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Speaker 1: All right, that is Katie's wart. The band is E

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K Schnock. We'll see if I'm pronouncing that correctly when

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we talk to our guests in a moment. But welcome everybody.

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We have entered our number three New Marrow trace of

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Matt Connorton unleashed and we are live from the studios

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of wm NH ninety five point three FM in Glorious Manchester,

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New Hampshire. You can stream the show from anywhere. I

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go to Matt connorton dot com slash live for all

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of your live streaming options, social media links, contact info,

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show archives, et cetera, et cetera. Today is Saturday, March

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twenty eight, twenty twenty six, and I believe via WhatsApp

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we have David Rausch from K Schnack.

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Speaker 2: Hello David, Good morning met and WMNH listeners. Great to

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speak with you, guys.

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Speaker 1: I'm excited to have you on. This project is really interesting.

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So let's clear this up right off the bat, though,

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am I pronouncing the name anywhere close to correctly?

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Speaker 2: You are absolutely close. You are totally perfect at K Schnuck.

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You could not be closer perfect pronunciation.

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Speaker 1: At K Schnock. Okay, wonderful, wonderful. Well, well, so let's

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get this out of the way. What does the name mean.

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Speaker 2: In a combination of Latin and personal nonsense? AKA, schnock

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means hey, look at this. In Latin, the word ek

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means behold, and schnock is a word I made up

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when I was a young dude that means whatever you

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want it to. So aka schnock means hey, look at this,

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or hey check this out.

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Speaker 1: Okay, okay, oh wonderful. So yeah, I'm really curious to

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ask you about this. I mean, what, how do you

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describe How do you describe your music? Because this is

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not something that fits into a particular genre. Obviously, you know,

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there's elements of metal. When you hear the guitars, you know,

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that becomes clear. The lyrics are are very unique. And

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is that you singing? Are you the lead vocalist?

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Speaker 2: Yeah, so that you know, I want it to sound

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like a weird, scary old lady. So we just pitched

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my voice up a little bit, but that is me.

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So yeah. And the music I think of it as

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an art rock style that has three basic qualities. Like

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you said, heavy music, there's you know, also pop music

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broadly defined and classical music too. It's kind of a

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nephew of Frank Zappa or Queen. So it's an art

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music with those three main qualities heavy music, pop music,

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and classical music.

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Speaker 1: Okay, okay, and yeah, So you're really genre blurring there,

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which is cool because you know it gives you. It

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gives you an ability to sound like something that's unlike

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anything else anyone has ever done. I honestly can't think

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of anything that sounds quite like this project. And is

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that important to you? I don't know. I don't know

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if you've done other projects that were more sort of

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mainstream for lack of a better word, But is it

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important to you as an artist to really do something

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that's unique and to stand out and not just be

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kind of following whatever whatever trends are out there.

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Speaker 2: Not in its own sake. I don't have a goal

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to do that for itself, but I've always struggled to

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keep my creative instincts. In one vein, I remember that

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actually a band I love. I don't know them super well,

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but but what I've heard of them I really love

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Will Go. I think the bassist in an interview said

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something like, you know what, will Go? Albums will sound

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like we have our our universe that we work in

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and we're going to stay there, and you know, we'll

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we'll we'll push its boundaries here and there, but you know,

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the the the things we do broadly speaking, which is

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totally respectable, totally that's great if that's the way, you know,

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you end up becoming creative world. For me personally, I've

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never been able to exhaust my interests as a songwriter

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by staying in one genre. So I jump around from

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one genre to another, like I'm playing with boats in

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a lake, and you know, jumping in one boat and

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then letting a friend capsize it, and then jumping in

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their boat and capsizing theirs. I look at them more

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like that instead of a space that if I leave

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my spacesuit, my eyes explode or my blood vessels burst

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or whatever happens in that circumstance.

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Speaker 1: So right, Yeah, it sounds like you would kind of

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get bored if you were in a project where it

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was like you had you had certain parameters that. Yeah,

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that's always interesting too. When artists they obviously as they

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become more successful and they kind of develop a formula

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for what seems to work for them. Commercially and that

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does create sort of those parameters, and some artists can

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push the boundaries. Some artists have to stay locked in,

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you know, like if you know ACDC, just as a

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random example of that, right, you know, they've got a formula,

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They've got a template, and if they venture out of that,

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people are going to be very confused. But it sounds

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like it must be very exciting to approach it the

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way that you do it, And I'm curious kind of

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drilling down on that with this project. Do you go

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when you do this your approach to creating these songs,

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do you consciously think I have to do something that's different,

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I have to do something that's unique that's hard to define,

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or is it more just sort of We're gonna see

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what comes out here. I'm gonna I'm gonna create this song,

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but I'm not trying to be different or weird or

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however people perceive it. I'm just trying to create whatever

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is in my head that I think is going to

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sound good.

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Speaker 2: I think it's more the second one. I can't guarantee

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that everything I make people will love. I hope everybody

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loves it, but I make it to move people in

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some way or another. It's not too achieve some arbitrary

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thing of like I did something out or genre defying

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or whatever like for its own sake. I think it's

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more I kind of look at it the way I

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look at life generally. You know, there's such a range

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of kinds of experiences one can have, from incredible sorrow

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to joy, to rage to terror to boredom, you know,

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and everything in between and other stuff. And I've always

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thought of the genres as each like kind of paints

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or something, colors of different paints in that whole picture.

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And so you know, there's certainly compelling folk music about anger,

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like Bruce Springsteen or Patti Smith or whatever. Plenty of

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those songs are pissed off. But you know, in terms

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of just the raw emotional color of rage, death metal

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is the angriest to perform. On the other hand, there

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are converge songs that are love song. It sounds doesn't

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sound like it the most, you know, maybe the most

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immediately to some ears anyway, loving sound is something softer,

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maybe like a folk song or soul music or something

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like that. So I think of the genres more as

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just different ways of showing the vast array of experiences

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we can have. So that's how I use them.

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Speaker 1: And how did this How did this project start? This

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is it true? That started at Temple University in Philly.

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Speaker 2: Yeah, that's right, Okay. So I had been actually to

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go on this thing about the different emotions and emotional

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experiences and whatever we can have as people. Originally I

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thought I was going to be a psychotherapist, and I

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had got and out of college, went to Skidmore College

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and I graduated in two thousand and seven studying psychology

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and philosophy, and I had a job as an intake

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worker in a behavioral healthcare center in South Philly. I

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saw every major and supporting role of the diagnostic statistic

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manual of mental disorders schizophrenia, major depression, bipolar disorder, addictions,

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and you know, kids in a lot of circumstances, in

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really great despair. And I had thought I was going

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to do that career, and I had this intake worker position,

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which I really at first, you know, it was hard,

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but I got I ultimately, I was able to do

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it at first because I believed that the world as

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it is can help these people with a system that

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we have. And then over the next year, I just

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got ground down about like, holy crap, this system in

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which we live is really pitted against people, whether we

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are people who need care or people who are giving care.

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And I just got my ass worked and roasted by it.

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And then meanwhile, I had been writing this weird music

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as a little twenty three year old guy. And when

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I eventually said, oh crap, I can't do this anymore.

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I gotta be on my way and try music out.

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I went to Temple University and I met a really

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fantastic number of musicians and still friends to this day.

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That started the first version of the band with me

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in twenty eleven. So the beginning of A. K. Schnock

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was a transition from great uh you know, kind of

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a personal psychological political crisis, from one walk of life

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to another, and then meeting like minded thinkers and feelers

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and musicians at that at Temple University, where I went

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to study classical guitar, when I changed the course of

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my life.

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Speaker 1: Okay, okay, by the way, yeah that is interesting to

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me and I I I know a little bit about

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what you're what you're talking about, how the system is

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U is pitted against these people who so desperately need help,

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and it sounds like you got uh, you know, there's

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a lot of burnout in that field obviously. Yeah, and

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it sounds like you you kind of you had the

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foresight to see what was coming for you if you had,

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if you had stuck with it. So so that that's interesting.

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And then I assume so at Temple and you were

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studying it was classical guitar, Is that correct?

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Speaker 2: Yeah?

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Speaker 1: And that obviously shaped I assume shaped what you're doing

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today because you know it in terms of being able

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to do things that are very technical. Obviously, that classical

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training is very helpful. And then so that was where

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the original iteration of the band formed, the first lineup

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formed at Temple.

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Speaker 2: Yeah, okay.

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Speaker 1: And then and that was, oh, so this project has

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actually been around a while. Then, so that was you

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said that was twenty eleven.

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Speaker 2: Yeah, it's been a long time.

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Speaker 1: Long time. So how was I mean, I assume the

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sounds changed and evolved over time or I mean, were

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those early songs that you did, were those also very

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much genre bending or did it start out a little

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more conventional?

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Speaker 2: Well, also genre bending, I've been in one project that

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was more uh, stationarily just one project. I was in

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an indie rock band that I played drums in and

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that was I loved that group. But anytime I've ever

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written music in my own personal musical language, it's always been, uh,

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you know, the shape shifting sound that it is for

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better or for worse.

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Speaker 1: So yeah, and then when did you start releasing music

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with ak Schnack now butchering it you're perfect ak snack

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all good?

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Speaker 2: When when?

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Speaker 1: When when did that begin? As far as your your

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first output with the project.

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Speaker 2: I think our first EP was released in twenty fourteen, Okay.

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It's a tiny, little eighteen minute EP called Letters to

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Herrmann Vasquez Rubio, which I don't think is on our Spotify,

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but it is on band camp, okay. And then it

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was another five years or so before we put out

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the second two releases, So we have big old gaps

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between releases.

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Speaker 1: Okay. Yeah, Shadows Grow Fangs as that's your first since

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twenty nineteen, correct, that's right, okay? And what was the

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spark that brought this to fruition in terms of because

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obviously you do take long breaks between recording. What what

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brought this? Uh? What what brought this to light? Wanting

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to do the CP.

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Speaker 2: I always you know again, for better or for worse.

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Some I take a long time to get the full

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picture of what I wanted a release to be. In fact,

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let's see Shadows of Fangs the Internet three. Almost all

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of the songs on that EP are about as old

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as the story I was saying, Like, I started writing

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the title track Shadows Grow Fangs on a bike ride

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home from my job as an intake worker. So I

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take a long time to finish stuff, and so I

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think in terms of what compelled it, I was like, Okay,

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you got to just put this out already. Let's just

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put these songs out on this EP and make this happen.

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So I guess the answer is do it. Gosh darn it, David,

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do it already. Put it out already. You know, you

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could have a you could have a kid graduating high

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school with this record. Put it out right.

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Speaker 1: So well, you know, good things take time, right, you

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know you're correct?

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Speaker 2: Correct? Easy? Yes, yes, I got to go easy on myself.

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Speaker 1: There, there you go, there you go. I also want

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to know more about your connection with EMF, and yes,

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EMF for for people who don't remember, unbelievable. I mean,

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that's like the song that people remember the most. You're

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unbelievable from EMF. And of course I'm not sure how

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much music they've released, and I know they have probably

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quite a bit, that they've been around a long time obviously,

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but tell us about your connection with EMF and the

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touring and all that.

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Speaker 2: Yes, so we met them on our West Coast tour

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this past June, and like you say, I had heard

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that song and I'd always loved it. I probably heard

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it when I was ten years old, and you know,

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hadn't heard the other music until I was put onto

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it by the fact that we were going to be

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touring with them. Had no idea what they would be

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like as dudes, but they were absolutely lovely, lovely you know,

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to use a British term, lovely books. And that tour was,

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you know, fifteen days, but it felt like one big day,

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the best day of our lives, I think, and just

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you know, constant warmth and laughter and you know, and

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they're much more seasoned than we are, obviously. Yeah, but

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we just had so much fun with them, and they

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saw that we were taking what we were doing seriously

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and we were supportive in terms of just the brass

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tacks of people collaborating on a tour and being dependable

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and all that. So, uh, and we're on this. We're

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on the same booking agency as they are, and so

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that's how we, like the simplest way in which we

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got connected. Our manager pitched to the booking agency that

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we'd be the opening act for that tour, and they

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took us up on it, and we proved ourselves and

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the rest is history. So we're on tour with them

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this May in on the East Coast for nine days

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and then six dates in England June.

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Speaker 1: Oh, fantastic. That's excellent. Yeah, you know, and it sounds

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like you're having a great experience with them and how

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they are as people, which is great because obviously you

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don't always know going into a situation when you're opening

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for somebody what the headliner is going to be, like,

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how they're going to be as people, how they're going

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to treat you, And it sounds like it sounds like

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they're like legitimately really good people. So that's that's wonderful.

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Speaker 2: Yes, yeah, it was awesome. And right there's you know,

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like life is a mix and people are a mix.

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Each of each one of us is a huge mix

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of virtues, flaws and mediocrits. So, like you say, you

285
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never know what that mix is going to look like

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in an individual, in a group of people, in a

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set of experiences you can have. But with that relationship

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was just very lucky or blessed however you look at it.

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Speaker 1: Yeah, now that's fantastic. And did you also collaborate on

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a song.

291
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Speaker 2: With them, Yes, so on tour they had this basically

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complete idea for a song that's you know, if people

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don't know their sound generally, it's it's party music with

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a little bit of more and sometimes more than a

295
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little bit of punk rock energy and tenacity and and

296
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then even to some extent, some political import too. So

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they have dear friends like most of us do, who

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are in the queer community, and you know, in this

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troubled world, the queer community is under great attack all

300
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the time. And so they wrote a song of solidarity

301
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with them called LGBTQ plus Lover. And they had this

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song that they were gonna premiere on tour, and they

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did the first two nights, and then when they saw

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us and heard my singing and the other singer in

305
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my band, Bella, this incredible contralto. They said, Holy, holy heck,

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these this guy and Gal are are really good singers.

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And they have the beginning of the song basically sounds

308
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like a big choral pad, and they had they have

309
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a synth pad on the tracks, usually live and on recording.

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But they're like, why don't we have the opener the

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two singers from the opening band come on and join us,

312
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which we did from the third all the way to

313
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the last eleventh show of the night, and then after

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that because we had so much fun and because audience

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has really appreciated it, they memorialized that relationship by having

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us on the on that recording. Uh So, the song

317
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is called lgbt Q plus lover and again it's a

318
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song of solidarity with gay, transgender, transsexual, non binary other

319
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other folks who are under attack and need our allyship.

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Speaker 1: That's extremely cool. I fully support that, and I actually

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pulled it up. I'm kind of scanning through the lyrics,

322
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just making sure that I can play it, because I might.

323
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I might play it later in the show. We do

324
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have another track of yours that I'm going to play

325
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at the end of our conversation, but after that, I

326
00:22:45,200 --> 00:22:47,519
might sneak this one in two. I'm just scarning. I'm

327
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just scanning through making sure there's no uh no language.

328
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Speaker 2: And I don't think we have any naughty words. That

329
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he does say the word boo hoo. So depending on

330
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your audience's sensitivities, maybe I should. Maybe I I'm a

331
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potty mouth for saying that.

332
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Speaker 1: I can assure you I have a highly insensitive audience,

333
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so I think. So what I'm going to do is,

334
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I'm at the end of our conversation, I'm gonna play

335
00:23:11,599 --> 00:23:13,720
another track of yours, and then immediately after that, I'm

336
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gonna play this m F track because I found it online.

337
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So I think that's awesome, and that's so cool for

338
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you like that. That was probably a huge surprise, right

339
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when when they asked you to do that. I assume

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it was.

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Speaker 2: You know, if you have a certain amount of success

342
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in any kind of creative or professional thing, it's a

343
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sort of naturally human mistake to like deify people. And

344
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I'm reminded, you know, this guy's kind of a controversial figure,

345
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I think, unfortunately, because I don't personally I think he's

346
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a heroic person. Nobody nobody's perfect, but Ralph Nader, the

347
00:24:00,720 --> 00:24:05,599
uh consumer advocate, you know, left this gad fly.

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Speaker 1: I'm a fan.

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Speaker 2: Okay, heck, yes, we've got the Ralph Nader crew in

350
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the in the building. Ralph Nader says about politicians, he

351
00:24:16,319 --> 00:24:20,880
just says, they're not gods. They are people that tie

352
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their shoes in the morning and brush their teeth at night.

353
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And so you can relate to them just as fellow people.

354
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You don't have to feel smaller in there. You know,

355
00:24:35,799 --> 00:24:39,160
they're they're You're just as powerful as they are in

356
00:24:39,200 --> 00:24:43,039
some respect. And uh, it's you know, it's a bit

357
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of a jump of a comparison. But basically when m

358
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F said, hey, we see what you're doing. We like

359
00:24:51,880 --> 00:24:56,680
it so much, we want you to join us, there

360
00:24:56,799 --> 00:25:02,440
was this surreal, like wait what moment of but you

361
00:25:02,480 --> 00:25:09,640
But you guys literally helped with with your breakout, world

362
00:25:09,720 --> 00:25:15,759
famous single when I was eleven years old. You helped

363
00:25:16,799 --> 00:25:23,240
put together the beginnings of my litteral brains understanding of

364
00:25:23,240 --> 00:25:26,359
what pop music is and now and now you want

365
00:25:26,359 --> 00:25:31,680
me to participate in the continuation of your art. So

366
00:25:31,799 --> 00:25:39,079
it was it was pretty surreal and beautiful and but

367
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then no, they're just people that put their shoes on

368
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in the morning and take them off at night and

369
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brush their teeth at night and whatever.

370
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Speaker 1: So yeah, now that's that's amazing, awesome. I can't wait

371
00:25:52,279 --> 00:25:55,200
to I can't wait to play that. So at the

372
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end of our conversation, So, like I said, I'm gonna

373
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play two things. So at the end of our conversation,

374
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I'm gonna play Jeremy. I'm really curious to hear about this,

375
00:26:04,200 --> 00:26:07,960
that the Jeremy bout Them song, Jeremy Utilitarian sad Boy,

376
00:26:09,079 --> 00:26:11,160
tell us about this, tell us about this song.

377
00:26:12,440 --> 00:26:22,000
Speaker 2: Sure. So, like I said, four out of five of

378
00:26:22,039 --> 00:26:26,440
the songs from Our Shadows Grow Fang's EP, which we

379
00:26:26,480 --> 00:26:32,279
released last October, I believe, Okay, I can't. I think so.

380
00:26:32,480 --> 00:26:38,400
I think that's right. Four out of five of them

381
00:26:38,519 --> 00:26:45,640
are very old songs in my writing history. So when

382
00:26:45,680 --> 00:26:49,440
I still lived in Philadelphia, and just around the time

383
00:26:49,480 --> 00:26:54,240
that I started going to Temple University, as I was

384
00:26:54,279 --> 00:26:59,960
finishing up my changing from a would be shrink into

385
00:27:00,200 --> 00:27:05,880
beginning musician beginning musician, I lived around the corner from

386
00:27:05,920 --> 00:27:15,839
this really curious, complicated museum called Eastern State Penitentiary, which

387
00:27:16,079 --> 00:27:22,079
was a prison. It's the North Philly in the Fairmount neighborhood,

388
00:27:22,160 --> 00:27:27,960
and it's this great, big brick fortress in a you know,

389
00:27:28,039 --> 00:27:32,440
pretty like relatively nice part of the city. There's like

390
00:27:32,960 --> 00:27:36,000
a couple rough spots here and there around it, but

391
00:27:36,079 --> 00:27:40,119
like it's sort of nice around there. But there's this

392
00:27:40,359 --> 00:27:49,440
but there's this prison museum. And every every Halloween they

393
00:27:49,480 --> 00:27:54,319
had this Haunted Prison event, and I would went to

394
00:27:54,359 --> 00:27:59,160
the Haunted Prison event and my friends would play prisoners

395
00:27:59,200 --> 00:28:04,640
who were also zombies. And then I went there the

396
00:28:04,680 --> 00:28:07,720
next day and I learned about this guy, Jeremy Bentham,

397
00:28:07,799 --> 00:28:14,480
who was this British philosopher who, at least in our

398
00:28:14,960 --> 00:28:20,400
troubled tradition, he was sort of a predecessor to Marx.

399
00:28:20,440 --> 00:28:24,839
He believed in the highest good, in the least amount

400
00:28:24,880 --> 00:28:28,359
of suffering, the most pleasure, the least amount of pain,

401
00:28:28,480 --> 00:28:31,640
for the highest number of people. And he believed that

402
00:28:31,720 --> 00:28:36,680
the government can play a positive and real role in that. Wow,

403
00:28:36,759 --> 00:28:40,359
big whoop and incredible. It seems sort of obvious now,

404
00:28:40,400 --> 00:28:44,359
but for his time it was an important thing to say.

405
00:28:44,359 --> 00:28:46,960
And he precedes Marx, so this is all good. But

406
00:28:47,000 --> 00:28:51,079
he had this weird idea, which was the idea of

407
00:28:51,200 --> 00:28:58,559
solitary confinement. So if you're familiar with the horrible things

408
00:28:58,559 --> 00:29:04,440
we do to prisoners. Yes, sometimes we're so brutal as

409
00:29:04,480 --> 00:29:11,400
to black people in closet sized rooms and leave them

410
00:29:11,440 --> 00:29:15,799
there indefinitely. I have a friend, in fact, named Keith

411
00:29:16,039 --> 00:29:20,759
Lamar who has been in solitary confinement for thirty five years.

412
00:29:20,799 --> 00:29:25,920
He's an innocent man on death row in Ohio. He's

413
00:29:26,279 --> 00:29:35,880
got ten months until the scheduled execution. But you know,

414
00:29:36,039 --> 00:29:44,200
so he's an example of this complete disaster of let's say,

415
00:29:46,000 --> 00:29:56,279
good intentions creating horrific nonsense. So the song is an

416
00:29:56,559 --> 00:30:02,440
exploration of how did you how did you miss? How

417
00:30:02,440 --> 00:30:04,759
did you forget to carry the two on this cute

418
00:30:04,759 --> 00:30:09,720
little moral calculation you had, Jeremy Bentham. You know your

419
00:30:09,920 --> 00:30:18,079
highest good for highest number, you know, kind of imagining

420
00:30:18,240 --> 00:30:23,359
something like the social safety net, and these are all

421
00:30:23,400 --> 00:30:27,400
good ideas and making sure people have food and housing

422
00:30:27,480 --> 00:30:31,480
in basic livelihood and human rights on it. But now

423
00:30:31,519 --> 00:30:36,079
you have this idea of locking people in closets indefinitely.

424
00:30:36,240 --> 00:30:39,960
Where'd you go wrong? Weirdo? Right? And then the funniest,

425
00:30:40,039 --> 00:30:44,880
the last weird coincidence about his story that comes up

426
00:30:44,880 --> 00:30:48,759
in the song and the lyric is that he had

427
00:30:48,799 --> 00:30:53,240
this idea that when you die, you don't have to

428
00:30:53,279 --> 00:30:57,160
worry about death. You can grieve the people that have died,

429
00:30:57,240 --> 00:31:00,799
but death is not a harm to the person that

430
00:31:00,960 --> 00:31:06,599
dies because they're no longer. There's no harm to somebody

431
00:31:06,599 --> 00:31:11,880
who doesn't exist. So don't fear death. And then in

432
00:31:11,920 --> 00:31:13,839
relation to the body, well, what do you do? What

433
00:31:13,880 --> 00:31:16,839
do you tell people about what to do with your

434
00:31:16,839 --> 00:31:21,279
body when you die? He said, I want to he said,

435
00:31:21,319 --> 00:31:26,279
basically taxidermy me, put me in my seated position. He

436
00:31:26,319 --> 00:31:31,160
was a professor at an Oxford in London or sorry

437
00:31:31,200 --> 00:31:35,920
in England, and so he said, just put me in

438
00:31:36,000 --> 00:31:39,799
my cool hat with my cane and my professor le

439
00:31:39,960 --> 00:31:43,519
garb make me look swell or whatever, and have me

440
00:31:43,599 --> 00:31:45,640
seated with a big smile on my face, and just

441
00:31:46,480 --> 00:31:52,480
let my body be an image of you know, the

442
00:31:52,799 --> 00:31:57,200
the body as a stale instrument was his phrase, like

443
00:31:57,440 --> 00:31:59,960
a thing that just comes and goes and no big deal.

444
00:32:00,759 --> 00:32:03,359
And you know, my former students, you can even laugh

445
00:32:03,359 --> 00:32:05,599
at me or whatever. So there's kind of like this

446
00:32:05,759 --> 00:32:12,319
light heartedness, right, but there's also this this weird, grotesque

447
00:32:12,359 --> 00:32:18,400
accident where like he's putting his dead body in this

448
00:32:18,680 --> 00:32:22,440
in this cell for his students to muse ad and

449
00:32:22,519 --> 00:32:24,960
to love him after he's gone, or to laugh at him,

450
00:32:25,000 --> 00:32:27,799
or to be growth gross soud or whatever. Right, And meanwhile,

451
00:32:28,920 --> 00:32:35,000
his confused, absurd philosophical tradition ends up putting living people

452
00:32:35,279 --> 00:32:41,079
in cells. And and those are those bodies are not

453
00:32:41,319 --> 00:32:47,319
stale instruments at all. Those people are living people with

454
00:32:47,960 --> 00:32:52,119
hopes and dreams and fears and emotions and lives they

455
00:32:52,160 --> 00:32:56,960
want to live. So uh. And then that's the story

456
00:32:57,000 --> 00:33:01,680
of Keith Lamar. Is another important thing that if we

457
00:33:02,039 --> 00:33:06,319
speak again, I want to tell you about. But for

458
00:33:06,400 --> 00:33:12,160
folks who need inspiration and want to help with an

459
00:33:12,160 --> 00:33:15,960
important cause, check out Keith Lamar dot org.

460
00:33:17,759 --> 00:33:18,400
Speaker 1: Okay, and.

461
00:33:19,799 --> 00:33:24,039
Speaker 2: You can hear about his story. He's an imprisoned man

462
00:33:24,200 --> 00:33:29,799
on death row wrongfully who is an incredible philosopher, writer

463
00:33:30,039 --> 00:33:35,640
and fact musician too. So Keith Lamar dot org. And

464
00:33:35,720 --> 00:33:38,680
I'm sure you'd be interested in that as well. I

465
00:33:38,839 --> 00:33:41,759
really love this conversation and it seems like you are

466
00:33:42,160 --> 00:33:43,799
curious about the right things.

467
00:33:43,960 --> 00:33:46,640
Speaker 1: Oh absolutely. And I'm also someone who my entire life,

468
00:33:46,640 --> 00:33:49,799
I've always been very much opposed to the death penalty.

469
00:33:51,319 --> 00:33:53,880
One of the few things my dad who passed away

470
00:33:53,880 --> 00:33:55,200
not too long ago. It's one of the few things

471
00:33:55,200 --> 00:33:57,079
that he and I actually agreed on all the way

472
00:33:57,680 --> 00:34:00,160
to his end is politically, one of the few things

473
00:34:00,160 --> 00:34:04,200
we agreed on was that the death penalty is egregious

474
00:34:04,240 --> 00:34:06,799
and wrong. So yeah, I'm gonna look that up. I

475
00:34:06,880 --> 00:34:09,559
am curious to know more about that, and I would

476
00:34:09,559 --> 00:34:11,280
like to have a follow up conversation with you on

477
00:34:11,320 --> 00:34:15,559
that subject in the future. Definitely. Yeah, that'd be very interesting.

478
00:34:16,960 --> 00:34:20,920
So we're going to in a moment, We'll let you go, David,

479
00:34:20,960 --> 00:34:22,440
and we're going to play We are going to play

480
00:34:22,519 --> 00:34:27,000
Jeremy Utilitarian sad Boy to at the close of our conversation,

481
00:34:27,039 --> 00:34:28,480
and then, like I said, I am also going to

482
00:34:28,480 --> 00:34:32,079
play that E MF track LGBTQ plus Lover. Very curious

483
00:34:32,079 --> 00:34:34,840
to hear that as well. But I want to know,

484
00:34:35,039 --> 00:34:37,239
please share with our listeners where's the best place to

485
00:34:37,280 --> 00:34:39,679
go online to keep up with everything you're doing, everything

486
00:34:39,960 --> 00:34:43,639
ak Schnack is doing, how to spell it for people

487
00:34:43,639 --> 00:34:46,400
who don't how to spell it, and and anything else

488
00:34:46,440 --> 00:34:48,199
you want our listeners to be aware of in terms

489
00:34:48,239 --> 00:34:49,360
of finding you online.

490
00:34:50,280 --> 00:34:55,719
Speaker 2: Great, yes, for better or for worse. I chose a

491
00:34:55,880 --> 00:35:00,880
funny name for this act. I often think of the

492
00:35:00,960 --> 00:35:04,639
hip hop artist talib Quality. You know, he could have

493
00:35:04,760 --> 00:35:09,360
he was, He's obviously very creative guy. He could have

494
00:35:09,559 --> 00:35:12,480
chosen a much more straightforward name for himself. But for

495
00:35:12,760 --> 00:35:16,840
whatever reason, some of us, you know, just get attached

496
00:35:16,960 --> 00:35:22,039
to challenging names. And he has a whole song about

497
00:35:22,440 --> 00:35:26,159
you pronounced the name quality, any questions whatever, So he's

498
00:35:26,239 --> 00:35:28,559
making kind of making fun of his of that choice

499
00:35:29,400 --> 00:35:34,519
of his own. For me and our band, Uh, the

500
00:35:34,599 --> 00:35:38,880
name is spelled e double c e e c c

501
00:35:39,199 --> 00:35:47,079
e space s h n a k schnock k schnock

502
00:35:47,480 --> 00:35:51,800
e double c e space s h n a k

503
00:35:53,039 --> 00:35:57,880
And we got to update it, so bear with us

504
00:35:57,920 --> 00:36:01,480
on the on the website. But but certainly websites are

505
00:36:01,519 --> 00:36:04,239
are an old school thing to do, so you can

506
00:36:04,360 --> 00:36:07,880
check it out there. But in terms of the most

507
00:36:08,119 --> 00:36:14,639
immediate things, I think Instagram is the best medium to

508
00:36:14,719 --> 00:36:22,119
get the totally most up to date AH updates about

509
00:36:22,199 --> 00:36:28,199
us and any any streaming platform of your choice. To

510
00:36:28,320 --> 00:36:33,360
check out the music, and then we can certainly send

511
00:36:33,400 --> 00:36:37,079
you merch if you fall in love with the music

512
00:36:37,119 --> 00:36:39,599
and want some want a vinyl or a T shirt

513
00:36:39,679 --> 00:36:47,800
or something. We have a store for that two. And yeah,

514
00:36:47,840 --> 00:36:53,320
so I think the the maybe for for Eve, for

515
00:36:53,400 --> 00:36:57,599
an odd band, we have more humdrum, mediocre ways of

516
00:36:59,079 --> 00:36:59,840
listening to us.

517
00:37:01,960 --> 00:37:04,000
Speaker 1: So yeah, you know what, though it occurs to me

518
00:37:04,199 --> 00:37:06,760
it does make you very googleable, as I like to say,

519
00:37:06,800 --> 00:37:10,360
because if someone googles your name, and you know, assuming

520
00:37:10,400 --> 00:37:12,679
they spell it correctly, there's not gonna be any confusion.

521
00:37:12,760 --> 00:37:17,000
Oh is this is this the correct at? Do I

522
00:37:17,000 --> 00:37:19,400
have the right one? You don't have to worry about that.

523
00:37:19,480 --> 00:37:24,559
So that's a good thing. Absolutely, Thank you. Well, so

524
00:37:24,599 --> 00:37:26,239
we're going to to in a moment. We're gonna play

525
00:37:26,239 --> 00:37:29,280
this track Jared Jeremy, I don't know. I have so

526
00:37:29,320 --> 00:37:32,360
much trouble with it. Jeremy utilitarian, sad boy. I need

527
00:37:32,360 --> 00:37:35,239
more caffeine this morning. But David, thank you so much

528
00:37:35,320 --> 00:37:38,880
for joining us. This has been a wonderful conversation. Fascinated

529
00:37:38,880 --> 00:37:41,039
by your music. I really love it. Check out the

530
00:37:41,119 --> 00:37:44,519
EP Everybody Shadows Grow Fangs really really good and we

531
00:37:44,599 --> 00:37:46,880
will definitely have you back. Man, this has been wonderful.

532
00:37:46,920 --> 00:37:48,400
Thank you so much for joining us today.

533
00:37:49,239 --> 00:37:52,119
Speaker 2: Thank you so much, man, and peace and love to

534
00:37:52,400 --> 00:37:56,719
w M n H listeners so much. Gratitude to you,

535
00:37:57,400 --> 00:37:59,639
and hopefully we'll see you on the East Coast tour.

536
00:38:00,039 --> 00:38:02,960
Boston might be the nearest where you guys are I

537
00:38:03,000 --> 00:38:09,119
think so, uh so. Yeah. Much love and gratitude to

538
00:38:09,199 --> 00:38:12,880
everybody in the w M n H universe. Piece and

539
00:38:12,960 --> 00:38:14,320
love Davy.

540
00:38:14,519 --> 00:38:16,199
Speaker 1: All right, talk to you soon, my friend, take care,

541
00:38:16,239 --> 00:38:19,760
Bye bye. All right. That was David Rausch. The project

542
00:38:19,920 --> 00:38:23,679
is k Schnock And check this out. This is called

543
00:38:23,800 --> 00:38:28,159
Jeremy Utilitarian Sad Boy from the ep Shadows Growth. Thanks