning, tell us if 71 00:04:40,519 --> 00:04:43,720 you would about Radiation Sickness and what the premise is. 72 00:04:44,160 --> 00:04:46,959 It's got a as one my guess from the title, 73 00:04:47,439 --> 00:04:49,120 there must be a story to it. It has a 74 00:04:49,240 --> 00:04:51,560 very specific premise, if you could explain that to us. 75 00:04:52,519 --> 00:04:56,920 Speaker 10: So, yeah, Radiation Sickness, it's it's the entire EP is 76 00:04:57,000 --> 00:04:59,399 more like a concept DP. It's kind of building a story. 77 00:05:00,120 --> 00:05:05,879 But I love like post apocalyptic theme stuff, like I 78 00:05:06,000 --> 00:05:08,800 read novels, I play games, you know, like the Fallout 79 00:05:08,920 --> 00:05:12,240 series or Metro stuff like that. Yeah, so I've always 80 00:05:12,439 --> 00:05:16,120 always had a really big fascination with post apocalyptic or 81 00:05:16,360 --> 00:05:18,480 post nuclear kind of stuff. And I was like, well, 82 00:05:18,519 --> 00:05:21,279 you know, I like listening, I like playing stuff like this. 83 00:05:21,560 --> 00:05:24,160 But you know, there's a few bands that I like 84 00:05:24,279 --> 00:05:26,040 that do similar stuff to that, and I was like, 85 00:05:26,120 --> 00:05:28,759 it's always something that I've wanted to do. So I 86 00:05:28,920 --> 00:05:31,800 just decided to kind of build a little, a little, 87 00:05:32,120 --> 00:05:37,600 I guess, minor story about what could possibly happen based 88 00:05:37,639 --> 00:05:39,879 off of what has already happened in the world. So 89 00:05:41,079 --> 00:05:42,879 kind of just piecing things together out of my brain, 90 00:05:43,040 --> 00:05:44,040 just having fun, and. 91 00:05:44,360 --> 00:05:49,279 Speaker 2: You know, and this is this is specifically though about Chernobyl. 92 00:05:49,360 --> 00:05:52,759 Right the Chernobyl Disaster or is it a broader concept 93 00:05:52,879 --> 00:05:54,199 than than just Chernobyl. 94 00:05:54,959 --> 00:05:58,680 Speaker 10: Yeah, you know, Reacting number four is definitely about Chernobyl. 95 00:05:58,759 --> 00:06:02,560 It's it's actually probably the most or the less fictitious 96 00:06:02,639 --> 00:06:05,959 song on the release. So, I mean I went in, 97 00:06:06,079 --> 00:06:10,199 I did research, you know, the time, the date, the protocol, 98 00:06:10,319 --> 00:06:13,759 procedures to clean up, everything like that. And there was 99 00:06:13,800 --> 00:06:16,720 a good series on HBO called Chernobyl. I don't know 100 00:06:16,720 --> 00:06:17,319 if you've seen it. 101 00:06:17,680 --> 00:06:18,399 Speaker 8: I have not it. 102 00:06:18,800 --> 00:06:19,759 Speaker 2: I've heard a lot about it. 103 00:06:20,480 --> 00:06:22,120 Speaker 3: Oh dude, it's it's phenomenal. 104 00:06:22,279 --> 00:06:25,279 Speaker 10: So, you know, watching stuff like that, and I'm like, dude, 105 00:06:25,319 --> 00:06:28,040 I could, I could definitely write something about this. So 106 00:06:28,120 --> 00:06:30,759 I pieced it all together and then you know, I 107 00:06:30,879 --> 00:06:34,000 took it from the first song, which was Reacting number four, 108 00:06:34,959 --> 00:06:37,360 and I decided just to build this entire story out 109 00:06:37,439 --> 00:06:39,279 based off of, you know, the one true event and 110 00:06:39,319 --> 00:06:43,560 that really did happen, but then other stuff inspired on 111 00:06:43,879 --> 00:06:46,759 kind of like the themes and the imagery and stuff 112 00:06:46,800 --> 00:06:49,279 that would fit the narrative but didn't actually happen. 113 00:06:50,079 --> 00:06:53,240 Speaker 2: Yeah, it's particularly intriguing to me because I mean, I 114 00:06:53,319 --> 00:06:55,959 love the music, and so regardless of what it's about, 115 00:06:56,000 --> 00:07:00,279 I would enjoy this, but particularly intriguing to me because 116 00:07:00,319 --> 00:07:04,399 I'm actually I'm old enough to remember when Jernobyl happened, 117 00:07:04,879 --> 00:07:08,199 and I still remember coming home from school that day 118 00:07:08,920 --> 00:07:11,680 and the news had already broken, and I come home 119 00:07:11,720 --> 00:07:14,279 and I'm worried, and I turn on the TV and 120 00:07:14,759 --> 00:07:17,839 and you know, there it is. They're talking about Peter 121 00:07:17,959 --> 00:07:20,399 Jennings of ABC News. For those of us who who 122 00:07:20,519 --> 00:07:23,920 might recall, Uh, there he is talking about it. And 123 00:07:24,319 --> 00:07:26,279 I was freaked out because I didn't know what was 124 00:07:26,319 --> 00:07:29,199 going to happen. You know, is a cloud of nuclear 125 00:07:29,319 --> 00:07:31,800 radiation going to float all the way to the United 126 00:07:31,800 --> 00:07:34,839 States and kill all of us? And you know, my yeah, 127 00:07:35,199 --> 00:07:39,480 and my fears were quelled relatively quickly because you know, 128 00:07:39,600 --> 00:07:41,519 these experts are saying, well, you know, it's kind of 129 00:07:41,600 --> 00:07:44,319 unlikely that it would make it all the way here 130 00:07:44,360 --> 00:07:46,639 and whatnot. But at the in the moment, I was 131 00:07:46,680 --> 00:07:47,240 freaked out. 132 00:07:48,480 --> 00:07:49,800 Speaker 10: Well, yeah, you know, you got to think of like 133 00:07:49,920 --> 00:07:52,360 the timeline too. You know, it's right towards the very 134 00:07:52,439 --> 00:07:55,920 end of the Red Scare. Everybody's afraid of, you know, 135 00:07:56,040 --> 00:07:58,639 the tensions with Russia and the tensions we get in 136 00:07:58,720 --> 00:08:00,720 the States. So they're thinking, you know, you know, was 137 00:08:00,759 --> 00:08:04,360 this a plan thing? Is something terribly gonna go wrong? 138 00:08:04,519 --> 00:08:07,240 Can this lead to more nuclear kind of stuff? 139 00:08:07,680 --> 00:08:08,959 Speaker 3: So it's a big level of. 140 00:08:09,000 --> 00:08:12,680 Speaker 10: Uncertainty, you know, definitely before you know, the Iron Curtain 141 00:08:12,759 --> 00:08:13,240 came down and. 142 00:08:13,240 --> 00:08:13,839 Speaker 3: Everything like that. 143 00:08:14,120 --> 00:08:18,240 Speaker 10: But yeah, uh, it's you know, it's it's a scary 144 00:08:18,360 --> 00:08:22,800 theme because I mean, realistically, nobody other than the people 145 00:08:22,920 --> 00:08:25,199 that had to move away from the area, and nobody's 146 00:08:25,240 --> 00:08:28,519 really been through anything like that since, right, so you know, 147 00:08:28,639 --> 00:08:29,720 imagine what would that be. 148 00:08:29,839 --> 00:08:32,279 Speaker 3: Like if the entire world was like that. So that's 149 00:08:32,360 --> 00:08:34,840 the scary part of the topic. 150 00:08:36,039 --> 00:08:40,000 Speaker 2: Right right now you mentioned So there's some fictitious elements 151 00:08:40,080 --> 00:08:42,919 to the story also that you tell in these in 152 00:08:43,000 --> 00:08:44,240 these songs on the CP. 153 00:08:44,960 --> 00:08:49,720 Speaker 10: Definitely, you know, Prippy At is the third song. It 154 00:08:49,840 --> 00:08:52,600 was originally supposed to be the opener track because it 155 00:08:52,639 --> 00:08:55,159 has a really, really really long intro in it, But 156 00:08:55,279 --> 00:08:57,159 then I started thinking about it and I'm like, as 157 00:08:57,200 --> 00:08:59,679 far as the timeline is concerned, that that wouldn't make sense. 158 00:09:00,000 --> 00:09:02,759 Decided to put that a little bit farther down. But 159 00:09:03,399 --> 00:09:04,519 that's actually based on. 160 00:09:06,480 --> 00:09:07,000 Speaker 3: There's a. 161 00:09:08,799 --> 00:09:11,759 Speaker 10: There's an old PC computer game called Stalker, which is 162 00:09:11,840 --> 00:09:15,639 about the Uh, there's a bunch of warring factions in 163 00:09:15,799 --> 00:09:20,639 the you know, the Chernobyl Exclusion Zone, and there's you know, 164 00:09:20,759 --> 00:09:25,440 mutants and stalkers are basically guys that go in. They 165 00:09:25,519 --> 00:09:27,600 have you know, wars and gangs and stuff like that, 166 00:09:28,120 --> 00:09:29,960 and they go in and they fight mutants, they. 167 00:09:29,919 --> 00:09:34,600 Speaker 3: Fight, uh you know, bandit like that. Sorry and uh, 168 00:09:35,480 --> 00:09:38,399 sorry about that. I gotta turn on gotta turn on 169 00:09:38,440 --> 00:09:39,200 the radio voice. 170 00:09:41,399 --> 00:09:43,240 Speaker 2: Don't We're on a delay. 171 00:09:43,320 --> 00:09:43,759 Speaker 3: So I caught it. 172 00:09:43,840 --> 00:09:47,519 Speaker 10: It's all good, okay, good deal, and uh but yes, 173 00:09:47,840 --> 00:09:50,440 so Pripyat's about the Stalker games. 174 00:09:50,639 --> 00:09:53,639 Speaker 3: Radiation Sickness is more of not really based on. 175 00:09:53,679 --> 00:09:57,559 Speaker 10: Anything, but rather the theme. And then, uh, the Aftermath 176 00:09:57,759 --> 00:10:01,159 is a song that I wrote. I probably wrote that 177 00:10:01,279 --> 00:10:03,919 song like seven or eight years ago and I just 178 00:10:04,000 --> 00:10:05,679 never had anything to kind of put it with. 179 00:10:06,600 --> 00:10:11,080 Speaker 3: And it's it's more of like you know, the big screams, 180 00:10:11,120 --> 00:10:12,320 the big terror of the fires. 181 00:10:12,360 --> 00:10:14,240 Speaker 10: Everything is for the most part been put out, but 182 00:10:14,360 --> 00:10:16,840 it's about what remains after and it's all these people 183 00:10:17,000 --> 00:10:22,360 just basically either one trying to survive or two banding. 184 00:10:22,039 --> 00:10:24,919 Speaker 3: Together to take whatever they want. So kind of mad 185 00:10:25,000 --> 00:10:25,759 Max in a way. 186 00:10:25,799 --> 00:10:28,639 Speaker 2: I guess, yeah, I'm curious. 187 00:10:28,840 --> 00:10:29,279 Speaker 7: Do you know. 188 00:10:30,840 --> 00:10:32,519 Speaker 2: How do I fraise it? Do you do you know 189 00:10:32,840 --> 00:10:37,919 why you're interested in this subject and these themes, like 190 00:10:38,240 --> 00:10:41,720 did you grow up always having a fascination with sort 191 00:10:41,720 --> 00:10:46,159 of apocalyptic or post apocalyptic stuff or or is this 192 00:10:46,279 --> 00:10:48,639 something you've always been into or and do you know 193 00:10:48,720 --> 00:10:52,159 where it comes from? I'm always super curious about this kind. 194 00:10:52,039 --> 00:10:53,440 Speaker 3: Of thing, definitely. 195 00:10:53,600 --> 00:10:56,519 Speaker 10: So I grew up watching Mad Max, some of my 196 00:10:56,639 --> 00:11:01,960 favorite movies of all time Road Warrior Beyond Thunderdome, and 197 00:11:02,919 --> 00:11:06,320 I've always liked that concept. And then a couple of 198 00:11:06,399 --> 00:11:09,320 years when I was growing up later into it, you know, 199 00:11:09,559 --> 00:11:12,480 like movies like The Book of Eli came out, and 200 00:11:13,039 --> 00:11:15,639 just seeing that kind of down you. 201 00:11:15,679 --> 00:11:17,320 Speaker 3: Know, dirty gritty. 202 00:11:18,639 --> 00:11:21,600 Speaker 10: Themes and imagery, and I'm just like, dude, this is 203 00:11:22,320 --> 00:11:25,120 it kind of brings humanity back to its primal stage. 204 00:11:25,200 --> 00:11:28,159 You know, there is no you're my neighbor and I'm 205 00:11:28,159 --> 00:11:30,039 going to take care of you anymore. It's you have 206 00:11:30,200 --> 00:11:32,000 what I want and I'm going to come take it. 207 00:11:32,120 --> 00:11:34,720 So it's always kind of fascinated me. I guess maybe 208 00:11:34,799 --> 00:11:38,440 like on a I don't know, like a mental or 209 00:11:38,480 --> 00:11:42,039 a psychological level, like what could make humanity revert back 210 00:11:42,080 --> 00:11:46,879 to the most basic of instincts, and the Great Reset 211 00:11:46,919 --> 00:11:49,080 would do that, and so it's just I guess it's 212 00:11:49,120 --> 00:11:51,399 just always been fascinating to me on that level. So 213 00:11:52,519 --> 00:11:58,120 anytime a new book comes out that's post apocalyptic and theme, 214 00:11:58,480 --> 00:12:01,480 or a movie year a game, I'm usually the first 215 00:12:01,559 --> 00:12:03,879 one to try it. Plus, you know, I grew up 216 00:12:03,879 --> 00:12:06,240 playing Fallout. It's one of my favorite game series of 217 00:12:06,279 --> 00:12:09,559 all time, so I've always always kind of really read 218 00:12:09,639 --> 00:12:10,879 into it from that angle too. 219 00:12:11,039 --> 00:12:13,840 Speaker 2: So is that what I'm not a gamer, but I 220 00:12:13,919 --> 00:12:16,600 assume Fallout is that that's about something having to do 221 00:12:16,639 --> 00:12:17,559 with nuclear radiation. 222 00:12:17,679 --> 00:12:26,639 Speaker 10: I assume, yeah, yeah, so Fallout is sent in I 223 00:12:26,679 --> 00:12:30,399 think it's like two hundred years after a great nuclear 224 00:12:30,480 --> 00:12:35,600 war devastates the entire world. Yeah, And I won't get 225 00:12:35,639 --> 00:12:37,720 into the lord because it's just too much to talk about. 226 00:12:37,840 --> 00:12:43,799 But essentially, the government built underground vaults and bunkers and 227 00:12:44,120 --> 00:12:47,600 they decided to risk, you know, certain people underground in 228 00:12:47,679 --> 00:12:49,879 a way to write it out or they could come 229 00:12:49,960 --> 00:12:52,440 back after most of the radiation goes away, and when 230 00:12:52,519 --> 00:12:55,679 a lot of them open up, they realize it never 231 00:12:55,759 --> 00:13:00,399 went away. And there's bandits, there's some small vestages of 232 00:13:00,480 --> 00:13:03,919 humanity left and it's it's a really cool role playing. 233 00:13:05,399 --> 00:13:05,840 Speaker 3: Experience. 234 00:13:05,879 --> 00:13:08,279 Speaker 10: If if you ever decide to get into any of them, 235 00:13:08,279 --> 00:13:10,840 I would heavily recommend it. It's just it's a it's 236 00:13:10,879 --> 00:13:12,279 a fun, fun experience. 237 00:13:12,559 --> 00:13:17,639 Speaker 2: Yeah, yeah, yeah, I won't. I actually about twenty years 238 00:13:17,679 --> 00:13:20,399 ago was the last time I ever held any kind 239 00:13:20,399 --> 00:13:22,639 of a game controller. And I had to put it 240 00:13:22,759 --> 00:13:24,919 down and I said, I'm never playing any more games 241 00:13:24,960 --> 00:13:30,919 because I found it very psychologically addictive. Oh yes, yes, 242 00:13:31,480 --> 00:13:34,080 the last video game I ever played. I remember I 243 00:13:34,159 --> 00:13:36,240 was at a friend's house and they had fallen asleep 244 00:13:36,279 --> 00:13:37,799 and it was like one am, and I had started 245 00:13:37,840 --> 00:13:39,440 playing this game at like nine pm, and there it 246 00:13:39,559 --> 00:13:41,159 is four hours later, and I'm looking at the clock 247 00:13:41,200 --> 00:13:43,559 and I'm like, I can't do this anymore. And I 248 00:13:43,879 --> 00:13:46,639 actually stopped because that's that's exactly the kind of thing 249 00:13:46,679 --> 00:13:47,879 that I would get sucked into. 250 00:13:48,000 --> 00:13:52,399 Speaker 3: And then oh yeah, yes, dude, it's it's even worse. 251 00:13:52,519 --> 00:13:54,600 Speaker 10: Like I had add Man, it's really hard for me 252 00:13:54,679 --> 00:13:57,879 to concentrate on certain things. But if you put a 253 00:13:57,919 --> 00:14:00,200 controller in my hand, you know, just like you say, 254 00:14:00,240 --> 00:14:01,720 it'll be a PM and the next. 255 00:14:01,639 --> 00:14:03,679 Speaker 3: Time you look at the clock it's four or four am, 256 00:14:03,759 --> 00:14:06,440 and you're like, what happened? So I get it. 257 00:14:06,600 --> 00:14:10,399 Speaker 2: Yeah, Hey, this is a little bit, a little bit 258 00:14:10,440 --> 00:14:13,759 of a left turn, uh topically, But you mentioned a 259 00:14:13,879 --> 00:14:18,840 d D. I uh do some work with some uh 260 00:14:19,000 --> 00:14:22,480 podcasting with a gentleman named doctor Kevin ross Emory and 261 00:14:22,679 --> 00:14:25,240 a d D ADHD. It's kind of a specialty of his, 262 00:14:25,799 --> 00:14:28,279 and he talks about he has a book called Managing 263 00:14:28,320 --> 00:14:30,840 the Gift, for example, and he talks about a lot 264 00:14:31,320 --> 00:14:35,320 about how people with a d D actually tend to 265 00:14:35,360 --> 00:14:39,120 be more creative and and accomplish more in terms of 266 00:14:39,200 --> 00:14:42,759 their creativity and and and you know, just uh, you know, 267 00:14:42,840 --> 00:14:46,200 whether it be music or visual art or whatever it is. 268 00:14:46,440 --> 00:14:49,679 I mean, do you feel that, Like I said, I know, 269 00:14:49,759 --> 00:14:51,399 this is kind of a curve. You probably didn't expect 270 00:14:51,399 --> 00:14:53,960 to be talking about this, But I'm curious since since 271 00:14:54,000 --> 00:14:55,559 you mentioned it, do you feel that your ad D 272 00:14:55,759 --> 00:14:58,879 helps you because you're you're such a creative person. Do 273 00:14:58,960 --> 00:15:00,799 you feel that it helps you in some way with 274 00:15:00,960 --> 00:15:04,279 your in terms of making music and everything else. 275 00:15:05,480 --> 00:15:10,519 Speaker 10: Definitely, I feel like I to a degree, I hyper 276 00:15:10,600 --> 00:15:12,240 fixate on things. 277 00:15:12,000 --> 00:15:12,440 Speaker 3: That I like. 278 00:15:13,600 --> 00:15:16,480 Speaker 10: So you know, I'm not gonna say, like, I'm a 279 00:15:16,559 --> 00:15:21,399 teetotal perfectionist. But if I look at something and I realize, 280 00:15:21,840 --> 00:15:24,159 you know, that could be slightly better, you know, I'll 281 00:15:24,600 --> 00:15:27,279 it's it's there's an old common saying. It's like, you know, 282 00:15:27,559 --> 00:15:30,240 if you're painting something, you're never really done painting it. 283 00:15:30,279 --> 00:15:32,320 It's just when you decide to quit, because you can 284 00:15:32,360 --> 00:15:35,200 always add more pain, right, So it's the same thing 285 00:15:35,279 --> 00:15:35,759 with music. 286 00:15:36,080 --> 00:15:37,279 Speaker 3: You know, I do graphic art. 287 00:15:39,159 --> 00:15:40,919 Speaker 10: It's the same thing with that as well. I can 288 00:15:41,000 --> 00:15:44,080 sit at a computer and make a million tiny changes 289 00:15:44,159 --> 00:15:47,279 that probably ninety percent of people wouldn't realize. But if 290 00:15:47,399 --> 00:15:49,399 I don't do them, I'll look at it and I 291 00:15:49,480 --> 00:15:50,480 think I should have done that. 292 00:15:51,120 --> 00:15:55,879 Speaker 3: So yeah, kind of. And then on the flip side 293 00:15:55,879 --> 00:15:56,120 of it. 294 00:15:57,360 --> 00:16:01,200 Speaker 10: You know, you get like writer's blog or designer's block 295 00:16:01,360 --> 00:16:04,200 a lot. So sometimes you just sit there and be 296 00:16:04,279 --> 00:16:06,679 frustrated at a computer trying to write something or trying 297 00:16:06,759 --> 00:16:08,440 to design something, to the point where you have to 298 00:16:08,480 --> 00:16:11,799 take a break, and sometimes it sucks, but that break 299 00:16:11,879 --> 00:16:13,639 is like a month long, and then when you come 300 00:16:13,720 --> 00:16:16,080 back from that break, it's like everything falls into place. 301 00:16:16,240 --> 00:16:19,679 But you know, if you spend too much time on something, 302 00:16:19,759 --> 00:16:24,320 then you'll you'll just get annoyed with it, right, But but. 303 00:16:24,440 --> 00:16:27,600 Speaker 2: Yeah, do you You've always got multiple things going on 304 00:16:27,759 --> 00:16:30,480 creatively anyway, right, so i'd imagine, Oh yeah, it's kind 305 00:16:30,480 --> 00:16:32,000 of move from one thing to the next, but but 306 00:16:32,120 --> 00:16:33,879 they're all they're all always in motion. 307 00:16:34,840 --> 00:16:36,679 Speaker 10: Yeah, And that's the way to keep it fresh too, 308 00:16:36,919 --> 00:16:39,360 is you know, you get a little frustrated with one thing, 309 00:16:39,440 --> 00:16:42,159 put it down, run to the next, knock that out, 310 00:16:42,240 --> 00:16:42,679 come back. 311 00:16:42,799 --> 00:16:44,000 Speaker 3: So that definitely does help. 312 00:16:44,120 --> 00:16:44,279 Speaker 7: Yeah. 313 00:16:44,440 --> 00:16:47,279 Speaker 2: Yeah, And you mentioned too being a graphic artist, so 314 00:16:47,360 --> 00:16:49,279 obviously you do all the artwork for you know, like 315 00:16:49,440 --> 00:16:52,559 radiation sickness. You did all all that yourself, I would imagine. 316 00:16:52,279 --> 00:16:56,840 Speaker 10: Right, Uh yeah, So normally, under normal circumstances, I'll be 317 00:16:56,840 --> 00:17:00,320 one hundred percent transparent with it for normal clients I have. 318 00:17:00,720 --> 00:17:04,440 I never use AI generated art. I think it's a 319 00:17:04,519 --> 00:17:07,839 cool tool to get inspiration, but I don't ever use 320 00:17:07,920 --> 00:17:10,440 it for clients of mine. I did use it for 321 00:17:10,559 --> 00:17:12,640 my stuff just because it's something I wanted to put 322 00:17:12,680 --> 00:17:15,079 out as quick as possible, so I did a. 323 00:17:15,119 --> 00:17:16,200 Speaker 3: Lot of editing to it. 324 00:17:16,440 --> 00:17:18,799 Speaker 10: But for the most part, it is generated. But like 325 00:17:18,839 --> 00:17:20,759 I said, it's it's only stuff that I've used for 326 00:17:21,319 --> 00:17:22,839 for my personal stuff. 327 00:17:22,880 --> 00:17:23,400 Speaker 3: That way, I'm not. 328 00:17:23,519 --> 00:17:27,200 Speaker 10: I'm not going to charge somebody, you know, however much 329 00:17:27,240 --> 00:17:30,759 I charge for a design when it took ten seconds 330 00:17:30,799 --> 00:17:33,680 to generate versus you know them, tell me something specific 331 00:17:33,720 --> 00:17:34,680 and I'll make it myself. 332 00:17:34,839 --> 00:17:39,319 Speaker 2: Sure, sure, yeah, but but yeah, that's interesting because that's 333 00:17:39,359 --> 00:17:41,559 another subject that comes up a lot on this show, 334 00:17:41,640 --> 00:17:45,000 you know, AI and and how it affects the music 335 00:17:45,039 --> 00:17:49,920 industry and art and so forth. Are you how do 336 00:17:49,960 --> 00:17:52,039 you feel about AI in terms of music? Are you 337 00:17:52,119 --> 00:17:52,759 worried about it? 338 00:17:52,839 --> 00:17:53,359 Speaker 3: Do you care? 339 00:17:53,559 --> 00:17:53,720 Speaker 9: Is it? 340 00:17:54,839 --> 00:17:57,279 Speaker 2: There's a lot of varying opinions on the matter. 341 00:18:01,720 --> 00:18:05,599 Speaker 10: Well, you know me, I love rock music right as 342 00:18:05,640 --> 00:18:09,279 far as when it comes to playing it live. You know, 343 00:18:09,440 --> 00:18:12,640 rock bands historically have played every for the most part, 344 00:18:12,759 --> 00:18:16,480 played every instrument live. Pop music resorts a little bit 345 00:18:16,519 --> 00:18:20,119 more towards backing tracks and not as many live musicians. 346 00:18:20,799 --> 00:18:24,240 Speaker 3: So in a way it's a stretch. 347 00:18:24,519 --> 00:18:26,200 Speaker 10: But in a way I kind of look at it like, 348 00:18:28,200 --> 00:18:30,480 how is AI any different than a pop singer playing 349 00:18:30,559 --> 00:18:33,559 live if they're just playing to music behind them and 350 00:18:33,640 --> 00:18:35,960 then somebody hits a button and generates a couple beats. 351 00:18:36,519 --> 00:18:38,960 Speaker 3: I'm kind of in that it. 352 00:18:39,240 --> 00:18:41,759 Speaker 10: Like I said, it's a stretch now as far as 353 00:18:41,920 --> 00:18:46,359 being like a complete creative process, Like you know, I'm 354 00:18:46,480 --> 00:18:48,839 going to pump in a formula on the computer and 355 00:18:48,880 --> 00:18:50,559 it's gonna pull out beats for me, it's gonna pull 356 00:18:50,559 --> 00:18:53,000 out chord patterns. It's gonna do that. Don't really believe 357 00:18:53,000 --> 00:18:54,839 in that. I don't find that creative at all, right, 358 00:18:55,079 --> 00:18:59,000 But maybe using it as just an inspiration tool rather 359 00:18:59,160 --> 00:19:03,119 than the the means to an end I think would 360 00:19:03,119 --> 00:19:03,720 probably be okay. 361 00:19:04,039 --> 00:19:07,079 Speaker 2: Yeah, yeah, yeah, It's going to be very interesting in 362 00:19:07,119 --> 00:19:10,359 the coming years to see how the music industry deals 363 00:19:10,400 --> 00:19:14,759 with it and and so forth. But getting back to 364 00:19:14,880 --> 00:19:18,160 radiation sickness for a moment, So are you performing these 365 00:19:18,240 --> 00:19:21,400 songs live or is this strictly a studio project or 366 00:19:21,839 --> 00:19:22,920 how are you proceeding with it? 367 00:19:23,759 --> 00:19:25,200 Speaker 3: Currently? Studio project? 368 00:19:25,319 --> 00:19:29,880 Speaker 10: Only in my normal day to day, I'm extremely busy, 369 00:19:29,960 --> 00:19:31,359 so I don't have a lot of time to go 370 00:19:31,480 --> 00:19:33,240 out and find guys that I trust you can learn 371 00:19:33,279 --> 00:19:35,799 all the material and then grind and play a whole 372 00:19:35,839 --> 00:19:38,559 bunch of shows. So it's more just fun for me 373 00:19:41,119 --> 00:19:44,240 and a little bit of a segue. It helps me 374 00:19:44,319 --> 00:19:47,240 build up a catalog which gets me. You know, different 375 00:19:47,319 --> 00:19:52,799 doors open. Like right now, I am writing the soundtrack 376 00:19:52,960 --> 00:19:55,680 for a local movie based out of Hickory, North Carolina. 377 00:19:55,880 --> 00:19:57,839 Speaker 3: Oh, so we're writing. 378 00:19:58,119 --> 00:20:03,599 Speaker 10: It's a full, completely independent movie. So they wanted to 379 00:20:03,680 --> 00:20:06,519 do an eighties style slasher thriller. 380 00:20:06,880 --> 00:20:08,279 Speaker 3: Oh and they. 381 00:20:08,279 --> 00:20:12,160 Speaker 10: Wanted a complete hard rock soundtrack to go with the movie. 382 00:20:12,400 --> 00:20:14,720 So it's somebody that I've known for years. That's he's 383 00:20:14,759 --> 00:20:17,119 a writer, he's an author, he's done a lot of 384 00:20:17,160 --> 00:20:19,200 really cool stuff. And he asked me, He's like, hey, 385 00:20:19,279 --> 00:20:21,240 do you want to do this? And I said, yeah, 386 00:20:21,279 --> 00:20:22,680 you don't even have to pay me, let's do it. 387 00:20:23,839 --> 00:20:24,039 Speaker 8: Yeah. 388 00:20:24,880 --> 00:20:26,960 Speaker 3: So you know, even if it's something small like that, 389 00:20:27,079 --> 00:20:28,200 they can get the door open. 390 00:20:30,000 --> 00:20:30,160 Speaker 8: You know. 391 00:20:30,240 --> 00:20:33,920 Speaker 10: I'm I'm extremely I've already got five or six songs. 392 00:20:34,319 --> 00:20:37,759 If I get permission when it gets closer to release time, 393 00:20:37,799 --> 00:20:38,359 I'd love to. 394 00:20:38,400 --> 00:20:38,920 Speaker 3: Send you one. 395 00:20:39,319 --> 00:20:41,119 Speaker 2: Oh yeah, yeah, that way we can. 396 00:20:41,200 --> 00:20:42,559 Speaker 3: We can do a little bit of promotion on that. 397 00:20:42,920 --> 00:20:45,880 Speaker 2: Absolutely. Absolutely. Oh that's very cool and that's uh, that's 398 00:20:45,920 --> 00:20:49,440 certainly right up your alley. Are you Are you playing 399 00:20:49,480 --> 00:20:51,640 out at all currently? Do do you do any live 400 00:20:51,680 --> 00:20:53,359 shows of any kind? I know you you have the 401 00:20:54,119 --> 00:20:55,400 I don't know if you still do it the Judas 402 00:20:55,480 --> 00:20:56,279 Priest start for you. 403 00:20:56,319 --> 00:20:59,960 Speaker 10: Ben, Yes, yeah, we still do Unleash the Classic Judas 404 00:21:00,039 --> 00:21:03,359 Priests Tribute. We actually just got back from Virginia about 405 00:21:03,359 --> 00:21:05,640 three weeks ago. We played a showdown there for a 406 00:21:05,720 --> 00:21:06,359 biker rally. 407 00:21:06,680 --> 00:21:09,680 Speaker 3: Cool, so we did that. We got some stuff coming 408 00:21:09,759 --> 00:21:12,440 up in October. We we try to do, like bar Hop. 409 00:21:12,480 --> 00:21:14,640 Speaker 10: We don't want to be weekend Warriors because we all 410 00:21:14,680 --> 00:21:17,000 have full time jobs and families and everything like that. 411 00:21:17,240 --> 00:21:19,720 Speaker 3: So yeah, we try to do like five, six, seven 412 00:21:19,799 --> 00:21:22,119 big shows a year and then just spend the rest 413 00:21:22,160 --> 00:21:23,039 of the time with family. 414 00:21:23,240 --> 00:21:26,880 Speaker 2: So yeah, well that's cool. Is it challenging singing? 415 00:21:26,960 --> 00:21:27,119 Speaker 3: You know? 416 00:21:27,240 --> 00:21:31,319 Speaker 2: Halford obviously one of the greats, some would say the best, 417 00:21:31,599 --> 00:21:34,400 you know, the metal god Rob Halford. Is that challenging 418 00:21:34,519 --> 00:21:37,799 to do? I mean, do you have to especially whereas 419 00:21:38,160 --> 00:21:39,680 like you said, if you're only doing five or six 420 00:21:39,759 --> 00:21:43,599 big shows a year with that project, is that to 421 00:21:43,680 --> 00:21:46,440 get your voice in shape for that? Is that challenging 422 00:21:46,519 --> 00:21:49,119 at all? Or is it perfectly natural? Or how do 423 00:21:49,160 --> 00:21:50,279 you approach that vocally? 424 00:21:51,200 --> 00:21:53,839 Speaker 10: Now that I have spent years singing it, you know, 425 00:21:53,960 --> 00:21:56,480 I could go weeks without practice, go to you know, 426 00:21:56,799 --> 00:21:58,759 then go to a rehearsal. 427 00:21:58,359 --> 00:22:00,319 Speaker 3: And play it like we've been playing in it for 428 00:22:00,559 --> 00:22:01,240 a year straight. 429 00:22:02,240 --> 00:22:06,200 Speaker 10: I would probably indirectly, I would probably credit Halford for 430 00:22:06,400 --> 00:22:08,519 getting my voice the way it is, learning how to 431 00:22:08,599 --> 00:22:12,160 sing his stuff, because you know, if you listen vocally 432 00:22:12,279 --> 00:22:18,359 on the Radiation Sickness EP, it's very guttural, it's very raspy, rolly, 433 00:22:18,480 --> 00:22:20,559 which is how I originally learned to sing. I grew 434 00:22:20,640 --> 00:22:25,359 up listening to you know, early Pauldiano, Iron Maiden, really 435 00:22:25,480 --> 00:22:27,599 deep voice, because that's what I had. I didn't have 436 00:22:27,680 --> 00:22:30,680 a high pitched voice growing up singing, so I learned 437 00:22:30,720 --> 00:22:34,440 how to sing like that. And then I get into it, 438 00:22:34,559 --> 00:22:36,599 and you know, that's these guys that I've been playing 439 00:22:36,640 --> 00:22:37,160 with for a while. 440 00:22:37,200 --> 00:22:37,960 Speaker 3: We were doing like. 441 00:22:38,119 --> 00:22:40,920 Speaker 10: Variety eighties metal, just you know, for fun, going and 442 00:22:40,960 --> 00:22:42,599 playing a couple of shows a year, doing whatever, and 443 00:22:42,680 --> 00:22:45,400 then we all decided let's do let's do one band, 444 00:22:45,759 --> 00:22:48,160 and we all agreed on Priest. Then I'm sitting here thinking, 445 00:22:48,240 --> 00:22:51,359 oh my, I have to learn how to sing like Priest. 446 00:22:52,039 --> 00:22:55,559 So it took years, years and years and years to 447 00:22:55,720 --> 00:23:00,440 learn how to how to get Halford's nuances, especially his highests. 448 00:23:00,480 --> 00:23:02,640 Those are some of those are really brutal. 449 00:23:04,440 --> 00:23:07,039 Speaker 3: But but like I said, man, the only way to 450 00:23:07,079 --> 00:23:07,920 do it is to do it. 451 00:23:08,200 --> 00:23:11,480 Speaker 10: And I just I went out there and I practiced 452 00:23:11,720 --> 00:23:14,599 for years just that, I mean, the same songs over 453 00:23:14,720 --> 00:23:16,279 and over and over and just tried to get a 454 00:23:16,319 --> 00:23:20,119 little better at each time. And man, I've probably grown 455 00:23:20,559 --> 00:23:24,400 at least an entire octave range learning how to sing 456 00:23:24,480 --> 00:23:27,039 his stuff. Yeah, it's been tough, is. 457 00:23:27,079 --> 00:23:30,880 Speaker 2: There I'm curious is there any particular pre song that 458 00:23:31,039 --> 00:23:32,680 really gave you a hard time? Is there is there 459 00:23:32,759 --> 00:23:34,960 one you can pinpoint as being the most challenging. 460 00:23:35,799 --> 00:23:41,839 Speaker 10: Yes, there is a song called Devil's Child and it 461 00:23:42,000 --> 00:23:44,599 is off of the Screaming for Vengeance album. 462 00:23:45,920 --> 00:23:50,160 Speaker 3: It is absolutely and it was. 463 00:23:50,119 --> 00:23:51,880 Speaker 10: One of the first songs they wanted to learn too, 464 00:23:52,079 --> 00:23:56,519 so right, So, I mean it's it's tough, man. There 465 00:23:56,640 --> 00:23:59,720 is a there's kind of like a bridge section where 466 00:23:59,759 --> 00:24:03,359 it's just nothing but you know, his highest screaming piercing notes. 467 00:24:03,400 --> 00:24:08,160 And it's not like there's different levels to Holford's screams. 468 00:24:08,200 --> 00:24:11,359 There's low screams and there's high and that mid section 469 00:24:11,720 --> 00:24:15,759 is nothing but high screams. Chorus is high screams. I 470 00:24:15,839 --> 00:24:19,240 mean it's Yeah, it's tough, man, I think. I mean, honestly, 471 00:24:19,319 --> 00:24:20,759 this is kinda gonna be weird to say, but I 472 00:24:20,799 --> 00:24:23,920 think I could sing Painkiller easier than I could sing 473 00:24:24,000 --> 00:24:24,680 Devil's Child. 474 00:24:24,799 --> 00:24:27,000 Speaker 3: Really, it's right in the pocket. 475 00:24:27,039 --> 00:24:29,000 Speaker 10: I don't know how to describe other than that with 476 00:24:29,160 --> 00:24:32,079 my voice, but I can hit those screams all day 477 00:24:32,119 --> 00:24:34,960 long because they're not they're right about in the same zone. 478 00:24:35,119 --> 00:24:39,559 So it's the not monotonous, but it doesn't gas me out. 479 00:24:40,000 --> 00:24:43,119 Devil's Child for some reason, Dude, that song kills me 480 00:24:43,319 --> 00:24:43,839 every time. 481 00:24:44,720 --> 00:24:46,279 Speaker 2: But it's probably kind of cool in a way that 482 00:24:46,359 --> 00:24:47,960 you had to You said that was one of the 483 00:24:48,039 --> 00:24:49,920 first ones, or the first one they wanted you to learn, 484 00:24:50,200 --> 00:24:53,000 because I mean, if you can sing that, you can 485 00:24:53,079 --> 00:24:56,000 sing any of it, right, If that's yes, So that's 486 00:24:56,039 --> 00:24:58,160 probably a good way to start from that standpoint. 487 00:24:59,160 --> 00:25:01,079 Speaker 3: Oh definitely, yeah, Yeah, yeah. 488 00:25:01,599 --> 00:25:04,799 Speaker 2: Very cool. Uh, Dylan, the time goes so quickly. I 489 00:25:04,920 --> 00:25:06,880 do want to so we'll let you go in a moment, 490 00:25:07,000 --> 00:25:09,359 but I want to end the segment by playing another 491 00:25:09,480 --> 00:25:12,759 track from Radiation Sickness. Uh, But I'd like you to 492 00:25:12,880 --> 00:25:14,519 choose what would be a good What would be a 493 00:25:14,559 --> 00:25:14,839 good one? 494 00:25:14,880 --> 00:25:17,240 Speaker 3: To end with, let's go with the title track. 495 00:25:21,519 --> 00:25:23,680 Speaker 2: Oh there it is. Yeah, I'm staring right at it 496 00:25:23,720 --> 00:25:26,799 and not seeing it. Clearly, I need more caffeine. All right, 497 00:25:26,920 --> 00:25:28,640 very good, So we'll play that. We'll play the title 498 00:25:28,680 --> 00:25:31,359 track from Radiation Sickness and Dylan, where should people go 499 00:25:31,640 --> 00:25:34,640 online to keep up with everything that you're doing? To 500 00:25:34,759 --> 00:25:37,279 find the EP and and just anything else if you 501 00:25:37,319 --> 00:25:39,720 want to plug your your work as a graphic artist, 502 00:25:39,799 --> 00:25:41,559 anything our listeners should know about you. 503 00:25:42,359 --> 00:25:45,680 Speaker 10: So for graphic artwork, you can find me at atom 504 00:25:45,880 --> 00:25:51,880 A t O M bomb Artwork dot com, music general updates, 505 00:25:51,960 --> 00:25:55,279 or on my YouTube channel YouTube dot com slash Dangerous 506 00:25:55,400 --> 00:25:56,079 Dylan with a. 507 00:25:56,119 --> 00:25:56,880 Speaker 3: Z not an S. 508 00:25:57,759 --> 00:26:00,279 Speaker 10: And you can just find me generally on Facebook under 509 00:26:00,359 --> 00:26:03,680 Dying Reynolds or doing Reynolds music, and that's typically where 510 00:26:03,720 --> 00:26:05,559 I keep everything else. Also, if you want to check 511 00:26:05,599 --> 00:26:08,960 out the unleased tribute, we are on Facebook as Unleashed 512 00:26:09,200 --> 00:26:11,200 the Classic Judas Priest Tribute. 513 00:26:11,759 --> 00:26:14,720 Speaker 2: Very cool, very cool. All right, Dylan Reynolds, thank you 514 00:26:14,839 --> 00:26:16,960 so much, my friend. I'm gonna hit this track and 515 00:26:17,279 --> 00:26:19,640 I appreciate you joining us today and we will we'll 516 00:26:19,680 --> 00:26:22,759 do this again, uh in the uh your future I'm. 517 00:26:22,640 --> 00:26:25,240 Speaker 3: Sure alrighty man, thank you for letting me be. 518 00:26:25,279 --> 00:26:28,960 Speaker 2: On absolutely anytime. All right, Thanks Dylan, take care later, buddy. 519 00:26:29,480 --> 00:26:32,000 All right, the great Dylan Reynolds and uh, if you 520 00:26:32,039 --> 00:26:34,200 are listening live, Factory of Art is going to be 521 00:26:34,240 --> 00:26:35,960 coming up in a few minutes. But let's give this 522 00:26:36,079 --> 00:26:38,440 a listen. This is the title track from the Dylan 523 00:26:38,440 --> 00:26:57,000 Reynolds ep Radiation Sickness, the ban, the sunning, the screams. 524 00:26:56,640 --> 00:27:01,720 Speaker 7: And calling the baby away. Now, buildings collapse and start 525 00:27:01,759 --> 00:27:02,759 a wave, or fly up. 526 00:27:02,880 --> 00:27:04,200 Speaker 5: The house and touch some huns. 527 00:27:06,119 --> 00:27:09,279 Speaker 7: Don't not gonna let out the house trap that night 528 00:27:09,359 --> 00:27:10,480 where two four. 529 00:27:17,119 --> 00:27:17,519 Speaker 3: Whatever? 530 00:27:17,680 --> 00:27:18,240 Speaker 10: Say again? 531 00:27:19,160 --> 00:27:22,720 Speaker 5: No wall at that says no, Master said no way of. 532 00:27:22,839 --> 00:27:26,359 Speaker 7: That rest and ours inside. I would go round out, 533 00:27:28,319 --> 00:27:31,960 tells you know you got nobody. I used to say that, So. 534 00:27:34,079 --> 00:27:37,440 Speaker 5: Say holds it sad for you and it's now y'all too. 535 00:27:48,000 --> 00:27:49,240 Speaker 6: No fall out, that's raining. 536 00:27:49,519 --> 00:27:52,680 Speaker 7: It's getting cold, but counter or restrains in your body 537 00:27:52,759 --> 00:27:56,640 with fall spans thesa switching ice lit sax nights don't 538 00:27:56,680 --> 00:27:59,119 mean no blood and tights and nine. 539 00:28:01,000 --> 00:28:04,200 Speaker 6: Son't never let a souse shut this side? 540 00:28:04,200 --> 00:28:05,000 Speaker 4: Where's e flower? 541 00:28:11,960 --> 00:28:13,119 Speaker 2: We'll never see a cat? 542 00:28:14,079 --> 00:28:17,039 Speaker 7: No world has it says, no man has said no 543 00:28:17,200 --> 00:28:20,559 way of that brass and doll said side out, no 544 00:28:20,759 --> 00:28:25,680 run out, so she'll know you got ridy. 545 00:28:25,799 --> 00:28:26,559 Speaker 11: I said, say go. 546 00:28:28,920 --> 00:28:32,200 Speaker 7: See how hols it says for you and tell y'all to. 547 00:28:42,880 --> 00:28:45,440 Speaker 4: Jos to see your face, to see something from your heart. 548 00:28:45,759 --> 00:28:48,559 Find as a speaking sun a second charge. 549 00:28:48,440 --> 00:28:49,480 Speaker 6: We'll say you your brother. 550 00:28:49,839 --> 00:28:51,680 Speaker 8: Then no run a skin little. 551 00:28:51,400 --> 00:29:06,599 Speaker 7: Suned to fire the surta the gas you have burnt 552 00:29:06,599 --> 00:29:08,720 a ways, can nothing of the road. 553 00:29:08,960 --> 00:29:10,160 Speaker 12: The same western. 554 00:29:09,880 --> 00:29:13,079 Speaker 4: Cave whcas it's a bad woman never has. 555 00:29:13,160 --> 00:29:15,759 Speaker 6: Try to find a red. Is there any of the caves? 556 00:29:49,359 --> 00:29:50,559 Speaker 2: They'll never let us out. 557 00:29:51,640 --> 00:29:53,359 Speaker 6: It's not this sideworthy flower. 558 00:30:00,319 --> 00:30:01,480 Speaker 2: We'll never say a cad. 559 00:30:02,400 --> 00:30:05,400 Speaker 7: No world has it says no mad has said no 560 00:30:05,559 --> 00:30:09,319 way of brads and do said side out of the round, 561 00:30:11,440 --> 00:30:14,759 so she'll know you. Kind ride a sed to say 562 00:30:14,880 --> 00:30:20,160 that's say bolds In says, ho are you and sell 563 00:30:20,200 --> 00:30:25,519 your shoe? So she'll know you kind ride a sed. 564 00:30:25,440 --> 00:30:26,160 Speaker 6: To say that's. 565 00:30:28,240 --> 00:30:29,920 Speaker 7: Says bolds In says. 566 00:30:29,720 --> 00:30:31,720 Speaker 6: A are you and sell your shoe? 567 00:30:52,839 --> 00:30:53,640 Speaker 5: Us? 568 00:30:55,240 --> 00:31:12,960 Speaker 13: Oh my Jesus, shad jodysih ghostly nightmas be there, don't 569 00:31:13,039 --> 00:31:14,319 be patient. 570 00:31:15,160 --> 00:31:20,119 Speaker 6: Don't behave n show you more. 571 00:31:22,759 --> 00:31:26,440 Speaker 13: Dive into your own dark side. 572 00:31:27,160 --> 00:31:55,599 Speaker 6: I was there, befo j J. There somedy that something 573 00:31:57,720 --> 00:32:33,440 can't show you jong iss your oh no suh and 574 00:32:44,480 --> 00:32:52,200 shine you'll find me silent, but not say in disguis. 575 00:32:53,400 --> 00:32:54,599 Speaker 8: J S. 576 00:32:57,400 --> 00:33:01,680 Speaker 6: That's say in this stuff living. 577 00:33:01,440 --> 00:33:17,000 Speaker 5: Your shoes shoes, said. 578 00:33:24,640 --> 00:33:24,960 Speaker 6: Jock. 579 00:33:28,400 --> 00:33:45,119 Speaker 5: And jumping your sad the same. 580 00:33:48,400 --> 00:33:49,839 Speaker 6: Jumping your fad. 581 00:33:53,319 --> 00:33:56,519 Speaker 2: Please the same days. 582 00:33:59,559 --> 00:33:59,839 Speaker 6: Sad. 583 00:34:02,079 --> 00:34:08,679 Speaker 5: Please have me go tag this sa to start place 584 00:34:09,280 --> 00:34:09,880 on the t. 585 00:34:12,800 --> 00:34:18,920 Speaker 6: Smills so he has not play. 586 00:34:20,639 --> 00:35:25,199 Speaker 5: My joan place w out the top. 587 00:35:28,480 --> 00:35:29,360 Speaker 6: Into the. 588 00:35:34,559 --> 00:35:55,480 Speaker 14: Front side, the chewing its tip back, the shame the 589 00:35:55,880 --> 00:35:57,239 same ship. 590 00:35:58,800 --> 00:35:58,840 Speaker 7: You. 591 00:36:10,920 --> 00:36:14,760 Speaker 2: I love that. That is epic. The song is blessing 592 00:36:14,840 --> 00:36:18,079 in disguise. The band is Factory of Art, and I 593 00:36:18,119 --> 00:36:20,000 think we have a couple of guys from Factory of 594 00:36:20,159 --> 00:36:22,639 Art on Skype with us. Hello, can you guys hear me? 595 00:36:24,119 --> 00:36:27,480 Speaker 8: Hey? Hello, here's still a fun Factory of Art and 596 00:36:28,079 --> 00:36:31,320 the best drama of the world rather is with me today? 597 00:36:32,960 --> 00:36:39,320 Speaker 2: Okay, Well, welcome guys. How are you? How are you 598 00:36:39,440 --> 00:36:41,280 are you? Are you on the road right now? 599 00:36:43,079 --> 00:36:45,360 Speaker 8: Yeah? We are not on the road, but on the boat. 600 00:36:45,480 --> 00:36:49,159 We play a show tonight on a little metal cruise 601 00:36:49,199 --> 00:36:50,079 in a New York Berlin. 602 00:36:50,880 --> 00:36:53,519 Speaker 2: Oh that's cool. That's cool. Is a weather, they're a 603 00:36:53,519 --> 00:36:54,480 good good cruise weather. 604 00:36:55,679 --> 00:36:58,559 Speaker 8: Oh very fine. It's not too hot, but it's sunny 605 00:36:58,719 --> 00:37:02,599 and a lot of guys are here on a boat. 606 00:37:03,000 --> 00:37:05,360 And we hope we will play a good show tonight, 607 00:37:05,440 --> 00:37:09,920 but not as factory of art. We I told you 608 00:37:10,719 --> 00:37:15,880 earlier that we have a cover project. We play songs 609 00:37:15,920 --> 00:37:20,840 of Inhale, Pumstein, a CDC and so on. Yeah, tonight 610 00:37:20,960 --> 00:37:23,480 is party. Tonight is not the factory of art show. 611 00:37:23,800 --> 00:37:25,880 It's a factory under cover. Sure. 612 00:37:26,960 --> 00:37:28,280 Speaker 2: Oh I gotcha, I got cha. 613 00:37:28,880 --> 00:37:29,039 Speaker 3: Now. 614 00:37:29,119 --> 00:37:30,519 Speaker 2: That's cool though, that you get to play on a 615 00:37:30,559 --> 00:37:35,039 cruise And congratulations by the way on the album. And uh, 616 00:37:35,199 --> 00:37:37,719 I love these songs. I mean this is next level. 617 00:37:38,000 --> 00:37:40,480 Blessing in Disguise is such an interesting song. You know, 618 00:37:40,559 --> 00:37:43,880 it's it's got you know, kind of the power metal thing. 619 00:37:44,039 --> 00:37:47,199 But there's also there's also some curveballs in there. There's 620 00:37:47,239 --> 00:37:50,360 some things you don't necessarily expect to hear. At one point, 621 00:37:50,400 --> 00:37:53,199 it sounds almost like a Moog keyboard is in there, 622 00:37:53,639 --> 00:37:55,800 or a wurlitzer or something. It's really interesting. 623 00:37:57,079 --> 00:38:00,440 Speaker 8: Oh, thank you very much. It's it's so nice to 624 00:38:00,559 --> 00:38:04,519 hear that, because we are very proud. Now the album 625 00:38:04,599 --> 00:38:07,360 is ready. We had a very good record release show 626 00:38:07,440 --> 00:38:12,320 in Leipsish in June, and the first reviews on the 627 00:38:12,400 --> 00:38:16,760 album in the German underground press are very very good. 628 00:38:17,679 --> 00:38:22,679 We are very happy with this. Sure and sure it's 629 00:38:22,920 --> 00:38:27,320 so nice that you like it. It's great. The best 630 00:38:27,400 --> 00:38:30,440 review says twelve from ten points. 631 00:38:31,880 --> 00:38:33,320 Speaker 3: Okay the scale. 632 00:38:33,800 --> 00:38:37,440 Speaker 2: Okay, okay, excellent, excellent. Now are you guys getting to 633 00:38:37,519 --> 00:38:41,039 play these songs live? I know tonight you're not because 634 00:38:41,079 --> 00:38:43,840 you're doing the covers, But do you guys have a 635 00:38:43,880 --> 00:38:46,079 lot of opportunities to play these songs live. 636 00:38:48,480 --> 00:38:51,760 Speaker 8: We played some shows with a new new material. Now 637 00:38:51,840 --> 00:38:56,000 we have a little break. It's summertime here and we're 638 00:38:56,079 --> 00:39:00,599 too late to be booked on the great festivals in Germany. 639 00:39:00,960 --> 00:39:02,840 We have to try it in the next month. Is 640 00:39:02,920 --> 00:39:06,840 in the next year. Yeah, we have some gigs in 641 00:39:06,960 --> 00:39:13,079 Leipzig in Germany at all. It's great. It's a great 642 00:39:13,159 --> 00:39:16,519 adventure for us to play the new material live on stage. 643 00:39:17,800 --> 00:39:21,360 But it's not the thing that we have a tour. 644 00:39:21,760 --> 00:39:25,079 That's yeah, that's the thing we have to work about 645 00:39:25,360 --> 00:39:26,280 in the next month. 646 00:39:26,239 --> 00:39:29,320 Speaker 2: Is Okay, Okay. Is it challenging to play the new 647 00:39:29,360 --> 00:39:35,519 material live? Because, like I said, it's it's it's pretty loud. 648 00:39:35,559 --> 00:39:42,000 Speaker 8: There we were under a bridge. That's why, a little 649 00:39:42,000 --> 00:39:42,519 bit too loud. 650 00:39:43,199 --> 00:39:46,519 Speaker 2: That makes sense, That makes sense. So the boat, the 651 00:39:46,599 --> 00:39:51,239 boat is in motion. Is it challenging to play these 652 00:39:51,320 --> 00:39:54,280 songs live? Because, like I said, it's you know, it's 653 00:39:54,360 --> 00:39:57,199 not your standard power metal. There's some there's some other 654 00:39:57,320 --> 00:39:59,079 things going on. It's very complex. 655 00:40:00,039 --> 00:40:02,599 Speaker 8: Yeah, it's a it's a challenge for us. It was 656 00:40:02,639 --> 00:40:06,039 a challenge for us, but we were well prepared for 657 00:40:06,119 --> 00:40:08,320 the first show, our record release show, and like this, 658 00:40:09,239 --> 00:40:15,920 we had all our vocal singers, guest singers on stage 659 00:40:16,519 --> 00:40:19,400 during the show. That was so so nice, and we 660 00:40:20,519 --> 00:40:25,320 we trained very very hard to give the best on stage. 661 00:40:25,559 --> 00:40:26,800 It's it's a challenge for us. 662 00:40:27,000 --> 00:40:31,960 Speaker 2: You're right, yeah, yeah, do you I mean, are you 663 00:40:32,079 --> 00:40:33,960 able to play like when you do these shows? Do 664 00:40:34,000 --> 00:40:37,719 you just focus on the newer material because you you 665 00:40:37,800 --> 00:40:40,679 got you guys have been around for more than three decades, right. 666 00:40:41,199 --> 00:40:46,239 Speaker 8: Yeah, so it is. We just last week we created 667 00:40:46,360 --> 00:40:51,280 a new Settlers, a mix of the new album and 668 00:40:52,159 --> 00:40:56,400 older songs. And now we have the ninety one hundred 669 00:40:56,480 --> 00:41:02,639 minute show program. We have I think seven new tracks 670 00:41:03,079 --> 00:41:08,280 and three or four of the both former earlier albums. 671 00:41:08,960 --> 00:41:14,400 Speaker 2: Yeah, I assume. I mean obviously, I don't know that 672 00:41:14,440 --> 00:41:17,679 I've listened to anything like really early from you guys. 673 00:41:17,760 --> 00:41:20,039 Has the sound changed over the years, I would imagine 674 00:41:20,079 --> 00:41:21,119 it has somewhat, right. 675 00:41:22,280 --> 00:41:27,079 Speaker 8: Yeah, so it is the sound changed, the songwriting process 676 00:41:27,320 --> 00:41:32,960 changed a little bit. But when we play on stage 677 00:41:34,199 --> 00:41:37,719 new material or all of material, it's the same band. 678 00:41:37,840 --> 00:41:41,880 It's the same sound, and that I think it's it's 679 00:41:41,920 --> 00:41:42,360 a unit. 680 00:41:42,679 --> 00:41:42,800 Speaker 6: Uh. 681 00:41:43,639 --> 00:41:48,000 Speaker 8: The people like the old songs too. We play the 682 00:41:49,760 --> 00:41:53,480 best of them, I think, and it's a good it's 683 00:41:53,480 --> 00:41:57,159 a good mix of all and and people say, oh yeah, 684 00:41:57,400 --> 00:42:01,800 she nice to have the new material but it's nice 685 00:42:01,880 --> 00:42:06,000 to hear songs again that we never heard for twenty 686 00:42:06,079 --> 00:42:07,519 years live on stage. 687 00:42:08,280 --> 00:42:10,119 Speaker 2: Yeah. I was gonna say, so. There must be people 688 00:42:10,199 --> 00:42:12,199 who who've been there from the beginning, right, Do you 689 00:42:12,280 --> 00:42:15,199 see people at the shows who you remember from way 690 00:42:15,239 --> 00:42:17,039 back in the beginning when they first started to come 691 00:42:17,079 --> 00:42:17,800 out and see the band. 692 00:42:19,400 --> 00:42:25,679 Speaker 8: Yeah, still of them are still alive. Yeah, and uh, 693 00:42:26,880 --> 00:42:30,639 best best for us is that these people, uh uh, 694 00:42:30,920 --> 00:42:33,760 the the die hard fans from the first hour of 695 00:42:33,840 --> 00:42:37,800 the band say, it's so nice that you are back. 696 00:42:38,159 --> 00:42:42,119 And we like our new material too. I think it's 697 00:42:42,519 --> 00:42:46,360 for the for the for the people. It's nice to 698 00:42:46,480 --> 00:42:48,719 have the best of both worlds. 699 00:42:49,320 --> 00:42:56,280 Speaker 2: Yeah, yeah, no doubt, no doubt. When you guys, when 700 00:42:56,320 --> 00:42:59,320 you guys do shows with the new material, are you 701 00:42:59,440 --> 00:42:59,920 doing fast? 702 00:43:00,079 --> 00:43:00,360 Speaker 6: Of all? 703 00:43:00,480 --> 00:43:02,519 Speaker 2: Are have you been able to do any of those 704 00:43:02,599 --> 00:43:03,039 this summer? 705 00:43:03,880 --> 00:43:09,599 Speaker 8: Yeah? We we played two shows, uh, two slots at festivals, 706 00:43:11,239 --> 00:43:15,519 but we were so so heavy that we played the 707 00:43:15,599 --> 00:43:19,880 whole new album in in on these two festivals. 708 00:43:21,880 --> 00:43:22,440 Speaker 9: For it. 709 00:43:22,639 --> 00:43:26,679 Speaker 8: It was for us to to to train on new material. 710 00:43:28,000 --> 00:43:31,199 The people asked us, oh, would you play some some 711 00:43:31,679 --> 00:43:35,480 older songs, and we said, sorry, not tonight. We want 712 00:43:35,559 --> 00:43:39,800 to show you at the whole new album. And yeah, 713 00:43:40,280 --> 00:43:44,440 it was very nice, but it was an interesting effect 714 00:43:44,519 --> 00:43:50,519 for us. The people heard very very I don't know 715 00:43:50,639 --> 00:43:57,320 the English word ox. We both don't know. They heard 716 00:43:57,360 --> 00:44:03,639 the new material and we're and but they needed a 717 00:44:03,719 --> 00:44:05,320 little bit time to understand it. 718 00:44:05,800 --> 00:44:11,199 Speaker 2: Sure, sure, no, that makes sense, but nice to have. 719 00:44:12,199 --> 00:44:17,400 Speaker 8: We sell our albums, our physical albums on our merge 720 00:44:18,199 --> 00:44:23,360 stand and it works, but only it works if you 721 00:44:23,440 --> 00:44:27,400 play a good show. Why and that's why we try 722 00:44:27,679 --> 00:44:32,280 to make it very good every every night. Tonight we 723 00:44:32,440 --> 00:44:37,159 have the cover program. It's nice to have for us, 724 00:44:38,480 --> 00:44:43,480 but we try to to reach the people with a 725 00:44:43,559 --> 00:44:48,920 few informations about our factory, of our project. Let's see 726 00:44:48,920 --> 00:44:50,559 how it works tonight. 727 00:44:50,960 --> 00:44:51,159 Speaker 13: Yeah. 728 00:44:51,559 --> 00:44:54,239 Speaker 2: I would imagine your music too. You must see like 729 00:44:54,480 --> 00:44:57,639 multiple generations. I assume you see young people at your 730 00:44:57,679 --> 00:45:00,800 shows too, right, because you you have music, I feel 731 00:45:00,840 --> 00:45:03,920 it's timeless. I feel that probably anyone of any age 732 00:45:03,960 --> 00:45:05,440 could get into what you're doing. Do you see a 733 00:45:05,480 --> 00:45:06,800 lot of young people at your shows? 734 00:45:08,480 --> 00:45:13,559 Speaker 8: You're absolutely right. It's when you're here in Germany, go 735 00:45:13,679 --> 00:45:17,880 to a festival. You have a mixture of people, elder people, 736 00:45:18,480 --> 00:45:27,519 young people, and we have good response of both of them. 737 00:45:28,960 --> 00:45:35,039 You're right, it's it's seems yourself cannot say it's timeless, 738 00:45:35,079 --> 00:45:38,239 but if you say it, the people say, okay, it's 739 00:45:38,360 --> 00:45:43,239 it's it's a I think, uh, that's true. That's that's 740 00:45:43,239 --> 00:45:48,960 the truth here and this is this is our experiences 741 00:45:49,000 --> 00:45:51,119 of the last two shows. 742 00:45:51,480 --> 00:45:57,519 Speaker 2: Yeah, yeah, excellent, excellent. Are you guys, are are you 743 00:45:57,559 --> 00:46:01,000 getting any traction at radio or radios they're playing you? 744 00:46:01,159 --> 00:46:03,119 I don't know what the what the situation is with 745 00:46:03,320 --> 00:46:05,800 radio in that part of the world currently. If there's 746 00:46:05,960 --> 00:46:10,039 a format, it supports what you're doing. But I'm curious, 747 00:46:11,119 --> 00:46:11,480 I don't. 748 00:46:12,360 --> 00:46:16,599 Speaker 8: We like the American radio scene very much every time 749 00:46:17,280 --> 00:46:19,639 when i'm as a tourist. 750 00:46:20,920 --> 00:46:24,039 Speaker 15: Am in in the States, I like it so very much. 751 00:46:24,079 --> 00:46:28,480 But here in Germany it's so commercial. Yeah, it's so 752 00:46:28,639 --> 00:46:32,239 commercial there we have with our music, no chance. But 753 00:46:33,199 --> 00:46:35,760 there is a really great and. 754 00:46:37,639 --> 00:46:43,480 Speaker 8: Interesting underground radio scene. And these guys are loving the 755 00:46:43,559 --> 00:46:49,320 new album. And we have Airplane in internet ratios stations 756 00:46:49,480 --> 00:46:50,119 here in Germany. 757 00:46:50,480 --> 00:46:53,440 Speaker 2: Oh, excellent, excellent, very good, yeah, very good. 758 00:46:53,519 --> 00:46:56,440 Speaker 8: We are an album of the months June or July 759 00:46:57,480 --> 00:47:01,400 in five or six radio stations here in Germany. And 760 00:47:01,840 --> 00:47:04,280 that's for us, a very good thing. 761 00:47:05,079 --> 00:47:11,199 Speaker 2: Yeah, yeah, congratulations on that. That is outstanding. Well, listen, guys, 762 00:47:11,719 --> 00:47:14,440 it's great to speak with you. Uh, we'll We'll let 763 00:47:14,480 --> 00:47:17,000 you go. It sounds like there's a band. Is there 764 00:47:17,039 --> 00:47:19,599 a band on stage right now? Or is that a stereo? 765 00:47:20,000 --> 00:47:23,920 Speaker 8: Yeah? Yeah, yes, as another band on stage. We look 766 00:47:24,199 --> 00:47:29,400 for the quietest place on this boat. But we have 767 00:47:29,480 --> 00:47:31,440 to go swim if you want to have it. 768 00:47:32,159 --> 00:47:36,719 Speaker 2: Still, I understand, I completely understand. No, it sounds like 769 00:47:36,800 --> 00:47:40,239 a great time. It sounds fun. And uh uh when 770 00:47:40,320 --> 00:47:41,840 when do you guys play? Is it in a few 771 00:47:41,880 --> 00:47:42,880 hours or is it soon? 772 00:47:43,079 --> 00:47:43,280 Speaker 8: Yeah? 773 00:47:43,800 --> 00:47:45,159 Speaker 3: We have we have just have time. 774 00:47:45,239 --> 00:47:46,000 Speaker 7: We have uh. 775 00:47:46,679 --> 00:47:51,920 Speaker 8: Stage time is here in Germany seven pm. Yeah, it 776 00:47:52,079 --> 00:47:54,480 means to an half hour. We have to go on 777 00:47:54,599 --> 00:47:58,719 stage and we play our open plumstick. 778 00:47:58,639 --> 00:48:01,119 Speaker 2: Usher excellent. 779 00:48:02,519 --> 00:48:04,320 Speaker 8: From a from a little German band. 780 00:48:05,480 --> 00:48:10,519 Speaker 2: I've seen them, Yeah, I've seen Ramstein. I can't pronounce 781 00:48:10,559 --> 00:48:15,719 it correctly but my American mouth, but but I've seen 782 00:48:15,800 --> 00:48:19,760 Ramstein live and it's it's quite a show. In fact, 783 00:48:20,239 --> 00:48:22,360 the times that I've seen them, if you're close enough 784 00:48:22,400 --> 00:48:24,360 to the stage, you can feel the heat coming from 785 00:48:24,400 --> 00:48:26,840 the pyro, which is a little scary. 786 00:48:27,159 --> 00:48:33,159 Speaker 8: But there's a nice story of our earlier days. I 787 00:48:33,320 --> 00:48:39,519 played two shows as local support with rumshein In in 788 00:48:39,639 --> 00:48:44,440 the late nineties in Leipzigh. It was a great experience 789 00:48:44,480 --> 00:48:47,639 for us. But they are so fantastic, so good as 790 00:48:47,639 --> 00:48:50,519 well as little stage as well as a hall, not 791 00:48:50,639 --> 00:48:54,800 a stadium, but it was so great for us, and 792 00:48:55,079 --> 00:48:57,199 and it's what was nice too to meet the guys 793 00:48:57,239 --> 00:48:59,480 of us is the time of their first album, Had 794 00:48:59,559 --> 00:49:02,920 the Light now in these times. 795 00:49:03,920 --> 00:49:04,400 Speaker 11: Oh, oh. 796 00:49:06,039 --> 00:49:08,039 Speaker 8: The bridge, May we come under the bridge? Sorry, it's 797 00:49:08,280 --> 00:49:10,119 it will be allowed for a few seconds. 798 00:49:10,159 --> 00:49:13,519 Speaker 2: Oh that's okay, yeah, it's come. 799 00:49:13,760 --> 00:49:14,039 Speaker 6: Here we go. 800 00:49:16,480 --> 00:49:21,440 Speaker 16: Oh see Blacks have a paranoid. Yeah, yes they are, 801 00:49:21,599 --> 00:49:26,199 Bryan here. It's so nice here, So there we go, 802 00:49:26,599 --> 00:49:27,000 there we go. 803 00:49:28,000 --> 00:49:28,920 Speaker 8: Sorry, now it's better. 804 00:49:29,199 --> 00:49:32,599 Speaker 2: They should put some soundproofing panels under the bridge for 805 00:49:32,679 --> 00:49:33,400 when that happens. 806 00:49:33,679 --> 00:49:33,840 Speaker 9: Yeah. 807 00:49:33,920 --> 00:49:40,239 Speaker 8: Yeah, yeah, we went through and everything's fine. I hope, yes, yes, yeah, 808 00:49:40,599 --> 00:49:44,280 And we play some songs tonight. Helps Bells is the 809 00:49:44,320 --> 00:49:47,360 second song from a cy DC and our last song, 810 00:49:47,679 --> 00:49:52,199 Sure Motorhead is of Space, and then we have fifteen sixteen, 811 00:49:52,400 --> 00:49:56,559 twenty twenty tracks to play tonight. We are the last 812 00:49:56,599 --> 00:50:01,440 band headline on you boo and sure it's nice. 813 00:50:02,480 --> 00:50:06,480 Speaker 2: Yeah I hear, I hear a Black Sabbath paranoid in 814 00:50:06,519 --> 00:50:10,039 the background. It sounds good. Yeah, sure yeah, whoever that 815 00:50:10,119 --> 00:50:12,599 band is, they sound good, but you will sound even better. 816 00:50:12,719 --> 00:50:13,360 Speaker 3: I have no doubt. 817 00:50:14,159 --> 00:50:18,960 Speaker 8: I hope that it will try it. You know, it's 818 00:50:19,000 --> 00:50:23,280 it's it's party time for us tonight. But we want 819 00:50:23,360 --> 00:50:25,920 to we want to play a good show. 820 00:50:26,280 --> 00:50:29,079 Speaker 2: Yeah yeah, no, you guys are amazing, Like I said, 821 00:50:29,119 --> 00:50:31,639 I love the album, thank you so much for sending 822 00:50:31,679 --> 00:50:34,679 it to us, and I love these songs. I'm gonna 823 00:50:34,760 --> 00:50:36,320 let you go in a moment so you can you 824 00:50:36,400 --> 00:50:38,559 can get back to it. But I have a question, 825 00:50:39,159 --> 00:50:42,079 Uh what song should I finish the segment with? I 826 00:50:42,199 --> 00:50:45,360 opened with the single of course, Blessing in Disguise. But 827 00:50:45,480 --> 00:50:48,159 do you guys have a suggestion on what you would 828 00:50:48,239 --> 00:50:49,440 like me to end the segment with. 829 00:50:51,119 --> 00:50:55,480 Speaker 8: Just let's let us talk bick to life, back to 830 00:50:55,599 --> 00:50:58,360 the Life, back to the Life, the lasted track, the 831 00:50:58,440 --> 00:50:59,400 title track would be. 832 00:50:59,480 --> 00:51:03,199 Speaker 2: Nice, okay, okay, yeah, we can go with that. Very cool, 833 00:51:03,360 --> 00:51:06,000 very cool, all right? And what should our listeners know? 834 00:51:06,159 --> 00:51:08,960 What should our listeners know here in America about how 835 00:51:09,039 --> 00:51:11,559 to find you guys online to keep up with what 836 00:51:11,679 --> 00:51:13,719 you're doing. Anything special you want them to know? 837 00:51:15,239 --> 00:51:20,639 Speaker 8: Yeah, sure, we have a new system. You find everything 838 00:51:20,679 --> 00:51:27,280 about Factory of Art on the Factory minus off minus 839 00:51:27,480 --> 00:51:28,760 Art dot band. 840 00:51:29,719 --> 00:51:32,199 Speaker 2: Okay, and we'll share the link out too to make 841 00:51:32,239 --> 00:51:36,519 sure people have it. But very good, verty good, All right, Hey, guys, 842 00:51:36,599 --> 00:51:38,599 thank you so much, have a great show tonight. We'll 843 00:51:38,679 --> 00:51:40,360 let you go so we can hit this track. But 844 00:51:40,639 --> 00:51:42,360 I really appreciate you joining us today. 845 00:51:43,639 --> 00:51:46,400 Speaker 8: Thank you very much. It's nice to be with you, 846 00:51:46,920 --> 00:51:52,519 and the best greetings from Berliant from the Boat Factory. 847 00:51:53,400 --> 00:51:57,800 Speaker 2: All right, guys, thank you so much. Take care, have fun. Yep, 848 00:51:57,920 --> 00:52:02,039 you too, all right, bye bye, all right. Factory of Art. 849 00:52:02,079 --> 00:52:05,800 What a great band. We will play this next to 850 00:52:05,880 --> 00:52:08,039 finish out the segment. This is a track called back 851 00:52:08,039 --> 00:52:10,760 to Life. Back to the Life rather from, of course, 852 00:52:11,280 --> 00:52:14,360 their album of the same name, the title track Factory 853 00:52:14,400 --> 00:52:17,360 of Art. I definitely recommend you check them out. Great guys, 854 00:52:17,519 --> 00:52:20,679 and I love their music and if you are listening 855 00:52:20,719 --> 00:52:22,840 live on Saturday, of course. Coming up in the third hour, 856 00:52:22,960 --> 00:52:27,280 we have Eleanor and Spelfee from the Midnight Creatures creat 857 00:52:27,400 --> 00:52:31,360 No Midnight, I always get it wrong. Midnight Creative Collective. 858 00:52:32,400 --> 00:52:36,519 The Creatures is the Facebook and terminus underground. Yes, where 859 00:52:37,440 --> 00:52:39,000 Jenny's paintings are currently hanging. 860 00:52:39,239 --> 00:52:39,559 Speaker 8: I know. 861 00:52:41,159 --> 00:52:43,400 Speaker 2: That is it's very very cool, but we'll talk about 862 00:52:43,400 --> 00:52:45,400 that in the third hour when Eleanor and Spelfy are 863 00:52:45,440 --> 00:52:47,800 here with us in studio. But give this a listen. 864 00:52:47,920 --> 00:52:50,440 This is called back to the Life Factory of Art. 865 00:52:50,519 --> 00:52:51,280 This is really good. 866 00:53:40,480 --> 00:53:44,920 Speaker 17: I will sailing in the La Devot and race and 867 00:53:45,079 --> 00:53:47,840 see lies ate jars. 868 00:53:48,960 --> 00:53:50,880 Speaker 5: We treat still our. 869 00:53:50,880 --> 00:53:52,559 Speaker 8: And selling the seal. 870 00:53:52,760 --> 00:53:57,360 Speaker 6: The star beside of my sword is yard. 871 00:53:59,280 --> 00:54:04,480 Speaker 17: The rest see man the Saint Kisen, I'm tombling too, 872 00:54:04,800 --> 00:54:06,599 and ground like too, d. 873 00:54:07,960 --> 00:54:11,639 Speaker 6: Can sitting now went so from the. 874 00:54:16,280 --> 00:54:25,760 Speaker 5: Game to making to. 875 00:54:35,199 --> 00:54:40,920 Speaker 17: The call love the siren, sit my star round love 876 00:54:41,159 --> 00:54:43,159 the out settlement the sea. 877 00:54:43,519 --> 00:54:46,960 Speaker 2: For lord, and I find all my life. 878 00:54:46,880 --> 00:54:49,400 Speaker 4: And I guess spring forever. 879 00:54:49,599 --> 00:54:53,719 Speaker 17: And out of the AMers come from the wood where 880 00:54:54,440 --> 00:54:59,679 the rat slee man the Saint Kison, I am toumbling too. 881 00:55:00,400 --> 00:55:01,480 Speaker 6: Row back. 882 00:55:05,840 --> 00:55:10,719 Speaker 14: My son said, oh so nice to. 883 00:55:15,639 --> 00:55:16,159 Speaker 8: Go to. 884 00:55:18,760 --> 00:55:19,159 Speaker 6: Nice. 885 00:56:51,360 --> 00:56:53,559 Speaker 18: In times of crisis, you need a law firm that 886 00:56:53,679 --> 00:56:56,719 stands by your side. With over forty years of experience, 887 00:56:56,840 --> 00:56:59,920 Craig and Getsulus is dedicated to fighting for your rights. 888 00:57:00,400 --> 00:57:03,400 As former state prosecutors, our attorneys have the knowledge and 889 00:57:03,480 --> 00:57:07,159 trial experience to provide an aggressive defense against any charge, 890 00:57:07,559 --> 00:57:11,800 from DUIs to homicides. If you've been injured, our compassionate 891 00:57:11,880 --> 00:57:14,440 team will assess your case and fight for the compensation 892 00:57:14,559 --> 00:57:18,000 you deserve. Serving all of New Hampshire, Craigan Getzulis is 893 00:57:18,079 --> 00:57:21,079 here when you need us most. Visit Craigatzulis dot com 894 00:57:21,320 --> 00:57:23,840 or call six oh three five five five one two 895 00:57:23,960 --> 00:57:28,119 three four for a free consultation. Craigan, get Zulus, your advocates, 896 00:57:28,360 --> 00:57:29,440 your allies. 897 00:57:29,559 --> 00:57:33,880 Speaker 12: Bring your kitchen to life with Queen Citycabinetry, located at 898 00:57:33,960 --> 00:57:38,119 eighty seven Elm Street in the historic Sunbeam Law in Manchester, 899 00:57:38,599 --> 00:57:41,880 open Monday through Friday nine am to five thirty pm, 900 00:57:42,239 --> 00:57:45,719 in Saturdays ten am to two pm. They can be 901 00:57:45,880 --> 00:57:49,719 reached at six oh three two two two to zero 902 00:57:49,920 --> 00:57:54,320 zero seven. We're on the web at Queen citycabinatry NH 903 00:57:54,880 --> 00:58:00,239 dot com. Come see the possibilities Queen Citycabinetry are other crowds. 904 00:58:00,079 --> 00:58:04,000 Speaker 11: Answer of w MNH. Disney's Cafe is the place to 905 00:58:04,079 --> 00:58:06,360 put a smile on your face. Judy and the crew 906 00:58:06,519 --> 00:58:09,519 will take care of you, bring your appetite and treat 907 00:58:09,599 --> 00:58:14,320 your taste buds right. Business. Cafe is always a winning choice. Breakfast, 908 00:58:14,559 --> 00:58:18,920 lunch or supper Dizze's Cafe at eight sixty Elm Street 909 00:58:19,000 --> 00:58:22,000 in downtown Manchester. Dine in, take out or. 910 00:58:22,000 --> 00:58:22,840 Speaker 2: Make a reservation. 911 00:58:23,159 --> 00:58:26,880 Speaker 11: Call six oh three six h six two five three 912 00:58:26,920 --> 00:58:30,920 to two each, drink and be happy Dizzne's Cafe. 913 00:58:31,239 --> 00:58:33,960 Speaker 9: When it comes to keeping WMNH on the air and 914 00:58:34,079 --> 00:58:37,840 your own personal or business computer needs. Trust Growland Computers, 915 00:58:38,079 --> 00:58:41,840 located on Elm Street in Manchester. Groland handles computer repair, 916 00:58:42,079 --> 00:58:44,960 virus removal and custom built systems. Are you looking for 917 00:58:45,079 --> 00:58:48,360 budget friendly options check out our selection of fully inspected 918 00:58:48,480 --> 00:58:52,559 used computers. We offer tailored on site solutions no unnecessary 919 00:58:52,639 --> 00:58:56,239 expenses here. Visit Groland dot com or call Grolling Computers 920 00:58:56,360 --> 00:58:59,920 at six zero three six four five zero one zero one. 921 00:59:00,159 --> 00:59:02,800 Your Tech, Your way, Trust roll In Computers. 922 00:59:10,760 --> 00:59:12,480 Speaker 7: Seven times out of ten. 923 00:59:13,199 --> 00:59:15,519 Speaker 18: We listened to our music at night. 924 00:59:17,519 --> 00:59:20,719 Speaker 3: That's pun the title list program. 925 00:59:20,559 --> 00:59:22,960 Speaker 12: Late Night to Light with DJ Midas right here on 926 00:59:23,199 --> 00:59:24,599 WMNH Manchester. 927 00:59:24,719 --> 00:59:26,039 Speaker 4: If you want to know why, because 928 00:59:28,079 --> 00:59:30,440 Speaker 2: Saturdays and Sunday nights midnight to four am.