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Speaker 1: He stays.

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Speaker 2: Not keep it between the lines to no that know

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the series.

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Speaker 3: He's stepped out. Take SnO demonstad on the line.

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Speaker 4: And we fall.

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Speaker 1: Found nothing that's a rocking souls away.

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Speaker 3: But tyn, this is the cross around.

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Speaker 1: No rolls and such a downs say can say.

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Speaker 2: Stand down, I'm girls in shade.

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Speaker 5: Just slow off me and behind.

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Speaker 2: Just sign nothing of that.

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Speaker 3: Nothing afternoons.

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Speaker 4: The blast.

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Speaker 1: None, they says, the class around the sound.

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Speaker 4: Such a.

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Speaker 1: Mass say down away out the same class still down

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h this is a class south side say down the way.

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Speaker 3: I'll say lasselfa and hold and on, hold and on

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to this too much, too long, to.

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Speaker 4: All of this, It's too much. It's too cold to

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get me.

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Speaker 2: Suck s.

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Speaker 1: Shot time.

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Speaker 2: Let's go.

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Speaker 3: We sa rock shot for it's snacking the.

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Speaker 1: This nobody.

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Speaker 6: Cr welcome everybody, here we go. It is that time again.

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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, Inglorious, Manchester,

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New Hampshire. Of course, you can stream the show from anywhere.

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Go to Matt connorton dot com slash live for all

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your live streaming options, social media links, contact info show archives,

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et cetera, et cetera. Today is a Saturday, October eleven,

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twenty twenty five. Welcome everybody. I am flying solo this morning,

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although I do see Jenny in the chat room, but

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she had a very very busy week. So if you

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don't follow Jenny online, you definitely should. She's been up

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to some good stuff, but a very busy and exhausting week.

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So so she's at home, but she is in the

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chat room. But check out our website Jencoffee dot com

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for more information on everything that she does. We won't

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get into it all here, but and follow her on

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social media. And there's some some really really cool stuff

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coming too. Actually, there's something big coming. I don't think

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she said anything about it publicly yet though, but anyway,

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just keep keep your eye on Jenny. She's doing some

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really good stuff. I also see Loud Entertainment in there,

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and Texas Mic is in there. Good morning, guys. In

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the in the chat room, let's see so oh, by

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the way, the song that I opened with that was

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Beautiful Nightmare by Chasing the Devil. So the reason I

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played that is so this morning I was picking out

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a shirt to wear. I always like to wear a

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shirt of one of the artists who has been on

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the show, supports the show, et cetera. And I was like, oh,

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I haven't worn the Chasing the Devil shirt in a while.

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And then on my way in, I was thinking, you know,

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Beautiful Nightmare, which was the first their first single that

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they put out. Then they've put out several, but I

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love that song.

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Speaker 7: You know.

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Speaker 6: They we did the world radio premiere that track right

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here on Matt connorton Unleashed here at WM and H

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and I listen to that now and I still love

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it as much as the first time I heard it.

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It's so good. So I was like, oh, why don't

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I open with that today? That'd be a good way

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to open, good higher energy song. I'm a little tired,

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so I had a busy week myself, so good do

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good to have something high energy to open with. But

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such a great song. And I think they're working on

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more stuff too, so Chasing the Devil check them out.

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And Jenny and I do run into Jay Bellow from

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Chasing the Devil occasionally at Market Basket in Bedford. We

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just happened to run into him there, so so that's

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kind of funny. So I figured i'd open with that,

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but we do have we do have some other music

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coming up today on the show. Of course, in just

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a few minutes, I'm gonna be talking with Jack Body

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from the band Pacific A's we had we did the

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world radio premiere, or it might have been the American

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radio premiere. I might have already been played in the UK.

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But another great UK artist at our friends from big

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gspr over there send us and the new single short Life,

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which is great. So we're gonna play that in just

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a couple of minutes, and then we're gonna have Jack

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on with us via WhatsApp to talk to him, and

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at the end of that segment, we're gonna play one

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of his earlier singles too that I really really like,

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called wander Lust, which is so good. So we're gonna

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be talking with Jack from Pacific Aays in just a

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couple of minutes at nine to fifteen am in the

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Eastern time zone depending on where you're listening from. And

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let's see then in the second hour, in the second hour,

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we have Kyle Gordon who has a great song called

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She Chose Me and we did the uh we did

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the world radio premiere for that here on Matt Connorton

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Unleashed and I love that song so much, so we're

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gonna play that again in the second hour, and then

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we're gonna talk to Kyle. Looking forward to that. And

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then in the third hour, the band Benthic Realm is

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gonna be joining us live in studio if you're not

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familiar with them, really really good and I think they're

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gonna play live, So I've got some extra microphones ready,

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so really looking forward to that. So we've got another

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busy show, an exciting show for you. Uh, let's see.

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So in just a couple of minutes, I'm gonna play

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that track short Life by Pacific Gays, and then we'll

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get Jack on the phone. Also, if you're a long

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time listener of the show, you probably know this, or

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if you know me, you know this about me. My

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favorite band is Kiss. And I'm getting a little nervous

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because just in the past week, so Ace Frehley, who

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has not been in the band for a long time,

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apparently has had a stroke. So that's, uh, that's disconcerting.

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And uh and Gene Simmons a couple of days ago,

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apparently he's fine. But Gene Simmons actually had an accident.

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I guess he lost consciousness while driving. So just uh,

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a couple of couple of very uh, very precarious things there.

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But let's see we have a call. Wow, let's see

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who's online. Hi, welcome to Matt Conerton on non leash

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do this, Oh.

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Speaker 8: On map, this is Jane Simmons of Kiss.

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Speaker 6: Gene Simmons of Kiss. Oh my goodness, I'm so relieved

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to hear from you. I've been worried about you. You

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had that terrible accident. You apparently lost consciousness and crashed

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into something. Uh are you okay?

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Speaker 8: I don't know, Matt, you tell me, am I okay.

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Speaker 6: Well you sound great. I mean you sound very normal,

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Gene Simmons of Kiss. You sound like you always do well,

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although then again I don't know much how you sound

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these days. You used to call the show all the

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time when we were on afternoons, and now I hardly

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ever hear from you.

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Speaker 8: Well not, you know, I do sleep in on Saturday mornings.

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I'm a musician.

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Speaker 6: I didn't think you ever slept, Gene Simmons of Kiss.

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Speaker 8: Yes, it's a it's a good substitute. That's sleep for

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the bourbon that I don't drink anymore.

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Speaker 6: That's right. Well you never you never were a drinker,

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which I commend you for that.

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Speaker 8: Oh you say so, you say, well no, I.

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Speaker 6: Mean that's more acist thing. But uh yeah, So how

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are you doing? Are you doing? You're doing okay?

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Speaker 8: Uh.

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Speaker 6: I was very concerned. I thought maybe a heart issue

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or something. I know you have apheb. I didn't know

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if that may be cause you to lose consciousness while driving.

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Speaker 8: It's funny, I do have a feb mat. But the

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thing is is, whenever I turn on one of my

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Kiss albums, yes, my heart just beats right to the rhythm.

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Speaker 6: No kidding, even the elder.

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Speaker 8: That's right.

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Speaker 6: Well that's amazing. Well that's exciting. Gene Simmons of Kiss.

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Speaker 1: Very good.

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Speaker 8: And I'm calling you this morning because I decided to

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get up early, whip up some pancakes and listening to

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my favorite radio show host ever.

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Speaker 6: To think of, Gene Simmons of Kiss, listening to my

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show and making pancakes gives me a boundless joy. I

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must tell you.

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Speaker 8: Yes, and one more thing, Matt, before I go and

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let you continue with your fabulous radio show.

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Speaker 6: Thank you.

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Speaker 8: Yes, Uh screw Ice, really forget him.

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Speaker 4: Wow.

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Speaker 6: Wow, I know you don't always get along, but all right, well,

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we hope that Ace recovers. I hope that Ace recovers

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y so.

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Speaker 8: I do too, math, But if he doesn't, you know,

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that's just the way everything was meant to be.

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Speaker 6: That's cold. Gene Simmons of Kiss. That's cold.

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Speaker 8: And when the day finally happens, when people go to

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kiss dot com and order anything, uh huh, still get

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one third off the price? Wow, really, that's correct. We

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have to wait till he bites the big one.

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Speaker 6: Okay, okay, all right, Well I do like to save money,

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but I but I do still hope the Ace.

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Speaker 8: Recovers right new too.

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Speaker 6: Hmmm, all right, Gene Simmons of Kiss.

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Speaker 8: I have a good show man, all right, keep rocking

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and keep rolling.

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Speaker 6: Thank you, right, and Gina, I would just remind you, oh,

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never mind, Gene Simmons of Kiss. That's amazing. We haven't

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heard from Gena in a long time. Well, very good,

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very good. Well, I do hope. Uh it sounds like

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he's doing great. And I hope Fraley recovers. Ace actually

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had to cancel the rest of his tour. He was

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on a tour that I think was supposed to go

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for the rest of the year, but he had to

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cancel the rest of his dates for twenty twenty five.

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So very very very concerned for mister Frailey. Well, here's

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what we're gonna do. We're gonna go ahead and hit

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this track. This is called short Life. This is Pacific

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A's and then when we come back, we're gonna have

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Jack from Pacific A's on the line with us. Really

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looking forward to talking with him. I love his sound check.

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This out Pacific A's and this is called short Life.

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Speaker 5: Think and Fallen, move the sun. So my god, you

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see the sable man I look sor and super take

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it Innglish without regret.

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Speaker 9: So loveter not see me.

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Speaker 4: You've got along.

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Speaker 2: You're sure.

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Speaker 4: Something been letting in.

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Speaker 5: The ships, just canding you comfort lists. She leads across

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the boat to come fad.

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Speaker 10: That does nothing, no.

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Speaker 4: No, the stress some lads long track comments. It's a

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long track.

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Speaker 6: I love that that is specific as the track is

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called a short life. And I think we have Jack

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on the line via WhatsApp.

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Speaker 3: Jack, are you there?

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Speaker 11: You do you have Jack on the line? How's it

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go O?

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Speaker 6: Wonderful? Wonderful? Hey, I love that song. Man, it's so

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it's kind of dreamy is my first word to describe it.

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But it's just such a great tune and it just

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I just love it. You kind of get kind of

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get lost in it when I listened to it, if

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you know what I mean.

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Speaker 11: Yeah, because when our guitar hast brought the chords into

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the room, it just made it transported me to those holidays,

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you know, with your partner on the beach and you're

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in that little bubble of life and nothing can really

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pop that bubble. And that's the vibe that I wanted

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to give out. Yeah, as you partner against the world

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love and life.

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Speaker 6: Yeah, yeah, no, I'd say you definitely accomplish. That's that's

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really good. So tell me Jack about Pacific is because

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I got the impression from reading a little bit about

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the band that did this start as a solo project

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and then kind of develop into a band? Is that

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what happened? Or can you kind of run through the

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history of the project.

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Speaker 11: Yeah, sure, so super fast history. I've been playing piano

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since I was ten, so you know over twenty years now. Yeah,

239
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classically trained and all the piano stuff done me grades

240
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and then in my twenties, I started really getting into

241
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playing guitar, and like, I just had an affinity to

242
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safe rock and safe music. So around five or six

243
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year years ago with a side that you know, now's

244
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the time to actually get those ideas out your head

245
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and out of the voice memos and onto a page

246
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and into the studio. So that's what I've done. I

247
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reached out to a couple of people in America because

248
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that was always the goal for me, Like it always

249
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felt like American, the Californian beats music in a way,

250
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So I had a few producers out in LA who

251
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were helping me craft that sound. But that was me

252
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on my own. Fast forward a couple of years and

253
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now there's a full band of us, and we all

254
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have the same outlook on life. You know, there's more

255
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to life. We love music, we loved creating, and you

256
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know what, we're all generally nice guys.

257
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Speaker 6: Yeah, yeah, is that I mean some of your music.

258
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So the song and we're gonna play it later. By

259
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the way, at the end of our conversation. A previous

260
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single that you had Wanderlust, which I really liked as well.

261
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That's another great song, but that one I feel like

262
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has a little bit of angst to it, which which

263
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is different from short Life. But again that might be

264
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my interpretation of it, because obviously, you know, music is art,

265
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and art is open to everyone's individual interpretation. But but

266
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I do feel like there's a little bit of there's

267
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a little bit of anngst in that one, right, or

268
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maybe I'm wrong, you tell.

269
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Speaker 11: Me no, it's a it's a good, good assessment of

270
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the song. There's a lot of anks, to be honest,

271
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and it was I wrote that when I had all

272
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these ideas in me, had all these plans to you know,

273
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make a sound, create a band, but I didn't have

274
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any of the infrastructure. So all of the anngs there

275
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is true. Like the lyric twenty three one way take it,

276
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I've flow in the nest. So I moved to Australia.

277
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I thought, I need to leave, I need to leave time,

278
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I need to leave England, and then I ended up

279
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coming home a couple of years later and still being

280
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in the same place because you know, when you leave,

281
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I'm gonna make it, I'm gonna be a star whatever.

282
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A few years later, you sit down you think nothing's changed.

283
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So yeah, a lot of that angst is true, and

284
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you know, yeah, yeah.

285
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Speaker 6: It's interesting. I've known a lot of people who they'll

286
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do something where they decide, you know, I'm not I'm

287
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not happy where I am, and so I'm just gonna

288
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move to a new place and everything will be great.

289
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And they don't necessarily realize. I mean, don't get me wrong,

290
00:20:03,200 --> 00:20:06,960
the scenery and sometimes can be very very healthy. But

291
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a lot of times it's just people trying to literally

292
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run away from their problems and they don't realize the

293
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problems are portable and they go with you and you know,

294
00:20:14,200 --> 00:20:16,519
you're still the same person no matter what continent you're on.

295
00:20:17,759 --> 00:20:20,440
But I'm really curious, now, why Australia when you moved,

296
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Why did you decide to go to Australia?

297
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Speaker 11: Great question. So I initially went to Ibtha. I just

298
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sold all my stuff and bought it one way ticket

299
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to Wybtha.

300
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Speaker 4: Wow.

301
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Speaker 11: And so in England, we go, we go to a

302
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we go to Ibtha. It's like a little thing we

303
00:20:35,799 --> 00:20:38,000
do to do a season, to work the summer season.

304
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So I thought, I want to quit my job, leave

305
00:20:40,880 --> 00:20:43,640
Liverpool behind and you know, go live abroad for a while.

306
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And I met somebody who was like, oh, after the

307
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season's over, I'm moving to Australia. Do you want to

308
00:20:48,400 --> 00:20:54,680
come with me? Obviously? Yes, Well Australia was fantastic, but

309
00:20:54,759 --> 00:20:57,079
it wasn't as all as rosy as you would think

310
00:20:58,000 --> 00:21:02,480
because it's an unreal place, you know, the weather, the people.

311
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But it was like England but with like less friends.

312
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Speaker 7: It was.

313
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Speaker 11: It was strange.

314
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Speaker 6: I we'll say, yeah, how long were you there?

315
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Speaker 11: Six months? I was there, okay, six six months? And

316
00:21:14,599 --> 00:21:18,079
then I realized that, you know, the dream isn't always

317
00:21:18,119 --> 00:21:20,319
the dream, and then I, you know, moved along.

318
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Speaker 8: Yeah.

319
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Speaker 6: Yeah, did you when you moved back, did you move

320
00:21:23,799 --> 00:21:26,519
back to where you were the same area that you

321
00:21:26,599 --> 00:21:30,000
were before? Did you pick a different, different area geographically?

322
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Speaker 11: No, I moved back to the same area. And I'll

323
00:21:32,920 --> 00:21:35,680
be honest, six months a year, you know, eighteen months

324
00:21:35,720 --> 00:21:38,880
away from your home. Everything looks so everything's the same.

325
00:21:39,559 --> 00:21:42,720
People moved on, but everything looks different, everything smells different.

326
00:21:42,799 --> 00:21:45,160
And that that's probably where the yank started for me.

327
00:21:45,400 --> 00:21:48,680
Was Okay, I left, I left, I've still got these ideas,

328
00:21:48,680 --> 00:21:51,480
still haven't got a band. What am I doing with

329
00:21:51,559 --> 00:21:51,920
my life?

330
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Speaker 6: Right? Right? So when you when you put the band together,

331
00:21:58,000 --> 00:22:00,880
was that it with intention. Did you say I need

332
00:22:01,200 --> 00:22:03,039
I need a band or did that just kind of

333
00:22:03,079 --> 00:22:05,759
happen organically where you met people or maybe some people

334
00:22:05,799 --> 00:22:08,640
who you already knew, who who said hey, i'd like

335
00:22:08,680 --> 00:22:10,400
to be a part of what you're doing, or how

336
00:22:10,440 --> 00:22:11,279
did that come about?

337
00:22:12,480 --> 00:22:16,279
Speaker 11: Yeah, good question. I'll be honest. I always yearned for

338
00:22:16,400 --> 00:22:18,519
a band from the age of like twenty two, when

339
00:22:18,559 --> 00:22:21,640
I really got into me music, yeah, you know, into

340
00:22:21,799 --> 00:22:24,839
pop and rock music. I yearned for a band. So

341
00:22:24,920 --> 00:22:26,759
a lot of the time I joined projects for a

342
00:22:26,799 --> 00:22:28,759
couple of years when I was the keyboard that though

343
00:22:28,839 --> 00:22:30,559
I was a singer, but it was never my band,

344
00:22:31,119 --> 00:22:34,359
and I always thought I want my own project, not

345
00:22:34,559 --> 00:22:38,519
to control like that. It's more I would like to

346
00:22:38,880 --> 00:22:41,279
bring my ideas into a room with people who were

347
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who were would like to hear them and would like

348
00:22:44,960 --> 00:22:47,160
to make them better. And I didn't have that for

349
00:22:47,759 --> 00:22:49,960
I don't even know seven years, eight years, I didn't

350
00:22:50,000 --> 00:22:53,839
have that far. And then slowly I started meeting people

351
00:22:53,880 --> 00:22:55,960
who were You know, once you start networking and getting

352
00:22:56,000 --> 00:22:59,799
out into the industry, you realize you meet like minded people.

353
00:23:00,039 --> 00:23:03,160
One thing I will say, which is really important is

354
00:23:03,799 --> 00:23:06,200
I didn't know who I was in the early twenties,

355
00:23:06,240 --> 00:23:09,079
and then I think as attended, you know, thirty, I

356
00:23:09,200 --> 00:23:11,039
realized who I was as a person. And once you

357
00:23:11,160 --> 00:23:14,720
accept and understand who you are, the people who you

358
00:23:14,880 --> 00:23:17,279
need in your life are naturally drawn to you and

359
00:23:17,319 --> 00:23:18,720
you're drawn to them. It's crazy.

360
00:23:18,920 --> 00:23:21,079
Speaker 6: M hm, No, I think that makes a lot of sense.

361
00:23:21,119 --> 00:23:25,839
I think that's that's absolutely what happens. So then you

362
00:23:25,920 --> 00:23:28,039
started putting a band together, and then you also have

363
00:23:28,160 --> 00:23:30,319
a do you have a specific producer that you work with?

364
00:23:31,960 --> 00:23:32,519
Speaker 8: Oh, you know what.

365
00:23:32,799 --> 00:23:34,079
Speaker 11: I love that you've asked me that, because I've got

366
00:23:34,079 --> 00:23:37,799
an American producer who I love. He's told Lewis Peskov.

367
00:23:37,880 --> 00:23:41,920
He produced the first three songs and wonder, Lust, World

368
00:23:42,039 --> 00:23:42,559
and Magic.

369
00:23:42,839 --> 00:23:43,160
Speaker 6: Okay.

370
00:23:44,599 --> 00:23:46,200
Speaker 11: It was like a little I wanted to do. I

371
00:23:46,279 --> 00:23:48,079
wanted to do an EP with him because I've been

372
00:23:48,119 --> 00:23:50,799
following him for a while since you released Well. He

373
00:23:50,880 --> 00:23:53,599
produced Best Coast album, which I loved. Yeah, still wanted

374
00:23:53,640 --> 00:23:54,559
to top ten albums.

375
00:23:54,640 --> 00:23:54,799
Speaker 8: Now.

376
00:23:55,160 --> 00:23:57,000
Speaker 11: I really wanted to work with them, and I'll be honest,

377
00:23:57,279 --> 00:24:01,000
I wasn't disappointed. He brought. He brought the sound that

378
00:24:01,160 --> 00:24:03,559
had in me in my head alive, which then allowed

379
00:24:03,599 --> 00:24:06,480
me to cement that sound and then bring it back

380
00:24:06,519 --> 00:24:11,079
to because in England, say, frock isn't huge, and that's cool,

381
00:24:11,119 --> 00:24:13,160
you know. I like to be a bit of a

382
00:24:13,240 --> 00:24:15,200
not a trendsetter, but I'd like to do my own thing,

383
00:24:15,359 --> 00:24:19,039
my own way. It's good to stand out, definitely, you

384
00:24:19,160 --> 00:24:21,960
have to stand out because there's so much music being made, Like,

385
00:24:22,039 --> 00:24:23,599
how is anybody going to listen to it if it's

386
00:24:23,599 --> 00:24:24,640
the same as everything else?

387
00:24:24,799 --> 00:24:24,920
Speaker 10: Right?

388
00:24:25,119 --> 00:24:27,839
Speaker 11: But I just go off what I like. I just

389
00:24:27,880 --> 00:24:30,480
write songs that I want to hear, if that makes sense.

390
00:24:30,920 --> 00:24:33,319
But yeah, We've been friends with the producer for a

391
00:24:33,359 --> 00:24:36,119
while in England called John Oh. He's at a place

392
00:24:36,160 --> 00:24:39,119
called Alo Sounds, really good producer. He's been helping me,

393
00:24:39,319 --> 00:24:41,640
you know, through the years, helping me get me files

394
00:24:41,680 --> 00:24:44,559
together for like Lewis the Center America. And then we

395
00:24:44,680 --> 00:24:46,319
spoke and he said, listen, if you want me to

396
00:24:46,400 --> 00:24:48,160
produce your music, you're going to have to payot a

397
00:24:48,240 --> 00:24:50,759
touch because I can't make the low fi that you

398
00:24:50,880 --> 00:24:52,759
want to make, he said, But I can't help you.

399
00:24:52,839 --> 00:24:56,839
I thought, you know what, Let's try your expertise, my expertise.

400
00:24:56,920 --> 00:24:59,920
Let's put our heads together, Let's let's stop trying to

401
00:25:00,079 --> 00:25:02,160
be something that we're not, and that's see what we

402
00:25:02,240 --> 00:25:04,240
can make in the records. That Short Life is the

403
00:25:04,279 --> 00:25:07,480
first record we put out with John. Oh, We've got

404
00:25:07,519 --> 00:25:09,519
two or three more singles in the works that I

405
00:25:09,559 --> 00:25:14,559
would say better, Yeah, better and more defined.

406
00:25:16,720 --> 00:25:19,079
Speaker 6: Yes, Oh, I'm sorry, go ahead.

407
00:25:20,200 --> 00:25:23,240
Speaker 11: No, No, I was just gonna say, like collaborations key,

408
00:25:23,319 --> 00:25:24,839
isn't it's all about trial and error?

409
00:25:25,319 --> 00:25:27,480
Speaker 6: Yeah? Yeah, Well for some people, I mean, some people

410
00:25:27,519 --> 00:25:30,359
are are are afraid to collaborate, you know what I mean,

411
00:25:30,440 --> 00:25:33,119
and they insist on doing everything themselves. But but it

412
00:25:33,200 --> 00:25:36,240
sounds like in your case, you've found the right people

413
00:25:36,759 --> 00:25:38,440
or the right people were drawn to you, as you

414
00:25:38,519 --> 00:25:40,240
talked about earlier, when you figure out who you are

415
00:25:40,440 --> 00:25:43,680
and you know people are people come into your life

416
00:25:43,680 --> 00:25:46,720
who are going to be drawn to you. It sounds

417
00:25:46,759 --> 00:25:48,720
like you found the right people to collaborate with. I

418
00:25:48,759 --> 00:25:51,519
think some people who are resistant to collaboration, because I

419
00:25:51,599 --> 00:25:54,240
talk guardists who are who just insist on doing everything themselves,

420
00:25:54,480 --> 00:25:56,640
they probably haven't found the right people to collaborate with,

421
00:25:56,759 --> 00:25:58,319
you know what I mean. So I think I think

422
00:25:58,359 --> 00:26:02,559
that's great. And you mentioned so use the term lo

423
00:26:02,799 --> 00:26:05,960
fi and I that hadn't occurred to me. I mean,

424
00:26:06,039 --> 00:26:07,519
is that what you were going for with Short Life?

425
00:26:07,599 --> 00:26:09,519
Kind of a low fi vibe? Because it didn't occur

426
00:26:09,559 --> 00:26:12,279
to me while listening to it, Like I said a

427
00:26:12,359 --> 00:26:13,960
lot of things, did you know it's got a kind

428
00:26:13,960 --> 00:26:16,240
of a beach vibe and it's but it's it's dreamy,

429
00:26:16,359 --> 00:26:18,480
you know, That's that's my word for it. But I mean,

430
00:26:18,880 --> 00:26:20,319
is that what you're going for kind of a sort

431
00:26:20,359 --> 00:26:22,839
of a low vibe. I don't know if retro is

432
00:26:22,839 --> 00:26:25,119
the right word, but but I kind of associate that

433
00:26:25,200 --> 00:26:27,759
in my mind with low fis that was what you

434
00:26:27,839 --> 00:26:30,759
were trying to achieve with that, and that.

435
00:26:30,880 --> 00:26:32,559
Speaker 11: Was what I was trying to achieve with the band

436
00:26:32,640 --> 00:26:34,839
in general. So I write a lot of music at

437
00:26:34,880 --> 00:26:38,359
home on logic. We have got all my guitars and

438
00:26:38,440 --> 00:26:41,799
me ams around me and yeah me, you know the

439
00:26:41,839 --> 00:26:43,519
stuff that I need to make music, and a lot

440
00:26:43,519 --> 00:26:45,000
of the stuff that I make at home is very

441
00:26:45,079 --> 00:26:47,519
low fi. And I think there's a tam called I

442
00:26:47,559 --> 00:26:49,039
don't know if you know what it's called. It's called

443
00:26:49,079 --> 00:26:52,640
demo isis it's when you get you get stuck in

444
00:26:52,720 --> 00:26:55,279
the mind set of the sound I've made the demo,

445
00:26:55,400 --> 00:26:57,359
this is what the song needs to sound like. But

446
00:26:57,519 --> 00:27:00,559
that's not actually conducive to making a great song because

447
00:27:00,599 --> 00:27:04,960
sometimes you have to go okay, good start, but let's improve.

448
00:27:04,640 --> 00:27:05,200
Speaker 6: It, right.

449
00:27:06,960 --> 00:27:10,200
Speaker 11: But yeah, short Life is the first creation between me,

450
00:27:10,640 --> 00:27:13,279
the lads you know, the group specifics, and the producer

451
00:27:13,359 --> 00:27:17,480
Johno because he brings a more British indie rock garage

452
00:27:17,519 --> 00:27:20,920
punk type vibes. So when we like, when we mash

453
00:27:21,079 --> 00:27:24,480
all our influencers together, that's a sound that came out.

454
00:27:25,039 --> 00:27:27,079
But that that was the conversation I think I mentioned

455
00:27:27,119 --> 00:27:29,960
a few minutes ago where he said, listen your way.

456
00:27:30,200 --> 00:27:35,200
I can't. I can't record and produce your way you

457
00:27:35,279 --> 00:27:38,680
know at my best. So I decided, okay, I'll bring

458
00:27:38,759 --> 00:27:41,240
my ideas, you bring your ideas and let's meet in

459
00:27:41,319 --> 00:27:42,640
the middle. And that's how we done that. So I

460
00:27:42,720 --> 00:27:45,279
think that's how we got that more modern sound with

461
00:27:45,440 --> 00:27:46,759
little bit of retro edge.

462
00:27:47,200 --> 00:27:47,400
Speaker 8: Yeah.

463
00:27:47,759 --> 00:27:50,960
Speaker 6: Yeah. Also something else I was reading, so can you

464
00:27:51,039 --> 00:27:53,200
tell me about the Rick Rubin principle that you you

465
00:27:53,440 --> 00:27:57,519
you'd rather have because I can relate to this. You

466
00:27:57,759 --> 00:28:01,279
you'd you like strong reactions, right even if something even

467
00:28:01,279 --> 00:28:03,519
if somebody doesn't like something, that you've done, you'd prefer

468
00:28:03,640 --> 00:28:06,279
that to sort of indifference. Is that correct? Do you

469
00:28:06,359 --> 00:28:06,839
understand that?

470
00:28:06,960 --> 00:28:07,079
Speaker 8: Right?

471
00:28:08,039 --> 00:28:08,240
Speaker 11: Yeah?

472
00:28:08,279 --> 00:28:08,680
Speaker 8: I love it.

473
00:28:08,720 --> 00:28:10,559
Speaker 11: I feel like in difference is the one thing you

474
00:28:10,680 --> 00:28:13,319
need to avoid. People don't realize it. It's a bit

475
00:28:13,440 --> 00:28:16,880
like it's one of those things indifference that it just

476
00:28:16,960 --> 00:28:20,480
passes you by. Was love and hate a visceral reactions.

477
00:28:20,599 --> 00:28:23,319
So I have a feeling and this is an assumption

478
00:28:23,440 --> 00:28:25,720
of course that you know, I've been playing for five

479
00:28:25,839 --> 00:28:28,480
years and we are at a certain stage of our

480
00:28:28,559 --> 00:28:31,799
career because I think people love us and hate us.

481
00:28:32,160 --> 00:28:34,720
So I'm able to play more shows to like, you know,

482
00:28:34,799 --> 00:28:37,720
bigger venues, to more people because we do get the

483
00:28:37,799 --> 00:28:41,000
visceral reactions because say a frock in England, it's not

484
00:28:41,240 --> 00:28:43,880
really that common. But I love playing it and I'll

485
00:28:43,920 --> 00:28:46,440
always play it because, like I said before, I make

486
00:28:46,559 --> 00:28:48,799
music for me. But yeah, Rick Rubin was it was

487
00:28:48,839 --> 00:28:51,599
such an inspiration to think, Oh I get it now,

488
00:28:52,039 --> 00:28:54,400
love or hates great indifference not so much.

489
00:28:54,519 --> 00:28:54,559
Speaker 12: So.

490
00:28:55,200 --> 00:28:57,240
Speaker 11: Someone came up with me after the show recently and said, oh,

491
00:28:57,920 --> 00:28:59,799
that song is terrible, and I said, oh, thank you.

492
00:29:00,880 --> 00:29:06,519
Speaker 6: Right at liast I felt something, Yeah, look.

493
00:29:06,720 --> 00:29:08,440
Speaker 11: It doesn't even offend me. I think it's great. I'm like,

494
00:29:08,559 --> 00:29:10,559
thank you because you've taken the time to speak to me.

495
00:29:10,720 --> 00:29:11,640
So I appreciate that.

496
00:29:11,960 --> 00:29:14,680
Speaker 6: Yeah, And then how does someone react, like when you react,

497
00:29:15,160 --> 00:29:17,519
when you react to you know, they're they're putting down

498
00:29:17,559 --> 00:29:20,079
the song and then you react positively and say, you know,

499
00:29:20,200 --> 00:29:22,839
thank you. I mean, do they do they then in

500
00:29:22,960 --> 00:29:25,480
that moment seem to get it why you appreciate it?

501
00:29:25,599 --> 00:29:27,079
Or are they just kind of do they look at

502
00:29:27,160 --> 00:29:30,160
you like what really? You're you like what I said?

503
00:29:30,839 --> 00:29:31,759
Like what happens? Then?

504
00:29:32,839 --> 00:29:34,920
Speaker 11: Do you know what? It's a mixture. You know, you

505
00:29:35,000 --> 00:29:37,519
have to remember we haven't met yet. But I'm six

506
00:29:37,640 --> 00:29:38,119
foot five.

507
00:29:38,359 --> 00:29:39,720
Speaker 6: Oh my god, you're a tall guy.

508
00:29:40,480 --> 00:29:42,920
Speaker 11: I'm six five, I've got long air and a beard.

509
00:29:43,200 --> 00:29:43,400
Speaker 1: Yeah.

510
00:29:43,400 --> 00:29:45,400
Speaker 11: So, like you ever know what reaction you're going to

511
00:29:45,440 --> 00:29:49,319
get from people? So I usually there's always somebody saying

512
00:29:49,400 --> 00:29:51,359
something to like try and chop you down. But it doesn't.

513
00:29:51,400 --> 00:29:53,039
It goes in one ear and goes out to the other.

514
00:29:53,119 --> 00:29:57,039
Like it doesn't phaze me. When it comes to music critique,

515
00:29:57,400 --> 00:29:59,200
there's you know, there's some truth in it, isn't if

516
00:29:59,240 --> 00:30:02,240
somebody is like brave and honest enough to say to you, Oh,

517
00:30:02,279 --> 00:30:04,160
I don't like that, I don't like this part, or

518
00:30:04,200 --> 00:30:06,559
I don't like this part of my performance. I'll listen

519
00:30:06,599 --> 00:30:09,039
and write it down, think, okay, is there some truth

520
00:30:09,119 --> 00:30:11,759
in that? And I'll investigate it and sometimes there is,

521
00:30:11,880 --> 00:30:13,960
you know, and it makes me improve as a performer.

522
00:30:14,039 --> 00:30:17,680
So feedback, you know, feedback on my art or on

523
00:30:17,799 --> 00:30:22,599
my music. I love feedback on myself. Not interested, don't care.

524
00:30:22,880 --> 00:30:26,000
Speaker 6: Right right, Yeah, I've always said, I mean, that's kind

525
00:30:26,000 --> 00:30:29,759
of always been my approach to radio is I have

526
00:30:29,880 --> 00:30:32,559
an adage. I always say I'd rather be loved than hated,

527
00:30:32,640 --> 00:30:35,759
but I'd rather be hated than ignored, you know, because

528
00:30:35,839 --> 00:30:37,680
if if people are indifferent to what you're doing, then

529
00:30:37,720 --> 00:30:39,599
it's like, well what, you know, what's the point? You know?

530
00:30:39,799 --> 00:30:43,440
Or or it's kind of like in professional wrestling, right,

531
00:30:43,559 --> 00:30:45,039
like if you're a good guy, you want to be cheered.

532
00:30:45,079 --> 00:30:46,680
If you're a bad guy, you want to be booed.

533
00:30:47,079 --> 00:30:49,039
But the one thing you don't want is the crowd

534
00:30:49,079 --> 00:30:50,880
to be quiet when you walk out. You know, you

535
00:30:51,039 --> 00:30:52,880
want to get a reaction out of people and you

536
00:30:52,920 --> 00:30:56,359
want them to feel something. So but I think it's

537
00:30:56,440 --> 00:30:58,839
interesting too that and I commend you for this for

538
00:30:58,960 --> 00:31:01,799
taking the attitude that you do because you know, as

539
00:31:01,880 --> 00:31:06,720
you know, creative people, we tend to be you know,

540
00:31:07,160 --> 00:31:08,680
a lot of us tend to be kind of insecure

541
00:31:08,680 --> 00:31:10,920
in that way and and we don't and we don't

542
00:31:11,000 --> 00:31:16,359
react to any kind of criticism positively or you know

543
00:31:16,400 --> 00:31:18,799
what I mean. Like some people really get their feelings hurt.

544
00:31:19,880 --> 00:31:21,880
So I I like, have you always had that sort

545
00:31:21,880 --> 00:31:25,519
of emotional maturity? Is that something you you've always that's

546
00:31:25,519 --> 00:31:27,000
always been internal for you?

547
00:31:28,759 --> 00:31:28,799
Speaker 8: No?

548
00:31:29,079 --> 00:31:32,400
Speaker 11: I had to developed that, you know, really, because like

549
00:31:32,480 --> 00:31:34,960
I'm in me theirties now, So I think a lot

550
00:31:35,000 --> 00:31:38,039
of it's self development. And you know there's a thing,

551
00:31:38,160 --> 00:31:40,400
isn't it like? And it's a lot of creative to it.

552
00:31:41,240 --> 00:31:42,960
And you can say that I don't like you know,

553
00:31:43,000 --> 00:31:44,559
I can say I don't need to be liked. But

554
00:31:44,680 --> 00:31:46,880
when you put music out, you hope people like it, right,

555
00:31:47,000 --> 00:31:48,839
And a lot of is an extension of you. And

556
00:31:48,920 --> 00:31:50,920
so you think, if you don't like my music, you

557
00:31:51,000 --> 00:31:53,119
don't like me. So after a while you just kind

558
00:31:53,160 --> 00:31:56,440
of stop caring. But one thing I don't like is

559
00:31:56,519 --> 00:31:58,240
I don't like being ignored. You know, if you send

560
00:31:58,279 --> 00:32:00,319
an email to somebody that all listened to me song

561
00:32:00,519 --> 00:32:04,039
or check out my new record. I'd rather say this

562
00:32:04,240 --> 00:32:07,240
is terrible as opposed to you know, not the right

563
00:32:07,359 --> 00:32:09,799
A question for you because you mentioned professional wrestler. I

564
00:32:09,920 --> 00:32:12,759
noticed that you do wrestling podcasts, right, I do. Yes,

565
00:32:13,599 --> 00:32:16,000
I love that man because I used to be when

566
00:32:16,039 --> 00:32:17,839
I was left a kid, you know, in the nice

567
00:32:17,920 --> 00:32:22,079
I loved wrestler, loved wc W. Oh no, kiddy, So

568
00:32:22,440 --> 00:32:24,880
have you interviewed any any like cool wrestlers on there?

569
00:32:24,920 --> 00:32:27,319
Because I've only just noticed, like the past couple of days,

570
00:32:27,319 --> 00:32:29,000
you have a pod. I'm gonna listen to it. Oh

571
00:32:29,240 --> 00:32:32,519
if you do any great legendary wrestlers from those days.

572
00:32:32,880 --> 00:32:32,920
Speaker 4: No.

573
00:32:33,200 --> 00:32:35,160
Speaker 6: So the wrestling podcast that we do it is called

574
00:32:35,200 --> 00:32:38,200
Tough Bumps, and we're only up to I think we're

575
00:32:38,240 --> 00:32:41,240
an episode. I think we just did episode ten. Oh

576
00:32:41,319 --> 00:32:43,519
no wait, I'm sorry. No, we're up to episode I

577
00:32:43,519 --> 00:32:45,680
think we're almost up to episode twenty. So, but it's

578
00:32:45,759 --> 00:32:47,720
it's only been so, it's been about four months. We

579
00:32:47,799 --> 00:32:50,519
do it once a week, so it's relatively new. So

580
00:32:51,160 --> 00:32:54,519
we do have long term goals to start to get

581
00:32:54,559 --> 00:32:56,359
some of those guests, but right now it's just Eric

582
00:32:56,440 --> 00:32:58,799
and I my co host on the show, Eric Pilter,

583
00:32:58,880 --> 00:33:01,279
and we just you know, we we usually we call

584
00:33:01,319 --> 00:33:03,200
it the undercard. We talk about some of the wrestling

585
00:33:03,240 --> 00:33:04,759
news of the week, and then the main event is

586
00:33:04,839 --> 00:33:07,640
we pick a subject that you know that we want

587
00:33:07,720 --> 00:33:10,880
to explore really in depth. But we will you know,

588
00:33:11,000 --> 00:33:14,319
stay tuned, as we say, we will be doing some

589
00:33:14,440 --> 00:33:17,720
interviews in the future. Absolutely, yeah, they were good.

590
00:33:17,799 --> 00:33:20,559
Speaker 11: They were in my eyes, they were the golden years

591
00:33:20,559 --> 00:33:24,000
of wrestling. But enough about wrestling, apologies, But how do

592
00:33:24,119 --> 00:33:26,640
you deal with rejection? You know, because you're a creative yourself,

593
00:33:27,200 --> 00:33:31,680
like you said, you the whole love hate, indifferent. How

594
00:33:31,720 --> 00:33:33,880
do you cope with it? Because like you said to me,

595
00:33:33,960 --> 00:33:36,240
I can handle it just bounces off me. How do

596
00:33:36,319 --> 00:33:36,880
you cope with it?

597
00:33:37,279 --> 00:33:40,759
Speaker 6: So for me, as long as it's something I'm doing creatively,

598
00:33:40,960 --> 00:33:45,359
I take nothing personal. So if because I actually I'm

599
00:33:45,400 --> 00:33:48,440
a very sensitive person away from all of this, like

600
00:33:48,559 --> 00:33:51,400
if someone, if someone in my life says something to

601
00:33:51,440 --> 00:33:53,279
me that hurts my feelings, it won't just hurt a

602
00:33:53,279 --> 00:33:55,319
little little crush me, you know. I mean, I'll recover,

603
00:33:55,359 --> 00:33:57,240
I'll get past it. But I'm very sensitive that way.

604
00:33:57,720 --> 00:33:59,799
But when it comes to anything having to do with.

605
00:34:00,400 --> 00:34:03,359
I am a musician, but I don't play anymore. Mainly,

606
00:34:03,559 --> 00:34:07,599
I just focus on radio and podcasting now. But if

607
00:34:08,280 --> 00:34:11,440
if somebody says something mean, say online on the internet,

608
00:34:12,360 --> 00:34:16,880
I actually like it so, but I think that I

609
00:34:17,000 --> 00:34:20,719
kind of look at it from a couple of different perspectives. Again,

610
00:34:20,960 --> 00:34:22,920
I mean, part of it is I'd rather be I'd

611
00:34:23,000 --> 00:34:24,840
rather be loved than hated, but I'd rather be hated

612
00:34:24,880 --> 00:34:27,119
than ignored. So if they say something mean, well, at

613
00:34:27,159 --> 00:34:29,360
least they're paying attention to me, and it's good for

614
00:34:29,559 --> 00:34:31,679
It's good for what I do, right, you know, even

615
00:34:31,719 --> 00:34:33,840
if someone listens to the show but they hate listen

616
00:34:33,920 --> 00:34:36,840
to the show, at least they're listening. But there's also

617
00:34:36,960 --> 00:34:38,880
that part of me that wonders, though, is it really

618
00:34:39,039 --> 00:34:41,960
healthy or is it just this sort of narcissism that

619
00:34:42,039 --> 00:34:45,320
I carry where it's like I just want attention and

620
00:34:45,440 --> 00:34:48,320
I'll take whatever attention I can get, positive or negative.

621
00:34:48,360 --> 00:34:51,840
I just want the attention. So I don't know if

622
00:34:51,880 --> 00:34:54,559
it's healthy or not the way that I look at it,

623
00:34:54,719 --> 00:34:57,639
but I think it is, but sometimes I question it

624
00:34:57,679 --> 00:34:58,440
If that makes sense.

625
00:34:59,599 --> 00:35:02,400
Speaker 11: No, definitely, But I love I love your approach as well,

626
00:35:02,719 --> 00:35:04,760
and I think it's it's a healthy approach because you know,

627
00:35:05,400 --> 00:35:07,880
it's hard to separate the art from the artist. But

628
00:35:08,079 --> 00:35:11,280
sometimes they're not. I always say this the people who

629
00:35:11,360 --> 00:35:13,440
work for In England, we have like people who work

630
00:35:13,440 --> 00:35:16,119
for charities and stuff, and they try and sign you

631
00:35:16,199 --> 00:35:17,719
up in the street to give you like ten pounds

632
00:35:17,719 --> 00:35:19,559
a month, and I always say to them, I always

633
00:35:19,559 --> 00:35:21,039
pull them aside and say, I love what you're doing.

634
00:35:21,159 --> 00:35:23,199
I don't have the time or you know, I'll sign

635
00:35:23,280 --> 00:35:25,320
up to your cause. But I understand that a lot

636
00:35:25,360 --> 00:35:28,119
of rejection is they're not rejecting you. They're rejecting your badge,

637
00:35:28,159 --> 00:35:30,199
the rejecting the company you work for. And sometimes you

638
00:35:30,280 --> 00:35:33,079
have to separate that they're not rejecting you, they're rejecting

639
00:35:33,159 --> 00:35:35,480
your art. And right, that's cool, man, you know that's

640
00:35:35,559 --> 00:35:38,320
just the way it is. But I'll the rejections that

641
00:35:38,360 --> 00:35:40,320
I get. I'll keep making art regardless because I make

642
00:35:40,360 --> 00:35:40,679
it for me.

643
00:35:41,079 --> 00:35:44,639
Speaker 6: Yeah, yeah, no, I think that's uh. I think that's excellent.

644
00:35:44,800 --> 00:35:47,719
I think that's excellent. Now, what is what is kind

645
00:35:47,760 --> 00:35:50,440
of the future trajectory for you? You know, you've you've

646
00:35:50,480 --> 00:35:52,440
got some singles. I mean, do you do you have

647
00:35:52,480 --> 00:35:54,519
an album? Or in the works or are you gonna

648
00:35:55,119 --> 00:35:57,960
do an EP or you mentioned an EP earlier.

649
00:35:59,639 --> 00:36:03,559
Speaker 11: Yes, we are looking to do anyp we are. We've

650
00:36:03,559 --> 00:36:05,360
got a couple of songs in the works that are

651
00:36:05,480 --> 00:36:09,119
actually I think we'll make a bit of a not

652
00:36:09,199 --> 00:36:11,039
a bit of a difference, make a big difference at

653
00:36:11,119 --> 00:36:15,039
our trajectory. I'm also of trying to get on the

654
00:36:16,320 --> 00:36:19,360
voting the board, the voting board for the Grammys. I'd

655
00:36:19,360 --> 00:36:21,079
really like to do that because I have the credits.

656
00:36:21,199 --> 00:36:23,880
I've been writing songs and producing songs for a while. Yeah,

657
00:36:23,960 --> 00:36:27,400
so that's only a list of to dos. I think

658
00:36:27,440 --> 00:36:28,920
we'd like to play a couple of big shows, a

659
00:36:29,000 --> 00:36:32,239
major festival because I played Glastonbury last year. I landed

660
00:36:32,280 --> 00:36:36,000
on opportunity to play Glastonbury, which was unreal. I can't

661
00:36:36,000 --> 00:36:38,519
even tell you, but I ended up playing solo. It

662
00:36:38,639 --> 00:36:40,440
was the last minute slot. I had like a month

663
00:36:40,519 --> 00:36:42,360
to prepare, so I thought, right, I'll take me piano

664
00:36:42,920 --> 00:36:46,440
and I'll just play solo. Yeah, it was surreal experience.

665
00:36:46,559 --> 00:36:48,800
Speaker 6: Oh that's excellent. And any kind of festival too that

666
00:36:48,880 --> 00:36:52,360
you can get on. Those are such For one thing,

667
00:36:52,719 --> 00:36:54,960
it gets you in front of a big crowd and

668
00:36:55,079 --> 00:36:58,519
it exposes you to an audience that might not otherwise

669
00:36:58,559 --> 00:37:01,159
hear you, but also are the whatuld not otherwise. But

670
00:37:01,440 --> 00:37:05,800
also the networking opportunities that come at a festival are phenomenal.

671
00:37:05,960 --> 00:37:09,239
You know, you meet so many people and and I

672
00:37:09,320 --> 00:37:11,639
was reading something too about you that you like to

673
00:37:12,320 --> 00:37:14,639
and and again this also I think speaks to your

674
00:37:14,679 --> 00:37:17,039
emotional maturity and how you approach all this. You know,

675
00:37:17,159 --> 00:37:19,599
you don't get jealous of people who are or who

676
00:37:19,639 --> 00:37:22,960
are successful. You focus on learning from them. And I

677
00:37:23,000 --> 00:37:26,440
think that's great because that's you know, a lot of

678
00:37:26,480 --> 00:37:30,000
people think success in any kind of endeavor, whether it's

679
00:37:30,039 --> 00:37:32,159
the music industry or just life in general, people tend

680
00:37:32,199 --> 00:37:33,679
to think of it as a zero sum game. Well,

681
00:37:33,679 --> 00:37:36,119
if somebody else is more successful, that means I'm automatically

682
00:37:36,199 --> 00:37:38,320
less successful, you know, like there's only so much to

683
00:37:38,400 --> 00:37:42,440
go around. But the key is to learn from people

684
00:37:42,480 --> 00:37:45,320
who are more successful or who are older, maybe further

685
00:37:45,400 --> 00:37:48,840
along in their careers, and you know, and and to

686
00:37:49,199 --> 00:37:52,079
take that opportunity to learn from them. And also they've

687
00:37:52,199 --> 00:37:53,800
proven that you can do it, So if they can

688
00:37:53,880 --> 00:37:55,599
do it, then there's no reason why you can't do

689
00:37:55,679 --> 00:37:58,280
it too, right, So you know, there's validation that comes

690
00:37:58,360 --> 00:38:00,159
with that, So I commend you for that too.

691
00:38:01,239 --> 00:38:03,360
Speaker 11: Thank you. It's funny you say that, and that's one

692
00:38:03,400 --> 00:38:05,519
of the reasons. That's probably the main reason why Pacific

693
00:38:05,599 --> 00:38:08,719
Keys is what it is today. So you know, I

694
00:38:08,920 --> 00:38:12,599
was I was playing all the parts, organizing everything, pretty

695
00:38:12,679 --> 00:38:15,639
much managing the show before, you know, a couple of

696
00:38:15,800 --> 00:38:17,880
years ago. But then I meet a guitarist who's better

697
00:38:17,920 --> 00:38:20,199
than me, and I'm like, please join me band. I

698
00:38:20,320 --> 00:38:23,000
meet a drummer who understands drums more than me, Please

699
00:38:23,079 --> 00:38:25,159
join the band. You know, That's what it was. So

700
00:38:25,280 --> 00:38:28,320
now I met four players who were far better than

701
00:38:28,360 --> 00:38:30,679
me on their own instruments. I think fantastic. I can

702
00:38:30,760 --> 00:38:33,800
now focus on what I'm strong at, which is you know, production, songwriting,

703
00:38:34,360 --> 00:38:37,760
and singing, and now I can trust them to do

704
00:38:37,880 --> 00:38:40,159
a great job. So you're right. I try not to

705
00:38:40,199 --> 00:38:43,000
get jealous because it's hard not to get jealous because

706
00:38:43,599 --> 00:38:45,079
you know, you want to be You want to be

707
00:38:45,159 --> 00:38:46,639
on stage, you want to be you think I should

708
00:38:46,639 --> 00:38:48,480
be that I deserve to be there. But at the

709
00:38:48,519 --> 00:38:50,280
same time, you got to wait your turn. Man, Your

710
00:38:50,320 --> 00:38:52,920
time will come because the last thing you want, let's say,

711
00:38:53,480 --> 00:38:55,679
I think oh, I should be at Glassmer, I should

712
00:38:55,719 --> 00:38:57,239
be at Leeds Festival, or you know, I should be

713
00:38:57,239 --> 00:39:01,039
playing at Cochella. They've spent ten fifteen years working to

714
00:39:01,119 --> 00:39:04,800
get towards that, for example, and I'm what I'd probably say,

715
00:39:04,880 --> 00:39:08,920
I'm seven years into this project, probably like you know,

716
00:39:09,119 --> 00:39:12,039
twenty five years of like a music career. But I

717
00:39:12,119 --> 00:39:13,920
would hate for me to get on stage and people

718
00:39:13,960 --> 00:39:16,119
say thinking, oh, whise, how does he deserve to be

719
00:39:16,199 --> 00:39:18,800
up there to make up work for ten fifteen years.

720
00:39:19,079 --> 00:39:20,679
So you have to accept that you've got to put

721
00:39:20,719 --> 00:39:23,480
the work in and you know what, you might fail,

722
00:39:23,760 --> 00:39:26,559
and that's okay because you know, Alicia doing certain that

723
00:39:26,639 --> 00:39:28,199
you love, that's all that matters.

724
00:39:28,559 --> 00:39:31,519
Speaker 6: Absolutely, the word. You know, the scariest thing in life

725
00:39:31,559 --> 00:39:34,400
would be, you know, to get to get to the

726
00:39:34,480 --> 00:39:36,119
end of it and look back and say, you know

727
00:39:36,199 --> 00:39:37,880
what if I had tried, you know what if I

728
00:39:37,960 --> 00:39:40,199
had followed my passions. I mean that that would scare

729
00:39:40,519 --> 00:39:43,320
the hell out of me, you know, just just looking

730
00:39:43,400 --> 00:39:46,000
back with regret and saying, you know, maybe maybe I

731
00:39:46,039 --> 00:39:48,639
should have you know, gone for it. But so no,

732
00:39:48,760 --> 00:39:50,199
I agree with you. I mean, you know this is

733
00:39:50,280 --> 00:39:52,679
only well, you know, like the song says, you know,

734
00:39:52,760 --> 00:39:53,559
it's a short life.

735
00:39:54,440 --> 00:39:57,039
Speaker 11: So you know what I fear most. I fear getting

736
00:39:57,039 --> 00:40:00,760
to the end of the journey, like being successful and

737
00:40:01,079 --> 00:40:04,719
feeling empty. So that makes me. I hear a lot

738
00:40:04,760 --> 00:40:07,360
about that, Like there's a lot about people who win

739
00:40:07,440 --> 00:40:10,679
awards and play stadiums. They do that they hit the

740
00:40:10,760 --> 00:40:13,079
goal and they're empty, and that's because they've spent the

741
00:40:13,159 --> 00:40:16,199
whole journey thinking about the goal. Whereas you have to

742
00:40:16,320 --> 00:40:18,760
just live in the journey, man, Yeah, live in the present.

743
00:40:19,159 --> 00:40:22,639
Nothing's guaranteed. The only thing's guaranteed now is I'm speaking

744
00:40:22,679 --> 00:40:23,960
to you. I might go down and make a cup

745
00:40:24,000 --> 00:40:26,800
of tea afterwards after we speak. That's all that's guaranteed. Man,

746
00:40:27,320 --> 00:40:29,960
nothing else. Live in the moment and just try and

747
00:40:30,079 --> 00:40:31,239
enjoy the journey because it's tough.

748
00:40:31,760 --> 00:40:34,119
Speaker 6: Yeah, yeah, yeah, you got to enjoy the ride. Or

749
00:40:34,159 --> 00:40:35,880
there's an expression in America. I don't know if they

750
00:40:35,880 --> 00:40:37,440
say it here, if they say it over there, but

751
00:40:38,119 --> 00:40:41,079
getting there is half the fun. But even that's not

752
00:40:41,199 --> 00:40:44,119
necessarily true. Sometimes I think probably getting there is all

753
00:40:44,199 --> 00:40:46,639
the fun. You know, and then you know, and then

754
00:40:46,679 --> 00:40:47,920
when you get there, you got to find a new

755
00:40:47,960 --> 00:40:50,559
mountain to climb or something, But yeah, you better enjoy

756
00:40:50,679 --> 00:40:51,119
getting there.

757
00:40:53,079 --> 00:40:55,039
Speaker 11: It's so true because you've got all these scars and

758
00:40:55,119 --> 00:40:57,199
memories of getting there. If somebody said to you today

759
00:40:57,320 --> 00:40:59,639
are here's a button, if you press this, we'll give

760
00:40:59,679 --> 00:41:01,719
you a numbnumber one album. We'll give you a you know,

761
00:41:02,440 --> 00:41:05,599
a million pounds. I don't believe for a second that

762
00:41:05,679 --> 00:41:08,239
in six months you'll appreciate that. But I think all

763
00:41:08,280 --> 00:41:10,119
the graphs that you're doing with yourself as well with

764
00:41:10,159 --> 00:41:12,199
your radio show and your podcast, like you seem as

765
00:41:12,239 --> 00:41:14,320
a person like me, you know you want to go

766
00:41:14,400 --> 00:41:16,920
to the top of your game, and I think it's

767
00:41:17,000 --> 00:41:20,000
that it's the hard way you put in. You look back,

768
00:41:20,119 --> 00:41:22,280
you know, five years down the line, you look out

769
00:41:22,360 --> 00:41:25,199
onto like you know, your property or your money, your bank, whatever,

770
00:41:25,800 --> 00:41:28,079
and you think I deserve I not I deserve this,

771
00:41:28,119 --> 00:41:31,280
because nobody deserves anything. I earned this right. I worked

772
00:41:31,320 --> 00:41:33,360
hard for this, and I think that's the longevity of it.

773
00:41:33,400 --> 00:41:35,440
And you'll keep going. You think, Okay, I aint me

774
00:41:35,599 --> 00:41:37,920
number one record. I'm going to go get a second

775
00:41:37,920 --> 00:41:39,760
one because nobody give it to me. Nobody gives you

776
00:41:39,840 --> 00:41:42,599
anything in this life, right, you know, you're not entitled

777
00:41:42,639 --> 00:41:43,079
to anything.

778
00:41:43,199 --> 00:41:46,679
Speaker 6: Go get it though exactly Yeah, very well said very well,

779
00:41:46,760 --> 00:41:50,679
said well, Jack, I really appreciate you joining us here today.

780
00:41:50,800 --> 00:41:53,719
Not only is it I've been excited to talk to

781
00:41:53,760 --> 00:41:56,559
you about your music, but also I think you've given

782
00:41:57,159 --> 00:41:58,960
because a lot of musicians listen to the show, a

783
00:41:59,000 --> 00:42:01,000
lot of industry people, I think you've given a lot

784
00:42:01,039 --> 00:42:03,239
of really good advice and insight today too, which is

785
00:42:03,320 --> 00:42:06,880
really cool. So I appreciate that, and and I enjoy

786
00:42:07,119 --> 00:42:09,079
I appreciate your outlook on everything. I think it's I

787
00:42:09,119 --> 00:42:12,079
think it's excellent. And in a moment, like I said,

788
00:42:12,119 --> 00:42:14,920
we'll close out the segment with this track Wanderlust, which

789
00:42:14,960 --> 00:42:16,960
I also think is great. Oh and I wanted to

790
00:42:17,000 --> 00:42:19,840
ask you too about the video for this. The video

791
00:42:20,039 --> 00:42:22,719
is really cool. The video for Wanderlust. I encouraged people

792
00:42:22,760 --> 00:42:26,719
go on YouTube check it out that like did you

793
00:42:27,519 --> 00:42:29,199
I mean, how much traveling did you do to make

794
00:42:29,239 --> 00:42:29,719
that video?

795
00:42:30,920 --> 00:42:34,800
Speaker 11: And Nellie died, you know, I fell in the river

796
00:42:34,920 --> 00:42:37,519
and everything. But honestly, it was such a it was

797
00:42:37,559 --> 00:42:41,199
such an amazing slash traumatic video shoot. Like we were

798
00:42:41,239 --> 00:42:43,320
on top of the mountain and in the middle of

799
00:42:43,360 --> 00:42:46,679
the lake districts in England, like we'd walked two hours

800
00:42:46,760 --> 00:42:49,119
to get you know, the shot Wow fell in a

801
00:42:49,199 --> 00:42:52,440
river like I got wet. All my stuff, We've got

802
00:42:52,639 --> 00:42:56,000
all the gear was missing. Honestly, it was well we

803
00:42:56,159 --> 00:42:58,599
got the shot man and that's all that matters. Yeah,

804
00:42:58,599 --> 00:43:01,480
I will say, if you on a good video, you're

805
00:43:01,519 --> 00:43:04,320
gonna have to walk through hell for it. It doesn't

806
00:43:04,360 --> 00:43:06,920
come easy, man. But yeah, it was a good befriend

807
00:43:07,000 --> 00:43:10,519
Dylan Witty. He's an amazing, amazing video and it's a

808
00:43:10,800 --> 00:43:13,559
amazing director and he helped me, you know, put that

809
00:43:13,719 --> 00:43:15,599
vision together because that was the first piece of music

810
00:43:15,679 --> 00:43:18,320
that I put out, so I wanted to put something

811
00:43:18,360 --> 00:43:19,880
out with a bang. But I will say, any any

812
00:43:19,960 --> 00:43:24,119
musicians artists listening, Wanderlus had three or four mixes over

813
00:43:24,199 --> 00:43:26,639
like four years. For four years, I couldn't get I

814
00:43:26,719 --> 00:43:30,559
couldn't get the right sound that I wanted. It was

815
00:43:30,679 --> 00:43:32,960
tough and it was that whole you know, is it

816
00:43:33,119 --> 00:43:33,760
is it good enough?

817
00:43:33,920 --> 00:43:33,960
Speaker 12: No?

818
00:43:34,159 --> 00:43:36,480
Speaker 11: Okay, back to the drawing. But I spent thousands mates,

819
00:43:36,920 --> 00:43:40,239
but the result that I wanted, So you know, I

820
00:43:40,360 --> 00:43:42,960
maybe too much perfectionism is a bit too much. But

821
00:43:43,119 --> 00:43:45,239
for me, if you're going to make an impact, do

822
00:43:45,400 --> 00:43:46,800
it properly. Yes, I think.

823
00:43:47,320 --> 00:43:50,159
Speaker 6: Yeah, absolutely, well well done. It's a it's an excellent video.

824
00:43:50,199 --> 00:43:51,679
Like I said, I encourage people to go online and

825
00:43:51,760 --> 00:43:54,199
check it out and we will close out the segment

826
00:43:54,239 --> 00:43:57,800
with that song again, another great song. But Jack, we

827
00:43:57,840 --> 00:43:59,639
will definitely do this again in the future. When you

828
00:43:59,719 --> 00:44:01,880
were do you have any idea when your next single

829
00:44:02,000 --> 00:44:04,239
might be out? Any any any idea or not to

830
00:44:04,280 --> 00:44:05,199
put you on the spot, But.

831
00:44:06,320 --> 00:44:08,159
Speaker 11: No, not to put you on spots at all. I'll

832
00:44:08,159 --> 00:44:10,760
be honest. I think maybe a couple of weeks. I'm

833
00:44:10,840 --> 00:44:13,360
just doing the finals. I'm looking for a strings and

834
00:44:13,440 --> 00:44:16,519
brass player to help me round out the sound, okay,

835
00:44:16,639 --> 00:44:18,440
And can I just give a shout out before to

836
00:44:18,480 --> 00:44:19,199
go if that's all right?

837
00:44:19,320 --> 00:44:20,760
Speaker 6: Oh please? Yeah, absolutely.

838
00:44:20,880 --> 00:44:22,960
Speaker 11: I just want to say thanks to Big GPR for

839
00:44:23,000 --> 00:44:24,840
getting me the interview. Thank you to you, Matt. I

840
00:44:24,880 --> 00:44:28,599
really appreciate you. And thanks to We Believe as well

841
00:44:29,039 --> 00:44:32,239
and my keys. You know, let's let's keep let's keep

842
00:44:32,320 --> 00:44:34,679
hitting those heights and who knows next year where we'll be.

843
00:44:35,280 --> 00:44:38,480
Speaker 6: Absolutely, and everybody you mentioned such great people you know,

844
00:44:38,599 --> 00:44:41,840
and and and uh where they know how to find talent,

845
00:44:41,960 --> 00:44:46,400
that's for sure. Everybody, everybody they've sent us has been

846
00:44:46,440 --> 00:44:50,719
absolutely amazing, including you, So I'm really glad to talk

847
00:44:50,760 --> 00:44:52,280
to you today, Jack, and thank you so much for

848
00:44:52,360 --> 00:44:53,880
joining us. We're going to hit this track, so we'll

849
00:44:53,920 --> 00:44:56,039
let you go, but I look forward to the next

850
00:44:56,079 --> 00:44:58,440
single and we will definitely have to do this again

851
00:44:58,480 --> 00:45:00,000
in the near future. So thank you so much.

852
00:45:01,119 --> 00:45:02,920
Speaker 11: Look forward it past to look man, and keep doing

853
00:45:02,960 --> 00:45:03,760
what you're doing you grace.

854
00:45:03,960 --> 00:45:06,400
Speaker 6: Oh thanks Jack, I appreciate you, man. All right, take care,

855
00:45:07,280 --> 00:45:09,639
thank you, all right, bye bye, all right. That was

856
00:45:09,719 --> 00:45:13,440
Jack from Pacific A's and we're gonna play this track now.

857
00:45:13,519 --> 00:45:16,400
This is called one wander Lust and this is really good.

858
00:45:16,440 --> 00:45:18,440
And again check out the video not right now, stick

859
00:45:18,480 --> 00:45:20,480
with me for now, but later check out the video online.

860
00:45:20,480 --> 00:45:22,880
You'll like the video too. They put a lot of

861
00:45:22,960 --> 00:45:26,639
work into it, as Jack indicated, and a lot of

862
00:45:27,400 --> 00:45:29,880
some terrifying moments too. But check this out. This is

863
00:45:29,920 --> 00:45:57,239
called Wanderlust and this is Pacific A'sest.

864
00:45:58,599 --> 00:45:59,440
Speaker 4: It's a meets on.

865
00:46:00,119 --> 00:46:01,159
Speaker 13: Who Knows Me?

866
00:46:01,519 --> 00:46:04,920
Speaker 14: Missed twenty three with me to get a flown and

867
00:46:05,199 --> 00:46:09,599
there's twenty eight back home all of life for the Fierce.

868
00:46:17,440 --> 00:46:21,639
One of my thoughts on the page thought to be

869
00:46:21,920 --> 00:46:25,840
happy and the say dreamer sy all.

870
00:46:26,039 --> 00:46:26,800
Speaker 1: Every day.

871
00:46:28,320 --> 00:46:30,239
Speaker 14: The feeling of my jesty will go.

872
00:46:30,639 --> 00:46:37,639
Speaker 5: Oh wait, I got onelest and I don't know who trust.

873
00:46:38,880 --> 00:46:41,480
Speaker 15: They say it's up to someone.

874
00:46:42,800 --> 00:46:45,000
Speaker 4: So I'm telling you.

875
00:46:48,079 --> 00:46:48,960
Speaker 3: Fierce cold.

876
00:46:55,559 --> 00:46:59,840
Speaker 4: Yeah, this is so sad.

877
00:47:02,840 --> 00:47:05,639
Speaker 3: Where the stones stone start.

878
00:47:06,320 --> 00:47:06,719
Speaker 10: Such a.

879
00:47:10,239 --> 00:47:10,880
Speaker 3: Fist like go.

880
00:47:18,800 --> 00:47:20,880
Speaker 1: Feeling in my bones.

881
00:47:21,800 --> 00:47:28,199
Speaker 11: To live the life I can let go, not there easily.

882
00:47:29,199 --> 00:47:36,679
Speaker 15: The midnight Sky and the Lighter see Inspiration reveals the

883
00:47:37,000 --> 00:47:43,320
endless ship by the life is spinning.

884
00:47:41,400 --> 00:47:44,400
Speaker 4: With dead, then.

885
00:47:44,280 --> 00:47:51,079
Speaker 14: Again last after being found. I got one last and.

886
00:47:51,239 --> 00:47:53,360
Speaker 4: I don't know who trust.

887
00:47:54,599 --> 00:47:55,840
Speaker 11: They say it's off.

888
00:47:55,960 --> 00:48:00,719
Speaker 9: To someone, So I say, means you.

889
00:48:03,760 --> 00:48:04,199
Speaker 11: Freus like.

890
00:48:11,159 --> 00:48:14,719
Speaker 3: It so.

891
00:48:18,559 --> 00:48:26,360
Speaker 2: Were the stop the store stuff sent freeze like.

892
00:48:33,280 --> 00:48:45,440
Speaker 4: Fres like. It's like it's a ser sun.

893
00:48:45,599 --> 00:48:51,960
Speaker 1: Yeast were the store the store the stuff sent.

894
00:48:55,440 --> 00:49:54,440
Speaker 9: Trees think and fallen with the suns.

895
00:49:56,719 --> 00:50:04,119
Speaker 5: My god, you see that, say and look sorry super

896
00:50:06,800 --> 00:50:24,559
take it in regression, so love to d see me.

897
00:50:30,960 --> 00:50:32,280
Speaker 4: Your long.

898
00:50:40,719 --> 00:50:41,920
Speaker 2: You're soon.

899
00:50:45,679 --> 00:50:46,360
Speaker 4: Back to the.

900
00:51:10,079 --> 00:51:19,039
Speaker 5: Something be left in the ships. Just candle you comfort lists.

901
00:51:20,559 --> 00:51:23,920
She leads across the boat to contact.

902
00:51:25,199 --> 00:51:26,159
Speaker 11: That does nothing.

903
00:51:26,400 --> 00:51:28,599
Speaker 1: No, no, to dress.

904
00:51:40,159 --> 00:51:49,679
Speaker 4: Some you've got a.

905
00:51:49,920 --> 00:52:33,880
Speaker 1: Long dress, shiments, it's.

906
00:52:33,719 --> 00:52:43,840
Speaker 3: A so.

907
00:52:48,639 --> 00:52:53,599
Speaker 8: So s.

908
00:53:09,679 --> 00:53:13,360
Speaker 16: This fall the Ballpark isn't closing for the season. It's

909
00:53:13,440 --> 00:53:17,360
waking up, step beyond the gates and into Fright Nights

910
00:53:17,440 --> 00:53:21,000
at the Field, an immersive, haunted experience where the roar

911
00:53:21,079 --> 00:53:24,800
of the crowd has been replaced by whispers in the dark.

912
00:53:25,559 --> 00:53:28,760
Wander through twisted tunnels, ghost lid corridors, and the stadium

913
00:53:28,760 --> 00:53:32,360
itself now home to the things that never left live

914
00:53:32,480 --> 00:53:36,679
scare actors, movie quality sense, heart racing encounters around every corner.

915
00:53:37,679 --> 00:53:39,519
Speaker 10: The game is over, but the nightmare.

916
00:53:39,239 --> 00:53:40,119
Speaker 17: Has just begun.

917
00:53:40,840 --> 00:53:43,480
Speaker 16: Fright Nights in the Field there to play after dark.

918
00:53:44,480 --> 00:53:46,480
Speaker 17: Luigi's Beazza Bar and Grill.

919
00:53:47,000 --> 00:53:53,039
Speaker 11: Every one when phrases liesde with top and all the ground.

920
00:53:53,559 --> 00:53:55,559
Speaker 4: It's a pizza bar your mind.

921
00:53:56,159 --> 00:54:00,480
Speaker 17: Luigi's Pizza Bar and Grill, seven to twelve Valley Street, Manchester.

922
00:54:00,760 --> 00:54:05,199
I'm on in or call six two one zero two one. Luigi,

923
00:54:05,480 --> 00:54:11,480
keeping the tradition alive since nineteen seventy five, leads up.

924
00:54:11,440 --> 00:54:15,239
Speaker 6: For every one, come join a beast two nights.

925
00:54:16,119 --> 00:54:20,239
Speaker 11: With these slye sets of it, everything feels so right.

926
00:54:23,239 --> 00:54:24,199
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927
00:54:24,440 --> 00:54:26,559
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928
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938
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939
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940
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944
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Speaker 20: Hey everyone, there's Rob Azevido, host of Granite State of Mind,

947
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and I want to tell you about Pembrooke City limits

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and the Historic Suncook Village. PCL's an award winning bar,

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00:55:38,960 --> 00:55:41,920
restaurant and music venue where there's live music five days

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00:55:41,960 --> 00:55:45,719
a week and twice on Saturdays, everything from blues, country, folk, funk,

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00:55:45,840 --> 00:55:45,960
and a.

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00:55:46,000 --> 00:55:46,760
Speaker 11: Whole lot of jazz.

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Speaker 20: We have twelve craft beers on tap dedicated to local

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00:55:49,960 --> 00:55:52,079
brewers in the area and some of the friendliest bar

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00:55:52,239 --> 00:55:55,400
tenders around. Please come visit Pembrook City Limits at one

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00:55:55,480 --> 00:55:58,679
thirty four Main Street, the historic Suncook Village, only six

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00:55:58,800 --> 00:56:02,440
miles outside of Manchester. Open Tuesdays to Wednesdays four to

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ten Thursday's Sunday eleven to ten.

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Speaker 6: Pembrook City Limits where it's all about the music.

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Speaker 17: Disneys Cafe is the place to put a smile on

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your face. Judy and the crew will take care of you,

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bring your appetite and treat your taste buds right.

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Speaker 2: Business.

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Speaker 17: Cafe is always a winning choice. Breakfast, lunch or supper

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Dizze's Cafe at eight sixty Elm Street in downtown Manchester.

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Dine in, take out or make a reservation. Call six

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O three six oh six two five three two, Eat,

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drink and be happy. Dizze's Cafe.

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Speaker 7: When it comes to keeping WMNH on the air and

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your own personal or business computer needs. Trust growl In

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Computers located on Elm Street in Manchester. Groll In handles

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Speaker 8: Zero Midnight seven times out of ten we listened to

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our music at nice.

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Speaker 7: Don titled Boss Program.

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Speaker 19: Late Night to Light with DJ Midas right here on

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WMNH Manchester.

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Speaker 3: Because Saturdays and Sunday nights midnight to four am.

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00:57:37,679 --> 00:57:43,159
Speaker 13: This hour on WMNH is sponsored by CGI Business Solutions

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located at five Dartmouth Drive in Auburn. They serve all

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your business needs including employee benefits, planning, corporate design and

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business administration, investments and wealth management and customized business insurance solutions.

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Their phone number is eighty six eight four one forty

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six hundred or on the web at CGI Business Solutions

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dot com.

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Speaker 12: Behold the harmony of airwaves as you immerse yourself in

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the captivating frequencies of w M NHLP, the sonic heart

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beats of Manchester, transcending through the ether at ninety five

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point three megahertz frequency modulation or transmissions emanate from the

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zenith of one thousand l Streets to ensure into the

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hearts of our creative realm at one nineteen Canal Street,

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where innovation and sound collage. They're the impro moder of

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Manchester Public Television Service in the venerable city of Manchester,

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New Hampshire, USA. Enrich your auditory journey with the depth

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of our license to wesdens wept your missives.

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Speaker 21: Do WMNH ninety five three at gmail dot com or

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traverse the virtual corridors of wmnhradio dot org. Engage with

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our sonic vibrations by communing with us through the digital

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channels or radio beckons eager to enthrall you with its

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as rising cadence and billap you would have symphony of

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fliss audits or is one daughter.

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Speaker 3: W M n H rip the novel Thanks

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00:59:14,559 --> 00:59:19,000
Speaker 21: You're listening to Matt Connorton unleash on w M and

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00:59:19,119 --> 00:59:20,639
H ninety five point three