1 00:00:00,400 --> 00:00:02,560 Speaker 1: I love it, especially the ending. That's really cool. You 2 00:00:02,720 --> 00:00:05,799 kind of don't expect that. The track is called Creature Culture. 3 00:00:05,960 --> 00:00:10,519 The band is Brides, another great band from the UK, 4 00:00:10,839 --> 00:00:14,160 and we are in our number two Newmarrow dose of 5 00:00:14,199 --> 00:00:18,800 Matt Connorton Unleashed and let's see who we have here 6 00:00:19,079 --> 00:00:22,239 via WhatsApp from the band Brides, Hello, welcome to the show. 7 00:00:23,679 --> 00:00:25,440 Speaker 2: Hello, thank you so much for having us on. 8 00:00:25,600 --> 00:00:28,079 Speaker 1: Absolutely absolutely okay, So who do we have with us? 9 00:00:28,359 --> 00:00:31,039 Please identify yourselves. Tell us who you are and what 10 00:00:31,079 --> 00:00:31,719 you do in the band. 11 00:00:33,159 --> 00:00:35,920 Speaker 2: So my name is Joe. I do the singing and 12 00:00:36,039 --> 00:00:37,719 play the rhythmsle Hi, Joe. 13 00:00:37,920 --> 00:00:41,479 Speaker 3: My name is Alex, and I play the leads and 14 00:00:41,880 --> 00:00:43,960 to some backing vocals as well. 15 00:00:44,679 --> 00:00:46,759 Speaker 2: Okay, and between the two of us we write all 16 00:00:46,799 --> 00:00:47,280 the songs. 17 00:00:47,560 --> 00:00:51,840 Speaker 1: Oh, very good. Okay, so Joe and Alex yep, yeah okay, 18 00:00:52,039 --> 00:00:54,439 Well guys, yeah, welcome. It's wonderful to talk with you. 19 00:00:54,520 --> 00:00:56,880 I really like the I really like the EP. I 20 00:00:56,920 --> 00:00:59,159 listened to the whole thing online. And now, how do 21 00:00:59,200 --> 00:01:01,759 you how do you pronounce the title. What's the correct pronunciation? 22 00:01:03,039 --> 00:01:06,840 Speaker 2: It's pronounced letche it's it's milk in Spanish. 23 00:01:07,120 --> 00:01:11,159 Speaker 1: Oh, okay, And we. 24 00:01:10,359 --> 00:01:12,560 Speaker 4: Started that because I had a roommate who he's got 25 00:01:12,560 --> 00:01:15,599 an absolute phobia of people that drink milk. I'm a 26 00:01:15,599 --> 00:01:17,599 man that likes a little glass of milk every now 27 00:01:17,640 --> 00:01:18,079 and again. 28 00:01:18,319 --> 00:01:22,680 Speaker 5: Sure, yeah, I used to come into the room pronouncing that, 29 00:01:22,920 --> 00:01:24,680 but that had a big old pine a leche and 30 00:01:24,680 --> 00:01:27,319 it make his skin cruel. And from there we just 31 00:01:27,439 --> 00:01:28,959 decided that was a good enough name for the album. 32 00:01:29,519 --> 00:01:31,680 Speaker 1: That's funny. I yeah, I used to drink a lot 33 00:01:31,680 --> 00:01:33,439 of milk when I was a kid, and now the 34 00:01:33,560 --> 00:01:35,640 thought of drinking milk is kind of repulsive to me. 35 00:01:35,719 --> 00:01:37,799 But but he had a he had a total phobia 36 00:01:37,799 --> 00:01:40,879 of it. That's funny. Oh yeah, yeah, yeah, yeah. So 37 00:01:41,400 --> 00:01:45,079 I'm really curious to know more about about these songs 38 00:01:45,120 --> 00:01:47,079 and and kind of what your inspirations are. And I'm 39 00:01:47,079 --> 00:01:49,280 glad that I'm talking to the two members who who 40 00:01:49,359 --> 00:01:54,040 write everything because it is so interesting. We're gonna play 41 00:01:54,920 --> 00:01:57,159 after our conversation. We're gonna play. You also asked us 42 00:01:57,159 --> 00:01:59,560 to play We're Out of Gravy, and I also doesn't 43 00:01:59,719 --> 00:02:01,280 but I'm actually going to play two songs at the 44 00:02:01,359 --> 00:02:02,799 end because I'm gonna play that. But I'm also going 45 00:02:02,840 --> 00:02:05,239 to play because you picked it. But there's another song 46 00:02:05,599 --> 00:02:08,360 from the EP that I'm also going to play selfishly 47 00:02:08,400 --> 00:02:09,919 at the end because I love it so much. But 48 00:02:10,000 --> 00:02:12,800 I'll wait till at the end of our conversation ask 49 00:02:12,879 --> 00:02:13,639 you about that song. 50 00:02:13,960 --> 00:02:15,439 Speaker 2: But very excited. 51 00:02:16,159 --> 00:02:18,280 Speaker 1: Yeah, yeah, no, I love the whole thing. It's so 52 00:02:18,360 --> 00:02:20,879 cool and it's different, you know, It's it's not something 53 00:02:20,879 --> 00:02:23,719 that you tend to hear on the radio. You've You've 54 00:02:23,759 --> 00:02:26,439 got a style and a sound that I think is unique. 55 00:02:26,479 --> 00:02:31,639 But I am curious about I'm curious about influences sonically 56 00:02:32,680 --> 00:02:36,960 because I was reading online I saw I saw both 57 00:02:37,159 --> 00:02:41,120 Weezer and The Wiggles mentioned in the same sentence. I 58 00:02:41,159 --> 00:02:43,879 don't know if that's accurate or not, but I'm very curious. 59 00:02:44,000 --> 00:02:48,719 Speaker 4: I mean, with regards to the guitars and the bass, 60 00:02:48,719 --> 00:02:50,439 I think we get a lot of inspiration from bands 61 00:02:50,479 --> 00:02:53,319 like Weezer, my Bloody Valentine. 62 00:02:54,159 --> 00:02:57,280 Speaker 6: The best band of all time that is radio, so. 63 00:02:57,479 --> 00:02:58,680 Speaker 2: A lot of driven guitars from that. 64 00:02:58,759 --> 00:03:01,759 Speaker 4: But lyrically, I mean, we have we don't consider ourselves 65 00:03:01,800 --> 00:03:02,599 a comedy. 66 00:03:02,240 --> 00:03:04,840 Speaker 2: Bando I say, but we like we like, we like 67 00:03:04,879 --> 00:03:05,439 funny bit. 68 00:03:06,360 --> 00:03:08,000 Speaker 6: We have fun as well. 69 00:03:07,879 --> 00:03:09,960 Speaker 4: And I think that's what we like about the Wiggles, 70 00:03:09,960 --> 00:03:12,479 the fact that they can turn these just really simple 71 00:03:12,520 --> 00:03:14,400 concepts like a fruit salad into a. 72 00:03:14,319 --> 00:03:16,000 Speaker 2: Banger that everyone is screaming. 73 00:03:16,199 --> 00:03:19,840 Speaker 6: Yeah, so with Wiggles, with the Dicky's energy. 74 00:03:19,960 --> 00:03:21,599 Speaker 2: Yeah, yeah, we like we like to think of ourselves 75 00:03:21,639 --> 00:03:22,199 as the Wiggles. 76 00:03:22,240 --> 00:03:26,719 Speaker 1: But for gamers, oh that's great, that's great. And I 77 00:03:26,800 --> 00:03:29,000 so I get a sense too that these songs are 78 00:03:29,879 --> 00:03:35,039 kind of about celebrating individuality and and and uh different 79 00:03:35,080 --> 00:03:36,759 and some of some of that I might be getting 80 00:03:36,759 --> 00:03:38,360 from the song that I haven't mentioned the name of 81 00:03:38,400 --> 00:03:40,039 yet that I love so much that I'm gonna play later. 82 00:03:40,080 --> 00:03:42,919 But and I also kind of get that from the 83 00:03:42,919 --> 00:03:46,599 cover art too. Uh well, let's start actually, let's start there. 84 00:03:46,599 --> 00:03:48,719 So tell me about the cover art for the EP. 85 00:03:49,439 --> 00:03:51,240 Who drew that and what does it mean. 86 00:03:53,000 --> 00:03:55,400 Speaker 4: The cover art was designed by a very very good 87 00:03:55,439 --> 00:03:58,560 friend of mine, Richie Over at the Institute of Free Design, 88 00:04:00,280 --> 00:04:04,039 and the coverer came about because when we were on holiday, 89 00:04:04,080 --> 00:04:06,759 maybe about four years ago, we got these old beer 90 00:04:06,800 --> 00:04:09,120 boxes and for whatever reason, we. 91 00:04:09,039 --> 00:04:10,919 Speaker 2: Played a silly game we turn them into robot heads. 92 00:04:11,280 --> 00:04:12,639 We did it. We were going to throw them away 93 00:04:12,639 --> 00:04:13,400 and I just thought they. 94 00:04:13,280 --> 00:04:15,960 Speaker 4: Were there, you know, one day. One day, this piece 95 00:04:16,000 --> 00:04:18,040 of you know, rubbish is going to come. 96 00:04:17,879 --> 00:04:21,240 Speaker 2: In great use. And then we were we were debating 97 00:04:21,240 --> 00:04:22,600 what to do for the album cover. We knew it 98 00:04:22,639 --> 00:04:23,800 was going to be good lecture and I had to 99 00:04:23,839 --> 00:04:26,199 have something milk related. We liked the idea of all 100 00:04:26,240 --> 00:04:26,720 of us. 101 00:04:26,680 --> 00:04:30,199 Speaker 4: Riding on the back of a cow, but beyond that 102 00:04:30,240 --> 00:04:31,879 we needed to sort of capture they. 103 00:04:32,120 --> 00:04:33,680 Speaker 6: We had to get like little propters. 104 00:04:33,920 --> 00:04:35,639 Speaker 3: So you know, on the on the cow, we're all 105 00:04:35,680 --> 00:04:37,959 sat on the cow, and then I'm at the front 106 00:04:37,959 --> 00:04:39,519 as well. We all like to do our silly little 107 00:04:39,560 --> 00:04:41,279 poses and to ride a cow. 108 00:04:41,600 --> 00:04:44,000 Speaker 4: Yeah, we have a stunt cow to be able to 109 00:04:44,079 --> 00:04:45,839 ride for the reference images, so it's all of us 110 00:04:45,959 --> 00:04:50,040 balancing precariously on an amph We then sent to the 111 00:04:50,120 --> 00:04:51,839 artists and said, can you just do this but pretend 112 00:04:51,839 --> 00:04:55,519 we're on a cow instead, and then yeah. So we 113 00:04:55,560 --> 00:04:57,519 just wanted to get this sense because the album was 114 00:04:57,560 --> 00:05:00,160 quite distorted and quite spacious, so we wanted to get 115 00:05:00,160 --> 00:05:03,519 this sort of grandiose sense to it. And I think 116 00:05:03,560 --> 00:05:05,560 the easiest way we saw that, combined with the robot head, 117 00:05:05,639 --> 00:05:08,480 is what if there was a huge robot assessing the 118 00:05:08,519 --> 00:05:10,240 cow for whatever the farious reason. 119 00:05:10,439 --> 00:05:10,720 Speaker 1: Yep. 120 00:05:11,120 --> 00:05:14,199 Speaker 4: And I think on perhaps a future release, we might 121 00:05:14,240 --> 00:05:16,800 get a sequel image to that, showing what might happen 122 00:05:16,800 --> 00:05:18,000 next between the robot and the cow. 123 00:05:18,399 --> 00:05:21,439 Speaker 1: Okay, okay, I like that idea. Yeah, so I encourage 124 00:05:21,480 --> 00:05:24,759 people who haven't seen it go online and uh and 125 00:05:24,959 --> 00:05:28,519 and check out this cover and yeah, the robot, the 126 00:05:28,519 --> 00:05:31,519 guy with the robot head is holding the cow. I 127 00:05:31,560 --> 00:05:33,519 actually didn't realize it was a cow when I first 128 00:05:33,600 --> 00:05:35,920 looked at it. I had to kind of study it 129 00:05:35,920 --> 00:05:37,519 to even even figure that out. I was like, oh, yeah, 130 00:05:37,519 --> 00:05:45,399 I think that is a cow that they're sitting on. Yeah, 131 00:05:45,439 --> 00:05:47,959 so that's that's very cool. Do you have You must 132 00:05:47,959 --> 00:05:49,560 have got a lot of questions about the cover, right, 133 00:05:49,639 --> 00:05:51,000 I assume people ask you all the time. 134 00:05:51,879 --> 00:05:55,360 Speaker 3: Yeah, that was a lot of a lot of people 135 00:05:55,600 --> 00:05:57,959 seem to really be liking it, which is obviously great, 136 00:05:57,959 --> 00:05:59,879 But then the comments to be bad about the cover is. 137 00:06:01,480 --> 00:06:03,439 Speaker 4: Yeah, we thought people were just looking at it and think, oh, 138 00:06:03,439 --> 00:06:05,399 that's pretty cool, but people have really wanted to know 139 00:06:05,480 --> 00:06:07,399 the rationale behind it. 140 00:06:07,560 --> 00:06:07,800 Speaker 1: Yeah. 141 00:06:07,839 --> 00:06:09,279 Speaker 2: I think we're lucky enough. 142 00:06:09,120 --> 00:06:10,680 Speaker 4: To be able to work with a talented. 143 00:06:10,399 --> 00:06:13,639 Speaker 6: Artists who did this for us. 144 00:06:12,800 --> 00:06:14,920 Speaker 4: And I mean, we we've got a gig on the 145 00:06:15,040 --> 00:06:18,360 thirteenth September, our next headline show, and for that, the 146 00:06:18,399 --> 00:06:20,560 same person who designed Richie, the same person designed to Cover, 147 00:06:21,000 --> 00:06:23,319 has designed some tarot cards that will be giving out 148 00:06:23,360 --> 00:06:25,920 to the audience members with some of our faces on 149 00:06:25,959 --> 00:06:29,240 them and some artwork relating to the songs. Oh wow, 150 00:06:29,399 --> 00:06:33,439 and we've we've made little milk cartons as well to 151 00:06:33,439 --> 00:06:36,319 give out and the box yeah yeah, it's got a 152 00:06:36,360 --> 00:06:38,680 little robot head key chain in it and the couple 153 00:06:38,680 --> 00:06:42,199 of sweeties. So yeah, we've we've leaned very hard into 154 00:06:42,199 --> 00:06:43,600 this whole milk and robot thing. 155 00:06:43,839 --> 00:06:45,720 Speaker 2: Just look at so many people that come back so 156 00:06:45,839 --> 00:06:49,040 interested in it. Will make the most situation. 157 00:06:49,360 --> 00:06:51,160 Speaker 1: I think that's the first time anyone's ever used a 158 00:06:51,199 --> 00:06:53,199 sentence like that on the show. We've leaned very hard 159 00:06:53,199 --> 00:06:54,600 into the milk and robot thing. 160 00:06:56,199 --> 00:06:57,759 Speaker 4: I'm honored to be able to bring that to Deer 161 00:06:57,800 --> 00:06:59,079 for you. 162 00:06:59,079 --> 00:07:02,199 Speaker 1: No, I love it that. It is so cool if 163 00:07:02,240 --> 00:07:05,079 you can do something that you know, that that makes 164 00:07:05,120 --> 00:07:09,360 you stand out but also creates this kind of you know, 165 00:07:09,519 --> 00:07:12,399 over time. Because I assume you're a relatively new band. 166 00:07:12,199 --> 00:07:15,759 Speaker 2: Right Yeah, yeah, we had our first concert in January 167 00:07:16,480 --> 00:07:16,759 this year. 168 00:07:16,800 --> 00:07:19,480 Speaker 1: Ready, Oh yeah, okay, so you're very new. So over time, 169 00:07:19,680 --> 00:07:21,839 you know, as long as you continue to to do 170 00:07:21,879 --> 00:07:23,879 this type of thing with the cover and the you 171 00:07:23,920 --> 00:07:26,839 know and and you know, these concepts, it you know, 172 00:07:26,920 --> 00:07:29,839 a mythology will kind of build around the band, if 173 00:07:29,920 --> 00:07:34,279 that makes sense. And I yeah, yeah, And I think 174 00:07:34,279 --> 00:07:36,480 that's a great thing to have because you know, it 175 00:07:36,800 --> 00:07:40,319 creates interest and it it uh, you know, if if 176 00:07:40,360 --> 00:07:42,319 you can even pull you know, you might pull some 177 00:07:42,360 --> 00:07:44,120 people in who are just kind of interested in the 178 00:07:44,160 --> 00:07:46,959 image and what does it all mean, and then they 179 00:07:47,480 --> 00:07:49,839 they listen to the music and then they're they're you know, 180 00:07:49,920 --> 00:07:52,279 then they become permanent fans because of the music. But 181 00:07:52,279 --> 00:07:54,600 but yeah, having having something that kind of pulls people in, 182 00:07:54,680 --> 00:07:59,199 I think is a great strategy. And it's and it's underused. 183 00:07:59,360 --> 00:08:01,680 It's it's not something a lot of artists really do. 184 00:08:02,160 --> 00:08:04,160 If anything, a lot of artists try to kind of 185 00:08:04,160 --> 00:08:06,639 fit in with whatever is going on at the time. 186 00:08:08,199 --> 00:08:09,800 Speaker 4: I think there's a big trend towards at the moment, 187 00:08:09,959 --> 00:08:13,040 especially with the big push for marketability on social media 188 00:08:13,040 --> 00:08:13,480 and everything. 189 00:08:13,519 --> 00:08:15,279 Speaker 2: A lot of people put an image. 190 00:08:15,079 --> 00:08:17,319 Speaker 4: Of themselves as the cover image because I helped boost 191 00:08:17,399 --> 00:08:18,279 engagement and everything. 192 00:08:18,360 --> 00:08:20,160 Speaker 2: Sure, but I don't know, you know, being. 193 00:08:20,040 --> 00:08:22,720 Speaker 4: Admirers of the Beatles and Pixies and radiohead bands with 194 00:08:22,800 --> 00:08:23,959 really iconic. 195 00:08:23,680 --> 00:08:26,439 Speaker 2: Front images, we just them. 196 00:08:26,800 --> 00:08:29,480 Speaker 4: Yeah, we just we just wanted something that lived up 197 00:08:29,519 --> 00:08:32,200 to the scope at least what we thought of the record. 198 00:08:32,840 --> 00:08:34,840 Speaker 2: And I'm really really happy to just come out that well. 199 00:08:35,120 --> 00:08:40,120 Speaker 1: Yeah, absolutely so. In terms of the songs themselves, I mean, 200 00:08:40,120 --> 00:08:43,320 are you are you? I mean I kind of might 201 00:08:43,320 --> 00:08:44,919 have been reading into it a little bit. I don't 202 00:08:44,960 --> 00:08:47,720 know what are the songs supposed to be about. I mean, 203 00:08:47,759 --> 00:08:49,759 is there a cohesive theme or is it? Is it 204 00:08:49,840 --> 00:08:53,480 just it seems like you're there's almost these different like 205 00:08:53,519 --> 00:08:55,360 each song almost to me is kind of like its 206 00:08:55,360 --> 00:08:58,840 own character in some sort of story that I don't 207 00:08:58,879 --> 00:09:00,840 quite understand. Again, I don't know if I'm reading too 208 00:09:00,879 --> 00:09:02,039 much into it. Tell me if I am. 209 00:09:02,120 --> 00:09:06,120 Speaker 3: But I really yeah, well definitely they all kind of 210 00:09:06,879 --> 00:09:09,919 they're all like so how we do it is me 211 00:09:09,960 --> 00:09:12,279 and Joe, We like we come up with the songs 212 00:09:12,960 --> 00:09:15,759 like on our own, and then we come together, then 213 00:09:15,759 --> 00:09:16,679 we put them together. 214 00:09:16,720 --> 00:09:18,639 Speaker 6: I give any input or he gives any input back 215 00:09:18,639 --> 00:09:19,120 to me and then. 216 00:09:19,279 --> 00:09:21,840 Speaker 3: But they're all very like individual to us personally, Like 217 00:09:21,879 --> 00:09:24,840 with lyrics, there's a lot of a lot of things 218 00:09:24,919 --> 00:09:25,360 going on. 219 00:09:25,799 --> 00:09:27,000 Speaker 2: I think one I think. 220 00:09:26,840 --> 00:09:29,559 Speaker 4: We like to take like quite personal subject matters and 221 00:09:29,639 --> 00:09:31,240 give them a bit of a larger than life persona, 222 00:09:31,320 --> 00:09:33,399 which is which we've done through sort of characterizing each 223 00:09:33,399 --> 00:09:35,919 one of these songs. I mean, one of our tracks, 224 00:09:35,960 --> 00:09:39,120 Common Inferno, is all about two clones who fall in 225 00:09:39,159 --> 00:09:41,000 love with each other and face the consequences for that. 226 00:09:41,279 --> 00:09:43,840 Rebecca's about an angel that likes to have a bit 227 00:09:43,879 --> 00:09:47,960 of a drink. And they're all based on people we 228 00:09:48,000 --> 00:09:50,240 know really in real life who have had big influences 229 00:09:50,240 --> 00:09:50,600 on us. 230 00:09:50,879 --> 00:09:52,399 Speaker 6: Yeah, and we've. 231 00:09:52,320 --> 00:09:53,799 Speaker 2: Dressed them up enough. 232 00:09:53,559 --> 00:09:56,159 Speaker 4: So that those people don't necessarily know we're singing about them. 233 00:09:57,120 --> 00:09:59,320 Speaker 1: Well, now I'm curious, has anyone ever come to you 234 00:09:59,360 --> 00:10:02,279 and said or ask you is that song about me? 235 00:10:02,600 --> 00:10:05,120 Or did I have anything to do with inspiring that song? 236 00:10:05,200 --> 00:10:05,879 Is that happened? 237 00:10:08,320 --> 00:10:10,559 Speaker 4: Unfortunately, we will be shot by a couple of people, 238 00:10:11,120 --> 00:10:14,519 but I will say every person we have ever met 239 00:10:14,559 --> 00:10:16,679 called Rebecca and the people at Home another one of 240 00:10:16,679 --> 00:10:19,840 about tracts called Rebecca, everybody we've ever met named Rebecca 241 00:10:19,919 --> 00:10:21,759 has reached out and said, oh my god, I can't 242 00:10:21,759 --> 00:10:24,360 believe you wrote this song about me. I started off 243 00:10:24,399 --> 00:10:26,720 denying it, saying, oh no, it's unrelated, but in the 244 00:10:26,799 --> 00:10:28,159 end they just thought, oh, well, they're going to listen 245 00:10:28,200 --> 00:10:28,440 to it. 246 00:10:28,559 --> 00:10:31,039 Speaker 2: Yeah, of course it's about you. We're honored that you 247 00:10:31,120 --> 00:10:32,279 let us write this about you. 248 00:10:32,840 --> 00:10:35,039 Speaker 3: We aim for a sold out gig just with people 249 00:10:35,120 --> 00:10:35,840 named Rebecca there. 250 00:10:38,480 --> 00:10:41,759 Speaker 1: That would be great. That would be great. So the 251 00:10:41,799 --> 00:10:43,799 album sounds really good. Where do you guys record? 252 00:10:45,519 --> 00:10:48,120 Speaker 2: We recorded in two different studios. We did the drums 253 00:10:48,120 --> 00:10:50,080 in a place called Arc which we've had a lot 254 00:10:50,120 --> 00:10:51,559 of experience with recording there. 255 00:10:51,960 --> 00:10:53,799 Speaker 4: But then for the rest of the track of the 256 00:10:53,840 --> 00:10:56,000 guitars and bass and vocals and all the fun little 257 00:10:56,000 --> 00:10:58,639 sounds you're in the background, we recorded at Brier Street 258 00:10:58,639 --> 00:11:03,159 Studios in Liverpoo newer studio, but it was absolutely fantastic, 259 00:11:03,200 --> 00:11:06,879 had a really really good atmosphere and energy. The owner 260 00:11:07,080 --> 00:11:09,320 was super, super nice, and we were lucky enough to 261 00:11:09,360 --> 00:11:12,320 work with just the best producer in the world, Rory Balz. 262 00:11:12,320 --> 00:11:14,000 Speaker 6: And he taught me how to make coffee there as well. 263 00:11:14,039 --> 00:11:15,759 Speaker 2: He did he thought you had to make a proper coffee. 264 00:11:15,840 --> 00:11:19,600 Speaker 4: Yeah, had a scream properly into the mic without clipping it. 265 00:11:20,679 --> 00:11:22,320 Speaker 2: We were We've been really really lucky. 266 00:11:22,080 --> 00:11:25,279 Speaker 3: To work with the people we have, especially like there's 267 00:11:25,320 --> 00:11:28,480 a distortion layer on Common Inferno as well, like just 268 00:11:28,639 --> 00:11:31,559 working that for ages as well, just just being able 269 00:11:31,559 --> 00:11:32,559 to just blast that and. 270 00:11:32,559 --> 00:11:34,039 Speaker 2: Just yeah, get it perfect. 271 00:11:34,360 --> 00:11:36,519 Speaker 4: If you're listen carefully, you'll find a lot of the 272 00:11:36,519 --> 00:11:41,799 distortion layers are just Alex screaming into his guitar pickups feedback. 273 00:11:42,039 --> 00:11:46,759 Speaker 3: Really yeah, yeah, yeah, so I'd like tune it so 274 00:11:46,840 --> 00:11:49,799 it's so it's in key and then just like scream 275 00:11:49,840 --> 00:11:52,000 into it, run around the room, smash it on the 276 00:11:52,000 --> 00:11:53,320 wall or something, and then. 277 00:11:54,120 --> 00:11:55,919 Speaker 2: Just try and get as much as many mangled sounds 278 00:11:55,960 --> 00:11:56,440 as were good. 279 00:11:56,559 --> 00:11:58,279 Speaker 1: That's interesting. That's interesting. 280 00:11:59,360 --> 00:12:02,240 Speaker 2: Took some perfecting to get right, but we got there 281 00:12:02,240 --> 00:12:02,600 in the end. 282 00:12:02,679 --> 00:12:05,799 Speaker 4: And then a lot of the little background sounds on Monsters, 283 00:12:05,840 --> 00:12:07,960 this was again we were lucky to work with Rory, 284 00:12:07,960 --> 00:12:09,440 who's been game for anything. 285 00:12:09,960 --> 00:12:13,200 Speaker 2: He if you listen in the right headphone, nice. 286 00:12:13,000 --> 00:12:16,679 Speaker 4: And quiet, he delivers a speech about an evil monster 287 00:12:16,799 --> 00:12:19,679 destroying reality that took a lot of time to get 288 00:12:19,720 --> 00:12:21,919 right because we were all just you know, wetting ourselves 289 00:12:22,000 --> 00:12:22,480 laughing through it. 290 00:12:22,480 --> 00:12:24,919 Speaker 6: But that's when we were kind of like we were 291 00:12:24,919 --> 00:12:26,559 linking in that robot theme. 292 00:12:26,679 --> 00:12:28,639 Speaker 2: Yeah, yeah, again, trying to bring it all back together. 293 00:12:28,639 --> 00:12:31,000 Speaker 4: So I mean to go back to an earlier question, 294 00:12:31,039 --> 00:12:33,480 I think the common theme of the release is just 295 00:12:33,559 --> 00:12:37,559 sort of desperation, not in the negative sense, not in 296 00:12:37,600 --> 00:12:39,480 a sad sense, but I feel. 297 00:12:39,320 --> 00:12:41,519 Speaker 2: Especially when you're younger, you're just in such a. 298 00:12:41,480 --> 00:12:43,279 Speaker 4: Hurry to get everything done because you feel at the 299 00:12:43,320 --> 00:12:46,960 time slipping away from you and whether that relates to you, 300 00:12:46,960 --> 00:12:49,120 you know, getting into a relationship that might not be 301 00:12:49,120 --> 00:12:51,120 the best just because it's the most comfortable thing, or 302 00:12:51,399 --> 00:12:54,039 going a bit crazy on the old on the old. 303 00:12:53,879 --> 00:12:55,440 Speaker 2: Beverroonies for a week or two. 304 00:12:55,720 --> 00:12:59,240 Speaker 4: Yeah, is that sort of annic behind it, And I 305 00:12:59,240 --> 00:13:01,559 think we've tried to capture that, and as I say, 306 00:13:01,679 --> 00:13:03,279 take the Wiggles inspiration as well and make it a 307 00:13:03,279 --> 00:13:03,679 bit fun. 308 00:13:05,440 --> 00:13:10,080 Speaker 1: I'm curious, when you write these songs, do they do 309 00:13:10,200 --> 00:13:12,200 they end up? Do any of these, for example, on 310 00:13:12,279 --> 00:13:14,919 this EP, did any of them come out differently in 311 00:13:14,960 --> 00:13:18,320 a significant way than than what you had in mind 312 00:13:18,440 --> 00:13:20,200 or expected when you went in. 313 00:13:21,559 --> 00:13:25,120 Speaker 3: Yeah, so definitely, because me and Job that we've been 314 00:13:25,120 --> 00:13:28,039 writing them for like two two and a half years 315 00:13:28,080 --> 00:13:31,279 to two and a half years, we'll say. But we 316 00:13:31,679 --> 00:13:36,600 initially had like a full horn section the way we 317 00:13:36,639 --> 00:13:37,200 wanted to. 318 00:13:37,120 --> 00:13:38,200 Speaker 6: Incorporate into it. 319 00:13:38,320 --> 00:13:42,399 Speaker 3: Really I did think it was Yeah, we did get 320 00:13:43,320 --> 00:13:46,279 a trumpet in. Yeah, well, but I think we just 321 00:13:46,320 --> 00:13:48,159 didn't think it was Bible. Really, it wasn't really the 322 00:13:48,200 --> 00:13:50,399 sound we were going for for this one. 323 00:13:50,399 --> 00:13:53,159 Speaker 6: Maybe later down the line, but for this. 324 00:13:54,120 --> 00:13:57,000 Speaker 3: Plus, like we realized probably like a year ago that 325 00:13:57,080 --> 00:13:59,000 it was going to be like, well, I don't know 326 00:13:59,000 --> 00:14:00,519 how you describe it, but it's like punk. 327 00:14:00,840 --> 00:14:01,080 Speaker 2: Yeah. 328 00:14:01,360 --> 00:14:03,159 Speaker 4: I think Cozer and James that's sorry. Coz are our 329 00:14:03,159 --> 00:14:05,480 bassis and James our drummer. Joining was a big influence 330 00:14:05,519 --> 00:14:07,279 because we were originally going to go for more of 331 00:14:07,399 --> 00:14:09,320 a jazzier route, but once we got them in the band, 332 00:14:09,399 --> 00:14:12,080 James smashes the kit harder than anyone ever, is amazing. 333 00:14:12,200 --> 00:14:14,440 Speaker 2: He has these thundering basslines. 334 00:14:14,480 --> 00:14:18,399 Speaker 4: So it just sort of pivoted more into sort of 335 00:14:18,440 --> 00:14:22,240 a psychedelic hard rock thing without a lot of effort. 336 00:14:22,440 --> 00:14:24,320 It just sort of came out naturally that way. Yeah, 337 00:14:24,600 --> 00:14:27,159 and specific songwise, I mean, Rebecca used to be one 338 00:14:27,200 --> 00:14:29,320 of our tracks. Rebecca used to be three separate songs 339 00:14:30,000 --> 00:14:32,399 were all perfectly fine. 340 00:14:32,279 --> 00:14:35,200 Speaker 2: Yeah, and we just thought they're all right, we don't 341 00:14:35,240 --> 00:14:35,720 have any of them. 342 00:14:35,720 --> 00:14:37,320 Speaker 4: What if we just took the best bits of each 343 00:14:37,360 --> 00:14:39,919 of them, slammed them into each other and it ended 344 00:14:40,000 --> 00:14:40,600 up working right? 345 00:14:40,879 --> 00:14:44,039 Speaker 6: Yeah, similarly as well, Teapot was very different. 346 00:14:44,159 --> 00:14:45,799 Speaker 2: Yeah, Teapot started very very different. 347 00:14:45,840 --> 00:14:48,440 Speaker 3: That was originally just that riff over and over again. 348 00:14:48,559 --> 00:14:50,279 Speaker 6: But yeah, I think we were having enough over and 349 00:14:50,320 --> 00:14:53,799 over again and same. 350 00:14:53,799 --> 00:14:56,080 Speaker 4: They can't be with us today because they're hugely influential 351 00:14:56,120 --> 00:14:58,480 on the sound of the EP, but they were. They 352 00:14:58,519 --> 00:15:01,919 were a big influence into an impact into why we 353 00:15:02,000 --> 00:15:03,120 sort of went a bit. 354 00:15:02,960 --> 00:15:04,519 Speaker 2: Heavier than we intended originally. 355 00:15:04,600 --> 00:15:07,399 Speaker 1: Sure, sure, so I'm really curious, who about the live show? 356 00:15:07,399 --> 00:15:08,399 What is the live show? 357 00:15:08,559 --> 00:15:08,679 Speaker 2: Like? 358 00:15:08,960 --> 00:15:11,639 Speaker 1: I mean, do you do you wear uh you know, 359 00:15:11,840 --> 00:15:15,000 cardboard robot heads or like the show? 360 00:15:17,600 --> 00:15:20,919 Speaker 4: Okay, so a lot of the live stow So my 361 00:15:21,120 --> 00:15:23,120 I love singing on stage and I love playing guitar 362 00:15:23,120 --> 00:15:24,600 on stage and running about like a fool. 363 00:15:25,120 --> 00:15:28,799 Speaker 2: I hate talking on stage so very very much. I'm 364 00:15:28,799 --> 00:15:30,519 no good it panic frees up. 365 00:15:30,559 --> 00:15:32,840 Speaker 4: So the goal with our sets has always been to 366 00:15:33,039 --> 00:15:36,799 transition from one song into the other as smoothly as possible, 367 00:15:37,159 --> 00:15:39,320 which means for the live show we have quite a 368 00:15:39,320 --> 00:15:42,919 lot of these sort of soundscaping sections. I mean both 369 00:15:43,080 --> 00:15:44,919 they're really good to listen to, and they let us 370 00:15:44,960 --> 00:15:46,879 use off our big fancy pedal boards and our micro 371 00:15:47,000 --> 00:15:49,200 sequences and all that hologram stuff. 372 00:15:49,279 --> 00:15:50,600 Speaker 2: But it's not it's not. 373 00:15:50,960 --> 00:15:51,679 Speaker 6: It is a lot of that. 374 00:15:51,799 --> 00:15:54,080 Speaker 3: But who does put his like big boy pants on 375 00:15:54,120 --> 00:15:55,840 sometimes and does talk to the audience? 376 00:15:57,559 --> 00:15:59,039 Speaker 4: Remember, But yeah, all these sound scapes, I mean they 377 00:15:59,080 --> 00:16:01,600 they've worked really well changing. 378 00:16:01,559 --> 00:16:02,919 Speaker 3: And we all we all kind of talk to each 379 00:16:02,919 --> 00:16:06,120 other as well on there as well. But the yeah, 380 00:16:06,159 --> 00:16:09,919 it's just like live shows, just high energy. Joe's running around, 381 00:16:10,440 --> 00:16:11,960 I'm on the floor. 382 00:16:12,120 --> 00:16:15,480 Speaker 2: I like coming into the crowd to say who everyone. Yeah, 383 00:16:15,559 --> 00:16:18,639 we like it to feel like everyone is just hanging 384 00:16:18,679 --> 00:16:19,399 out with the band. 385 00:16:19,480 --> 00:16:21,759 Speaker 4: So when we do eventually have to talk, rather than 386 00:16:21,799 --> 00:16:24,080 doing these sort of little speeches, we just like to 387 00:16:24,080 --> 00:16:26,759 have a chat amongst ourselves, have a little laugh, and 388 00:16:26,919 --> 00:16:28,399 people have been responding really well to it. 389 00:16:28,919 --> 00:16:30,080 Speaker 2: We're booking shows across the. 390 00:16:30,000 --> 00:16:32,519 Speaker 4: Country at the moment, with more on the way, so 391 00:16:33,080 --> 00:16:35,679 keep an eye out if your fancy coming to watch us, 392 00:16:36,200 --> 00:16:36,720 they will make. 393 00:16:36,600 --> 00:16:37,519 Speaker 2: Our way over to you. 394 00:16:37,639 --> 00:16:40,960 Speaker 1: Outstanding. I would love that. So you're kind of an 395 00:16:41,000 --> 00:16:43,240 obvious question, but where does the name come from? 396 00:16:43,240 --> 00:16:48,039 Speaker 3: Bride's or see, Joe will tell you something. So at 397 00:16:48,080 --> 00:16:50,159 the pub we go to is called the Bride. Well, 398 00:16:50,960 --> 00:16:52,679 that's just the one that me and Joe have always 399 00:16:52,679 --> 00:16:56,120 gone to. And then b I think it came from 400 00:16:56,120 --> 00:16:59,639 the jam or something. 401 00:17:00,120 --> 00:17:00,759 Speaker 2: I like to say. 402 00:17:00,759 --> 00:17:02,960 Speaker 4: We were going to be called Grooms, but that had 403 00:17:03,000 --> 00:17:04,880 some some negative connotations. 404 00:17:05,000 --> 00:17:08,759 Speaker 2: Okay, so we pivoted the Bride. Yeah. No, we are 405 00:17:08,839 --> 00:17:10,839 named after the pub of the Bride, which. 406 00:17:10,680 --> 00:17:13,960 Speaker 4: We have been drinking in writing songs in since we 407 00:17:14,000 --> 00:17:19,279 moved this city pretty much. Okay, okay, it's a fairly 408 00:17:19,440 --> 00:17:21,240 it's a semi famous pub around Liverpool. 409 00:17:22,200 --> 00:17:23,519 Speaker 2: Artist called Frankie goes to Hollywood. 410 00:17:24,000 --> 00:17:26,720 Speaker 1: Oh yes, yes, So the. 411 00:17:26,720 --> 00:17:29,039 Speaker 4: Pub originally used to be some rehearsal rooms and that 412 00:17:29,119 --> 00:17:31,319 was the rehearsal rooms where Frankie Goes to Hollywood was formed. 413 00:17:31,400 --> 00:17:32,880 Speaker 2: So there's a little bit of history to it. 414 00:17:33,519 --> 00:17:36,079 Speaker 4: And yeah, it's got a plaque of Frankie up at 415 00:17:36,079 --> 00:17:38,079 the moment, so I'm hoping one day there can be 416 00:17:38,119 --> 00:17:40,519 a plaque a little old me and Alex watching over 417 00:17:40,559 --> 00:17:41,640 all the patrons of the bar. 418 00:17:42,039 --> 00:17:44,359 Speaker 2: Yeah, and a free point would be nice. 419 00:17:44,440 --> 00:17:45,680 Speaker 1: Yeah, yeah, Oh that's cool. 420 00:17:45,880 --> 00:17:46,079 Speaker 2: Yeah. 421 00:17:46,160 --> 00:17:49,319 Speaker 1: In America, Frankie Osa Hollywood is best known for the 422 00:17:49,359 --> 00:17:53,440 song Relaxed. That was incredible. That was their huge hit 423 00:17:53,559 --> 00:17:55,640 over here, and I feel like there might have been 424 00:17:55,640 --> 00:17:57,640 one or two others, but that's like the big, big 425 00:17:57,640 --> 00:18:02,480 one that Americans are most familiar with. Oh that's that's cool, I. 426 00:18:02,400 --> 00:18:04,960 Speaker 2: Think, yeah, I think that's what made the big over 427 00:18:05,000 --> 00:18:05,440 here as well. 428 00:18:05,640 --> 00:18:07,720 Speaker 4: I would like to say we've got a bit of 429 00:18:07,759 --> 00:18:10,519 Frankie about us, not necessarily musically, but only in the 430 00:18:10,559 --> 00:18:13,920 sense that my hipster be moving around quite a lot 431 00:18:13,960 --> 00:18:14,480 on stage. 432 00:18:14,920 --> 00:18:16,559 Speaker 2: And if I have a bit more confident, I might 433 00:18:16,599 --> 00:18:21,559 whip out the gimp mask. But yes, that's a question. 434 00:18:21,599 --> 00:18:22,359 We do wear. 435 00:18:22,559 --> 00:18:26,920 Speaker 4: We do wear the robot heads anyone one step down from. 436 00:18:26,799 --> 00:18:30,319 Speaker 1: The Okay, okay, maybe save the gip mask for you know, 437 00:18:30,400 --> 00:18:32,640 if you do the show with all the Rebecca's or something. 438 00:18:32,640 --> 00:18:33,079 I don't know. 439 00:18:34,960 --> 00:18:37,599 Speaker 4: If we ever make it to the US, we'll tell 440 00:18:37,640 --> 00:18:40,279 the Rebecca only show all in gimp mask and you'll 441 00:18:40,319 --> 00:18:41,039 be the guest of honor. 442 00:18:41,079 --> 00:18:43,359 Speaker 2: We assure you I would love that. 443 00:18:43,519 --> 00:18:49,359 Speaker 1: I think sounds great. That's a great idea. That's a 444 00:18:49,359 --> 00:18:51,480 great idea. Are you guys playing a lot of shows? 445 00:18:51,480 --> 00:18:52,960 It sounds like you are right you said you're starting 446 00:18:53,000 --> 00:18:54,440 to book shows across the country there. 447 00:18:55,559 --> 00:18:58,599 Speaker 4: Yes, So we've got Liverpool headline on the thirteenth, Then 448 00:18:58,640 --> 00:19:01,200 we've got a few more Liverpool shows this year, Manchester 449 00:19:01,240 --> 00:19:01,640 show this. 450 00:19:01,680 --> 00:19:07,319 Speaker 2: Year, and then we're moving to London, Glasgow, Sheffield in 451 00:19:07,519 --> 00:19:10,200 early next year. Excellent, and we might start walking to 452 00:19:10,240 --> 00:19:12,680 boys the next EP. Don't tell anyone. 453 00:19:12,440 --> 00:19:15,880 Speaker 1: Oh okay, okay. By the way, So I'm always curious 454 00:19:15,920 --> 00:19:20,079 about this what went into the decision to record an EP, because, 455 00:19:20,079 --> 00:19:22,880 as you know, a lot of artists now, especially new artists, 456 00:19:22,920 --> 00:19:25,640 they might just do singles, or they might do a 457 00:19:25,680 --> 00:19:27,720 full album, or they might do an EP. Was there 458 00:19:27,799 --> 00:19:30,480 anything that went into that? Was it just a number 459 00:19:30,519 --> 00:19:32,240 of songs that you had ready or what went into 460 00:19:32,240 --> 00:19:33,440 the decision to make an EP? 461 00:19:35,000 --> 00:19:35,240 Speaker 2: Yeah? 462 00:19:35,319 --> 00:19:39,319 Speaker 3: Well, I think we have got an album planned like 463 00:19:40,000 --> 00:19:42,359 further down the line. Obviously, it takes a bit more 464 00:19:43,319 --> 00:19:46,680 like for resources and time to fully commit to it. 465 00:19:46,720 --> 00:19:48,920 Speaker 6: And we do have a theme, a proper theme that 466 00:19:49,000 --> 00:19:49,480 we have said. 467 00:19:50,240 --> 00:19:53,359 Speaker 3: Yeah, yeah, obviously we do with the EPs, but I mean, 468 00:19:53,400 --> 00:19:55,160 you could be a six song EP, so you I 469 00:19:55,160 --> 00:19:57,079 mean you could get away recording an album, but it's 470 00:19:57,079 --> 00:19:59,880 not like an album to us is it's like a 471 00:20:00,039 --> 00:20:01,599 full journey start to furnish. 472 00:20:02,279 --> 00:20:03,519 Speaker 4: We didn't want to do an album until we were 473 00:20:03,559 --> 00:20:04,839 ready to fully get it, and we didn't want to 474 00:20:04,880 --> 00:20:07,200 do singles only because as you, I mean, you've listened 475 00:20:07,240 --> 00:20:09,559 to the EP, I hope you'd agree that there's it's 476 00:20:09,640 --> 00:20:11,480 quite a varied sound. 477 00:20:12,119 --> 00:20:13,799 Speaker 2: We didn't want to put out any one song that 478 00:20:14,160 --> 00:20:14,960 pigeonholed us. 479 00:20:15,000 --> 00:20:17,839 Speaker 4: We thought we'd put out a good selection that showed 480 00:20:17,880 --> 00:20:21,480 a bit of our range. And also we just have 481 00:20:21,640 --> 00:20:25,640 so many songs. We've got these where the next we'll hopefully. 482 00:20:25,119 --> 00:20:29,160 Speaker 2: Be producing another EP within I'm not going to say 483 00:20:29,160 --> 00:20:31,000 how long. I'm getting the look, I can't say how long. 484 00:20:32,640 --> 00:20:35,359 Before long that will include. 485 00:20:35,039 --> 00:20:39,359 Speaker 4: Another seven or eight songs which will be combined with 486 00:20:39,400 --> 00:20:39,759 this EP. 487 00:20:39,920 --> 00:20:41,039 Speaker 2: That will be the totality of. 488 00:20:41,039 --> 00:20:44,279 Speaker 4: Everything me and Alex wrote together before we hired James 489 00:20:44,319 --> 00:20:44,720 and Cozer. 490 00:20:45,640 --> 00:20:48,400 Speaker 2: So once we have that out the way, we've started 491 00:20:48,440 --> 00:20:48,880 working on the. 492 00:20:49,640 --> 00:20:52,359 Speaker 6: Album and which we were all doing together. 493 00:20:52,559 --> 00:20:55,559 Speaker 3: Yeah, Well, obviously they've all come up with their own parts, 494 00:20:55,599 --> 00:20:58,640 but they're all like, we're just jamming the songs from 495 00:20:58,640 --> 00:20:59,079 the start. 496 00:21:00,039 --> 00:21:02,319 Speaker 4: Yeah, we working through, working different instruments in. We've got 497 00:21:02,400 --> 00:21:04,960 introduced in the keyboard and Alex has been getting really 498 00:21:04,960 --> 00:21:05,759 good on the saxophone. 499 00:21:05,759 --> 00:21:10,279 Speaker 6: Avenue mate so good, so good. Yeah, yeah, neighbors too, 500 00:21:12,640 --> 00:21:15,640 we got we've got mandolin. 501 00:21:15,799 --> 00:21:17,759 Speaker 2: Yeah. Even at this show on the thirteenth, we're bringing 502 00:21:17,759 --> 00:21:21,119 in the medoline slide. I'll be ripping a back zoo solo. 503 00:21:21,400 --> 00:21:21,759 Speaker 1: Nice. 504 00:21:23,279 --> 00:21:25,640 Speaker 2: We just want to keep these gigs high energy as 505 00:21:25,640 --> 00:21:26,000 we can. 506 00:21:26,240 --> 00:21:29,200 Speaker 4: Yeah, especially for our fans who've been to a lot 507 00:21:29,200 --> 00:21:32,160 of our shows, it's good to keep things fresh for them. 508 00:21:32,319 --> 00:21:34,799 Speaker 3: Yeah, definitely, because yeah, because we do a lot of 509 00:21:34,799 --> 00:21:36,880 half of our shows as well, and with the EP 510 00:21:37,119 --> 00:21:39,599 B and six songs, we try to get them all 511 00:21:39,680 --> 00:21:41,400 on and then we might only get time for like 512 00:21:41,559 --> 00:21:44,079 one or two that they haven't sinned. But with dicilms 513 00:21:44,440 --> 00:21:47,000 like an hour and yeah, yeah, so we can fully 514 00:21:47,200 --> 00:21:49,160 we Well it's great, it's a great set. 515 00:21:49,279 --> 00:21:51,880 Speaker 4: But I say so myself, I think so yeah, we 516 00:21:51,880 --> 00:21:55,119 didn't need to go off our range and get more 517 00:21:55,160 --> 00:21:57,240 people interested in company us live where they can see 518 00:21:57,240 --> 00:21:58,000 the rest of our songs. 519 00:21:58,119 --> 00:22:01,960 Speaker 1: Yeah. Absolutely. Where should people go online? Where's the best 520 00:22:01,960 --> 00:22:03,559 place for people to go to keep up with everything 521 00:22:03,599 --> 00:22:04,480 that you guys are doing. 522 00:22:05,839 --> 00:22:08,000 Speaker 6: The Instagram for sure, The TikTok. 523 00:22:08,160 --> 00:22:09,640 Speaker 2: Yeah, the Instagram, the TikTok. 524 00:22:09,680 --> 00:22:12,559 Speaker 4: We're on Twitter as well, but sparsely use it, and 525 00:22:13,039 --> 00:22:15,720 we are at that band bride. 526 00:22:15,599 --> 00:22:20,680 Speaker 2: On everything on YouTube, Twitter, TikTok. And speaking of YouTube. 527 00:22:20,240 --> 00:22:22,880 Speaker 4: There is a music video for Creature Culture that will 528 00:22:22,920 --> 00:22:24,559 be dropping at three pm tomorrow. 529 00:22:24,720 --> 00:22:28,000 Speaker 2: Oh, three pm GMT. So got your time? 530 00:22:28,200 --> 00:22:28,559 Speaker 1: Okay? 531 00:22:31,200 --> 00:22:34,200 Speaker 2: I do, of course, I know my time conversions off 532 00:22:34,200 --> 00:22:34,599 my heart. 533 00:22:34,839 --> 00:22:37,039 Speaker 1: You did say it with confidence. It sounds like, you know, 534 00:22:37,160 --> 00:22:40,319 so that's good. Look forward to I look forward to 535 00:22:40,319 --> 00:22:43,240 seeing that. That's very cool. Okay. So in a moment, 536 00:22:43,960 --> 00:22:46,680 and I really appreciate you guys joining us today. We're 537 00:22:46,680 --> 00:22:51,559 gonna play oh yeah, absolutely. We're actually gonna play two songs. 538 00:22:51,559 --> 00:22:53,119 But so the first one is the one that you 539 00:22:53,160 --> 00:22:55,359 asked us to play to end the segment, which is 540 00:22:55,640 --> 00:22:59,920 We're out of Gravy. So the obvious question before we've 541 00:23:00,200 --> 00:23:02,680 that one, I want to know, like, is this literally 542 00:23:02,680 --> 00:23:04,839 about running out of gravy or what what is this about? 543 00:23:06,960 --> 00:23:09,359 Speaker 6: Yeah? When I came up with the title. 544 00:23:09,400 --> 00:23:11,880 Speaker 3: It was literally just me running out of gravy when 545 00:23:11,920 --> 00:23:12,880 I was trying to put. 546 00:23:12,680 --> 00:23:13,480 Speaker 6: It on some chicken. 547 00:23:13,920 --> 00:23:14,480 Speaker 2: But then. 548 00:23:16,200 --> 00:23:18,720 Speaker 3: Then it kind of it went from there with the 549 00:23:18,759 --> 00:23:22,000 you know, the whole gravy train metaphor and okay. 550 00:23:21,839 --> 00:23:23,440 Speaker 6: Just personal things in my in. 551 00:23:23,480 --> 00:23:26,160 Speaker 3: My life, and I was reading I was also reading 552 00:23:26,160 --> 00:23:28,960 the Clockwook Orange as well as what I just finished 553 00:23:28,960 --> 00:23:31,680 reading it. Yeah, and yeah, I just thought I had 554 00:23:31,720 --> 00:23:33,920 the you know that some components there I could put 555 00:23:33,960 --> 00:23:37,039 together just to make make a little tune out of it. 556 00:23:37,160 --> 00:23:39,200 Speaker 6: So yeah, but that brings on to a good point. 557 00:23:39,240 --> 00:23:41,559 Speaker 4: Most of our songs are just start tend to start 558 00:23:41,599 --> 00:23:44,000 with the song title we think sounds quite amusing, and 559 00:23:44,000 --> 00:23:45,480 then from there we'll try. 560 00:23:45,319 --> 00:23:48,119 Speaker 2: And base it in some sort of reality. 561 00:23:48,319 --> 00:23:50,480 Speaker 1: Interesting, So you start with the title. A lot of 562 00:23:50,519 --> 00:23:51,640 the time, that's interesting. 563 00:23:51,799 --> 00:23:55,039 Speaker 2: I helped people to theme, help people the theme. Yeah, yeah, 564 00:23:55,720 --> 00:23:58,200 can help me try and get a more creative Yeah, no, that. 565 00:23:58,519 --> 00:24:00,559 Speaker 1: That makes sense. So we're gonna play that in a moment. 566 00:24:00,599 --> 00:24:02,599 And the one I'm gonna sneak in after that too, 567 00:24:02,880 --> 00:24:05,680 is the one that ends the ep hideous monsters and 568 00:24:05,720 --> 00:24:08,720 the people that love them. I love the song. I 569 00:24:08,799 --> 00:24:10,880 enjoyed the I enjoyed the entire EP, but this one 570 00:24:10,960 --> 00:24:13,839 really really kind of speaks to me and anything we 571 00:24:13,839 --> 00:24:14,880 should know about this one. 572 00:24:16,680 --> 00:24:19,839 Speaker 4: This was written a time in my life when I 573 00:24:19,880 --> 00:24:23,200 started getting back into the dating and. 574 00:24:23,200 --> 00:24:25,160 Speaker 2: I had had some it's had some issues about how I. 575 00:24:25,079 --> 00:24:27,079 Speaker 4: Looked like, and I just wanted to write a song 576 00:24:27,079 --> 00:24:31,240 for myself that encouraged me to get out there and 577 00:24:31,680 --> 00:24:32,640 see what the world has to. 578 00:24:32,640 --> 00:24:34,240 Speaker 2: Offer despite my own reservations. 579 00:24:35,000 --> 00:24:37,759 Speaker 3: I just remember I was at work and then Joe 580 00:24:38,000 --> 00:24:39,559 he just sent me a text saying that he's made 581 00:24:39,559 --> 00:24:40,559 a He's made a new one. 582 00:24:40,559 --> 00:24:42,400 Speaker 6: And then I was like, ah, I think I was 583 00:24:42,400 --> 00:24:47,920 a bit tired, and I came around and he got it. 584 00:24:47,920 --> 00:24:50,640 Speaker 3: He'd like recording it on his laptop, just like a 585 00:24:50,640 --> 00:24:53,240 little demo. Yeah, and then yeah, just it all just 586 00:24:53,279 --> 00:24:55,279 started coming from there and I was just super impressed. 587 00:24:55,319 --> 00:24:55,519 Speaker 6: It was. 588 00:24:55,640 --> 00:24:56,920 Speaker 2: I think we probably spent. 589 00:24:56,839 --> 00:24:59,440 Speaker 4: Maybe seven eight hours just sat in my room in 590 00:24:59,559 --> 00:25:03,119 thirty heat with no windows try to finish that well 591 00:25:03,279 --> 00:25:05,920 oh wow, and then getting Cokocer and James. 592 00:25:05,759 --> 00:25:06,200 Speaker 2: On it as well. 593 00:25:06,359 --> 00:25:12,240 Speaker 6: Just the baseline and the verses on that is it's brilliant. 594 00:25:12,240 --> 00:25:15,640 Speaker 4: From Okay I'm glad you liked that song as well, 595 00:25:15,960 --> 00:25:17,119 because speaking of music. 596 00:25:17,000 --> 00:25:19,759 Speaker 3: Videos, oh yes, we are. We are in the process 597 00:25:19,799 --> 00:25:21,480 of recording the video for that one as well. 598 00:25:21,559 --> 00:25:22,839 Speaker 2: Oh wow, that's likely to be. 599 00:25:23,960 --> 00:25:27,480 Speaker 3: Yeah, my directorial debut will be We're all very proud 600 00:25:27,480 --> 00:25:27,599 of you. 601 00:25:28,400 --> 00:25:31,640 Speaker 1: Oh very cool. That is awesome. Okay, okay, well that 602 00:25:31,759 --> 00:25:33,759 is excellent to hear. So we're going to play those 603 00:25:33,799 --> 00:25:35,559 tracks in a moment, so I'll let you, guys go. 604 00:25:36,000 --> 00:25:38,079 Joe and Alex, thank you so much, both of you 605 00:25:38,119 --> 00:25:44,920 for joining us today. This has been wonderful, absolutely absolutely, yes, yes, 606 00:25:44,960 --> 00:25:47,279 and we will do this again in the future, especially 607 00:25:47,279 --> 00:25:49,599 as you're releasing new music. So so we'll have you 608 00:25:49,640 --> 00:25:51,880 back on But guys, thank you again so much, and 609 00:25:51,880 --> 00:25:52,640 we'll talk to you soon. 610 00:25:52,759 --> 00:25:55,160 Speaker 2: Awesome, Thank you today, you got it. 611 00:25:55,200 --> 00:25:57,480 Speaker 1: Bye bye, all right, wonderful. So that was Joe and 612 00:25:57,599 --> 00:26:01,400 Alex from the band Brides, and so let's listen to 613 00:26:01,440 --> 00:26:03,279 these again. We're gonna play two of these, so we're 614 00:26:03,279 --> 00:26:07,319 gonna finish well, we're gonna finish the segment with first 615 00:26:07,319 --> 00:26:09,400 with We're Out of Gravy, another great track from the 616 00:26:09,400 --> 00:26:12,640 ep Lecha if I'm saying that correctly, and then We're 617 00:26:12,640 --> 00:26:15,160 also gonna play Hideous Monsters and the People that love them, 618 00:26:15,640 --> 00:26:18,000 partly me just being selfish because I love that song 619 00:26:18,160 --> 00:26:21,000 so much, so we're gonna give those both of these 620 00:26:21,039 --> 00:26:24,920 a spin. And uh. And then if you are listening 621 00:26:24,960 --> 00:26:27,799 live on Saturday, coming up in the third hour, Pulsifier, 622 00:26:28,200 --> 00:26:30,000 a great band from Portland, is gonna be here with 623 00:26:30,079 --> 00:26:32,039 us in studio. So we have a lot left to 624 00:26:32,079 --> 00:26:34,640 go on today's show. But here's a couple of tracks 625 00:26:34,960 --> 00:26:37,359 from Brides and we're gonna play this one next. This 626 00:26:37,400 --> 00:26:38,759 is called We're Out of Gravy.