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Speaker 1: Quoting mid Nights my eliptical.

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Speaker 2: So you have no idea the teps.

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Speaker 3: To which we'll go and what we'll face.

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Speaker 4: A guden scored a people of us, but a gatherin

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bild You go spend life notes just seeing that trees come,

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lad said to herself to save a lad well the

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sash final, so see your home in John, recluding the

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when the read.

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Speaker 1: How so you marry your dad?

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Speaker 4: You talk to talk corruption too hot and hot the

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wider finally correct.

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Speaker 1: At school.

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Speaker 4: Ray now father slace.

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Speaker 3: Where it's glass carries out to chase.

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Speaker 4: How Jo.

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Speaker 5: You're going to.

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Speaker 1: John h That is the Comets Tale. The band is

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Questing Beast and we have Jane and Shane with us

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from Questing Beast. By the way, so I love that track.

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The Comet's Tail definitely gets the blood pumping. And as

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I like to say, if that didn't get your blood

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pumping on a Saturday morning, check your pulsey, you might

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be dead. But good stuff, good stuff.

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Speaker 3: Yeah, yeah, no, it's a fun, fun intro song.

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Speaker 5: Gets our blood pumping pretty much every time we play.

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Speaker 1: Yeah do you play that to open the show?

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Speaker 3: Or yeah? Generally speak you do?

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Speaker 1: Oh yeah, okay, very good. Now, when we had you

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on the last time, so how long ago it becomes

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a blur to me.

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Speaker 3: Yeah it was.

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Speaker 1: I mean it wasn't a year ago, right, or.

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Speaker 3: No, it would have been right before the Halloween show, right,

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so October ish?

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Speaker 1: Not that long. Yeah, yeah, not crazy.

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Speaker 3: Long ago, but long enough that it feels relatively significant.

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Speaker 5: Yeah.

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Speaker 1: Yeah, So what's been going on since the last time

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we had John? I know, I know you've got a

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big show coming up tomorrow for those listening live of

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course at Terminus Underground.

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Speaker 3: Yeah, absolutely sure. So yeah, yeah, so we're getting back

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into playing, playing out again. You know, last time we

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were here, we're talking about how we kind of went

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into hibernation for the winter. We totally did that. It

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was great and we're out better than ever, ready to

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start playing more gigs again.

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Speaker 1: Excellent And what what what so what were you doing

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during that hibernation period? I mean, were you did you

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take a break from the band, or were you writing

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and recording or what was what was going on?

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Speaker 3: We're doing a lot of writing and also we're planning

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for our upcoming first ever tour that one April twenty fifth.

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We're basically going on a quick week long run down

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to Baltimore and back up.

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Speaker 1: Congratulations on that.

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Speaker 5: That's awesome, thanks, Yeah, very cool, exciting.

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Speaker 3: Yeah, it's been great.

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Speaker 5: Uh.

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Speaker 3: Our buddy who's playing bass for us now at dan

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se Lance. He helped us book all out of these

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gigs and he's also stepping into the live role of

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playing bass for us, which is awesome and because those

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are some pretty big shoes to fill, you know, the

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guy that we had record for us, Chase Brian's absolute monster.

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So for Dan to come in and be able to

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pick it up has been really great.

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Speaker 1: Yeah. Is uh the track that we just heard which

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is from what's the name of the album again, because

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you guys have a whole u birth that's right, That's right?

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Is that so that's what the previous Spass player right

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or or is it?

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Speaker 3: Yes?

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Speaker 5: Yeah, all the recordings were done with Chase Bryant.

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Speaker 1: Okay, yea Bryant okay, and then he so he so

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he recorded with you, but was not in a position

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to like, was he ever was he ever officially in

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the band?

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Speaker 3: Or was he just is basically a hired gun? Yeah,

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I mean he lives, he lives in la He plays

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in a war war Bringer I've.

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Speaker 5: Heard of Warring Yeah, yeah, he's a he's a busy guy.

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He's not just in that he's playing with a few

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other bands. I don't know. I we follow him on

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social media, like he's on tour with Warbringer right now.

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Speaker 3: I think everybody's got like eight other projects out there. Yeah,

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my favorite of which being Father Daddy Blues Band.

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Speaker 1: Oh no kidding?

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Speaker 3: Yeah?

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Speaker 5: Cool?

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Speaker 1: Cool? How did you How did you come to work

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with him him being as busy as he is. How

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did that come about?

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Speaker 3: We were essentially just kind of racking our brains, like

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trying to find somebody local, and we got sick of

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doing it, and we're like, I bet we could find

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somebody else for money. And I was like, this guy

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is a perfect example of what I want the bass

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playing to sound like. And so I just hit him

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up on Instagram and we started talking. Yeah, and he

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had me send him the demos and he was a

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fan of the demos, and uh yeah, we were able

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to work something out.

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Speaker 1: When when you first contacted him, was I kind of like, uh, well,

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I don't I don't know. I don't know if he's

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if he's gonna have time or being tested, but I'm

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going to give it a shot and then it works.

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Speaker 3: Out or oh yeah, absolutely total shot in the dark.

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Yeah yeah, I mean I don't expect anything of to

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come from anything, especially like you know, just messaging people

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on Instagram, you know what I mean. It's like, yeah,

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you just throwing stuff out into the ether and hoping

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you get something back.

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Speaker 1: Yeah, yep. Yeah.

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Speaker 3: And so for it to come back around, it's nice.

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You know, every once in a while it does.

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Speaker 1: You never know. It's it's always worth a try because

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you never know. And it worked out phenomenally well.

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Speaker 3: So yeah, basic playing came out awesome. He reported his

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parts in like two days, no kidding, Oh yeah, incredible.

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Speaker 1: So awesome.

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Speaker 5: Yeah, kids, you never know.

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Speaker 1: You throw it out there, you don't know what's going

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to happen. Yeah, exactly, absolutely, So, So what was that

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a matter of just kind of sending the tracks back

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and forth.

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Speaker 3: And essentially yeah, I mean, dudes were pro so, I

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mean he pretty much had everything under his fingers by

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the time he came out here, which is convenient because

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we only had like, you know, eighteen hours between when

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he came out here and played with us for the

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first time and when he needed to get the studio.

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Speaker 5: Okay, wow, yeah it was it was a good time.

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Speaker 1: Yeah. Yeah, no, that's fantastic. That's fantastic. So the so

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the new what's his name again, the new new bass.

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Speaker 3: Player or the current bass player, Dan Selan. He plays

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in Ice Giant, he plays in a Nihilist Monday, he

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plays in Perennial Quest. Yeah, he plays in other bands too.

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There's a bunch of them.

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Speaker 1: I've heard of Ice Giant.

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Speaker 3: Yeah.

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Speaker 1: So he's so well, so he's also a busy guy.

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But yeah, but geographically he's available.

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Speaker 2: Yeah.

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Speaker 5: And the nice thing is he seems to be I

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don't know if this is just like a point of pride,

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but he seems to be really enjoying conquering the music

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and learning the parts, you know what I mean. He's

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like posting himself working through some of it on his

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Instagram story and stuff like that, And it made me

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feel pretty pretty awesome. Yeah, just because you know, we

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play the music all the time. For somebody else to

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try it out and get fulfillment out of trying to

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learn it made me like I was like, yeah.

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Speaker 1: Yeah, well that yeah, I mean, that's that's tremendous validation, right,

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I mean, you know, Obviously, you get the validation if

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you play it for other people, if you play it

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live and people react positively to it, you know, that's

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that's fantastic, right. But to also get that validation of

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somebody wants to learn the songs and really commits, you know,

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commits to learning them. I mean, that's that's fantastic. That's

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that's great. How long has he been in the band?

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Speaker 3: Now?

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Speaker 1: The band?

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Speaker 3: He just played his first gig with us on Saturday,

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So I think we've done We've done like three practices

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with him or something.

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Speaker 1: Oh, so he's very new.

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Speaker 3: Yeah, okay, it's a pretty new development as far as

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our live show goes and everything.

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Speaker 1: Yeah.

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Speaker 3: Yeah, but we were talking to him for a while

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because of the whole tour situation and everything, but so

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like it was going to happen eventually. But yeah, I

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don't know, he's he's really been doing a great job,

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I think.

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Speaker 1: Yeah, yeah, excellent. Now for the tour, are you is

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there another band or other bands that you've teamed up

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with for the tour or you know, because there's different

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ways to approach it, right you know.

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Speaker 3: Yeah, so our main tour mates are a band called

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Moon Tomb from Rhode Island moved to Moon Tom.

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Speaker 1: Yeah, that's a cool name.

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Speaker 4: I like that.

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Speaker 3: Yeah, they're cool guys. We picked them because they're such

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pals that, you know, we couldn't we couldn't have thought

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of like a better three dudes to go out on

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the road with nice and so we hit them up

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and they were super open to it and everything. And

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there's I think a total of like twenty something different

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local bands. Because one of the shows is a is

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a festival. Oh really, Yeah, the New York show is

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a it's the Long Island Doom Festival, Okay at mister Berry's,

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which so that kind of ups those numbers of a bunch.

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But so we're super excited to go out and beat

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a bunch of these bands. And yeah, some of these

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cool shows are going to be in some really cool

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places too, so yeah, it would be a good time.

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Speaker 1: How many dates are you playing?

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Speaker 3: Seven dates in eight days?

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Speaker 1: Okay?

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Speaker 3: Okay, So we get a nice day off in the middle.

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We might go to Hershey Park, hit some roller coasters.

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Speaker 1: Who nice. You should, Yes, you definitely should.

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Speaker 3: We've been talking about it.

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Speaker 5: I'm feeling up to it. I don't know, I haven't

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been to a theme parking a long time.

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Speaker 1: Yeah, I haven't either.

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Speaker 3: When I was a kid, we went to Hershey Park

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for like the eighth grade d C trip and the

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park itself was closed down, but I always wanted to

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go and hit those roller coasters. But I did get

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a five pound chocolate bar while I was there.

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Speaker 1: Yeah, five pound chocolate bar. Oo. That sounds like a

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lot of it was a lot of work. It's a

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lot of chocolate. But the roller coasters. I love roller coasters.

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Speaker 3: Yeah, it's my favorite type of ride. Yeah, like the

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stuff those ones that are like just like the big

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post where you sit on you know what I mean,

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and it goes like all the way up. I'm not

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a fan of that type of stuff, but I get

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any roller coaster.

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Speaker 1: Oh yeah, me too, Me too. When I was a kid,

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I remember being terrified of going on one that went

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upside down until I did it, and it happened so

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quick that you know, you don't even know you're upside

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after you what I mean? But yeah, yeah, no, I

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love I love roller coasters. Yeah, so you should definitely

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do that. And are you are you playing the same

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set every night as far as you know or your

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time is going to kind of vary where you have

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to kind of work with it.

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Speaker 3: Some of the shows are four band bills and some

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of them are five band bills, so we'll be able

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to get an extra song or two on the shorter bills. Yeah,

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but I mean we've only got the one record. Yeah,

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we're not unveiling any of that new material until the

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time is right. Pretty much will be songs from the

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first record in various orders.

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Speaker 1: Okay, yeah, yeah, well you have so you do have

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new material you're working on.

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Speaker 3: Oh yeah, oh yes, oh yeah, we pretty much. We

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took so between when we finished writing the first record

244
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and when we finished recording it, which was about I

245
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don't know, maybe nine month period, we were just working

246
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on really hammering those songs down, and so we didn't

247
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write anything during that time. Yeah, so it was kind

248
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of like this big there's like a big rush of

249
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like creativity when we you know, played the final note

250
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in the studio and we went home and we're like,

251
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what do we do now? Yeah, we've been working pretty

252
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hard and I'm really excited about the new stuff.

253
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Speaker 1: Excellent. Is it in the same vein?

254
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Speaker 4: Is it?

255
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Speaker 3: Yeah?

256
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Speaker 5: It's definitely similar style for sure, But I think we

257
00:14:20,320 --> 00:14:25,200
delved even farther into each kind of individual element that

258
00:14:25,279 --> 00:14:29,360
we're bringing to it, So it's kind of, you know,

259
00:14:30,120 --> 00:14:35,799
even more thematic, even more, we spend even more time

260
00:14:36,399 --> 00:14:40,399
paying attention to the different you know, flares and genres

261
00:14:40,519 --> 00:14:44,600
and influences, you know what I mean. So there's a

262
00:14:44,759 --> 00:14:48,679
lot of variety, Like there's a lot of variety in

263
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the first record, but what we're working on is kind

264
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of expanding upon each little bit of that variety, I think,

265
00:14:55,000 --> 00:14:58,720
and so each song kind of feels pretty unique, but

266
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also there's a pretty substantial common thread between all of it,

267
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which is something on the first record too. So yeah,

268
00:15:06,879 --> 00:15:11,360
it's been pretty cool. Uh, we're not we're kind of

269
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throwing caution to the wind for a few things, and

270
00:15:14,799 --> 00:15:17,519
we're just kind of trying whatever we want to do.

271
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There's some pretty funny ideas that we've just totally ran with.

272
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So yeah, it's like it's like our sound two point zero.

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Speaker 1: Okay, okay, cool.

274
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Speaker 3: Yeah, it's basically it's a huge expansion on the first record.

275
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I think it's it's basically everything we did, but we

276
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went in every direction a little bit further. Yeah, and uh, yeah,

277
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it's I don't know, it's exciting.

278
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Speaker 1: Is it thematically similar in terms of lyrics or.

279
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Speaker 3: We're not done the lyrics yet, so it's.

280
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Speaker 1: Okay, So the music comes first, right yeah.

281
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Speaker 3: Yeah, So I mean we kind of have like a

282
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storyline and then we build the music off of the storyline, okay,

283
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and then the lyrics are kind of like the very

284
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final thread.

285
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Speaker 1: Okay, I think.

286
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Speaker 3: So it's like that's like really the last eyes to

287
00:16:04,720 --> 00:16:07,799
dot in the tease to cross or you know, Okay, lyrics.

288
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Speaker 1: Okay, okay, cool, cool. Obviously we talked about it the

289
00:16:12,159 --> 00:16:14,440
last time you were here. But does birth have a

290
00:16:14,879 --> 00:16:16,240
is there a story to it?

291
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Speaker 3: Yeah?

292
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Speaker 1: Or a particular theme? Well, I know there's a theme,

293
00:16:20,399 --> 00:16:23,120
but I couldn't remember how how defined the actual story

294
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was or if it was kind of more just a

295
00:16:25,720 --> 00:16:26,519
loose concept.

296
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Speaker 3: So it's it's kind of both actually, right, So it's

297
00:16:30,519 --> 00:16:33,720
very defined to us, like we know the storyline as

298
00:16:33,879 --> 00:16:36,879
like this very defined thing, but we purposefully at this

299
00:16:37,000 --> 00:16:39,720
point like like the lyrics are kind of esoteric, right,

300
00:16:39,799 --> 00:16:43,639
because like you can go really far in the direction

301
00:16:43,759 --> 00:16:47,559
of like wanting to write a good story, but after

302
00:16:47,639 --> 00:16:50,159
a certain point you're taking away from like the quality

303
00:16:50,200 --> 00:16:53,399
of the song, right, Like we don't need a billion

304
00:16:53,559 --> 00:16:56,399
details about like a guy's armor as he's coming up

305
00:16:56,440 --> 00:16:58,679
over the crest of the hill, you know what I mean.

306
00:16:58,879 --> 00:17:01,879
Like you just filled up half of your verse describing

307
00:17:01,919 --> 00:17:04,119
this and so like, and what I wanted to do,

308
00:17:04,559 --> 00:17:05,880
or what we wanted to do, is kind of have

309
00:17:06,000 --> 00:17:11,599
it be a more like personalized thing, right where anybody

310
00:17:11,680 --> 00:17:14,160
can go in and like read the lyrics and try

311
00:17:14,200 --> 00:17:17,319
and derive like what the legitimate story is. But it's

312
00:17:17,319 --> 00:17:20,119
more important, I think, from my perspective, for people to

313
00:17:20,160 --> 00:17:23,279
be able to derive their own meaning from it, Okay, Right, So,

314
00:17:23,440 --> 00:17:26,240
like I would really like to, at one point or

315
00:17:26,279 --> 00:17:28,599
another figure out how to do a comic book to

316
00:17:28,799 --> 00:17:31,559
like tell the legitimate story like straight up, you know.

317
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Speaker 1: What I mean.

318
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Speaker 3: But yeah, I also don't want to like go to

319
00:17:38,279 --> 00:17:40,240
people who have maybe derived their own meaning from the

320
00:17:40,279 --> 00:17:43,319
songs and be like, you're wrong. This is what it means,

321
00:17:43,559 --> 00:17:45,279
you know what I mean, Because it's like that's kind

322
00:17:45,319 --> 00:17:48,079
of a slap in the face, and like I wouldn't.

323
00:17:48,519 --> 00:17:52,720
I feel like, you're whatever your meaning is is totally legitimate, which.

324
00:17:52,599 --> 00:17:54,640
Speaker 1: Is how it's supposed to be, right with music or

325
00:17:54,720 --> 00:17:57,640
with any kind of art. Really, it's what you We

326
00:17:57,799 --> 00:17:59,799
might have talked I've talked about this with a few

327
00:17:59,799 --> 00:18:02,279
peop belond the show. We might have talked about this before,

328
00:18:02,359 --> 00:18:05,519
but I know that I've experienced that where it's kind

329
00:18:05,559 --> 00:18:07,640
of like, you know, a song means something to you,

330
00:18:07,920 --> 00:18:11,599
and then you read an interview with the person who

331
00:18:11,599 --> 00:18:14,279
wrote the lyrics and they talk about what it means

332
00:18:14,400 --> 00:18:18,119
and you kind of go, oh, that's different than what

333
00:18:18,240 --> 00:18:21,200
it meant to me, And then there's that weirdness of oh,

334
00:18:21,559 --> 00:18:23,440
now I kind of feel differently about it, you know

335
00:18:23,440 --> 00:18:23,799
what I mean?

336
00:18:24,559 --> 00:18:30,720
Speaker 5: Yeah, absolutely, Yeah, I think for our music specifically, Yeah,

337
00:18:30,720 --> 00:18:34,319
I think that would be a pretty funny instance because

338
00:18:34,960 --> 00:18:38,680
it's so specific. So you know, there's so much left

339
00:18:38,759 --> 00:18:43,240
to interpretation in the lyrics that if and when, you know,

340
00:18:43,359 --> 00:18:47,400
inevitably we do have a concrete representation of what the

341
00:18:47,440 --> 00:18:53,039
whole story is. You know, We've said it before. This

342
00:18:53,240 --> 00:18:58,079
was part one of a concept of a few albums

343
00:18:58,119 --> 00:18:59,359
that we're planning on releasing.

344
00:19:00,039 --> 00:19:01,119
Speaker 3: Essentially want to make a trilogy.

345
00:19:01,279 --> 00:19:03,319
Speaker 5: Yeah, we want to make a trilogy, and so you

346
00:19:03,359 --> 00:19:06,039
know we're working on installment two of that. So it's

347
00:19:06,119 --> 00:19:10,519
expanding upon this storytelling universe, you know what I mean?

348
00:19:10,640 --> 00:19:13,240
So it would be pretty funny for us to just

349
00:19:13,359 --> 00:19:17,599
drop all that information and have people, you know, kind

350
00:19:17,640 --> 00:19:23,000
of learn what it is. I think I'm gonna speak

351
00:19:23,039 --> 00:19:29,880
a little bit on lyrically. For the first album, there's

352
00:19:30,160 --> 00:19:33,559
some very literal world building. So the song we just

353
00:19:33,680 --> 00:19:39,720
listened to, there's some very literal you know, pre you know,

354
00:19:40,319 --> 00:19:45,319
description of what's going on, some exposition, Yeah, exposition exactly,

355
00:19:45,839 --> 00:19:50,640
and it's not really up for interpretation when you sit

356
00:19:50,720 --> 00:19:51,960
down and read it, you know what I mean. It

357
00:19:52,079 --> 00:19:54,680
basically tells you you know, what's going to happen, yeah,

358
00:19:54,960 --> 00:19:57,559
and then you know all the other things beyond that,

359
00:19:57,680 --> 00:20:00,799
when we're singing about emotions and you know, things happening,

360
00:20:00,880 --> 00:20:03,279
it's it's all pretty up for interpretation. And I think

361
00:20:04,480 --> 00:20:08,279
we want to make music that is true to what

362
00:20:08,440 --> 00:20:11,920
we're trying to do story wise, and then also is

363
00:20:12,240 --> 00:20:15,680
up for interpretation and receivable to someone who knows nothing

364
00:20:15,720 --> 00:20:18,720
about the story as much as possible. And I think

365
00:20:18,759 --> 00:20:21,599
we've tried to dive into that even more so. Okay,

366
00:20:23,079 --> 00:20:26,400
on our current writing lyrically anyway.

367
00:20:26,640 --> 00:20:30,599
Speaker 1: Yeah, No, that's very cool. I look forward to, uh,

368
00:20:31,000 --> 00:20:33,079
you know when eventually, I mean, you probably at this

369
00:20:33,200 --> 00:20:35,000
point do you have any kind of an eta on

370
00:20:35,119 --> 00:20:37,920
when when you might start recording the next.

371
00:20:37,759 --> 00:20:40,759
Speaker 3: One, or yeah, I don't know, like a year or

372
00:20:41,319 --> 00:20:45,200
I don't know, one hundred years somewhere between those two.

373
00:20:45,440 --> 00:20:47,400
Speaker 1: Somewhere somewhere between one and a hundred.

374
00:20:49,400 --> 00:20:52,039
Speaker 3: Yeah, I mean, I wish I could have that crystal ball.

375
00:20:52,079 --> 00:20:53,480
But you never know what's going to happen, you know.

376
00:20:53,680 --> 00:20:56,279
I mean, we it took forever to get the first one,

377
00:20:56,359 --> 00:20:58,599
and I think we've got a more streamlined process at

378
00:20:58,640 --> 00:21:01,079
this point, but you know, anything could happen.

379
00:21:01,319 --> 00:21:04,480
Speaker 1: So so, but you both talked about a trilogy. Does

380
00:21:04,519 --> 00:21:08,279
that mean that you've already got the you've got the

381
00:21:08,319 --> 00:21:09,839
whole story mapped out already, or.

382
00:21:10,160 --> 00:21:13,920
Speaker 3: Like big story points that we want to hit mapped out. Yeah,

383
00:21:13,920 --> 00:21:16,319
But I mean it's it's cool to leave like certain

384
00:21:16,400 --> 00:21:19,960
things open, right because like, for example, on the first record,

385
00:21:20,440 --> 00:21:24,559
we had finished the record, I just did air quotes

386
00:21:24,599 --> 00:21:28,640
for anybody listening, yea, and we had like six songs,

387
00:21:28,880 --> 00:21:31,319
and I was like, nah, it doesn't feel right, you know,

388
00:21:31,559 --> 00:21:34,279
And so I was like, we got to write two

389
00:21:34,359 --> 00:21:37,440
more songs, and we ended up doing Beneath Red Leaves

390
00:21:38,039 --> 00:21:41,839
and Titans Grip, which have ended up being two of

391
00:21:41,880 --> 00:21:45,079
the most popular questioning beat songs at this point, and

392
00:21:47,000 --> 00:21:49,119
nobody else wanted to write them. But I was like, look,

393
00:21:49,200 --> 00:21:51,880
the story, we can add some more details into the story,

394
00:21:52,319 --> 00:21:55,440
and these riffs rule. I don't see why anybody could

395
00:21:55,440 --> 00:21:57,880
be opposed to it. And then everybody was mad when

396
00:21:57,920 --> 00:22:00,519
we were recording them, and so it came out awesome.

397
00:22:01,240 --> 00:22:05,920
Speaker 5: Mostly me, I was mostly angry in doing it. I

398
00:22:05,960 --> 00:22:09,440
don't know why. I was just like, all right, well

399
00:22:09,480 --> 00:22:14,079
you want some more guitar, you're gonna get it. Yeah,

400
00:22:14,200 --> 00:22:15,319
And it came out wicked good.

401
00:22:15,960 --> 00:22:19,119
Speaker 1: So you were able to channel that anger. Yeah, Yeah,

402
00:22:19,240 --> 00:22:19,680
it feels.

403
00:22:19,759 --> 00:22:22,559
Speaker 5: It feels really epic. Titan Script is actually our current

404
00:22:22,799 --> 00:22:27,160
most stream song on Spotify. We passed like four thousand

405
00:22:27,200 --> 00:22:28,839
streams today, I think, which is cool.

406
00:22:28,920 --> 00:22:29,680
Speaker 1: Congratulations.

407
00:22:29,759 --> 00:22:31,960
Speaker 5: Yeah, that's great, interesting metric, but.

408
00:22:33,920 --> 00:22:37,440
Speaker 1: But not it matters though. Those metrics do matter. No,

409
00:22:37,599 --> 00:22:40,680
that's very cool, very cool. Do you have anything that

410
00:22:40,759 --> 00:22:43,920
you play currently that's not on this first album when

411
00:22:43,960 --> 00:22:44,880
you play live or no.

412
00:22:45,359 --> 00:22:48,920
Speaker 3: No, we've talked about doing some covers and stuff, which

413
00:22:49,039 --> 00:22:52,400
is now a lot more of possibility that we've got

414
00:22:52,599 --> 00:22:54,759
Dan in the live setup because we were just playing

415
00:22:54,839 --> 00:22:57,720
to like recorded bass tracks before, you know, from the record,

416
00:22:58,359 --> 00:23:02,400
and so comunities for that are kind of more available now,

417
00:23:02,480 --> 00:23:04,160
So I mean I'd be down to explore that kind

418
00:23:04,160 --> 00:23:06,160
of stuff for sure, But for the most part, were

419
00:23:06,200 --> 00:23:08,279
just playing stuff from the record and trying to promote

420
00:23:08,279 --> 00:23:09,759
that we've got a ton of vinyl that we need

421
00:23:09,880 --> 00:23:13,880
to get rid of. So what do you mean, oh,

422
00:23:14,039 --> 00:23:15,359
just like vinyl records.

423
00:23:15,519 --> 00:23:15,720
Speaker 1: Yeah.

424
00:23:15,920 --> 00:23:18,319
Speaker 3: Yeah, we're trying to play the songs that are on

425
00:23:18,400 --> 00:23:21,240
the on the record for people to try and entice

426
00:23:21,319 --> 00:23:22,880
them into buying it.

427
00:23:23,039 --> 00:23:24,279
Speaker 1: Yeah, I got you.

428
00:23:24,599 --> 00:23:26,680
Speaker 5: I got many copies that we have.

429
00:23:28,720 --> 00:23:29,279
Speaker 2: You could be.

430
00:23:31,640 --> 00:23:32,960
Speaker 5: So we have less of them.

431
00:23:36,839 --> 00:23:41,160
Speaker 1: Was that hard playing with bass tracks live? Was that challenging?

432
00:23:41,960 --> 00:23:44,799
Speaker 3: I mean the process of like setting up the Ableton

433
00:23:44,880 --> 00:23:47,119
session and everything was and that's why I had Bane

434
00:23:47,200 --> 00:23:53,000
do it. And uh but uh yeah, I mean once

435
00:23:53,039 --> 00:23:54,799
it's all been set up, it's not that bad. You know,

436
00:23:54,920 --> 00:23:58,880
our drummer is kind of a machine, okay, so having

437
00:23:58,960 --> 00:24:01,240
him played to a metronome, it's pretty easy. As far

438
00:24:01,319 --> 00:24:03,319
as getting everybody else locked in.

439
00:24:03,400 --> 00:24:06,079
Speaker 1: It wasn't It wasn't weird for him, or maybe or

440
00:24:06,160 --> 00:24:07,400
maybe it was, but he adapted them.

441
00:24:07,640 --> 00:24:09,400
Speaker 3: He adapted pretty well, I don't think that there was

442
00:24:09,440 --> 00:24:12,000
like a huge problem for him. You know, each each

443
00:24:12,079 --> 00:24:14,200
song has kind of its own counting and everything. I

444
00:24:14,240 --> 00:24:16,400
think that was the only like learning curve.

445
00:24:16,559 --> 00:24:21,799
Speaker 5: Okay, Yeah, he's he kind of takes most things in stride,

446
00:24:21,839 --> 00:24:24,359
if I'm going to be honest. We threw a lot

447
00:24:24,440 --> 00:24:24,799
at him.

448
00:24:24,920 --> 00:24:25,119
Speaker 1: Really.

449
00:24:25,440 --> 00:24:27,359
Speaker 5: Yeah, We're like, hey, you gotta do this, this and this.

450
00:24:27,720 --> 00:24:28,839
Speaker 3: And he's got a hard job.

451
00:24:29,000 --> 00:24:31,720
Speaker 5: Yeah, he's got one of the hardest jobs in the

452
00:24:31,759 --> 00:24:32,839
house for sure. Yeah.

453
00:24:33,880 --> 00:24:37,359
Speaker 3: He's back there singing too, Oh he is. Okay, yeah,

454
00:24:37,640 --> 00:24:38,519
backup vocals there.

455
00:24:39,680 --> 00:24:42,079
Speaker 1: That always impresses me. You know, drummers who can sing

456
00:24:42,160 --> 00:24:43,960
while they play, you know, because drums is the most

457
00:24:44,000 --> 00:24:45,480
you know, you're using all four of your loombs. It's

458
00:24:45,480 --> 00:24:46,759
the most physical. Yeah.

459
00:24:47,000 --> 00:24:49,720
Speaker 3: And he's doing like harmonies, like the chorus harmonies on

460
00:24:49,799 --> 00:24:53,400
like Pip and stuff. Oh yeah, dude, he's He's crazy.

461
00:24:53,599 --> 00:24:58,519
Speaker 5: Watching him do it too. I Mean there's a there's

462
00:24:58,599 --> 00:25:00,759
one part I think it's in the second course at

463
00:25:00,799 --> 00:25:03,440
Titans Grip where I'm looking at him when we're in practice,

464
00:25:03,480 --> 00:25:05,960
I'll just be looking at him. He's leaned over, you know,

465
00:25:06,079 --> 00:25:08,279
to the mic to try to sing and the arms

466
00:25:08,319 --> 00:25:10,720
are going, and he's playing so much complex stuff on

467
00:25:10,759 --> 00:25:13,559
the drums and he's just keeping his head here yeah,

468
00:25:13,720 --> 00:25:16,720
and nailing the note too, and then he just finishes

469
00:25:16,759 --> 00:25:18,279
and looks at the rest of us, like pretty much

470
00:25:18,319 --> 00:25:20,519
every time. Then he knows, well, we'll look at him

471
00:25:20,559 --> 00:25:23,279
and just give him an affirming nod of yeah, that

472
00:25:23,440 --> 00:25:26,680
was on. And he just always goes, you know, some

473
00:25:26,839 --> 00:25:30,839
iteration of like, you know, lips out like you know, heck, yeah.

474
00:25:33,160 --> 00:25:33,599
Speaker 1: Very cool.

475
00:25:33,720 --> 00:25:34,400
Speaker 5: Yeah, he's the man.

476
00:25:35,119 --> 00:25:36,680
Speaker 1: Oh, by the way, you're getting some love in the

477
00:25:36,759 --> 00:25:39,519
chat room here, Bradley Hurley says, can't say enough great

478
00:25:39,559 --> 00:25:42,400
things about this band. I'm a huge fan of this band.

479
00:25:42,559 --> 00:25:45,880
Speaker 5: And Jane Oh shouts out Bradley, what's up.

480
00:25:47,240 --> 00:25:49,359
Speaker 1: Very nice, thank you for chiming in there, Bradley, excellent,

481
00:25:49,559 --> 00:25:49,799
thank you.

482
00:25:49,880 --> 00:25:50,200
Speaker 5: Bradley.

483
00:25:50,839 --> 00:25:53,279
Speaker 1: Yeah, yeah, oh, we were talking. We had an interesting

484
00:25:53,359 --> 00:25:56,640
conversation off air two about lyrics, circling back to lyrics

485
00:25:56,680 --> 00:25:58,799
for a moment because you know, I was commenting how

486
00:25:58,839 --> 00:26:00,799
it's it's nice when I you know, I don't mind

487
00:26:00,920 --> 00:26:04,960
making radio edits for our guests, but it's nice when

488
00:26:05,000 --> 00:26:06,759
I don't have to and I never have to make

489
00:26:06,759 --> 00:26:09,039
any radio edits for requesting Beast, which is nice.

490
00:26:09,400 --> 00:26:12,720
Speaker 3: Because we don't hit the swearing. Yeah, what's interesting about this.

491
00:26:12,880 --> 00:26:15,119
I think that's a very like conscious decision on our

492
00:26:15,160 --> 00:26:18,039
part because it's like, I don't know, you can throw

493
00:26:18,079 --> 00:26:20,880
a ton of swears into a song if you want to. Yeah,

494
00:26:21,160 --> 00:26:22,880
Like I don't know. Personally, it's like a very weak

495
00:26:23,000 --> 00:26:27,880
creative decision. I mean there's so many words, you know that, like,

496
00:26:28,160 --> 00:26:31,880
I don't know, choosing to swear for like edginess sake

497
00:26:32,039 --> 00:26:34,960
is like kind of weak to me. And what's funny

498
00:26:35,079 --> 00:26:40,920
is that I that idea kind of came from with

499
00:26:41,680 --> 00:26:47,039
Corey uh, what's his name, Slipknot Corey Taylor, Yeah, because

500
00:26:47,039 --> 00:26:49,359
he made that switch. And when I was like super

501
00:26:49,440 --> 00:26:51,119
young and angsty, I remember being.

502
00:26:51,039 --> 00:26:53,440
Speaker 1: Like that's lamp, You're not gonna swear anymore.

503
00:26:53,559 --> 00:26:55,799
Speaker 3: And then I got older and I started like kind

504
00:26:55,839 --> 00:26:59,279
of like, you know, listening to the slip Knot sort

505
00:26:59,319 --> 00:27:01,720
of evolution, like the maturity and like the lyric writing

506
00:27:01,799 --> 00:27:04,000
and stuff, and you know, I mean you go back

507
00:27:04,039 --> 00:27:05,680
and listen to that first record and some of it's

508
00:27:05,799 --> 00:27:08,359
like headbanger stuff, but yeah, a lot of it, like

509
00:27:08,559 --> 00:27:10,519
I don't know, spit it out, Like I really want

510
00:27:10,559 --> 00:27:12,680
to go and listen to that right now. Yeah, I don't.

511
00:27:13,079 --> 00:27:18,599
Speaker 5: Yeah, good song, great song, pretty intense, Like I don't know.

512
00:27:19,039 --> 00:27:21,240
Speaker 1: Sometimes one catches me off guard is when it's like,

513
00:27:22,279 --> 00:27:24,279
you know, it's one thing if it's if it's metal,

514
00:27:24,440 --> 00:27:27,119
certain kinds of metal or hip hop, but if you

515
00:27:27,200 --> 00:27:29,440
hear you know, just a singer songwriter and they've got

516
00:27:29,519 --> 00:27:32,799
like the S word just in there, it's like, you know,

517
00:27:32,960 --> 00:27:35,680
because it's like, oh, you're a singer songwriter, but ooh

518
00:27:35,720 --> 00:27:36,599
you're edgy.

519
00:27:36,960 --> 00:27:38,440
Speaker 4: Right, you know.

520
00:27:39,680 --> 00:27:40,799
Speaker 5: Variety is the spice.

521
00:27:41,640 --> 00:27:43,519
Speaker 3: And that's not to say that I think as like

522
00:27:43,599 --> 00:27:47,200
a blanket rule like swearing in songs bad or lazy,

523
00:27:47,319 --> 00:27:48,680
you know what I mean. But I do think it's

524
00:27:48,680 --> 00:27:54,160
a tool that like should be used at certain points.

525
00:27:54,599 --> 00:27:57,720
Like like my buddy Joe plays in this band called

526
00:27:57,960 --> 00:28:03,880
Dirt Byre and he's got this song called Fentanyl, and uh,

527
00:28:04,039 --> 00:28:06,599
there's this really powerful part when he first comes in

528
00:28:07,119 --> 00:28:10,359
to this one line he says, you keep fing around,

529
00:28:10,880 --> 00:28:13,400
and I'm like, it's super powerful because of what he's

530
00:28:13,440 --> 00:28:15,240
talking about, you know what I mean. Sure, But like

531
00:28:15,640 --> 00:28:17,880
I don't know, a lot of times I'm like, it

532
00:28:18,359 --> 00:28:19,759
doesn't have that same effect.

533
00:28:19,680 --> 00:28:23,319
Speaker 1: Right right by the way, Jane, looks like you're getting

534
00:28:23,400 --> 00:28:29,960
some familial love in the chat room. Mommy loves you, Jane. Yeh, Shelley,

535
00:28:30,200 --> 00:28:32,680
that's your your mom. That's very nice, very nice.

536
00:28:32,839 --> 00:28:34,119
Speaker 5: Thank you, mother.

537
00:28:34,400 --> 00:28:35,039
Speaker 3: We love Shelley.

538
00:28:35,240 --> 00:28:36,799
Speaker 5: Yeah, I love you too.

539
00:28:37,200 --> 00:28:40,079
Speaker 1: No, that's great. Actually the subject came up to with

540
00:28:40,200 --> 00:28:43,599
our first guest today, uh, waiting for Ze. We're on

541
00:28:43,680 --> 00:28:45,039
and we're talking about it's a nice one when you

542
00:28:45,119 --> 00:28:49,480
have supportive family members. Also, oh, I missed this comment earlier.

543
00:28:49,759 --> 00:28:51,799
Kyle Gatto is in the chat room and says more

544
00:28:51,839 --> 00:28:56,440
than Matt, what's good brother, Welcome Kyle. Yeah, I mean

545
00:28:56,519 --> 00:28:59,240
it's it's Uh. I also think though too, it would

546
00:28:59,279 --> 00:29:02,559
be weird because of the style and the genre of

547
00:29:02,640 --> 00:29:04,599
the music that you do. Sure it would Actually it

548
00:29:04,599 --> 00:29:07,880
would be strange word in there, you know.

549
00:29:08,079 --> 00:29:10,480
Speaker 3: Yeah, I mean nobody's thinking of like I don't know,

550
00:29:11,079 --> 00:29:16,039
mid century or like medieval times, and like you know,

551
00:29:16,160 --> 00:29:19,799
everybody's running around with like swearing a whole bunch. I

552
00:29:19,839 --> 00:29:21,640
don't know. It feels like it should be more like

553
00:29:21,920 --> 00:29:26,119
regal and like hoity toity and you know, almost have

554
00:29:26,240 --> 00:29:30,000
a bit of a curtsy just embedded in the lyrics.

555
00:29:29,720 --> 00:29:29,920
Speaker 4: You know what.

556
00:29:30,000 --> 00:29:33,200
Speaker 3: I feel like there's like a certain level of like,

557
00:29:34,039 --> 00:29:38,799
I don't know, fanciful that it like needs.

558
00:29:39,039 --> 00:29:40,640
Speaker 1: No, I know, I know what you mean. Although if

559
00:29:40,680 --> 00:29:43,279
you watch like some some of the Monty Python movies

560
00:29:43,359 --> 00:29:45,839
that are period pieces, it seems like there was a

561
00:29:45,880 --> 00:29:50,000
lot of swearing back then. But absolutely, yeah, no, I

562
00:29:50,079 --> 00:29:50,559
know what you mean.

563
00:29:50,599 --> 00:29:50,720
Speaker 5: Though.

564
00:29:50,799 --> 00:29:54,000
Speaker 1: Yeah, I think I think profanity would be very awkward

565
00:29:54,039 --> 00:29:55,799
in your music. It would, you know, it would almost

566
00:29:55,799 --> 00:29:59,000
be like, I don't know, there's I think that genre

567
00:29:59,480 --> 00:30:03,440
it just it doesn't fit. But no, so I and

568
00:30:03,559 --> 00:30:06,720
I think it's great that you're you're so conscientious about

569
00:30:06,720 --> 00:30:09,160
the lyrics that you will you know, use you know,

570
00:30:09,359 --> 00:30:12,240
there's so many words. Sure, you know the English language,

571
00:30:12,279 --> 00:30:13,960
we have so many words, you know, So why not

572
00:30:14,079 --> 00:30:14,640
be creative?

573
00:30:14,720 --> 00:30:17,599
Speaker 3: Yeah exactly. I mean we spend so much time arguing

574
00:30:17,640 --> 00:30:23,200
about like the sourus related opinions. Oh yeah, when we're

575
00:30:23,240 --> 00:30:26,839
writing lyrics. So when we write lyrics, generally it's me,

576
00:30:27,720 --> 00:30:31,480
our drummer and our vocalists all working together. Sometimes Jane's

577
00:30:31,519 --> 00:30:34,559
into Jane generally helps more with like the melodic elements

578
00:30:34,640 --> 00:30:38,000
of like the vocals and like the rhythmic elements of everything,

579
00:30:38,680 --> 00:30:40,960
but as far as like the lyrics goes, it's like

580
00:30:41,000 --> 00:30:42,960
the three of us generally kind of going back and

581
00:30:43,039 --> 00:30:44,759
forth about what the best way to say, like what

582
00:30:44,799 --> 00:30:48,119
we're trying to convey is yeah, and so it prevents

583
00:30:48,160 --> 00:30:51,839
it from like being kind of like overbearing in like

584
00:30:52,000 --> 00:30:54,519
one person's style, you know, and we get this kind

585
00:30:54,559 --> 00:30:58,279
of cool average I think that works out really well

586
00:30:58,319 --> 00:31:01,200
and represents the band as a whole. Yeah, pretty beautifully.

587
00:31:01,400 --> 00:31:03,799
Speaker 1: Yeah, No, I think that's I think that's really cool.

588
00:31:04,480 --> 00:31:07,000
I think we should play another track from the from

589
00:31:07,079 --> 00:31:09,160
the album, and you did send me another one that

590
00:31:09,240 --> 00:31:10,039
you wanted to highlight.

591
00:31:11,119 --> 00:31:14,880
Speaker 3: I think Beneath Red Leaves, right, yes, Beneath Red Leaves fantastic.

592
00:31:15,200 --> 00:31:17,559
Speaker 1: Yeah, we can. We can give that a spin, and

593
00:31:17,680 --> 00:31:19,519
then at the end of the show we'll probably play

594
00:31:19,519 --> 00:31:21,279
another one from the album. I have your I do

595
00:31:21,400 --> 00:31:22,960
have because I do have the album pulled up and

596
00:31:23,480 --> 00:31:26,759
I love love your music. I think it's really good. Absolutely,

597
00:31:27,160 --> 00:31:29,440
So I check this out. This is called Beneath Red

598
00:31:29,559 --> 00:31:32,000
Leaves and the band is questing beast.

599
00:32:33,039 --> 00:32:37,119
Speaker 4: A Hound it back, it through is gone, I still

600
00:32:37,200 --> 00:32:42,920
it attack, I see a pis a piece of bad

601
00:32:44,039 --> 00:32:45,680
PA seek through back now.

602
00:32:48,680 --> 00:32:54,319
Speaker 6: You seek to clime. If that said please about the hate,

603
00:32:58,160 --> 00:33:02,400
it's pass called me a stall. We got crock work.

604
00:33:02,319 --> 00:33:05,240
Speaker 4: Still stop with snort kill got.

605
00:33:05,160 --> 00:33:10,000
Speaker 1: By so we got struck right the coming sail.

606
00:33:11,519 --> 00:33:15,799
Speaker 6: We got thrunt sing fill the sky is things well,

607
00:33:15,880 --> 00:33:16,799
can't my hide?

608
00:33:17,039 --> 00:33:18,920
Speaker 5: We got broadwise.

609
00:33:30,400 --> 00:33:34,519
Speaker 6: A fine let's all little seal snot get away, spike

610
00:33:34,680 --> 00:33:37,920
swim heels, God brass corse his shield and my fall.

611
00:33:38,440 --> 00:33:41,160
Speaker 3: We s can't big on me the yack.

612
00:33:49,039 --> 00:33:53,839
Speaker 4: M I woted time stumping it through the star.

613
00:33:54,880 --> 00:33:58,440
Speaker 1: No, not that back, I.

614
00:33:58,519 --> 00:34:03,880
Speaker 4: See me overs it a man sending me for us.

615
00:34:06,759 --> 00:34:11,000
Speaker 6: Scars to you time you know, but that time saying

616
00:34:11,199 --> 00:34:21,639
nothing he thanks gone dejai okaya, but I'm stand with

617
00:34:21,920 --> 00:34:29,280
sures killed, don't but soul okay, comic si do not

618
00:34:29,840 --> 00:34:33,519
forday final course commit our life.

619
00:34:33,760 --> 00:35:28,559
Speaker 4: You bet to die? That okay?

620
00:35:30,400 --> 00:35:43,679
Speaker 5: Right us? Okay?

621
00:36:00,920 --> 00:36:04,719
Speaker 1: That is beneath Red Leaves. The band is Questing Bees

622
00:36:04,800 --> 00:36:07,559
and that is from their album Birth That is so good.

623
00:36:07,840 --> 00:36:09,239
And they're going to be playing if you are listening

624
00:36:09,320 --> 00:36:11,519
live on Saturday, they're gonna be tomorrow night. They're going

625
00:36:11,559 --> 00:36:15,199
to be Sunday night at Terminus Underground. What time does

626
00:36:15,239 --> 00:36:16,119
that show start.

627
00:36:16,480 --> 00:36:18,679
Speaker 3: So doors are at six o'clock. I believe we are

628
00:36:18,800 --> 00:36:21,199
on at seven. We're opening up that show.

629
00:36:21,480 --> 00:36:22,760
Speaker 1: Well, who else is on the show with you?

630
00:36:22,840 --> 00:36:22,880
Speaker 4: Do?

631
00:36:22,920 --> 00:36:26,360
Speaker 3: You know? Off Dog eight Dog and Sunset Electric?

632
00:36:26,559 --> 00:36:26,679
Speaker 5: Oh?

633
00:36:26,800 --> 00:36:29,119
Speaker 1: Nice, Yeah, we've had We've had both bands on the show.

634
00:36:29,239 --> 00:36:29,599
Speaker 3: Oh cool.

635
00:36:29,679 --> 00:36:32,639
Speaker 1: Dog eight Dog was with us a couple of weeks ago. Actually, yeah, nice,

636
00:36:32,920 --> 00:36:35,119
really really cool. Oh yeah, they're they're amazing.

637
00:36:35,559 --> 00:36:35,719
Speaker 3: Now.

638
00:36:36,239 --> 00:36:39,360
Speaker 1: So a song like that, I mean, does that take

639
00:36:39,400 --> 00:36:41,519
a while for that to come together?

640
00:36:41,599 --> 00:36:43,440
Speaker 3: I mean in terms of just honestly, that was probably

641
00:36:43,440 --> 00:36:45,960
one of the faster ones, was it. Yeah, So that

642
00:36:46,119 --> 00:36:48,320
was one of the last two that we wrote, right,

643
00:36:48,440 --> 00:36:50,800
the ones that we had mentioned before we started playing,

644
00:36:51,880 --> 00:36:54,679
And I had had that rift, the main rift that

645
00:36:55,960 --> 00:36:59,559
a button't it yeah, for a little bit. And Jane,

646
00:36:59,599 --> 00:37:02,679
I think, had had that intro kind of written out

647
00:37:02,719 --> 00:37:06,239
from something that we had messed around with during practice,

648
00:37:06,599 --> 00:37:09,639
and so we essentially just like fused those two things together,

649
00:37:10,079 --> 00:37:12,079
came up with the solo section, and I had a

650
00:37:12,119 --> 00:37:17,760
little alternate version that became the outroka and yeah, we

651
00:37:17,960 --> 00:37:19,000
knocked that thing out I think in.

652
00:37:19,039 --> 00:37:20,039
Speaker 1: A day, no kidding.

653
00:37:20,159 --> 00:37:22,679
Speaker 5: Yeah, solo section chords.

654
00:37:23,239 --> 00:37:24,400
Speaker 3: The solo took forever to write.

655
00:37:24,480 --> 00:37:27,360
Speaker 5: Yeah, for a long time. I would say the solo

656
00:37:27,440 --> 00:37:32,559
section chords and the fast like thrashy part probably one

657
00:37:32,599 --> 00:37:36,639
of my proudest moments. Also, so having an awesome guitar

658
00:37:36,719 --> 00:37:38,159
solo on top of it too, And that was like

659
00:37:38,639 --> 00:37:40,360
the cherry on top. That was like the last thing

660
00:37:40,400 --> 00:37:45,199
for the song. That song, that song is super hard

661
00:37:45,239 --> 00:37:45,800
to play live.

662
00:37:45,960 --> 00:37:47,599
Speaker 3: Yeah, it's probably the hardest one on the record.

663
00:37:48,440 --> 00:37:50,119
Speaker 5: Yeah, it's so fun.

664
00:37:50,400 --> 00:37:53,840
Speaker 1: Yeah, Yeah, I'm fascinated by that because I you know,

665
00:37:53,960 --> 00:37:56,280
I'm a musician. I used to play in some bands,

666
00:37:56,320 --> 00:37:59,239
but I never played in anything that did anything that,

667
00:38:00,079 --> 00:38:04,519
you know, with time changes and you know, demanding. Yeah, yeah, exactly. So,

668
00:38:05,679 --> 00:38:09,800
so I'm very impressed. Yeah, that's uh, that's that's really good. Oh.

669
00:38:09,960 --> 00:38:12,159
By the way, in the chat room, so Bradley Hurley

670
00:38:12,320 --> 00:38:16,239
uh said to your mom. Uh, oh, you should know

671
00:38:16,599 --> 00:38:19,519
your daughter has helped my recovery and life so much

672
00:38:19,599 --> 00:38:20,079
for the better.

673
00:38:20,320 --> 00:38:20,480
Speaker 5: Oh.

674
00:38:20,920 --> 00:38:24,159
Speaker 1: So very nice. You're getting a lot of love in there.

675
00:38:24,719 --> 00:38:28,760
That is awesome. That is awesome. And then so when

676
00:38:28,800 --> 00:38:31,199
does the now? When does the tour start again? Uh?

677
00:38:31,760 --> 00:38:34,199
Speaker 3: April twenty fifth is the first day of tor playing

678
00:38:34,760 --> 00:38:38,440
Ralph's okay in rock, Yeah, that one is going to

679
00:38:38,480 --> 00:38:44,320
be with uh so Moontomb obviously, Horror, Perennial Quest and

680
00:38:46,280 --> 00:38:47,519
mercury Burns First.

681
00:38:48,039 --> 00:38:50,920
Speaker 1: Oh okay, great, yeah, yeah, yeah we had mercury Burns

682
00:38:50,960 --> 00:38:52,519
First on a couple of months ago, and we've had

683
00:38:52,559 --> 00:38:55,960
Horror on too. So yeah, that's a that's that's really strong.

684
00:38:56,360 --> 00:38:58,519
That's great. Now with the with the tour, will this

685
00:38:58,719 --> 00:39:01,199
be your your first time traveling out of New England

686
00:39:01,360 --> 00:39:02,280
with the band? Yeah?

687
00:39:02,360 --> 00:39:04,599
Speaker 3: Oh yeah yeah. Well the furthest we've gone up to

688
00:39:04,679 --> 00:39:08,280
this point is that we played out in Connecticut at

689
00:39:08,320 --> 00:39:11,159
some point last year. Okay, but yeah, this will be

690
00:39:11,199 --> 00:39:14,840
the furthest out we've gone in Maryland, I think in Baltimore.

691
00:39:15,000 --> 00:39:18,239
Speaker 1: Okay, yeah, we're in Baltimore. What's what venue? Do you

692
00:39:18,320 --> 00:39:18,760
do you remember?

693
00:39:19,039 --> 00:39:21,719
Speaker 3: Yeah? We're playing the Depot okay in Baltimore.

694
00:39:21,840 --> 00:39:31,280
Speaker 1: Okay, nice? Nice? And then do you have so who's

695
00:39:32,159 --> 00:39:33,679
is it just the four of you now live now

696
00:39:33,760 --> 00:39:36,119
that you have a live bass player, is it five

697
00:39:36,159 --> 00:39:37,159
of us? There's five of you?

698
00:39:38,199 --> 00:39:43,559
Speaker 3: Oh yeah, so we've got lead singer, two guitars, bass player, drummer.

699
00:39:43,880 --> 00:39:47,079
Speaker 1: Okay, and then so so before you would play with

700
00:39:47,119 --> 00:39:49,639
bass tracks. Did you always have a live drummer? Yeah, yeah,

701
00:39:49,920 --> 00:39:52,480
you did always have a live drummer. Okay, all right,

702
00:39:52,760 --> 00:39:54,159
that makes sense, So it was just a bass player

703
00:39:54,199 --> 00:39:55,039
that you didn't have before.

704
00:39:55,639 --> 00:39:58,920
Speaker 3: Officially, okay, it's a lot easier to get away with

705
00:39:59,039 --> 00:40:02,840
not having a live bass this then a live drummer, same.

706
00:40:02,719 --> 00:40:06,639
Speaker 1: A bass player. So that makes me sad. But but no,

707
00:40:06,840 --> 00:40:09,719
I understand though, because bass players are hard to find.

708
00:40:09,559 --> 00:40:12,440
Speaker 3: Something they really are. They're in such high demand, you

709
00:40:12,519 --> 00:40:14,199
know what I mean. Like, I don't know if I

710
00:40:14,320 --> 00:40:16,760
if I wanted to be a career musician, I definitely

711
00:40:16,880 --> 00:40:19,079
would pick up, like, you know, like a higher gun

712
00:40:19,159 --> 00:40:21,599
type guy. Bass or drums is like what you want

713
00:40:21,639 --> 00:40:21,760
to do.

714
00:40:21,960 --> 00:40:24,800
Speaker 1: Yeah, you know. Yeah. My theory about yeah, because drummers

715
00:40:24,800 --> 00:40:27,079
are hard to find too, and in fact, we've seen

716
00:40:27,639 --> 00:40:29,880
you know, Jenny knows this. We've had so many bands

717
00:40:29,920 --> 00:40:32,199
on the show where the drummer specifically is in like

718
00:40:32,280 --> 00:40:35,519
ten different projects. And uh, my theory about that is,

719
00:40:35,559 --> 00:40:37,159
you know, when you're growing up and you first you

720
00:40:37,480 --> 00:40:40,360
become interested interested in playing an instrument, and you have

721
00:40:40,440 --> 00:40:42,760
the conversation with the parents, you know, I want to

722
00:40:42,760 --> 00:40:45,280
play drums. They're going to try to talk you out

723
00:40:45,280 --> 00:40:47,440
of that, oh for sure, because nobody wants live drums

724
00:40:47,480 --> 00:40:49,159
and their you know, in their attic or whatever.

725
00:40:49,320 --> 00:40:51,239
Speaker 3: No, especially if it's being played by somebody who doesn't

726
00:40:51,239 --> 00:40:52,599
know how to do it right exactly.

727
00:40:52,719 --> 00:40:55,039
Speaker 1: Yeah, that's the worst. Yeah, drums or the tuba or

728
00:40:55,119 --> 00:40:57,679
probably the two that your parents are going to try

729
00:40:57,719 --> 00:40:59,599
to actively talk you out of, like, well, do you

730
00:40:59,679 --> 00:41:00,480
really want to play that?

731
00:41:00,880 --> 00:41:02,320
Speaker 3: Are you sure you want the violin?

732
00:41:02,719 --> 00:41:02,880
Speaker 5: Right?

733
00:41:03,280 --> 00:41:03,400
Speaker 6: Oh?

734
00:41:03,559 --> 00:41:07,239
Speaker 1: Violin? Yeah, that one could be a problem too, but

735
00:41:07,559 --> 00:41:10,960
uh yeah, so yeah, drums and uh, drums and and

736
00:41:11,480 --> 00:41:13,840
drummers and bass players are usually the hardest to find.

737
00:41:13,960 --> 00:41:17,519
Speaker 5: So you're bringing up some some childhood memories of me

738
00:41:18,320 --> 00:41:21,320
setting up a secondhand drum set in my parents' basement.

739
00:41:21,320 --> 00:41:25,000
Oh yeah, and since my mom is probably still watching,

740
00:41:25,079 --> 00:41:28,079
I wonder if she remembers opening the door to the

741
00:41:28,159 --> 00:41:31,679
basement and yelling down to me to please stop.

742
00:41:31,920 --> 00:41:32,400
Speaker 1: Oh really?

743
00:41:34,159 --> 00:41:34,400
Speaker 3: Yeah?

744
00:41:36,840 --> 00:41:39,599
Speaker 1: Oh man, did you did you continue to play drums

745
00:41:39,719 --> 00:41:41,239
or my?

746
00:41:42,559 --> 00:41:42,599
Speaker 3: Not?

747
00:41:42,800 --> 00:41:45,840
Speaker 5: I I never really played drum set, so it's funny. Actually,

748
00:41:46,119 --> 00:41:49,159
my trajectory is a musician. I started on piano and

749
00:41:49,320 --> 00:41:53,840
then I started playing percussion in like middle school, middle

750
00:41:53,840 --> 00:41:56,480
school band and stuff like that, and then I started

751
00:41:56,719 --> 00:42:01,039
playing marching percussion in high school, so I played I

752
00:42:01,199 --> 00:42:06,119
played like xylophone and stuff like that, like pit percussion

753
00:42:06,480 --> 00:42:08,519
for marching band. And then also during concert season I

754
00:42:08,559 --> 00:42:11,239
would play pit percussion, but during marching band season, I

755
00:42:11,280 --> 00:42:13,800
would play snare drum. But I think I was when

756
00:42:13,840 --> 00:42:15,400
I was a senior, I was marching snare, but I

757
00:42:15,840 --> 00:42:18,719
marched some other things in parades too. But I picked

758
00:42:18,800 --> 00:42:22,480
up guitar in high school at the same time. The

759
00:42:22,599 --> 00:42:25,480
drumming didn't really come with me in any sense of

760
00:42:25,519 --> 00:42:28,559
the word. After I graduated high school.

761
00:42:28,719 --> 00:42:30,880
Speaker 1: Yeah. Yeah, Oh, by the way, your mom says in

762
00:42:30,960 --> 00:42:34,599
the chat room, that's a lie. She's an eyes yelling

763
00:42:34,639 --> 00:42:35,960
at you. I guess to stop.

764
00:42:36,000 --> 00:42:42,320
Speaker 5: All right, Well, maybe you know, all right, maybe some

765
00:42:42,519 --> 00:42:45,239
selective memory on one or both parties.

766
00:42:46,800 --> 00:42:47,039
Speaker 3: I do.

767
00:42:47,519 --> 00:42:50,239
Speaker 5: I do firmly, and I will have a firm stance

768
00:42:50,320 --> 00:42:54,079
on the fact that it was not the preferred situation.

769
00:42:54,360 --> 00:42:59,480
Speaker 1: Okay, understood, understood. Yeah, but that is an unusual trajectory though.

770
00:42:59,480 --> 00:43:01,199
I think you're right in terms of because I feel

771
00:43:01,239 --> 00:43:03,119
like I forget who we were talking about this with.

772
00:43:03,280 --> 00:43:05,599
But I feel like most most people who play drums

773
00:43:05,599 --> 00:43:07,840
who play other instruments as well, drum. They usually get

774
00:43:07,840 --> 00:43:10,280
to drums at the end, you know, like they like

775
00:43:10,360 --> 00:43:12,760
they start on guitar, bass or piano or whatever, and

776
00:43:12,800 --> 00:43:16,320
then eventually they get to drums. But it sounds like you, well,

777
00:43:16,360 --> 00:43:18,719
you started on piano, right, but then Yeah, but drums

778
00:43:18,840 --> 00:43:19,639
was early.

779
00:43:19,960 --> 00:43:22,119
Speaker 5: Yeah, drum drums were early. I think I started on

780
00:43:23,519 --> 00:43:25,760
I think I started on piano when I was like seven. Yeah,

781
00:43:26,639 --> 00:43:31,480
and I still play piano. I still, I still play

782
00:43:31,519 --> 00:43:36,079
piano pretty regularly. But yeah, I think it's interesting. I

783
00:43:36,360 --> 00:43:40,199
think I started picking up percussion in fifth grade. Maybe

784
00:43:40,239 --> 00:43:42,679
I think I was eleven or twelve when I started

785
00:43:42,719 --> 00:43:46,079
picking it up, so, you know, only another five years later,

786
00:43:48,239 --> 00:43:51,880
and I kind of did things in stages. I left

787
00:43:53,039 --> 00:43:56,079
a lot of piano behind as far as my main

788
00:43:56,199 --> 00:44:01,840
focus once I kind of got into high school. My

789
00:44:01,960 --> 00:44:04,480
mom will also agree with this. I stopped actually really

790
00:44:04,559 --> 00:44:08,599
practicing for my lessons, so I would learn stuff that

791
00:44:08,679 --> 00:44:10,000
I was playing. You know, I was in the school

792
00:44:10,079 --> 00:44:12,119
jazz band and stuff like that, so I would practice

793
00:44:12,159 --> 00:44:17,239
that stuff kind of. But I stopped taking formal piano

794
00:44:17,320 --> 00:44:22,000
lessons when I was maybe fourteen. I don't blame her whatsoever.

795
00:44:22,199 --> 00:44:25,239
She didn't want to support me doing it if I

796
00:44:25,440 --> 00:44:27,920
wasn't actually going to practice any of the material, and

797
00:44:28,079 --> 00:44:30,920
I had. Yeah, I was like, I don't want to

798
00:44:31,000 --> 00:44:35,000
learn classical music, like I want to play cool stuff, right,

799
00:44:36,519 --> 00:44:38,519
I want to play guitar now, you know.

800
00:44:38,760 --> 00:44:42,239
Speaker 1: Yeah, not rebel, yeah, real rebel.

801
00:44:43,239 --> 00:44:47,519
Speaker 5: It really only served to hold me back really, uh,

802
00:44:47,639 --> 00:44:50,480
in the future. I'm fortunate enough that I was able

803
00:44:50,519 --> 00:44:53,159
to like get back into everything kind of universally, you

804
00:44:53,239 --> 00:44:56,480
know what I mean. I ended up playing drums. No,

805
00:44:56,639 --> 00:44:58,599
it's not true. I did play drums in a band

806
00:44:58,639 --> 00:45:02,159
when I was in college. We were not good really, yeah,

807
00:45:02,639 --> 00:45:06,519
a little punk band, you know. But yeah, it served

808
00:45:06,559 --> 00:45:08,239
me well as far as all the other things that

809
00:45:08,320 --> 00:45:11,599
I did, yeah, you know, musically, but yeah, very interesting.

810
00:45:12,000 --> 00:45:14,360
I'm back into piano pretty regularly now, you know. I

811
00:45:14,440 --> 00:45:17,559
play guitar every week, okay, but no drumming.

812
00:45:17,800 --> 00:45:18,000
Speaker 4: Yeah.

813
00:45:18,039 --> 00:45:19,880
Speaker 5: Yeah, they hate it when I get them a drum set,

814
00:45:19,960 --> 00:45:20,320
that's true.

815
00:45:20,639 --> 00:45:23,199
Speaker 3: Yeah, yeah it's bad.

816
00:45:25,000 --> 00:45:27,800
Speaker 1: But actually starting on piano though, that's good because I've

817
00:45:27,840 --> 00:45:30,159
heard a lot of Uh. I've heard so many music

818
00:45:30,239 --> 00:45:35,719
teachers and instructors and even Berkeley professors say that ideally,

819
00:45:36,239 --> 00:45:39,360
when when you're young and you're starting out getting into music.

820
00:45:39,800 --> 00:45:43,159
That's the ideal place. Keyboard, any kind of keyboard is

821
00:45:43,199 --> 00:45:46,000
the ideal place to start in terms of building blocks

822
00:45:46,599 --> 00:45:49,519
for learning how to play music. Like that's like the

823
00:45:49,760 --> 00:45:52,199
single best place to start is learning how to play

824
00:45:52,199 --> 00:45:52,719
a keyboard.

825
00:45:53,079 --> 00:45:55,960
Speaker 3: Yeah, I would agree with that. I mean yeah, because

826
00:45:56,000 --> 00:45:57,840
it's just up and it's just up and down. There's

827
00:45:57,880 --> 00:46:00,760
none of this like dumb sideways stuff where like you're

828
00:46:00,760 --> 00:46:04,679
repeating the same exact note like on guitar. You know, there's, however,

829
00:46:04,719 --> 00:46:07,440
many different places to play each note that's like in

830
00:46:07,519 --> 00:46:10,960
the same exact octave. You know that. It's like, I

831
00:46:10,960 --> 00:46:14,519
don't know, there's it's a lot more open to interpretation

832
00:46:14,800 --> 00:46:17,440
than I think that playing like piano or something like

833
00:46:17,519 --> 00:46:20,719
that is. And so it's really easy to see the

834
00:46:21,360 --> 00:46:25,440
more linear nature of music in that way than trying

835
00:46:25,480 --> 00:46:27,280
to like figure out a guitar fret board and be.

836
00:46:27,320 --> 00:46:32,480
Speaker 1: Like exactly only and what's that right, right? Yeah, yeah, exactly.

837
00:46:32,559 --> 00:46:34,239
And I guess there's research to these shows that are

838
00:46:34,280 --> 00:46:37,280
really it's the fastest way to train your brain to

839
00:46:37,400 --> 00:46:39,960
understand music and understand music theory and everything is just

840
00:46:40,079 --> 00:46:42,880
learning on the keyboard. But which I didn't do, unfortunately,

841
00:46:42,880 --> 00:46:43,519
I wish I had.

842
00:46:43,559 --> 00:46:45,599
Speaker 3: But yeah, I mean it would even give you like

843
00:46:45,679 --> 00:46:48,039
a really good rhythmic foundation if you wanted to switch

844
00:46:48,079 --> 00:46:50,360
over to like drums or something like that. A lot

845
00:46:50,360 --> 00:46:53,199
of people consider it to be a pretty percussive instrument itself.

846
00:46:53,119 --> 00:46:56,280
Speaker 1: Right right, Yeah, exactly. Well that might explain your trajectory

847
00:46:56,360 --> 00:46:57,400
there in the beginning.

848
00:46:57,079 --> 00:47:00,960
Speaker 5: With it definitely does. It's everything. It was an easy

849
00:47:01,199 --> 00:47:06,639
you know bridge, it's everything. It's it's melody, harmony, uh,

850
00:47:07,079 --> 00:47:11,559
you know, bassline me, you know what I mean. I

851
00:47:11,679 --> 00:47:15,239
definitely because of that, I'd say my biggest strength in

852
00:47:15,360 --> 00:47:19,599
this band would be composition, you know. It's it's interesting

853
00:47:20,360 --> 00:47:24,639
my technique and my proficiency on the instrument on guitar

854
00:47:25,719 --> 00:47:28,719
has had to develop. I mean, I've become an infinitely

855
00:47:28,800 --> 00:47:31,079
better guitar player than I was when we first started

856
00:47:31,079 --> 00:47:37,199
writing music in like twenty nineteen. My my actual playing

857
00:47:37,519 --> 00:47:41,159
was just so behind every step of the way when

858
00:47:41,199 --> 00:47:44,400
I was learning guitar. But my main skill is being

859
00:47:44,440 --> 00:47:46,880
able to take I call it piano brain, you know,

860
00:47:46,960 --> 00:47:49,360
whenever we're doing anything. I just I got the visual

861
00:47:49,440 --> 00:47:53,360
piano in the sky okay, okay, And I kind of

862
00:47:53,440 --> 00:47:56,960
have to translate from guitar to piano in my mind

863
00:47:57,039 --> 00:47:59,960
and then back to guitar. It mixed communicating with him

864
00:48:00,079 --> 00:48:04,159
them not great sometimes and and everybody else too. This

865
00:48:04,199 --> 00:48:07,119
stuff going on in my brain is sometimes hard to explain.

866
00:48:07,280 --> 00:48:10,320
But given the opportunity to put it down and then

867
00:48:10,400 --> 00:48:13,800
explain it in terms of everyone's individual instrument and understanding,

868
00:48:15,119 --> 00:48:17,280
I've been told I do a good job and it's

869
00:48:17,800 --> 00:48:20,719
probably my biggest I would say it's probably my biggest

870
00:48:20,760 --> 00:48:24,360
attribute and contribution other than like the technical side of things, okay,

871
00:48:25,159 --> 00:48:28,960
as far as like tech actual technology, yeah, and setting

872
00:48:29,000 --> 00:48:31,960
that stuff up. So yeah, you know, let me just

873
00:48:32,000 --> 00:48:33,039
talk about myself for a bit.

874
00:48:35,480 --> 00:48:38,719
Speaker 1: Now. That's uh no, that that's very interesting. And yeah,

875
00:48:38,760 --> 00:48:41,760
I think everything you says you said, they're really bolsters

876
00:48:41,800 --> 00:48:44,480
that idea that you know, learning on the keyboard is

877
00:48:44,519 --> 00:48:45,239
the best way to start.

878
00:48:45,840 --> 00:48:46,480
Speaker 5: Well, what about you?

879
00:48:46,639 --> 00:48:48,320
Speaker 1: And by the way, if you're just joining us, we're

880
00:48:48,360 --> 00:48:50,920
joined by a questing beast. Here in studio. We have

881
00:48:51,039 --> 00:48:53,559
Jane and Shane here, and so I'm curious about your

882
00:48:53,599 --> 00:48:55,039
trajectory now, Shane.

883
00:48:55,440 --> 00:48:57,360
Speaker 3: So I had almost none of that. I always wanted

884
00:48:57,360 --> 00:48:59,679
to play guitar when I was seven I got appetite

885
00:48:59,719 --> 00:49:02,719
for this struction, and I would be listening to that

886
00:49:02,800 --> 00:49:04,679
and be like, how are they making these sounds happen?

887
00:49:05,000 --> 00:49:10,199
It was the first time I remember hearing like stereo

888
00:49:10,440 --> 00:49:13,639
guitar parts and noticing that, like each guitar was doing

889
00:49:13,760 --> 00:49:17,840
totally different things. And so that s more than like

890
00:49:17,960 --> 00:49:21,000
even like you know, slashes soloing being you know, great

891
00:49:21,280 --> 00:49:24,920
or whatever. It was the interaction between the guitars, like

892
00:49:25,039 --> 00:49:28,559
the riffs, and the way that the playing the two

893
00:49:28,599 --> 00:49:31,960
different things culminated in this one new thing that's ultimately

894
00:49:32,079 --> 00:49:34,800
way better than the individual things on its own, always

895
00:49:34,880 --> 00:49:37,679
really spoke to me. And so when I inevitably started

896
00:49:37,679 --> 00:49:42,280
picking up guitar at like twelve years old, that I

897
00:49:42,679 --> 00:49:46,639
started going towards rock and roll like immediately, and Jane

898
00:49:46,639 --> 00:49:50,239
and I started writing music together when we were like fifteen. Yeah,

899
00:49:50,519 --> 00:49:52,840
And it was funny because I had taken I had

900
00:49:53,000 --> 00:49:55,920
a guitar teacher at the time who had kind of

901
00:49:56,119 --> 00:49:58,000
like burnt me out on it because it was like

902
00:49:58,320 --> 00:49:59,880
I didn't feel like I was really learning a lot

903
00:49:59,920 --> 00:50:02,880
of stuff, and I felt like, you know, very stagnant.

904
00:50:02,920 --> 00:50:04,400
So I stopped playing for a while, and then one

905
00:50:04,480 --> 00:50:07,159
day I was like trying to figure out something that

906
00:50:07,239 --> 00:50:08,320
I was hearing in my head. I was like, oh,

907
00:50:08,360 --> 00:50:11,320
I wonder how you play that? And I didn't play

908
00:50:11,320 --> 00:50:13,679
it right at all. I played a totally new thing,

909
00:50:14,360 --> 00:50:17,599
and I was like, that's not the thing I was

910
00:50:17,679 --> 00:50:20,280
looking for. But it's pretty cool on its own. And

911
00:50:20,880 --> 00:50:24,000
I ended up talking to Jane at that point and

912
00:50:24,079 --> 00:50:25,639
being like, hey, I came up with this thing, like

913
00:50:26,159 --> 00:50:28,440
do you want to write the rest of it with me?

914
00:50:29,000 --> 00:50:30,320
And yeah?

915
00:50:31,039 --> 00:50:34,119
Speaker 1: And that was so that was really the beginning of sure, yeah,

916
00:50:34,280 --> 00:50:35,199
of all this right.

917
00:50:35,199 --> 00:50:37,039
Speaker 3: Oh yeah, wow, yeah a long time ago.

918
00:50:37,239 --> 00:50:41,480
Speaker 5: Yeah, fifteen years later. Wow, it sounds a lot different

919
00:50:41,559 --> 00:50:44,679
than it did when we were hanging out, just playing

920
00:50:44,760 --> 00:50:48,360
through a couple tiny little combo am in his bedroom.

921
00:50:48,559 --> 00:50:53,239
Speaker 1: Yeah, yeah, I can imagine, Yeah, I can imagine. Well

922
00:50:53,280 --> 00:50:54,760
before we run out of time, so I want to

923
00:50:54,760 --> 00:50:57,639
make sure we remind everybody about you know two things.

924
00:50:57,679 --> 00:50:59,119
Of course, you know that you got the big show

925
00:50:59,559 --> 00:51:02,880
tomorrow and at Terminus Underground in Nashua and then and

926
00:51:03,000 --> 00:51:06,719
the tour. And also to where people can go online

927
00:51:06,719 --> 00:51:08,000
to keep up with everything that you're doing.

928
00:51:08,079 --> 00:51:10,320
Speaker 3: Yeah, absolutely, if you're on Instagram, you can find us

929
00:51:10,440 --> 00:51:13,880
at Questing beasts. There's no punctuation or anything. We really

930
00:51:13,960 --> 00:51:16,679
lucked out on that screen name there. We're also on Facebook.

931
00:51:17,039 --> 00:51:20,440
Those are like the two primary social places that we're at.

932
00:51:21,639 --> 00:51:24,119
We stream our music everywhere, and we've got the link

933
00:51:24,199 --> 00:51:27,719
tree on the Instagram page and on the Facebook page,

934
00:51:27,800 --> 00:51:31,800
so it's very easily accessible. We can find our music anywhere.

935
00:51:32,000 --> 00:51:35,800
Speaker 1: And yeah, excellent, excellent. Yeah, so be a terminus tomorrow night.

936
00:51:35,880 --> 00:51:38,440
And then the tour started. What was a start date

937
00:51:38,719 --> 00:51:40,880
April fifth?

938
00:51:41,000 --> 00:51:42,960
Speaker 3: Yeah, at Ralphs Rock Diner.

939
00:51:43,119 --> 00:51:46,039
Speaker 1: Yeah, Yeah, congratulations on that. That's amazing.

940
00:51:46,079 --> 00:51:47,519
Speaker 3: Thank you. Yeah, I know we're stoked for that.

941
00:51:47,880 --> 00:51:51,400
Speaker 1: That's amazing. Jane and Shane, thank you both so much

942
00:51:51,440 --> 00:51:52,000
for joining us.

943
00:51:52,039 --> 00:51:52,280
Speaker 3: Thank you.

944
00:51:52,400 --> 00:51:54,559
Speaker 1: This has been wonderful. And what should we I'll let

945
00:51:54,599 --> 00:51:57,480
you pick. Well, we'll play one more track from Birth

946
00:51:57,519 --> 00:51:59,239
to close out the show. What should we? What should

947
00:51:59,239 --> 00:51:59,599
we play?

948
00:52:00,119 --> 00:52:00,239
Speaker 5: Uh?

949
00:52:00,760 --> 00:52:03,719
Speaker 3: You want to do corruption? It's one of the heavier ones.

950
00:52:03,760 --> 00:52:05,360
I'm trying to push it out there. It's the it's

951
00:52:05,440 --> 00:52:07,760
like the only song that hasn't hit like a thousand

952
00:52:07,880 --> 00:52:08,800
on Spotify yet.

953
00:52:08,840 --> 00:52:09,559
Speaker 1: Oh no kidding.

954
00:52:09,639 --> 00:52:11,000
Speaker 3: And also I'm trying to I want to do a

955
00:52:11,079 --> 00:52:13,760
side project where I do death metal vocals. So if

956
00:52:13,760 --> 00:52:15,840
you don't an death metal band and you need a vocalist,

957
00:52:16,559 --> 00:52:17,280
you call me up.

958
00:52:17,480 --> 00:52:20,199
Speaker 1: All right, all right, and let's see if we can

959
00:52:20,480 --> 00:52:23,480
push some streams on. This track absolutely sounds great. This

960
00:52:23,639 --> 00:52:25,719
is from the album is Birth and the band is

961
00:52:25,960 --> 00:52:26,760
Question Beast.

962
00:52:27,000 --> 00:52:54,719
Speaker 2: Thanks again, brought the stuff shot in my mind longest

963
00:52:54,800 --> 00:52:56,559
myns Guy's boy Die.

964
00:52:58,760 --> 00:53:07,760
Speaker 4: Train no vocal on I'm sorry, I say by Mentorian,

965
00:53:07,880 --> 00:53:11,719
I have alread hurried now I'm selling.

966
00:53:13,280 --> 00:53:15,079
Speaker 3: My start was taken.

967
00:53:15,079 --> 00:53:18,960
Speaker 4: St shot.

968
00:53:20,400 --> 00:53:25,960
Speaker 6: Around sound shut up, It's.

969
00:53:29,800 --> 00:53:30,840
Speaker 5: I don't where.

970
00:53:32,559 --> 00:53:39,079
Speaker 4: Good Boat Shad, Stone Don't Wait, Take.

971
00:53:39,119 --> 00:53:41,000
Speaker 3: Back the Car Roads.

972
00:53:41,360 --> 00:53:46,960
Speaker 1: First Boat Flash and Stone God Don't Wait.

973
00:53:47,280 --> 00:53:58,639
Speaker 4: Take it Back Far Roads Rise