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Speaker 2: Nipping out to get bim bags. We've got some Well,
I'd better take the.
Speaker 3: Dog out, but we don't have a dog.
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get the keys.
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o eight nine nine five six seven sixty four Big
Truth Podcast dot com for the show. And that's about it, man,
This is my boys. Stu's coming on from the band
spirit World, which is you've heard me ranting and raving
about them. Uh you know, it's one of the only
newer bands and they're not even new anymore. They've been
around for years, but one of the newer bands that
I completely fucking sweat. So keep it locked. This is
a good one.
Speaker 5: Big by why we have a left off?
Speaker 3: Yes, once again we have lift off. I want to
thank you for tuning in to this episode of the
Big Truth Podcast. And I'm stoked to have my man
Stu from a band called Spirit World with me today.
And you've heard me rant and rave and and uh
fawn out over over this band over the last couple
of years. I don't like a lot of new stuff,
but this stuff to me, hits hard. So I'm stoked
as a as a fan just to have you on today. Man,
I don't say that about much, so uh, STU, welcome
to the show. I appreciate you taking the time. I
know you guys have been like had a You've had
a crazy be like touring schedule. You guys have been
been making massive moves and I know you had called
bladder surgery and this and that. I know that's not
easy easy dude, especially being vocalist in an extreme type
of band. But but what's happening, dude.
Speaker 2: Yeah, thanks for the kind words, Thanks for having me.
Not much, man, We're chilling. We we're home for a bit.
We uh we just went out and did a couple
of shows with Carcass and did the Louder than Life
festival like a week ago. So everybody got together, hung out,
played a couple of shows and yeah, just home, chilling,
fucking decorating my house for Halloween, hanging out, man, having
a good time. My nephew's flying into town tomorrow. Got
tickets gonna go to the fights. Nice he's in. It's
like super into m M A and UFC, which I
followed like way back VHS tape like probably from like
the third or fourth FC on like all through Pride.
So like fight sports mm a boxing is something like
with the music thing too. It's just one of the
things that I just geek out about and follow. So
I'm pretty stoked. Gonna be a fun weekend. Yeah, Buddy
Khalil is fighting on the card. He's you know, a
title contention fights. So be a good time, man. Yeah,
got a cool weekend coming up.
Speaker 3: Yeah. Being in Vegas is a good is a good
place to be too if you want to go see
if you want to go see things live, man, you
get a lot of a lot of events. There are
a lot of good cards out there. You don't have
to go to the paper of view. You can just
go down the street.
Speaker 2: Yeah you can, man. I mean it's it's expensive like these.
I think I forget what we paid, like maybe like
three fifty a ticket or something, which it's a good card.
But I like the live fights, you know, I've been
to a bunch and it's cool, like the energy and
the UFC especially does a good job of like having
videos and like the walkout music and like they play
the like sizzle reels before the fights and kill the lights.
So it's cool opposed to like a big boxing fight.
Like it's just silent in the arena as far as
the production. Yeah, and so like boxing, you know, not
as much anymore. But back when like HBO was popping
and you had like Lampley and Larry Merchant, like the
color guys were great, Like I preferred watching it on TV.
Then yeah, yeah, yeah, pay to pay the ticket price
and then you're just kind of in there and it's
just silent. Put the roar of the crowd.
Speaker 3: You know, ye yeah, yeah, it definitely seems like, you know,
UFC and stuff has stepped up the production and it
keeps you entertained. So you go there, you're spending that money,
but you're entertained the whole time. It's not like, like
you said, were you just sitting there waiting for the
next you know what I mean match to come up. Yeah.
Speaker 2: They stack the cards too, you know, like that was
another thing. You go, you pay three times as much
to go to a boxing card. Back in the day,
it's like an mm A fight, but there's really only
one fight that's even competitive. The rest are just stacked
with people they're developing and they're just smashing tomato cans.
So the UFC is cool, like in this because since
Broden's coming down here, my nephew, Like that's my twin
brothers kid, and he's a badass. So like he's like,
I'm sure we'll be down there like watching the first
fight at like three in the afternoon, so we'll get
like a it's probably like a ten fight card, ye,
with like the the main card is just dynamite with
like killer fights. Like we're probably gonna be down there
just like I don't know, like a full shift, like
an eight nine hour yeah shift of fights, you know.
Speaker 3: Tight. Yeah. And then that's the other thing too, if
you if you're spending that money, like you still even
though it's expensive to get in, like like you said,
you got eight nine hours of entertainment, you know what
I mean? It fights to watch. It's not like you're
just watching two fights or something. It's not like watching
Tyson in the in the eighties where you go you
spend five hundred bucks to go to the fight and
it's thirty two seconds long and then you're like all right,
cool audio.
Speaker 2: Yeah, yeah, my brother Neck that plays bass and Spirit
World's coming to so just be the three bros hanging out,
so it'll be good quality time, you.
Speaker 3: Know, absolutely, man, absolutely so. So you guys, you guys
have been torn pretty heavy, and I know I wanted
to go see you guys when you played Wista, but
you know, I don't know. It seems like things right
now is like there's there'll be nothing happening for three
full weeks in a row, and then five things are
always happening, and it's always the same day. And I
was out of town every time you guys have played.
I've been out of town. So I'll catch up with
you sooner or later. And Connor's Connor will give me,
h give me a heads up when you guys are
coming around.
Speaker 2: But uh, yeah, I don't think we're doing Worsta this time.
I think it's uh, I think we're actually in Boston
at that House of Blues.
Speaker 3: Yeah cool, it's a good venuard. It's big, it's sound
as good.
Speaker 2: Yeah, I've never played there, so I saw. I think
actually Connor brought it up when we were on this
last little run because I just assumed we were playing
the Palladium again. He's like, no, bro, fucking you're in Boston, baby.
Speaker 3: Yeah yeah, yeah, right down right down in the thick
of it.
Speaker 2: My brother just moved out there to uh Amhurst, he's
uh works at the university. Yeah, and I guess it's
like an hour from Wooster, maybe a couple hours from
Boston or something.
Speaker 3: So yeah, it's like three hours. Yeah, three hours away.
Yeah that's western. Yeah, that's more like he's closer to
like you know, Albany, you know, upstate New York than
he is does.
Speaker 5: Yeah.
Speaker 2: I couldn't picture it. Like when he told me, I
haven't looked at a map either, and I was like, fuck, man,
I don't. I've never heard of that college. Yeah, and
because he was at Iowa State yep. And like I
follow like U n LV college basketball football pretty close,
and I'm like, Amhurst College, What the fuck is that?
Speaker 3: Like it's one of the US universe in Massachusetts, Damhurst
one yep.
Speaker 2: Yeah, And it's just one of them things that if
it doesn't have sports, you know, I'm not very Uh.
Speaker 3: They do, but I don't think they're like you know
the division that you're watching, you know what I mean,
they're there, there's.
Speaker 2: Yeah exactly, so it should be cool. Like when we're
out there, I think it's right around Thanksgiving, So he's
looking for his house or like in an apartment, So
gonna try and maybe we can swing by either coming
or going and go check out Amhurst and hang out
with them.
Speaker 3: Yeah.
Speaker 2: I got another little nephew over there that he's got
the jiu jitsu bugs, so he's been up there already
choking out a bunch of massholes.
Speaker 3: And there you go. So so so the band man,
like I I like the first the well I first
heard it, you know, and it was just one of
those random things you can you can think, you know,
as as as you know, I know, is as sucky
as it is for artists. It came up randomly for years.
Years ago, Pagan Rhythms came up for me just on
Spotify randomly, and I hadn't heard of you guys, you know,
and this is before this is before Death Western came
out and everything, so probably you know the year that
Pagan Rhythms came out and I was like, what the
fuck is this? This is good, man, this is good.
And then Death Western came out and or the single,
the Moonlit Torture, UH single came out and I was like,
what the fuck that song? And Death Western to me
like and I'm not saying I've said it on record
to people like those songs are like absolutely impeccable, one
hundred percent fucking fucking solid, fucking songs. And that album
Death Westerns and you know, one of my top albums,
and like I've explained it to people, I was like,
imagine if like Integrity and Slayer went back in time
to the Old West, raped a saloon whore in a
brothel and had a child. That child is spirit World.
It is good. But I mean I liked with Western Man.
It seemed like, uh, it was cool that you Also.
One thing I wanted to ask you about was the
you had a book that accompanied it. Did did you
write the book first and then the music for the record,
because I know they were like kind of went hand
in hand or was it like, you know, what's the
is it chicken or egg situation here?
Speaker 2: You know, it's all kind of like a big blur.
It was like like when it started because I started
writing that collection of short stories and I was working
on Pagan Rhythms at the same time. Oh okay and
the like, because that story is continuing. It's just I've
come to the realization that what was going to just
be like a zene and me just writing some stuff
with No. I don't know what the I guess it's
just I realized now that what I do. Maybe it's
because I'm like I hyper fixate on the things I create,
and I just well, it's important to me to like
make shit really tight and good, and I just kind
of came to the conclusion that like the stuff that
I'm doing is not There's nothing that I do that
is like a it all deserves like a big release.
So like on the fiction side, like the short stories
I wrote, I self published them and then like it
went out of print, and then a publisher in La
did a really nice version of it that came out
at the same time as Death Western, and so the
follow up to that, like the fiction narrative story of
this horror Western thing, is something I'm also working on too.
So like all these things are just like one big
creative outlet that I'm either in here writing, designing merch,
designing fucking suits and like the stage stuff or writing riffs.
So I just kind of spirit world. I set it
up that way too, like because I played in a
band and you just kind of learn when you go
through the ring, or if you if you're smart about
putting your interests into something that can't have a ceiling
on it. You can really kind of just get fucking
as weird as you want, you know. And that's something
that's really appealing to me. And I just wanted to
have something that I could just I really respect people
that have a lot of output and really are prolific.
And I struggled with that real hard because number one,
when you're like in your early twenties and you don't
know anybody and you don't know shit, Like I've written
so many songs that I'll never see the light of day,
put it that way, And so I kind of came
to the conclusion, like I want to set up a
project where on one hand, it's sort of a glorified
solo project because I'm just sitting here, like most of
the time one of my cats hangs out with me
and shit, but like it's just me. It's not like
me and Matt or me and Nick or drummer anybody's
hanging out. It's not like I spent a lot of
time alone doing this. And so I wanted to have
a project where I could channel that shit and then
when I look back in ten years, have a body
of work that actually reflects, you know what, like what
I'm doing, you know that can grow and change, and
like as things hit and things become more interesting to me,
it's cool to be able to like focus on it,
you know what I mean?
Speaker 3: Yeah? Yeah, no, And that's right. So so do you
have So it sounds like, so you started writing a
collection of stories. Did like I guess like what I
was asking too is like those stories and kind of
informed what you were writing about music wise, but like
when you were writing songs, did that also inform some
of the stories? Like did they go?
Speaker 5: Yeah?
Speaker 2: And it's all completely incestuous. Like there's characters that like
I wrote some of the songs on Death Western, there's
you know, some things that came out of a lyric
that are now and the like the fallow up to
the fiction stuff. It looks like it'll probably be a
graphic novel. And so when that stuff finally comes out,
and then when I put out this other book I'm
working on at some point in the next five years
or so, like people go back and be able to
connect the dots if they look like ideas and things
that it's hard to explain, but like it's all just
one big concept. At least this right now, that's corralled.
At some point I'll step out of that and I
have a ton of stuff I want to do that's
outside of this realm that I'll probably still do under
Spirit World. That'll be you know, where songs could be,
you know, a little more autobiographical and you know, things
that are not rooted in this horror Western kind of concept.
Speaker 3: Sure. So the stuff you're working on now fiction wise,
is it continuing the same story like the horror the
horror Western stuff, It's continuing.
Speaker 2: Yeah, Yeah, So it's that that story is ongoing, like
through all these songs and through all this writing is
like one big long saga. It's cool and it sucks
because it's That's the thing that it was easy with
Pagan Rhythms because I wrote these short stories. I wrote
that record. I did it all myself, paid for it,
and it was like from starting it to having it
out less than probably eight months, you know, start to finish.
And now, because like we just finished up our deal
with Century Media and since like July, have the basic
tenets of a new deal with the label done and
things are just going back and forth, and I'm like
super pumped and happy about where things are landing. But
the more people you involve and teams and things, yeah,
it just and just like I said with the book,
it's like the first one did so well, and now
I'm like I can't just put it out as like
a zine or like put it out as an email blast.
Speaker 3: It's like, yeah, you stepped it up, and you got
to you gotta keep it. You gotta keep.
Speaker 2: Yeah, and it it needs to be archived. And if
it's gonna like like that first fiction novel when it
comes out like it's a blessing and a curse, like
my name's out there enough that like it's got to
be great, you know, and not only that, but the
content's got to be good, but then the actual delivery
and the marketing and everything has to be good. But
then that means that you know, you're fucking curating and
working on these projects that now it spans several years
between things, where for me that's like that's one of
the balancing things that you know, it's all good problems
to have, ye, but it's just something where you you know,
it's trying to be a creative and just like do
it because I like to do it. Yeah, knowing that
things are like like this, these new songs I'm working
on right now, It's like I would hope I could
get them out next year, but I wouldn't be surprised
if with nobody, with everybody doing the right things, it's
possible that it could make sense to do it. Who knows,
end of next year, like second quarter of the following year,
and that could just be reality, you know what I mean.
Speaker 3: Sure, Yeah, there's there's a the like you said, there's
a lot more people involved now, so it it's not easy.
It's not like you sitting sitting at your place doing
it like all right, this is done. Let me just
finance this and throw it out like yeah, you got
you got labels, and they're going to be like, well,
we really got this release first and we're gonna put
this out next quarter, and we feel like it's gonna
do better than you don't think, you know, yeah, I
get it. It's a it's more of a more of
a business, you know what I mean.
Speaker 2: Yeah, And then it's like the touring stuff too, right,
It's like Eldorado like was received really really well, like yeah, yeah,
like did absolutely fancy pastick on like Liquid Metal and
like the best playlisting we've ever had on Spotify, where
like even right now it's still like just pumping, and
it's like the touring that you do on top of that,
it's like one, it's cool for us, where it's like that,
what do we do this? You're like the oh, we
like when did like a festival like on a boat thing,
you know, and it's like, okay, cool, like never done that, sick.
A couple of our old ladies went like it was badass.
Speaker 3: And then you.
Speaker 2: Follow that up. The record comes out and you go
out with like Obituary, Nails, Terror long tour like five
and a half weeks or something, and then just did
some shit with Carcass and then we got this other
tour coming up, and like all of that is kind
of part of that album, you know what I mean.
It's it's not like just you know, you know what
I'm saying, like just the you put out new art
and then you know that comes with, you know, hundreds
and hundreds of shows that are lined up around it
because people fuck with what you're doing.
Speaker 5: You know.
Speaker 3: Yeah. Yeah, like you said, it's good problems to have.
It's not a it's it's it's a thing, you know
what I mean. It's a it's a it's a good thing,
but it's also like takes away probably because like you said,
you probably appreciate being able to have your time at
your house to sit there and create and do the
do the creative part of it, you know, And but yeah,
you got to do the other end too.
Speaker 2: Like we all work, and like Matt just had a kid,
and like my brother's kids, like my niece, uh Brooklyn,
like she's a senior in high school. Yeah, and like
just all those things. It's like we're we're just like straight,
stand up working class dudes where it's like this band
shit is crazy, Like it's cool as fuck. But we'd
be lying if we said it was remotely easy to balance.
Oh shit that spirit world does with and like I
have a like I have a corporate day job and
move to remote stuff, so like it got way more flexible.
But like my brother he owns his own business, so
you know, he's doing construction shit, so if he's got
a project, like it's tough to balance things, you know
what I mean. And like Matt too, like he works
out of state. And so we've done a good job
of doing it, and the band gets so many cool
offers and everybody and the band is all in on
making it happen because we love doing it. But it's
really like the age old story of like be careful
when you're riffing, because it takes you, like you never
know you write a fucking sick riff. Next thing, you know,
like your ass is playing a whole lot of shows,
and if you don't go capitalize on it, there's fifty
fucking bands standing at the door that are ready to go.
So it's not like a thing that you can I
feel responsibility too to like serve the people that dig
these records. And I feel like, because we don't tour
full time, there's always a pressure of like we don't
really do small room shows a lot, and so we
need to get out doing some headliner things. And it's
not because it's not because we don't feel like we're
big enough or ready to do it. It's literally just
we only tour like three months out of the year,
four months out of the year, and it's hard to
say no to going and playing in front of two
thousand people a night. To go do your own shows
and you know, play to two hundred kids, which I
love that too, but it's just like the you know
what I mean, it's like a it's a balancing act
where like if you're younger and everybody quits their job
and don't give a fuck because they have no responsibility,
you just constantly tour until you burn it out. And
we're at the point where we're like really trying to
figure out how to like slot all the puzzle pieces
of like, oh, my bro's got this sick fucking job
that he's gonna be. Like Connor's been helping him out.
He's been in Colorado like tons this year doing all
these like big Walmart projects and shit, and then we're
squeezing in like all the band stuff, all the family stuff.
It's it's crazy, man.
Speaker 3: It's like you said, man, that's like a recurrent theme
when I talk to people in bands. It's you know,
it's a different thing the tour when you're more set
up in life than it is when you're eighteen, nineteen,
twenty years old and you've got nothing going on except
the band and you. Everybody's like all in and let's go,
and it's a you you the band, and like five
year friends will jump in the van, you know what
I mean, and go out you know what I mean.
But it's a it's a whole yeah story when later
in life.
Speaker 2: Like the people that you know hop in the van
with you, it's like they don't give a fuck fuck
like whatever, job. It's like, fuck my job. I just
put in my notice. I'm going on tour all summer.
I'll figure it out. But like we're all everybody I've
run with is all like established, like grown yeah. Man.
So it's it's a thing where it's like you almost
feel guilty a little bit, where you're like, fuck, I
know it says that it's twenty five shows, but with
the off days that the headliners have with their buses
and then you know, we'll have to leave Vegas and
drive out the like our last careur we left for
Baltimore was the last show that we drive like two
and a half days to get home.
Speaker 3: You know, I'm sorry, that was me. I thought I
had I have my phone off. I don't know how
they're getting through. And that's the first time that's happen
one hundred and fifty episodes. That's the first time that's happened.
Did you hear that?
Speaker 2: But like you end up adding, like like to a tour,
you know, you add the number of shows you play
and you're like, oh, it's only going to be like
a month, and everybody's like, I think I can swing that.
And then you add it up and it's like, actually,
it's like fucking.
Speaker 3: Six weeks and a half weeks.
Speaker 2: Yeah, and then everybody's and at their ship like fuck,
yeah you know.
Speaker 3: Yeah, no, I hear you, man, there's something I didn't realize.
You designed the suits.
Speaker 2: These ones, like the artwork. My buddy Andy May like
did the drawings of the flash but like the coloring
and like going back and forth on the concepts and
the style of suits, and then once you have the artwork,
then working with the tailors to get them made and
like getting the measurements, going back and forth and like
all of that kind of shit. Like yeah, it's that right.
There is enough like doing five of them suits if
you're like trying to do a creative project, like that's enough,
ye like headache to where you're like, Okay, I accomplished
something in my world of insanity. That's like the tiniest
piece of this fucking machine.
Speaker 3: Well least, and at least you're in Vegas where you
probably got a tailor that's ready to ready to roll
in and gets what you're going gets what you're going for.
Speaker 2: Yeah, and we're lucky, like we as the band gets
bigger too, like people are excited to work with us,
and like, I just know a lot of people too
that people I respect that. You know, the street goes
both ways, where what seems like a crazy idea, there's
always somebody that's like, you know, you get stoked off
of somebody else getting stoked, you know what I mean,
So it makes it easy in that regard.
Speaker 3: Yeah, I think too, Like one thing I really like
about your band, and and this is you kind of
you didn't say it, but you said it without saying it,
is that you guys can kind of tour with anybody
in the in the in the in the in these
genres of music. Likely is that you're you're out with Testament,
you're out with Terror, you're out with you know whoever,
a caracus like, like you can go out with like
hardcore bands, you can go out with metal bands. You
go out thrash bands, death metal bands, you know anything,
what's it been like? You know? And I know you
guys are more established, but like, so this is kind
of just where I'm going with this. Is like I
remember one time one of my friends saw you guys upstate,
New York. He's like, he's like, bro that he's like
because I had told him about you guys, and he's like, yeah,
I'm going to see him. He goes, Bro, it was
fucking crazy because it's a death metal show and he goes,
These guys come out and like sequin cowboy outfits and
just fucking destroyed, destroyed the place, like and so like
I know things. You know, it's different times, and you
know it's not like playing in like the mid eighties
where people were a little more wild and whatever. But like,
what's been the reception for you guys, like through the years.
And I know it's probably different now, but like when
you first, guys, when you first started playing, you're coming out,
you know, dressed dressed to the hilt, but like just
just fucking throwing down like fucking heavy, heavy shit, Like
was it did people like were people like stoked or
like people like what the fuck's going on?
Speaker 2: Yeah? It's both, man, Like you get in the States,
it's a lot more received, easier, quicker. I should say
then like through Europe. But it's one of those things
where heavy metal has such a history of people doing
you know, costume theatrical things. So on one hand, people
are like, okay, like they're not wearing masks, they're not
a mask band, but there's some sort of thing. Yeah,
and if they have no idea about the because I
haven't gotten it to the point where I can fill
up the room where we have like stage design and
we have like like I want to get it to
the point like when you go see a Mono Marth,
you're like you're teleported into you know, some kind of
Norse mythology and there's like this whole stage show, and
I want to do like a horror Western version, like
I don't know if you saw like Alice Cooper and
Rob Zombie when they did their tour, like any number
of bands that like really put a lot into the shit.
You know, I want to go kiss style. But when
you're doing that and you're a small band from day one,
you don't have the luxury of like there's only so
much you can do when you're backlining, and motherfuckers refuse
to strike drums, so you've got like three drum kits
on stage, everything's backlined, and you have like we've played
shows with these big metal bands where like I'm just
straddling wedges like there's a mic standing it's like you
can't even move, so you can't even like move around
on stage, so you're just standing there in a suit.
And if somebody walks in to see a death metal
band and you know, they don't get it, like the
riffs went them over, Like we have such a relentless,
like live show that we get that a lot where
people are just like I don't get whatever this is,
but you guys fucking rip. And then like when Agnostic
Front took us over to Europe, that was pretty early,
that was before death Western it even come out right,
So it was like an older skinhead hardcore crowd that
just wanted to hate us, like legit just wanted a
reason to just be like this band fucking sucks. And
I'm sure some of those old skins don't like heavy
shit anyways. Yeah, But like with AF, they have such
hard stuff in their catalog, like the Eliminator and shit,
it's like r riffs and like the lineage of stuff
I pull from, like people hear the chromags and they
hear you know, Obituary and Slayer and Integrity and Ringworm,
like people that follow this underground shit, like when they
hear us live, they hear all these influences and they're like,
god damn. Like, so I think it's been easy just
because the the songs themselves. Just if you like heavy music,
he probably will enjoy the shit out of a Spirit
World show, you know.
Speaker 3: Yeah, yeah, And I mean and and I guess that
was really that's a really good way to explain the
music to. Like, those songs are like relentless, and I
just riff after riff after riff, and sometimes you don't
even hear the same riff twice in a song, and
it's just like keeps going and changing. But everything's just
like it plays off each other.
Speaker 2: Like I came up and I still do. Like I
just came up in the era where it's like my
older brothers are listening to like thrash and like the
first wave of death metal, and it's like the those
songs and the aggression and the rawness and like what
they were doing the speed was so mind blowing.
Speaker 3: But I was.
Speaker 2: Younger than all of them, so when I came up
I'm like, well, yeah, it's tight, but the motherfucker don't
hit the groove. And then I'm listening to like Obituary, Pantera,
Hate Breed and like more of the stuff that like
we're hardcore infused, like the just that mid tempo crush,
and so I just kind of combined all my favorite
grooves from everything. So a lot of times then when
I'm writing songs, like I'll do a fast part and
then I'll write like the sickest fast like Crow Maggie
thing that maybe on their record they would just do
that for three minutes and that would be the cool
part of the song, And for me, that's a like
an eighteen second blast of coolness just to speed it
up so I could break it down into like a
two step that I want, you know, And people just
feel that when we play live because it's nowadays two
like with everybody being down tuned, everybody is so fucking
heavy and they all do the same kind of shit
like just like everything.
Speaker 3: You know.
Speaker 2: It's like we play with so many bands that do
like the they're downtuned, super heavy and they chug, but
it doesn't have a great riff and they're doing like
the scrapes and shit and it's hard for like hard
as that stuff gets, but they don't they don't do
the riffs that like when I hear a record and
I hear like a great like Hanneman riff or like
Gary Holt or somebody, like, there's certain riffs like where
it's the technicality and they're doing roles and doing shit
where it's like damn, like where it's hasty, you know,
where it's got like a sick rhythm. I don't think
there's a lot of that, not as much of that
as when I was younger and you could go see like,
you know, bands NonStop that had killer fucking riffs like that. Nowadays,
I feel like that's kind of you know, as things change,
you know, it's just kind of I think we stand
out that way too. A lot of people here like
the throwback shit that we do, and to me, it's
like some of that stuff I've just grown up with,
So it doesn't seem like we're doing anything new. But
I think to a lot of people, they haven't seen
a lot of bands where, you know, they focus on
that type of riffing, you.
Speaker 3: Know, yeah, and then and then you got the stage
presence the costumes that really make it stand out, like
you know what I mean? Because yeah, because even if
people didn't know your name, they're like, who the fuck
with those cowboy dudes? Like you know what I mean,
Like it stands out because you don't don't you don't
look the normal thing. Like if you guys are playing
a festival in Europe, motherfuckers were like, who the fuck
with eight? You know what I mean? I'm sure yeah.
Speaker 2: And like art, I always spend the money like it's
it costs a fortune, but like you know, I take
this awesome artwork that you know, I get made up
for these records and when you print that shit and
it's like twenty five feet by fucking twenty behind you.
And even before the band walks out, then we always
play Eddie Arnold is our walkout music, and it's just
like an old country song and from the jump, people
are just like the artwork is so impressive and like
unique that I think that too is a big factor,
like the suits and the artwork of the banners. And
we play these big ass theaters with these bands where
you can really like drop a huge banner, and before
we even come out, people I think want to like
they just people like artwork, you know, they like bands
that have cool artwork, and they look at the banner
and they're like, that's sick. And then if the band
even gives them a reason to sort of like him,
I think it's like an easy when you know.
Speaker 3: Yeah, now you mentioned graphic novel. Is it gonna be
done in that kind of same style of artwork or
is it going to be more traditional comic or like
or you know, like what do you what do you?
What are your visions on that?
Speaker 2: Like the interior, I'm gonna do like a black and
white Like I'm a comic book dork, so like I
grew up on that stuff, So I'm gonna do like
a it'll be black and white inside. And then I
mean the covers I haven't got that far, but I
mean they may you know, be full color and ship
like that. But yeah, it'll just be I because I
want to, you know, eventually, like I want to get
this out and like do like some film stuff with
this world. But I think the story lends itself pretty
well to like the graphic novel medium, where it'll be
cool to like kind of storyboard out some of these
shots for a film and really have something where I
can show people what this is, you know, because it's
hard with the records you have these really sick covers yep,
and like with our music videos, we don't have enough
of a budget for me to really be meticulous and
like write it and make sure it's in line. So
that stuff has kind of been handed off to some
friends of mine and they sort of do their own
take on things. So it's like horror Western, but it's
not like the story that's actually happening in these records,
in these books, and so it's I just want to
get the actually get this world and this lore out
there where people can see the read it, see it,
you know, show the whole arc of this.
Speaker 3: Yeah, man, And you know it's again it's a thing
that goes hand in hand with the music with the books.
Are you drawing? Like do you draw? Or is it
like do you have someone you're working with someone on
the on that are you storyboarding it out and have
someone to do that?
Speaker 2: Yeah, So I'll do all the script writing and write
it all out and then there'll be an artist that
draws it all cool.
Speaker 3: Cool, you mentioned film. I'd be remiss to ask did
did you see the Danzig horror Weston.
Speaker 2: Yeah, opens with that great shot of that bitch naked
on the horse. Yeah, where they end up in like
the horrorhouse or whatever.
Speaker 3: Yeah. Yeah. I was laughing though, because it's just funny,
because like that shot is great, But then it goes
on for like eight minutes and it's like, right, Broke,
we don't we don't, like we don't see it in
real time.
Speaker 6: Just like Yeah, there was a couple of things he
did in that where like all of a sudden, it's
like we're just start zooming in and then just start
getting tighter and tighter and like just randomly, you know,
suck in on somebody.
Speaker 2: They did. Uh, they did like a whatever, like a
not a grand opening, but whatever. It is like when
a thing first comes out out right.
Speaker 7: Around premiere or something, maybe it's around Psychofest or something
down here that I was a premier and they for
like a couple of nights down here at a theater
they showed it, so me and my girl went and
got to see it like in the theater, and yeah,
I mean.
Speaker 2: I love the horror, I love Danzig, but for like
the budget they had, I'm just like, damn, bro like
let's go.
Speaker 3: I'm like, and that's that's That's kind of how I
was left with it. I was like I really was like, Oh,
this is gonna be fucking awesome. And then I was like,
I'm like, dude, Danzig is such a horror guy. I'm like, bro,
I'm like it felt felt a little rush or something,
you know, but that's whatever.
Speaker 2: But yeah, man, you know, like I love shit like
that because you know there's people that watch something and
they're like, you can go negative and like talk shit,
but I'm always the other way where I like see
something like that and I'm just like so inspired because
I'm like, all you need is a little elbow grease
and little style and like that could have fucking ruled,
Like that could have been great. And even like when
I write records, like that's the same way I look
at bands, like I'm not a great musician. Like people
will tell me like, oh, you're a fucking sick ass
riff writer. And every once in a while, like I'll
have like some guy on the road like fanning out
and they do it to the guitar players because I
don't play guitar live, Like they'll go up the Matt
or like Randy or somebody will be going off about
how they love the records and like what sick fucking shit,
But like I don't feel that way because I'm like
not guitar guy, but by the same token, like I
watch a film like that, or even Danziggs he had
this comic book line in the nineties, Verotic Ye that
like had all this shit were like doing like I
don't know, Jaguar God and like Simon Bisley was doing
the artwork and like Death Dealer with these Frizetta covers
and like all this sick shit were like I don't know,
Like between that guy's bands and everything he does, I'm
just like, fuck, yeah, he's a man, dude.
Speaker 3: Yeah, I know he's put out a body of work
for sure. You mentioned being into comics and yeah, I
know you're in the horror and stuff. Do you were
you were you like a horror comic guy, like because
I was just it made me think about I remember
a bunch I used to have like Faust and Death
Rattle and stuff like that and gor Street.
Speaker 2: Oh yeah, I remembers was a ship like like that
was I was a little younger, but like he.
Speaker 3: Too, I remember, like I shouldn't even had those things.
Speaker 2: Yeah, like Act to the Damned, it was so fucking
ahead of its time and crazy, like my brother Neck
had all those and like, uh yeah, like I love that.
I really dug Like there was some of the Rebels
studio stuff like Gunfighters in Hell and like a lot
of indie stuff around that time period is really what
made a huge impact on me. Like poison Ols they
Drew Hayes did, and he was like kind of a
psychobility like punk dude that self released his own book
and it was kind of like the original pressings were
like kind of like the old Savage Sword of Conan
where they're like magazine size, you know, not like your
typical monthly issues. And then he got picked up by
like Serious and like it got bigger, but he like
died really early, and they're actually I think they're on
the second one, but they're collecting everything that he did now,
Like I don't know who it is. It's the same
company Serious SI R I U S. I think it
is is the comic book publisher, but putting together these
like crazy fucking hardcover editions of like like an omnibus
of like all the poison Ols Eye loosifer stuff. That's anyways,
I'm just rambling because I want to buy one of those,
but I'm like, fuck, I already bought them all when
they came out, Fucking like, I'm not spending three hundred
bucks already.
Speaker 7: Have you know?
Speaker 3: Do you still have all your stuff or did you?
Did you lose it to get rid of it down
the along the wise.
Speaker 2: A lot of the comic stuff I gave to my
brother and he's like got it on his shelf at
his house. As with records, where I like, I've collected
this ship my whole life, but there was a big
time period where I didn't have any place to put it.
I'm touring in fulesome, I'm broke going, you know, like
all these things where it's like I wish I had
all the records, but unfortunately, like so many of like
my core LPs and seven inches, like give them to people,
And I never really sold shit off like that, you know,
like is a collection, but it was always like giving
it to some kid where it's like here, bro, take
all these old fucking Revelation records and all this six shit,
all this victory shit that I had through the years,
and now I'm like you've done. Motherfuckers should have just
kept it and packed it around in boxes for no.
Speaker 3: But you did the right thing, man, because, like you know,
we all had the people that were older than us
that like put us on, you know what I mean.
I remember I remember being a kid and this kid,
Steve Mercer, who I haven't seen probably in thirty years,
but I remember him giving me like the negative approach
seven inch and like the seven second skill of brains
and guts, and I was like, damn, you know, like
you gotta you gotta pass it on to the kid,
the next kid, you know, keep the keep the torch going.
Speaker 2: Same thing with merch, like being round so long, Like
I've gone through my closet and just like purged, Yeah
all of my band merch that maybe it shrunk up
a little bit or whatever. You know, Yeah, yeah, you
just fucking purge. And like I've thought about that too.
I'm like, damn, I had some hitters. I wish I
had all that cotton, you know what I mean.
Speaker 3: I know who would have thought to man that sometimes
these old, old old shirts are worth more than records, man,
Like you know, like people.
Speaker 2: I don't understand that, Like I fucking I've seen some things,
like people have like just linked me shit, and sometimes
it's bands. I like, like, I mean that Humanity is
a double shirt you got and I'm sick. But like
people like send me shit where I'm like, dude, I
can't handle this. Like this shit was on Victory mail order.
Shit like wasn't even limited. It was just printed over
and over and over. And some motherfucker's paying three hundred
dollars for some busted down, fucking like strife hoodie.
Speaker 3: Yeah, hey, get wild, get it. I know. But my
friend Chris uh. I don't know if you know Chris Casally,
but he's kind he's kind of I feel like he's
partly responsible for all that because he was doing years ago.
He was doing uh I forgot the name of the company,
but he was so into it. He was I think
he did like some represses and stuff. He was like
tracking bands down and buying the old screens from them
and stuff, so he has like the screens for a
lot of these shirts and craziness. Like I'm like, damn, dude,
yeah wow. He was super in and he had like
a whole archive, like a hardcore T shirt archive and
a website for all that stuff, man, but it's wild.
I feel like I do got to bust into my
father's house. I don't have to bust in We're good,
but I just got to get up in his attic.
I know. I have a bag of old like mid
to late eighties like you know, like the like original
like war Zone shirts and shit like that that I
could probably like pay my mortgage for for a couple
of months.
Speaker 2: Yeah, dude, My like my older brothers had all the
sick like Biohazard, fucking Slayer, Sepulta, like all the shit
that would have been popping, like late eighties, early nineties punk,
hardcore metal, death metal, thrash. Like We've had all that
shit through the years, and I'm like, man, and any
of us knew we could have just kept all of
our merch shit. Somebody could have bought a house.
Speaker 3: Yeah, yeah, yeah, especially if back then you just bought
two and put one away.
Speaker 2: Oh my god. Like the toy collecting shit, you know, yeah,
like any collecting. I've never been able to do it
because anything I bought I just used, you want to
use whatever. But yeah, man, same ship where it's like
all the g I Joe's and the Transformers and all
that crazy shit. It's like, well, if you would have
kept it in the package, man, you could have bought
yourself a car.
Speaker 3: I had Recappo on the show and he was breaking
down like the little fucking deal that they had, like
when they would be like, yo, trade us up old
g I Joe stuff and we'll send you like rare records,
like a rare Revelation record. And he's like, bro, we
just wanted all that shit, and like we didn't have
money for it, so we're like, we can make a
couple of records on gold vinyl. And you know, it
was like such a Ponzi scheme.
Speaker 2: Bro.
Speaker 3: He was like, you were getting like these these these
action figures that were worth like hundreds of bucks, and
you like were spending two bucks on a seven inch
and sending it to some kid. But you know, no,
you know those seven inches are worth a ton of
money now too, so if you if you held on
to that, you know, even back then they were worth money.
But it's like, yeah, that's the thing with and it's
all in the eye of you know, the value is
all all subjective.
Speaker 2: You know, yeah, yeah, I trade test presses too, like
Spirit World stuff and like but usually I do it
with like like my close circle of friends, and it's
always like first edition books and like it's kind of
like their favorite whatever, the most impactful, favorite fucking book
they have. And so I've got like I've got this
collection through the years of shit like that my homies
have sent me where they like write a note and
it's like it's cool, man.
Speaker 3: Oh oh, so there's like a personalized note in it
as well.
Speaker 2: Yeah, like it's a personal gift, like here's my favorite book,
like and whatever, like personal thing. And then and I
do it too, you know, like sending shit out. But
it's like the test presses, it's you know, it's like
the label fucking the plant will do like thirty yeah,
and Century Media. I don't know why, Like they never
printed merch for Spirit World. They didn't give a shit
about test presses. So I'm like, give me all of
them and then I'd sell some on our web store
and then trade some other ones, and you know, like
the collecting part of it. But they literally cost like
a dollar two dollars. But the rarity and being able
to for my homies that collect and I'm lucky that
so many people fuck with my band that like the
collecting of all of our variants is so crazy. Like
I gave up and I have the easiest time getting
it because I get frustrated because I may have to
like figure out what colors have happened, but I don't
have to like go buy it. I just have to
like say, send me a couple of these and even that,
like on this last record, I just like I tapped out.
There was a couple like different versions in Europe and
shit where people are hitting me up and they're like, dude,
where's this fucking whatever color. I'm like, what I came up.
I'm not collecting my own band anymore. Yeah, like it's
too much, too much. When I was collecting it early,
I didn't realize how many copies of my own shit
I'm going to have. And I just like I don't
listen to Spare World. I just make the stuff like
I can't listen to stuff anymore, of course, So it
really is just like, you know, a couple of each one,
and I have like fucking sixty copies of fucking these
first couple albums. I'm like, this is really.
Speaker 3: Yeah, yeah, yeah, what So it's probably you know, I
probably you know I'm not going to assume, but I'm sure.
I'm sure it's probably through your older brothers and stuff
like how did you even find yourself? You know, like
and when did you get into like first stock, getting
into like heavy music and stuff like, what was the
trajectory that led you from being a kid to spirit world?
Speaker 2: There was I didn't really get a ramp up because
like my parents they had I have a twin brother,
but they had six boys, right, and so me and
my twin were like not an accident, but like my
parents like had their like I mean, I don't know,
maybe like nineteen started having kids and then they had
their four kids by the time they were like I
don't know, twenty eight or whatever, and then waited like
another ten years or whatever and then had us. So
like all of my like my oldest brother was like
I mean, I don't know, like by the time I
was like six or seven, he was like in his
mid twenties, you know, like twenty years older. And so
like at the house because everybody in my family grew
up like my mom grew up on a ranch. All
my cousins and shit like just hill billy just he'll
billy kids. You know, so it's like a lot of rodeos.
So it's either country music like old shit like old
honky Tonk and Outlast, and I mean my mom like
George Strait and like Randy Travis and Dwight Yoakum, so
I mean she there was definitely like stuff that was
like on the radio played in the house, but most
of it was like kind of curated and dj' by
either like because my mom and my dad like they
love Merle Haggard and George Jones or Johnny Horton and
Johnny Cash, but they don't listen to I mean, I
don't know even what would have been going on in
the eighties and nineties, but like whatever like pop country
was like they didn't fuck with that. So it'd be
like you're listening to their favorite tapes and then when
that wasn't on, if one of the kids had it,
I mean it was like Slayer, Metallica, Motley Crue, fucking
Social Distortion, misfits. So like, as I'm in the house
and doing things and start to realize that I like music, naturally,
those are the things that are being repped and like
jammed the hardest, and so I kind of I think
like White Zombie Slayer, Metallica for sure were things that
like really stood out to me that I just like
copped the tape and this shit was just so hard,
so cool, like something about it I just loved, you know.
And then on the punk side, I guess Seven Seconds
the Crew, I mean, that's a hardcore band. But to me,
like I didn't understand what hardcore was until like probably
ten years after I started listening to like punk music,
just because I never saw, like, never ran in anybody
until I was like, you know, probably getting into high
school because I just listened all this shit because it
was just at the house. I didn't know it was
like different until I start getting to like fifth sixth
grade and I'm like, huh, kids in a Mega Death
shirt who I'd never really got into Mega Death. I
just couldn't handle the like the singing thing, you know, dude.
Speaker 3: Dude, I'm so on board with that. Everyone I know
loves Mega Death and I'm like saying, I was like,
I never never liked the vocals. I couldn't do it.
Speaker 2: Yeah, And I've learned to never say never, like as
I've come up in art, because there's definitely things that
I wasn't ready for at the time that then I
love it, yeah, and I'm still waiting for my Mega
Death era yeah me and like current States do, I'm
still like it is what it is. But like then,
that's when I started noticing. It was more like like
a lot of grunge and like new metal shit started
popping when I was, you know, getting into high school,
and like I remember like somebody had seen Corn, you know,
like on that first record, and I mean, it's good shit,
you know what I mean. Like I I like Corn,
but like the whole thing, like new metal and the
rappie metal shit, I wasn't into. I was really into
like punk bands and shit. And I want to say
it was like I definitely saw Sick of It All
in like ninety six or ninety seven, and I had
not heard them, I don't think, I'm pretty sure not.
And I remember thinking like the energy and whatever would
have been on that set list at that time where
it was like, you know, scratch the Surface Built the
last they were touring off of. But then also they're
playing you know, all that old shit like that. I
seen them like three times in the span of like
ten months. It was like a Warped tour set, and
I was like, Wow, that band is incredible, went and
got like maybe it's built the last had come out
or something, because I remember getting that record and then
like one of the I was living in Idaho at
the time, and there was only a handful of punks
and there was a kid that was like, oh yeah,
Sick with it All was fucking great and gave me
maybe just look around or something. So then the next
time I seen him, i'd heard like I had two
albums that I was aware of, and they did this
tour where it was like I think it was a
misfit with Michael Graves singing. They were doing some kind
of twenty year anniversary thing, and I drove up to
Boise and I mean, I kind of forget all this
shit because I'm old, but like I think, I'm pretty
sure Sick of it All played and then I seen
him at like another club show in that same time period,
and each show was like the first two were not
like a Sick of it All crowd, you know what
I mean. It was just like they were there and
just their intensity and like Pete and Lou going the
fuck off. I was just like, God, they smoke. Every
band that literally every single band I've seen live up
to this point, I've never seen anybody like Hammer a
stage with that much like style and shit. And then
I seen them the third time and it was like
a hardcore crowd and it was just like it was
them in H two O and everybody's singing along, stage dives, whatever,
and it was like Peak. I didn't know it at
the time, but that was like for me, peak hardcore
band with the songs with the kids at the right
time where it's popping, and I didn't know how rare
that was. Then to be in a room and see
like the explosion of like each song swelling until like
when the show's done, you're just like, holy shit, like
everybody has had this release and it's just like this
stage is just you can't tell everyone's singing. But like that,
it was probably like sick of it all, trying to think,
Like my older brother went and saw a bunch of shit,
so it was like he saw like Biohazard and like
maybe they were playing with like Slayer or some shit,
but like all that, like it was all like New
York bands like kind of that is what put it
on the map of like, oh, well, there's metal, thrash,
death metal understand like that. For some reason that made
sense to me that those were different scenes. But then
like hardcore punk, when I finally realized that hardcore was
its own thing, then like I was just going to
all those shows everywhere like relentlessly, don't care who it is,
and I mean, it was just an incredible time where
it's like go see Snapcase, go see a veil, go
see fucking hate Breed, death Threat. And at that time,
like I was probably booking like shows too, like I
started I had. I always had. It's like thing with
not knowing how to do something but just being stupid
enough to say fuck it, like booking shows where it's
like being like sixteen seventeen and booking like Dropkick Murphy's
and booking like shows that were big, like it had
guarantees and shit, and like I don't even have a
job and I was so poor, Like I mean, I
would save like my two dollars lunch money to buy
a record every two weeks like Legit for years that
went on. But at the same time, I'm like lying
and being like, yeah, we'll do a door deal. I
don't even know what a door deal is, but I've
been at this club. I'm pretty sure if I just
do it, it'll be sick. And then you do it
and it's sick. And then like I remember, like i'd
seen bart Alive a bunch, like because I was working
out of town and I booked them. I was in
Idaho for some reason, them and Death Threat on tour
and when like Vogel and all them dudes showed up.
Maybe this was like ninety eight, ninety nine something like that,
I don't know, it was a long time ago, but
I remember when they rolled up and like it was
before like GPS shit, and there was in poke Tello, Idaho.
There was a music store and some friends of mine
lived upstairs and it's kind of a squat punk house
and so we do shows and shit up there, and
like when all them dudes rolled up, they were like late,
like what the fuck. They're like looking for the place
because it wasn't an actual address. It was like nine
twenty four and a half, but the half was because
it was upstairs, but it was like maybe at South
Main Street. I can't remember now, but so they were
like on Main Street at the other end of this
little town and Poke is a small town, you know,
like maybe thirty thousand people at that time. So I
remember when they got there they were like stressing out,
and then Vogel recognized me and like my friend group
and was like, oh, oh shit, like because we'd been
up front like a bunch of like record stores and
shit in Vegas and Seattle and all over, just like
singing along to Bear It Live and pitting hard like
that kind of vibe. And so they're like, oh, well,
if you guys are doing the show, this is going
to be sick. And I remember like that was a
time too where hardcore is such a cool thing where
it's like, yeah, maybe there was fifty kids at that show,
you know, but the fifty kids that were there, like
all of us had the death Threat record like it
had been going around like fucking wildfire for like I
don't know, I think you remember that only the Strong
compilation all came out like they had a track on
that that because I think like probably Mike Code or
somebody like however, it came out like there was something
where like death Threat was our band, probably like everybody
in hardcore at that time, and so like when they
play I mean fifty kids, but fucking forty of them
are singing along to every song of fucking peace and security.
So it's like, here, take all the money from the show.
All of us fucking bought a ton of merch, Like.
Speaker 3: Yeah, supported, yeah, we like did where did? Where? Where
did you grow up? Did you grow up in Idaho
or were you just out there?
Speaker 5: Yeah?
Speaker 2: I grew up in Vegas, so, like my whole family
is in Vegas.
Speaker 3: And then.
Speaker 2: When I was at uh like junior high, like my
parents were going through a tough time, and I have
a bunch of family in Idaho, and so me and
my twin brother, everybody else stayed down here, and like
my dad had a business he was trying to keep going,
and so me and my mom and my brother and
at different times one of my brothers like lived with
this first spell, but basically we went up there, and
like I had a bunch of cousins and my aunt
shit was up there, and so I ended up in
Pocatello for like junior high into high school. But then
we're always running back and forth to Vegas. So I
kind of cut my teeth and the punk scene going
to shows in because there were there were not shows
in Pokey, Like we booked bands once, like we figured
it out and so like I don't know, like friends
of mine like book Blink one eighty two and before
like Dude Ranch and shit, but like you know, we're
like booking what we can and then like my crew
of friends took it over and started booking. But basically
we were relegated to like pulling gas money, driving to
Salt Lake, going to hardcore shows they like the dev
eight Basement and like all these venues because they would
get a lot. At the time, like Salt Lake hardcore
was pretty fucking big, so you could like I mean
drive out there and see like Scarhead and mad Ball
and like a lot of shit that we fucked with
would play there. Not everything would go to Boise, but
between the two, you know, you could drive a couple
hours during the school and go out there and see
a gig okay, and then come down to Vegas. And
because my brother had been down here going to shows forever,
like that was always cooler where like Vegas had I
don't know, it's just cool, man, All those things were cool.
Speaker 3: Yeah, well that's what's cool about I think hardcore is
to like, you know, when we were kids, like like
it was a thing like anywhere, like like you know,
I would go to shows in Boston, Providence, Connecticut, the
Anthrax to New York. You know, like we all bounced around,
especially back then before pre internet and stuff. Like you
if you wanted to be involved, you had to be involved.
You had to be there. You couldn't just watch it.
Speaker 2: And you know, so many times like we drove the
shows and then the show would get canceled or moved
or fucking whatever. And like thinking about it now because
there there was like a blizzard one time and we
had we fucking manned up through the blizzard and like
went it was like I fifteen fucking heading into Salt Lake,
sketchy as fuck, almost die, I'd like, but we get downtown,
get to the venue, and the show's fucking canceled. Like
going to see face to face this punk band that
I fucking love and for years we've been bumping face
to face and I'd only got to see them play
like a festival set at like Warped Tour or something.
So this was like a headliner off their self titled record,
and then you get to the show, drove like fucking
three it should only take two hours, but it probably
took three and a half because we're driving like thirty
five forty snowblind. Yeah, and get out there and you're
just like, what the fuck? Man? And this is before
I had any idea of how bands like they were
just these magical things that would appear in cities. I
didn't know what booking agents. Even after I booked shows
for years, I had no idea how shit like actually worked.
Speaker 3: You know. Yeah, but.
Speaker 2: At the time, you didn't know. You'd see a flyer
and that's it.
Speaker 3: That's it.
Speaker 2: You just go there.
Speaker 3: You didn't have cell phones to be like, hey, is
it still going on?
Speaker 2: You know, you just and traveling too, Like you don't
even know people. Yeah, like you know a couple of
people when you get to the show that you may recognize,
but it's not like like here in this day and age,
I feel like there's such a community of even with
spirit World, where there's like these people that are just
like this ecosystem around our Instagram and Facebook and shit,
where like they talk to each other and there's like
a community. And I'm like, I didn't get a cell
phone to I was like fucking twenty five and like
I was in a lot of ways, just like you
just went to a place and the people you bumped
into more often than not, like ended up becoming like
your circle. You didn't get to pick.
Speaker 3: Yeah, yeah, you know, well because it wasn't there wasn't
a lot to pick from. Like it was like you know,
there was It wasn't like now like where there's like
thousands and thousands of kids in the shit, which is cool,
but it's different. But yeah, you made me think about
when you said the snowstorm shit. Like I remember going
to see shit Terror once and it was like a
massive blizzard and like literally thirteen people were at the show,
and I was like, but it was one of the
best shows ever, you know what I mean. It was
just like because everyone went off because it was like
everyone was fuck dude, we all made it. Let's fucking go,
you know what I mean.
Speaker 2: And I've always held on to that, especially playing in
bands where like coming from small scenes that are diy
that the band is great. Everybody like the band is killer.
It's no reflection on them. But it's a Tuesday night,
your book a show, no one comes and it's like
the local bands and maybe ten people and you're embarrassed
as fuck, but there was you could just tell there
were bands that could show up and they would look
and see that the ten kids and put on the show.
That love your fucking band. It's important to them that
you're there. And then they play the show like they
would with a hundred kids, and they don't give a fuck.
Maybe in the band afterwards, you know, I'm sure there's
some grumbling, but in that moment in front of the kids,
it's a And like I always took away from that
when I started booking shows and you start dealing with
people that are like more worried about the money aspect
and just county about stuff. So like I've always kept
that vibe because I've I was one of those kids.
Like some of the best shows I've ever seen, or
bands have played to what should have been a fucking
catastrophic failure of their tour where they're probably getting paid
sixty fucking dollars and they had every right to just
be fucking pissed and canceled the show. And like, those
are some of the shows I remember fondly where I'm
just like, looking back, I'm like, not only was that
band the shit, but they were the shit when there
was no nothing to be excited about it when.
Speaker 3: They didn't need to be, but they But that makes
it even better, you know what I mean? Do that
make it?
Speaker 2: Yeah? And what's me Like I've always held my bands
to that standard of like that it's important, Like if
you're playing first and the room's not full, I don't
give a fuck, like we're going on pay.
Speaker 3: Like your headlining, yeah, please look your headlining.
Speaker 2: Yep, and go out to the merch table and be
cool like so that that's something like thirteen kids I
remember seeing like turmoil, and maybe there was twenty five
yea kids, but like the process of was so fucking
hard and good that like it was a year before
they came and I finally got to see them, and
like that's one of the bands where I'm like, I mean,
twenty kids. They could have been like fucking we'll play
five songs stand here, hit the road, and we were
like they ended up playing like the same song like
three times because kids were just going off so hard,
fucking raging, and they're just like, well, we don't know anymore,
but fucking whatever, here you go her six head bag
for the third time, fucking while kids are like, you know,
having fucking on shoulders, doing like whatever you call chicken fights,
fucking yeah, and the stupidity. But like, I think that's
what separates the punk and the hardcore thing is when
you book shows and you play in bands and you
go through that kind of stuff, there's such an appreciation
for I don't know, just the the kids that show
up that need it, you know what I.
Speaker 3: Mean absolutely, because yeah, especially back then, no one was
there because they were well adjusted members of society, you
know what I mean, Like we were everyone was in
that room because some kids. Everyone went through some shit,
right because it wasn't like it wasn't cool back then,
It wasn't you know, it was like you had to
seek it out, like you found your way there for
a reason.
Speaker 2: Yeah, it's crazy, Like the I feel like it's like
that in Vegas with the new stuff, and it's hard
for me to connect because I'm like, I also am
not comfortable being like a fucking forty year old dude,
Like I'm not going to go and hang out and
be tight with twenty year old fifteen year old Like
I came up in that scene where that shit was
very fucking sketch and looking back, I'm like, all you
fucking scumbags they were like even twenty five thirty just
like creeping on, Like that shit grossed me out then,
like grosses me out now, and so like I can't
really connect to the scene in that way anymore to
truly be a part of it. But like the Vegas
scene is wild, man, there's motherfuckers from the East Side,
chicks dressing up like fucking clowns, goths like wild. Not
the shows aren't wild, they're they're actually more civil than
like it was in my day, you know, like the
violent aspect of it maybe aggressive like unhinged, is tame down,
but the actual freakiness of it of like people letting
their freak flag out and being like, you know, that
one off weirdo punk kid. It reminds me of like
being an Idaho, where like a kid was not just
a punk rocker because they liked the music. They were
a fucking freak and with that, like they took a
lot of shit, you know, like it wasn't the easiest
thing to like in a town full of Mormons, And
I was just gonna say that, assholes, I'm sure it was.
Speaker 3: It was hot for us in Boston and stuff, but
I'm sure it was even hotter in like fucking Idaho, man,
because you know, it was.
Speaker 2: Kind of like people fucking don't like that shit, like
even if you try to fit in, people don't like,
you know, fuck with you. And so like all my
friends that were like kind of you know whatever, like
on the borderline of like being gay, like standing up
for chicks like what like that kind of weird shit
like flying those flags back then when I was in school,
was like it wasn't the easy thing to do, Like
it took a bit of like I don't know, courage
or like a bit of like moxie to even like
be that kind of a punk. So I see that
same spirit here where I'm like that kind of freaky
thing is like I fucked with that, and I'm glad
that my band too, Like I see it when we
play because we are like more we have some theatrical
elements and whatever vibe we put off. Like when we
play shows, you know, we'll have like long hairs, a
straight edge kid. We'll have some fucking like freaky looking
goth that looks like a total witch right next to
some fucking check all done up like a fifties cowgirl,
and so we're starting to like this cult following we have.
Is it kind of looks like that, like it's a
small BFW Hall punk show. But it's like it's not
like this is a forty dollars ticket that I don't know,
those shows don't they're usually not the freaks don't go
out as much. So I'm happy to be a band
that like the freaks come out too, because you know,
like I get it.
Speaker 3: I liked. What I liked about back in the day too,
is that you know, there were shows like you know
down the road, like hardcore shows just became hardcore shows.
But the early days when I first started going to shows,
they were a lot more mixed bills. So it would
be like a metal band, a punk band, a hardcore band,
and you know, the crowd was all all of all
of that, you know, and so you know, it was
more it was it was very interesting. One thing, you know,
just uh, as you know, going you go into shows
in Idaho and Boise, did you ever get to see
Septic Death because I know they were a Boise.
Speaker 2: Band and that no, I didn't like it wasn't really
anybody like, uh, it was more Salt Lake bands that
were kind of like clear and like some bands that
like were touring nationally and ship, But there wasn't really
anybody that I saw from Vegas either really until like
Curl Up and Die and Faded Grace started popping, but like, no,
there there wasn't like really an established band that was
like our own. It was all local bands that like
looking back now, because everybody makes a record now, like
most of the bands that were the most important thing
to me maybe put out a demo tape or a
fucking seven inch, but like never even got couldn't even
figure it out to do an LP, which is crazy
how much that's changed, you know.
Speaker 3: Oh yeah, yeah, how did how did you go about
starting Spirit World? Because I know, like you know, like
I told you, I discovered you like just just heard
pagan pagan rhythms, and then I did some you know,
I was like looking you guys up, and then I
heard the old stuff on the demo, which was you know,
markedly different, like like like how did you, like you know,
what was the impetus? Like what made you stop Spirit World?
And then you know, I'd be remiss to ask like
what happened in between like the demo and Pagan rhythms
because of you know, yeah, the ball dropped, like and
it got fucking you know, got massive, you know, like
and I'm not saying the other stuff isn't good, it
just changed, like it just got like you know.
Speaker 2: Yeah, it's so like I was in a I had
a band called Fulsome that we played in and so
it's like a hardcore band, and like we did way
more than we ever set out to do. Like we like,
I just booked a ton of shows down here, and
like I mean everybody from Integrity to Ringworm, fucking I
don't even know, man, everybody full blown Chaos Terror, death
Threat Champion. So like I'm booking all these shows, We're
playing all these shows, We're going on tour. And then
we started kind of like we did. We started doing
like a couple of US tours a year, and then
we went to Europe a couple of times, and then
everybody it was kind of like time where it was
like every band hits it where everybody we'd been on
the road for like two years straight and you're finally
getting like shit's popping, you know where, like like an
offer to go tour with Blood for blood in Europe,
and like I was ready to go, but I was
the only one like everybody else. It was like my
twin brother just had a kid. My brother Nick that
plays in Spirit World, was in Fulsome too, but he
like he had had like he had three kids by them,
and he had already stopped touring because he's like, I
gotta work, like I can't fucking and we didn't. We
didn't make any money at those like period. It was
make enough to get to the next town, that's it.
But like you know, I'm touring with like friends of
mine that like play in Mongrel now and like still
around doing cool bands, but like all of us were
broken just doing it because we loved it, and so
like that hung up. And then I had a period
of you know, just like no band, no nothing, like
got my career, got all my shit like handled. But
that itch of like I was writing all the fulsome
stuff two but I just like I guess that void
of creativity and art and I was burnt out on
being involved in a scene as far as like where
the it revolves around my energy or output and not
just like the scene of like I'm booking shows at
my spot and like you removed me from that, and
then there's a responsibility of like you kind of let
the scene die a little bit. But there's also when
you're in a band, like your friends bands need shows
and so like you're trading shows and you're just like
it's a lot. And so when I decided I was
going to play some music, Matt had moved to Vegas,
and we wrote that demo and cut that. I think
we did like seven or eight songs, went and recorded them,
and like they trickled out. We did a demo then
a couple songs, but we played a couple of shows
and like the response was crazy and like tons of
kids singing along, and I those demo songs, like I
really fucked with it and wanted to do like a
full length, but I was like, what am I doing?
Like if I do this and it's like a bar band,
Like that demo stuff was like really rowdy, kind of
like wild shit, and I'm like, my friends are all wild.
Everybody's fucking thirty, like you know what I mean, at
the age where like partying is no longer fucking a
joke and the people that I'm running with are crazy
and the ones that haven't like fucking lost their mind
or got locked up. It's just one of those things
where I was like I want to do a band,
but I know I need to get my shit together,
and like I had some personal stuff going on. I
was like, I'm done fucking drinking. I've never been sober.
I'm done with all this shit, the whole partying thing.
I'm like, I do not want to be in a
band where like it's like that where it's like night
life fucking craziness. And that's where that band started picked
up right where Fulsome left off, which was always like
a crazy, fucking insane thing, you know, fun and had
its time. But so like the reason why everything shifted
is I sat down and I was like gonna do
I wanted to do a full length and do that band,
but I was like, I'm gonna get sober. Like period
had some personal shit going on. I was just like,
it's like, for whatever reason, I don't moderate things well,
like my girls always like you're so extreme even now
when like I'm laid back as fuck, but just like
I just do things like it's eleven or it's fucking
I'm either in or I'm out. And so I sat
down and I just realized I took like a kind
of a soul search and inventory of like what I'm doing,
who I'm doing it with, what it adds to my life,
and like kind of set some goals, you know, Like
I feel like I was just kind of like not happy,
not miserable, but just like kind of it's hard to explain,
but I just needed something. And so as I'm like
getting sober, and I'm like, man, I'm going bowling a
couple nights a week, but like, yeah, we fucking rip,
like we all bowl throw fucking rocks. But am I
really going because I like bowling? Or am I going
because it's like walk in and get like a double
and a beer a couple nights a week during the
work week, and like all those kind of things where
I'm like realizing the monkey on my back, like these
kind of tendencies that you pick up just like I
don't want to be that. And so I realize like
all of my social life shit, everybody revolves around like
it's a little toxic, you know what I mean, Like
when you start getting to that point and I'm like, huh, well,
I'm not going to shows because that triggers me like
for fucking the last decade, everyone I kick it with,
like you show up, sit in the parking lot, everybody's
getting fucking lit. You're at the bar whatever, don't want
to go bowling. And so that I'm sitting here like
trying to like figure out like what I want to do,
and then I'm playing guitar and it starts out I'm
playing like this country shit that's like fast, cowpunky stuff.
That's great. But then I'm also like playing the songs
that became pagan rhythms, and as I'm doing those, I'm like, man, fuck,
I love playing fucking metal. Like this shit rips, and
I knew it ripped. That was the thing. I'm like,
I didn't have demos, I didn't know how to record anything.
But like I remember telling my brother, I'm like, dude,
I'm making a fucking spiritual metal record and it fucking rips, bro,
And then I just sat here and did that and
put it out. So that first couple of years of
like being sober, I mean, don't I don't know if
it's like hippie shit, but I feel like when I
think about pagan rhythms and like the start of spare World,
I feel like that's when it really started, where it's
like that's a dude that like has things to say,
rhythms in his fucking riffhand, that's like ready to like
make some cool shit. And when you go all in
and like devote your time to stuff, like it's hard
to focus on shit and be creative. And that was
like a thing where I was like, I don't know
if this band will do anything. It's very hard. And
I know, like some people like like my stuff and
I'll probably have a few people check my shit out
just because I used to be in a band or whatever. Yeah,
but I also did not promote Spirit World. I never
have is like I did not promote that to like,
oh the dudes from Full Sake feat. Yeah, Like I
just wanted it to be its own thing. But then
because I I had so much time and I was
thinking about this, that's how I kind of put it
all together where I was like, well, if you're going
to do a band like fulsome was in the era
where people were not making records, so like you couldn't
get vinyl, and so that always pissed me off. Like
I tried so hard to get a couple of our
releases on vinyl, and at the time, every label was
like just it was a hard no, you know, it's
like we'll do CDs and so like that was gold
number one. I'm like, I'm not doing a seven inch.
I'm not doing a fucking demo. I'm literally going to
write a full length, just drop it out of nowhere
by myself, put it on wax, so that I have
checked off of my bucket list, and then just in
the and the reward of the universe of doing that,
then those songs have taken me around the world like
three times, playing with all my favorite bands. And this
band is doing like crazy fucking insane shit, like playing
in front of thousands of people where it's like just
like that show in Kentucky. It's like it's crazy like
we're playing it's like us Double Driver, Machine Head, and
it's not like we're the local band. It's like on
the thing that doesn't belong. It's like we're lumped in
with like this, you know what I'm saying, like that
kind of thing. So I part of me is just
like it doesn't happen by accident. It's a lot of work.
But that's why the shift changed it and then like
I've kind of been writing that because when you start
playing guitar and you start like getting on one, it's
kind of like a like I've sort of developed my
style a little bit and it's taken me this new
stuff I'm writing. I think I finally melded the two
together where I'm writing some of the best stuff I
ever have. But I think when this comes out, it's
going to be like a like there is not another
band that sounds like this, or probably ever will sound
like this, Like this will be like one of those
weird things where it's like that band was doing their thing,
you know, like this will probably be like the self
titled record, because I feel like it's that's what it is.
You know, it's like a band finding it's yeah, whatever
you want to say, Like it's well, you.
Speaker 3: Can see that too. On hel Dorado it started coming
out again, you know, so.
Speaker 2: It's yeah and that, Like I remember talking to the
label and like people were saying shit because they're like
I wanted ideally, I want to be able to do
whatever I want, and now it's between concept albums and
like country records and whatever. But you also, like I mentioned,
when you start dealing with if I give somebody my word,
then I'm going to do something Like I also am
not the type of person like I've swallowed my own
craziness enough to not be an egomaniac and be like,
what is the best thing for everybody? There's a way
to do things where you don't, you know, cut off
your fucking arm for no reason, you know what I mean?
Like I could have crammed in after Death Western something
that would have alienated Century Media, all these new metal
fans that we have, and then probably what has sucked
for our booking agent too, because it might have made
it very difficult for us to do things. So then
with El Dorado, I was like, writing this record, I'm like, well, actually,
this shit's pretty tight, and I got it kind of
flowing together, Like I think there's a way in which
I can do because originally I didn't think you could
mix it too, because I like punk, I like country,
I like metal, and I'm like, I don't know, I
fucking hate when people mix shit that shouldn't be mixed,
you know, unless they do it well. So if you
do something and it works, it's cool. But I'm also like,
I I'm not like I'm pretty honest with myself. I've
written a lot of shit that doesn't work, and then
it never even gets out to like my close confidence
because I'm like, this shit sucks, Like you don't worry
about this, like you know.
Speaker 3: Yeah, you know when to shove something that you don't have.
Speaker 2: Yeah, And it's just like some people can't do that,
you know. They just feel like it's yeah, and maybe
it's true, like maybe it's good, but I just feel
like it's so we're in such a unique cool position
to even do this and like do it at the
level we're doing it, And it's like, I take that
very seriously, Like I'm not going to shit on what
I got going on, you know what I mean, just
for the sake of being artsy, because I can you know.
Speaker 3: Yeah, absolutely, man. Well cool, So what's what's coming up?
I know you're working on the new record, you got
a graphic novel, like anything else? Any any big tours
coming up or you guys taking still taking some more
time off?
Speaker 2: Yeah, a lot of stuff coming up. We're doing. Uh
we leave November third and do like a five week
tour with Avatar and Alien Weaponry, which I'm fucking pumped
for that because that's like Avatar is a big fucking
band that like most of my most of my peeps
aren't familiar with them, but that's a band that like
is fucking popping and they are on like the end
of the spectrum of like metal that is very theatrical.
They still have like heavy shit, but I mean they're
fucking like they're like poppy in a way that it's
it's interesting to me, but like, I don't think they
take bands out like us very often, and I don't
really know how this happened, but I'm very thankful to
Like we're playing one at three. The rooms are pretty big,
but I just feel like it's going to be a
thing where it's like that crowd is probably never seen
a band like us, like sonically or visually, but I
think like where when we go and play with Nails
Tearror Obituary, that crowd a lot of the core kids
probably on some hand sort of know like my old
band or my guitar player's old band, and like people
there like hear what we're doing and are familiar with
like the styles that were that we present, and I
think it's a great opportunity to go play kind of
like a festival, you know, when you play to like
more of a crowd that like they're not gonna see
your shirt and like realize, like, oh, humanity is a
devil vocal test, Like, it's not that crowd. It's the
crowd that like when we go into those integrity warship
moments of our set, which that Klevo sound that like
I am obsessed with, they probably have never even heard
a band fucking do it, And so I think it's
gonna allow us to really fucking I think it's gonna
be cool as fuck. Like the shows might not be
wild with like the people that come out to see us.
I'm sure it'll get loose, but it'll probably be a
lot of people like just like soaking in this craziness
bob in their head. But I just feel like have
an opportunity to have a band like that put us
on and take us where we can play to people
that have never heard us or really any of the
bands that were kind of simpatico with. Yeah, yeah, I
think that's how you really start. Like I just think
it's the best thing you can do for a band.
And like you mentioned it where like it's not that
we're allowed to play with all these different bands. That
is a thing, but part of it is we're not
afraid to do it. And when you when you put
yourself out there and you're willing to go play in
front of anybody, then you quickly realize that people love
cool bands and just because it's just because they're a
death muddal dude or a fucking straight edge dude, Like
you can win them over if your band's tight live,
and I think that I just I just remember when
like my favorite bands would blow up and they'd start
getting on bigger tours with like you know, weird even
when like Hate Breed first blew up and like soul
Fly took him out or somebody, and then there's all
the push pit bros. And so on one hand, you're like, ah,
I wish this was like a hardcore show, but then
you see what that does for the bands where it's
like Hate Breed is a shit, Like those records should
be in every Long Hairs collection, you know what I mean,
And it's like you can't get it to them. There's
not radio, there's not MTV. Like if the bands aren't
willing to put themselves out there and go play in
front of those crowds. So I feel like Spirit World's
at that point where it's like I'm pretty excited for
that tour because Alien Weaponry is from like New Zealand,
and they're the same thing where like those are younger guys,
but like they're a wild fucking band. They're like a
three piece. It fucking thrashes out, but they like they
sing some of their songs and like they're what I
don't even know what the language is, but like the
like you know when you see the Rugby guys doing
like the fucking crazy hockey hit whatever whatever, that vibe
is their indigenous thing. Like they start their set with that.
They sing songs and like that language. It's wild. So
like it's a pretty diverse, weird bill, which it is
cool because bands don't have to take out like you know,
I'm sure it's sort of a risk for like taking
a band like us, but it's cool and we're gonna
have It's one of those things where it's a challenge,
like you got to defeat the barricade, you got to
defeat the energy that's not there because the show is
just happening. You're the first band to play and then
you got to defeat the people looking at our giant
banner and our suits that are like what in God's
name is happening? Like there's all these like challenges with
that kind of a tour, but I think the payoff
is like if you can do it and come out
on the other side, your band is better for it,
because it's like if you can play to ten people
on the floor and then you can play shows like that,
you basically can do just about fucking anything. You know,
you're cooking at.
Speaker 3: That point, and like you said, you win a crowd
that would have never been exposed to you over and
you got that many new people that are like checking it,
and then they find you and then they're gonna go
down a rabbit hole and maybe they you know, like
you're like you now you're an ambassador. You're an ambassador,
you know what I mean? And they're gonna.
Speaker 2: Yeah, And I'm like I could gateway drug it. Like
I had a friend ask me because like dwid did
a feature on a song for us, and like somebody
asked me something and it was along the lines of
like because like satellite radio plays US a lot, and
like we get lumped in with like like metal metal,
you know, like popular shit. It's still underground to an extent.
But I was just like I I like all of
my older brothers were metal heads, Like we started there
a long time ago, but like that's how we got
into it. If it wasn't for like Pantera and fucking
Danzig taking out fucking you know, like bands whoever I saw,
sick of it all open for Like, if you don't
find it, you don't find it. And I would be
happy for somebody like to get into spare World and
maybe they maybe the Slayer Nods or whatever loop them in.
But if they go fucking pick up Integrity Records, like
I'm happy to be that guy, you know what I mean?
Speaker 3: Yeah, Well fuck yeah man, I uh, I know I've
had you here for a while. Anything else before we
wrap up, there has been a great talk, dude, we
can people find you?
Speaker 2: Like, I don't know, I ain't got nothing. We're just like,
I'm just busy doing what we do, and I'm I'm
stoked that people are around to uh check out live music.
Like every day I feel like I see another like
doomsday shit about art and AI and all this shit,
and I'm just like I hear you on the internet.
I don't get on it too much, but it's like,
go out in the world because the shows are fucking great,
and they've been great since COVID lockdowns like stopped. Like
I feel like underground shit is bigger than an ever
has been. And live music and I can tell you,
like my band, like shit is fucking popping and it's great,
like make art, go out, be a human being. Fucking
the world is not all that bad. Like there's a
lot of fucking badass shit happening, you know.
Speaker 3: One hundred percent. Man, If if you just stay on
the internet you think the world is way different than
it really is. If you just go out and participate,
it's a lot better than then. Like you said, the
doom and gloom, that's yeah, pretty much when you're online,
you're just doom scrolling, you know what I mean. Because
when you're in the world, everything's still good, man, Everything
is still good, you know what I mean?
Speaker 2: It is And like I the last thing I want
to do is just shout out like Roman Candle Chasm,
a thousand ways to die. Uh. The dudes in Delta Bombers,
their singers started like a if you're into rockabilly. He's
out there. I think they're on hiatus, but he's touring
to see him Wolf fucking killing it. Like there's a
lot of some fucking music coming out of Las Vegas.
Like stoked, you know what I mean. It's like of
Sulfur if you're into like Death Court stuff is great.
Molotov Solution put out another record, Like I'm very proud
of my city and this underground and I'm very stoked
that so many band a Like it's very hard to
be from here and get out and like do things nationally,
you know what I mean. So I'm very pumped that
like Chasm's doing the for the Children gig at the
fucking Blasco in December, Like that's cool, Like that's a
hardcore band from here of like real deal dudes that
I love that, Like their band sounds like fucking crowbar
and so getting hand picked to go play one of
the big boy hardcore fests like that shit's tight, you know,
And like my band does so much crazy stuff. I'm
I feel like people assume that we don't that we
don't like notice what's going on, but like us, the
stuff we do in some ways is easier than like
a VFW hall band from our scene that like my
friends in Black Path that book all the course shows,
like a band that comes out of that to like
get recognition from like the big dogs of the core,
like it's almost harder for them and some strange way,
I don't know why that is, but you know, so
I just want to shout out the local dudes and
ladies that are fucking out there grinding because I'm proud
of them and I think it's sick as fuck.
Speaker 3: Absolutely. Man, if someone wanted to check out, what's a
shout out the website or any of the socials so
people could go go listen to you.
Speaker 2: We got an Instagram that nobody barely does at Spirit
World profit and we don't have a website. Just we
got a merchdore Okay, basically just come to a show. Yeah,
we make tunes. We're like fucking real rockers. Like I
don't know how to do the uh you're looking for
community and like cute tiktoks. We ain't gonna do it
for you. The fucking headbangs, you know.
Speaker 3: One hundred percent. Man, Well, thank you for coming on.
I'm gonna shut this off, but I'm not hanging up
to just hold up one second. All right, And that's
about it for today, So make sure you please wherever
you're listening or watching, give us a like, give us
a review, hit subscribe, and share the show with whoever
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The show keeps going and growing, so I appreciate it
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pipeline until next time. Lovey all appreciate it. Keep it locked.
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