1 00:00:00,160 --> 00:00:02,720 Speaker 1: That is the new single from the Forest Forgets that 2 00:00:02,759 --> 00:00:04,759 it's called with Grace, And we're going to talk to 3 00:00:04,799 --> 00:00:08,080 these guys the Forest Forgets. I'll bring those mics up. 4 00:00:08,160 --> 00:00:13,160 Welcome guys, Thank you, thank you, absolutely absolutely so let's 5 00:00:13,160 --> 00:00:15,839 start with We'll start with you, sir in the corner. 6 00:00:15,880 --> 00:00:17,640 If you could, uh tell us who you are and 7 00:00:17,679 --> 00:00:18,920 what you do in the band. 8 00:00:20,079 --> 00:00:22,280 Speaker 2: James and I play the drums in the band. 9 00:00:22,359 --> 00:00:25,320 Speaker 3: Hi, James, and you, I'm Brennan and I played bass 10 00:00:25,480 --> 00:00:26,399 Brennan yep. 11 00:00:26,839 --> 00:00:29,559 Speaker 1: Oh how do you spell that E R E N A? 12 00:00:30,199 --> 00:00:33,679 Do people often think that? Like, uh, do people call 13 00:00:33,719 --> 00:00:35,039 you Brandon? Bye? Yeah? 14 00:00:35,039 --> 00:00:38,320 Speaker 2: I figured out, or I get Brent oh do yeah, 15 00:00:39,280 --> 00:00:40,200 which is crazy. 16 00:00:40,280 --> 00:00:41,880 Speaker 1: Oh that's funny, that's funny. 17 00:00:42,479 --> 00:00:46,399 Speaker 4: And you, sir, and I'm Brandon, not right, I play. 18 00:00:46,240 --> 00:00:49,600 Speaker 1: Guitar, okay, and you Griffin, I apologize. Let me pull 19 00:00:49,640 --> 00:00:50,960 that mic up a little bit more. You're on the 20 00:00:51,159 --> 00:00:53,359 you're on the weird mic. Go ahead and talk. Hell O, 21 00:00:53,560 --> 00:00:57,880 there we go. Now we can hear your dulcin tones. Yes, 22 00:00:58,119 --> 00:01:00,719 very good, very good. Well, welcome guys. Now, of course, 23 00:01:00,759 --> 00:01:02,439 now some of you have been on the show before 24 00:01:02,799 --> 00:01:06,480 because there was a previous band after image, and how 25 00:01:06,480 --> 00:01:08,239 many of you were in after image? Was it three 26 00:01:08,280 --> 00:01:09,239 of you? Or yeah? 27 00:01:09,359 --> 00:01:10,640 Speaker 2: It was three of you? 28 00:01:10,760 --> 00:01:13,840 Speaker 1: Okay? And then so out of that came the Forest 29 00:01:13,920 --> 00:01:16,959 for Guts. Now, how long has the Forest Forgets existed 30 00:01:17,959 --> 00:01:18,760 since October? 31 00:01:20,519 --> 00:01:23,000 Speaker 2: Okay longer than that, yeah, I guess almost. 32 00:01:23,599 --> 00:01:25,599 Speaker 5: Since October, I believe for November. 33 00:01:25,640 --> 00:01:30,000 Speaker 1: So this is pretty new and for people watching online 34 00:01:30,000 --> 00:01:32,319 of course, uh, you know, we'll we'll take a picture afterward. 35 00:01:32,359 --> 00:01:34,799 But you guys brought me a copy of the new 36 00:01:35,040 --> 00:01:39,280 the new EP, so very nice of wind and willow 37 00:01:39,920 --> 00:01:42,719 and so well, let's start with the obvious questions. So 38 00:01:42,719 --> 00:01:45,000 where does the name come from the Forest Forgets? 39 00:01:46,319 --> 00:01:49,480 Speaker 5: It's I think it was based off of like where 40 00:01:49,480 --> 00:01:52,200 we're from is a state we wanted, like a nature theme, Yeah, 41 00:01:52,239 --> 00:01:54,400 like being in New Hampshire, the White Mountains, the forest 42 00:01:54,439 --> 00:01:55,359 and everything around us. 43 00:01:55,560 --> 00:01:56,040 Speaker 1: Yeah. 44 00:01:56,159 --> 00:01:58,480 Speaker 5: I think kind of an interesting thing about bands is 45 00:01:58,519 --> 00:02:02,200 like regionality and with that comes like sound and expectations. 46 00:02:02,719 --> 00:02:06,239 So you think about California, there's like a sound, right Ritschfield, 47 00:02:06,280 --> 00:02:09,000 there's a sound. You think about you know, Boston there's 48 00:02:09,000 --> 00:02:10,879 like a punk scene as a sound. You think in 49 00:02:10,919 --> 00:02:13,159 New Hampshire. I think it's very vague, but I think 50 00:02:13,159 --> 00:02:15,680 there's a lot to tap into, especially for like the 51 00:02:15,719 --> 00:02:17,680 genre that we're trying to do, like a more slower, 52 00:02:17,719 --> 00:02:21,319 ambient post metal sound. So it came from that, like 53 00:02:21,439 --> 00:02:25,680 having that nature theme but the forest forgets itself. James 54 00:02:25,719 --> 00:02:27,800 came up with that. It's from a saying do you 55 00:02:27,800 --> 00:02:28,520 remember the same. 56 00:02:29,080 --> 00:02:33,599 Speaker 2: The saying is the acts forgets, but the tree remembers. 57 00:02:33,800 --> 00:02:35,879 Speaker 1: Okay, oh interesting. 58 00:02:36,280 --> 00:02:40,120 Speaker 5: Yeah, but it's just kind of it was more of 59 00:02:40,159 --> 00:02:44,000 a statement about like I don't know, passage of time, 60 00:02:44,159 --> 00:02:47,520 I guess, and it's kind of like a trope in 61 00:02:47,639 --> 00:02:51,159 media and like post apocalyptic or like where humanity's gone, 62 00:02:51,159 --> 00:02:55,360 like nature kind of overtakes human construction, like cities become 63 00:02:55,919 --> 00:02:59,319 forests again after a long time. Okay, do what you 64 00:02:59,360 --> 00:03:02,039 can while you're here, but in the end, eventually everything 65 00:03:02,120 --> 00:03:03,400 kind of goes back to where it came. 66 00:03:03,680 --> 00:03:05,680 Speaker 1: Yeah, yeah, no, that makes sense. No, I like that. 67 00:03:05,960 --> 00:03:10,639 And I noticed too with the imagery looking at pictures 68 00:03:10,680 --> 00:03:13,800 of you guys online and such, it's you really kind 69 00:03:13,800 --> 00:03:16,599 of bring that theme, the forest theme, and everything everything's 70 00:03:16,680 --> 00:03:19,319 kind of dark, you know, like it's like it's actually 71 00:03:19,319 --> 00:03:21,400 hard and it's not a complaint. It's a. It's a 72 00:03:21,400 --> 00:03:23,479 cool thing, but it's it's hard to find a picture 73 00:03:23,520 --> 00:03:26,560 of you guys. Maybe maybe there as a band, Maybe 74 00:03:26,560 --> 00:03:28,479 there are some that I just didn't see where it's 75 00:03:28,560 --> 00:03:30,840 like bright and you know, you can clearly see everybody. 76 00:03:30,879 --> 00:03:32,639 It's like you kind of like you've kind of done 77 00:03:32,680 --> 00:03:34,439 this mysterious thing that I think is cool. 78 00:03:34,960 --> 00:03:38,479 Speaker 5: Yeah. A lot of that was Victoria Comerford, her hit, 79 00:03:38,520 --> 00:03:41,319 Brandon's girlfriend. Okay, there's a lot of favors for us 80 00:03:41,360 --> 00:03:42,479 coming out doing photography. 81 00:03:42,599 --> 00:03:44,120 Speaker 4: Oh, very cool photography. 82 00:03:44,199 --> 00:03:45,960 Speaker 5: Yeah, yeah, pretty much everything we posted. 83 00:03:46,240 --> 00:03:48,680 Speaker 1: Yeah, is that gonna be the theme going for? Like 84 00:03:48,719 --> 00:03:49,759 you think you're gonna stick with that? 85 00:03:50,080 --> 00:03:50,159 Speaker 3: Uh? 86 00:03:50,479 --> 00:03:52,919 Speaker 1: Or or maybe it'll evolve over time or I don't know. 87 00:03:53,000 --> 00:03:54,400 I mean it's like I said, it's kind of a 88 00:03:54,439 --> 00:03:56,360 cool thing, a little little bit of mystery, and. 89 00:03:56,639 --> 00:03:59,599 Speaker 4: I'm sure it'll have its own Yeah, things go on. 90 00:03:59,759 --> 00:04:02,639 But I think that's kind of the the gist of 91 00:04:02,680 --> 00:04:03,599 the vibe we're going for. 92 00:04:03,680 --> 00:04:06,360 Speaker 1: I guess yeah, yeah, yeah, No, I like the I 93 00:04:06,439 --> 00:04:11,560 like the mistique of it. Now the songs from After Image, 94 00:04:11,599 --> 00:04:14,240 have any of those carried over into the forest Forgets 95 00:04:14,280 --> 00:04:16,759 or is this all new or what's what's been your 96 00:04:16,959 --> 00:04:18,000 approach as far as. 97 00:04:17,879 --> 00:04:21,240 Speaker 4: That, Uh, it's it's all new stuff. We wanted to 98 00:04:21,279 --> 00:04:24,680 just do something like kind of like from scratch. Yeah, 99 00:04:24,720 --> 00:04:29,879 a whole new sound and interpretation of like instruments and 100 00:04:29,920 --> 00:04:30,680 what we can do with them. 101 00:04:30,879 --> 00:04:31,319 Speaker 1: Yeah. 102 00:04:31,560 --> 00:04:33,600 Speaker 4: Yeah, And I think the biggest thing with that is 103 00:04:33,639 --> 00:04:36,600 we've changed the tunings. I think we mostly playing like 104 00:04:36,680 --> 00:04:39,959 drop c now oh okayet of like standard tuning. So yeah, yeah, 105 00:04:39,959 --> 00:04:43,920 it's a lot lower and heavier. Yeah aggressive, I guess. 106 00:04:43,720 --> 00:04:45,959 Speaker 1: Yeah, I like it. And Jenny was commenting to how 107 00:04:46,000 --> 00:04:48,639 much she loves your guitar playing, and it's got a 108 00:04:48,720 --> 00:04:51,120 very distinctive kind of kind of sound and vibe to. 109 00:04:51,120 --> 00:04:53,720 Speaker 4: Which is really cool. It's like one of my favorite 110 00:04:54,160 --> 00:04:56,000 comments compliments. 111 00:04:56,360 --> 00:05:00,959 Speaker 1: Very nice. And you've got a excuse, I promise, I'm 112 00:05:01,000 --> 00:05:03,480 not sick. I was sick, but I've got that lingering, 113 00:05:03,560 --> 00:05:07,959 you know, you get that lingering. Cough. It sucks. So 114 00:05:08,000 --> 00:05:10,759 the video now, tell us about the video for with Grace, 115 00:05:10,839 --> 00:05:13,839 because that's that's pretty it's kind of kind of heavy. 116 00:05:14,000 --> 00:05:17,279 It's it's got a got a heavy, heavy theme to it. 117 00:05:17,519 --> 00:05:19,480 That was kind of griffin really. 118 00:05:19,360 --> 00:05:28,480 Speaker 5: Yeah, yeah, pretty much. It was reactionary to what was 119 00:05:28,519 --> 00:05:32,240 going on with my grandparents passing away. Oh okay, Yeah, 120 00:05:32,279 --> 00:05:35,120 so I wanted to kind of create like an external 121 00:05:35,439 --> 00:05:38,439 expression of that weird sense of grief you get when 122 00:05:38,480 --> 00:05:40,920 you watch two loved ones kind of fall apart in 123 00:05:40,959 --> 00:05:41,480 front of you. 124 00:05:41,560 --> 00:05:42,399 Speaker 1: Yeah. 125 00:05:42,600 --> 00:05:45,199 Speaker 5: So it felt really cathartic to do. 126 00:05:45,319 --> 00:05:45,360 Speaker 6: So. 127 00:05:45,800 --> 00:05:47,720 Speaker 5: Yeah, and from what I've been told, I think it 128 00:05:48,000 --> 00:05:50,680 articulates and translates very well for people that watch it. 129 00:05:50,959 --> 00:05:53,360 Speaker 1: Yeah, but I agree, yeah, definitely. 130 00:05:53,839 --> 00:05:56,959 Speaker 5: Yeah, it just felt like, honestly, like kind of lightning 131 00:05:56,959 --> 00:05:59,279 in the bottle. Like how it all came out, it 132 00:05:59,439 --> 00:06:04,160 was very It was all gorilla filmmaking. Yeah, Like Dylan 133 00:06:04,199 --> 00:06:07,160 Williams came out and we have a friend that owns 134 00:06:07,199 --> 00:06:10,120 an island, so he just came out on a boat 135 00:06:10,160 --> 00:06:12,519 and like filmed filmed me just up as an old man, 136 00:06:12,560 --> 00:06:13,800 and he just pieced it together. 137 00:06:13,879 --> 00:06:16,480 Speaker 1: And yeah, how long did it take? Was that all 138 00:06:16,560 --> 00:06:19,040 done in one day or because there's a lot to. 139 00:06:19,079 --> 00:06:21,800 Speaker 5: It, that was two days of shooting. The first day 140 00:06:21,879 --> 00:06:24,160 was like twelve hours and the second day was an 141 00:06:24,160 --> 00:06:24,759 hour and a half. 142 00:06:24,879 --> 00:06:26,360 Speaker 1: Okay, yeah, wow. 143 00:06:26,160 --> 00:06:28,160 Speaker 5: Yeah it was. It was a pretty daunting task that 144 00:06:28,199 --> 00:06:30,319 first day. A lot of coordination, especially with like the 145 00:06:30,360 --> 00:06:32,720 makeup and like I had to shave my face yeap. 146 00:06:33,160 --> 00:06:35,959 Victoria Comerford also did the makeup for my face as well. 147 00:06:36,240 --> 00:06:39,240 Excellent ageify me and make it be more believable, right, 148 00:06:39,279 --> 00:06:40,680 I think it workedsu. I've had a couple of people 149 00:06:40,720 --> 00:06:42,319 ask me the like, is that you are you the 150 00:06:42,319 --> 00:06:42,720 old man? 151 00:06:42,879 --> 00:06:43,040 Speaker 1: Yeah? 152 00:06:43,079 --> 00:06:44,000 Speaker 5: It looks so different. 153 00:06:44,120 --> 00:06:47,959 Speaker 1: Yeah, So I wasn't sure really watching it. I wasn't sure. 154 00:06:48,040 --> 00:06:50,240 I thought. I mean, I thought so, but I wasn't sure. 155 00:06:50,319 --> 00:06:52,680 Speaker 4: That's awesome yeah either, yeah me neither. I wasn't. 156 00:06:52,959 --> 00:06:55,160 Speaker 1: Yeah, Now that was really well done. Is that what 157 00:06:55,199 --> 00:06:56,199 the song is about too? 158 00:06:57,519 --> 00:07:00,240 Speaker 5: One of the interpretations, Yeah, I know. It's it's hard 159 00:07:00,240 --> 00:07:02,560 because like my mom had her when I showed her, 160 00:07:02,600 --> 00:07:04,600 she had a very specific interpretation of it, and I 161 00:07:04,680 --> 00:07:06,600 kind of felt like I didn't want to like take 162 00:07:06,639 --> 00:07:09,240 that away from her by getting for my version of it. 163 00:07:09,720 --> 00:07:12,879 But for me, that song was written to my fiance. 164 00:07:13,680 --> 00:07:16,680 It's a it's a love song, okay, okay about her 165 00:07:17,720 --> 00:07:18,959 being really tough on herself. 166 00:07:19,040 --> 00:07:20,560 Speaker 1: So yeah, I wanted to. 167 00:07:20,639 --> 00:07:22,959 Speaker 5: Give her a little love letter and say stop it. 168 00:07:23,480 --> 00:07:25,360 Life's going to be okay, right right. 169 00:07:26,279 --> 00:07:30,000 Speaker 1: That's yeah, No, that's cool, and that's that's The thing 170 00:07:30,040 --> 00:07:32,879 too about music is you know, everybody can kind of 171 00:07:32,879 --> 00:07:35,120 take it and interpret it however they want. And it's 172 00:07:36,279 --> 00:07:39,079 I've always thought it's interesting, you know, for me for 173 00:07:39,399 --> 00:07:41,759 and I don't know, Jenny might be able to relate 174 00:07:41,759 --> 00:07:44,680 to this too, as as gen xers. We grew up 175 00:07:44,680 --> 00:07:46,240 in a time where a lot of the music that 176 00:07:46,360 --> 00:07:50,079 was popular there was no room for interpretation. Yeah, Like, 177 00:07:50,680 --> 00:07:53,040 you know, my my all time favorite band is Kiss. 178 00:07:53,399 --> 00:07:56,279 But when you listen to a Kiss song, there's no 179 00:07:56,439 --> 00:08:00,560 misunderstanding what what they're what their dog about, you know, 180 00:08:00,959 --> 00:08:04,079 but there are there are a couple of exceptions to that. 181 00:08:04,120 --> 00:08:08,600 But but generally, you know, there's no misunderstanding. But but 182 00:08:08,800 --> 00:08:13,399 I remember really finding it fascinating in the nineties when 183 00:08:13,399 --> 00:08:15,560 the grunge era started that, you know, and a lot 184 00:08:15,560 --> 00:08:18,800 of these bands like Pearl Jam for example, it's like 185 00:08:18,839 --> 00:08:22,360 you you know, you listen to the lyrics and it's like, uh, 186 00:08:22,639 --> 00:08:25,800 I just remember having conversations with friends about you know, well, 187 00:08:25,879 --> 00:08:28,199 I think the song means this or this is what 188 00:08:28,199 --> 00:08:31,079 it means to me, and different people bringing different interpretations 189 00:08:31,079 --> 00:08:33,799 to it. And and ever since then, I've always been 190 00:08:33,840 --> 00:08:39,559 fascinated by the way that yeah, I don't know if 191 00:08:39,600 --> 00:08:41,559 any if any of you have ever experienced this, but 192 00:08:41,799 --> 00:08:45,120 if you ever, you you uh, listen to a song, 193 00:08:45,159 --> 00:08:46,559 you hear the lyrics or maybe you look up the 194 00:08:46,639 --> 00:08:50,159 lyrics and they they mean something to you, and then 195 00:08:50,639 --> 00:08:53,919 you you read an interview with whoever wrote the song 196 00:08:54,039 --> 00:08:56,720 and they say it means something completely different than what 197 00:08:56,759 --> 00:08:59,480 your interpretation was, and then there's that little part of 198 00:08:59,480 --> 00:09:02,919 you that goes, oh, you know what I mean. And 199 00:09:03,200 --> 00:09:04,879 in the end, it doesn't matter because it's art and 200 00:09:04,919 --> 00:09:06,799 it's subjective and it means to you whatever it means 201 00:09:06,799 --> 00:09:09,720 to you. But but I've experienced that too, that feeling 202 00:09:09,759 --> 00:09:12,440 of oh it means that I thought it meant this 203 00:09:12,480 --> 00:09:12,840 other thing. 204 00:09:12,919 --> 00:09:16,480 Speaker 5: Yeah, don't kind of take away like the engagement for 205 00:09:16,519 --> 00:09:20,559 the listener. Yeah, like my personal experience that gave the 206 00:09:20,639 --> 00:09:23,360 song that weight. It's like you can still apply it, 207 00:09:23,360 --> 00:09:26,200 but now you know the direct intention, right, so you 208 00:09:26,200 --> 00:09:28,080 can't invest as much of yourself into. 209 00:09:27,960 --> 00:09:34,559 Speaker 1: It, right, right? Yeah? Exactly exactly? Is that? Are all 210 00:09:34,600 --> 00:09:36,399 of your songs kind of like that where you can 211 00:09:37,320 --> 00:09:39,080 you know, sort of interpret them different ways? I mean, 212 00:09:39,120 --> 00:09:41,679 that's that's that's my impression of your music. It's like, 213 00:09:41,720 --> 00:09:45,480 you can you can really kind of put read into 214 00:09:45,480 --> 00:09:46,279 it whatever you want to. 215 00:09:46,399 --> 00:09:49,399 Speaker 2: And yeah, I would say I think that's one of 216 00:09:49,480 --> 00:09:54,240 Griffin's strong points is his lyricism has always been really 217 00:09:55,000 --> 00:09:58,480 thought provoking. Yeah, and it's not kind of late. It's 218 00:09:58,480 --> 00:10:00,000 not late on in front of you. You do kind of 219 00:10:00,080 --> 00:10:02,559 have to give it a couple listens and you know, 220 00:10:02,679 --> 00:10:03,279 digest it. 221 00:10:03,840 --> 00:10:04,159 Speaker 1: Yeah. 222 00:10:04,279 --> 00:10:06,759 Speaker 2: So I think it carries through most of the songs. 223 00:10:06,879 --> 00:10:11,600 Speaker 1: Yeah, yeah, outstanding. Now what is the writing, So Griffin, 224 00:10:11,639 --> 00:10:13,840 do you write all the lyrics or lyrics? Yeah? 225 00:10:13,919 --> 00:10:17,639 Speaker 5: Yeah, just about I mean he I'm terrible at grammar, Yeah, 226 00:10:18,480 --> 00:10:19,399 terrible are you? 227 00:10:19,519 --> 00:10:21,279 Speaker 1: Yeah? 228 00:10:20,559 --> 00:10:24,840 Speaker 5: Yeah, So James is like my retroactive editor coming like 229 00:10:24,840 --> 00:10:30,360 this word doesn't make any sense. It makes sense here, right. 230 00:10:30,519 --> 00:10:33,679 So it is a collaborative effort. I get, I print 231 00:10:33,679 --> 00:10:35,240 out all the lyrics and I let them read it 232 00:10:35,240 --> 00:10:37,080 because I want them to kind of get in that 233 00:10:37,159 --> 00:10:42,159 space with me I go to record. But it is collaborative. 234 00:10:42,200 --> 00:10:43,960 I'd say James definitely steps up to the plate a 235 00:10:44,000 --> 00:10:45,960 lot and kind of like helps me find what I'm 236 00:10:46,000 --> 00:10:46,480 trying to hit. 237 00:10:46,679 --> 00:10:50,279 Speaker 1: Yeah, and then do the lyrics come first and then 238 00:10:50,279 --> 00:10:52,960 the music or no, okay, it's all music. 239 00:10:53,600 --> 00:10:55,080 Speaker 5: It's very reactive to the music. 240 00:10:55,200 --> 00:10:56,679 Speaker 1: Okay, that. 241 00:10:58,840 --> 00:11:00,759 Speaker 5: It's not really learned. I guess it's more so just 242 00:11:00,799 --> 00:11:01,799 habitual over time. 243 00:11:01,960 --> 00:11:03,600 Speaker 1: Yeah, so it becomes instinctive. 244 00:11:03,799 --> 00:11:06,720 Speaker 5: Yeah, yeah, because I feel like writing slam poetry and 245 00:11:06,759 --> 00:11:09,679 then trying to like that onto a song it can 246 00:11:09,759 --> 00:11:12,080 be very clunky, So I try to base it around 247 00:11:12,120 --> 00:11:12,799 the song itself. 248 00:11:12,879 --> 00:11:14,879 Speaker 1: Yeah, No, that makes sense. And then so how does 249 00:11:14,919 --> 00:11:16,960 the music come about? What's the process there? 250 00:11:17,320 --> 00:11:21,080 Speaker 4: There's a couple different ways, I think. For for with Grace, 251 00:11:21,399 --> 00:11:25,919 it was actually a song that James programmed in was 252 00:11:25,960 --> 00:11:31,080 it like Ableton and it sounded completely different than what 253 00:11:31,159 --> 00:11:33,320 it ended as, But he brought that idea to us 254 00:11:33,399 --> 00:11:35,360 and we took all the parts we liked and then 255 00:11:36,080 --> 00:11:38,759 kind of added what we could to make it sound 256 00:11:38,759 --> 00:11:42,320 more like the other stuff we had written. Yeah, but 257 00:11:42,399 --> 00:11:45,840 I think was it. The other three were pretty much 258 00:11:45,879 --> 00:11:49,759 just us jamming on with whatever we could come up with, yeah, 259 00:11:49,759 --> 00:11:53,120 and taking the parts we liked. We what we started 260 00:11:53,159 --> 00:11:55,799 doing was we record every practice, so we would have 261 00:11:55,879 --> 00:11:58,360 like a like a couple hour jam session or something, 262 00:11:58,399 --> 00:12:01,399 and then it was usually Griffin as the ring leader 263 00:12:01,480 --> 00:12:04,240 and listening back to it and like grabbing little clips 264 00:12:04,240 --> 00:12:06,480 and timestance and saying I think this would be cool 265 00:12:06,919 --> 00:12:10,159 with like minute fifty of this jam going into like 266 00:12:10,240 --> 00:12:12,519 the first minute of like the second jam or whatever, 267 00:12:13,080 --> 00:12:14,960 and it was just kind of like pieced together that way. 268 00:12:15,200 --> 00:12:16,440 Speaker 1: Yeah. 269 00:12:16,519 --> 00:12:18,559 Speaker 5: Well, such a new band, you got to like learn 270 00:12:18,600 --> 00:12:21,679 how to engage with each other and interact with each other. 271 00:12:21,799 --> 00:12:24,200 I think it was very helpful for someone to kind 272 00:12:24,240 --> 00:12:26,879 of like get that ball rolling, right because we're writing 273 00:12:26,919 --> 00:12:29,200 new stuff now and it's not like that at all. 274 00:12:29,320 --> 00:12:32,759 It's very really yeah, it's very like, let's sit in 275 00:12:32,759 --> 00:12:35,559 the space, let's build this song together. Kyle is no 276 00:12:35,639 --> 00:12:36,720 like head orchestrator. 277 00:12:36,879 --> 00:12:37,080 Speaker 1: Yeah. 278 00:12:37,159 --> 00:12:39,440 Speaker 5: Now it's all like one hundred percent collaborative. But the EP, 279 00:12:39,679 --> 00:12:42,320 we were all so new to each other. Yeah, well 280 00:12:42,200 --> 00:12:44,960 we're also new to the band, right right, Yeah, like that, 281 00:12:45,000 --> 00:12:47,159 I think it made it easier and more concise for 282 00:12:47,240 --> 00:12:50,000 one person to kind of like lead the ship regards, 283 00:12:50,039 --> 00:12:54,000 so James coming in with pretty much with Grace road 284 00:12:54,080 --> 00:12:56,759 mapped out, it was very helpful And I think I 285 00:12:56,840 --> 00:12:58,919 kind of did that role too, like the other songs 286 00:12:59,000 --> 00:13:01,240 just kind of like orchestration stuff. But now it feels 287 00:13:01,360 --> 00:13:02,080 very collaborative. 288 00:13:02,240 --> 00:13:05,080 Speaker 1: Yeah, Oh cool, cool, very cool. Where do you guys 289 00:13:05,080 --> 00:13:06,720 record because everything sounds amazing. 290 00:13:07,279 --> 00:13:11,320 Speaker 4: We record over at Blackhart Studios, yes, which I work 291 00:13:11,399 --> 00:13:14,240 there with Eric, Oh you do, okay, Yeah, and infrequently, 292 00:13:15,320 --> 00:13:18,440 but yeah, we went there and we did what was 293 00:13:18,480 --> 00:13:21,080 it like two days for instruments and then like another 294 00:13:21,159 --> 00:13:25,799 day for vocals. But yeah, I love that. I love 295 00:13:25,799 --> 00:13:28,519 that space. It feels like it almost feels like a 296 00:13:28,519 --> 00:13:30,639 home away from home. How much time I've spent there, 297 00:13:30,759 --> 00:13:34,080 no kidding. The familiarity with everything just made everything super 298 00:13:34,120 --> 00:13:37,000 easy for me to like engineer and get us going 299 00:13:37,039 --> 00:13:38,080 as quickly as possible. 300 00:13:38,919 --> 00:13:40,399 Speaker 1: Yeah, we had Eric on the show a number of 301 00:13:40,440 --> 00:13:42,879 months ago, and it was it was great to finally 302 00:13:42,919 --> 00:13:45,039 have him on because you know, I kept telling him, dude, 303 00:13:45,080 --> 00:13:47,240 your name comes up all the time on my show. 304 00:13:47,279 --> 00:13:49,720 We got to get you on. So yeah, that was 305 00:13:50,399 --> 00:13:52,960 so you you work there with him, you, Yeah. 306 00:13:53,360 --> 00:13:55,799 Speaker 4: Usually what ends up happening is if he's busy doing something, 307 00:13:55,799 --> 00:13:58,879 I'll come in and I'll do like the recording for 308 00:13:58,879 --> 00:14:01,159 the most part, okay, the stuff that he'll end up 309 00:14:01,159 --> 00:14:03,279 mixing and mastering. But oh, there's been a couple of 310 00:14:03,320 --> 00:14:06,360 projects I've done mastering and mixing on for them, like 311 00:14:06,720 --> 00:14:07,320 Dead Harrison. 312 00:14:07,360 --> 00:14:09,960 Speaker 1: I think we Yeah, we were talking about that off 313 00:14:09,960 --> 00:14:12,519 are Yeah, our friend's Dead Harrison, Yeah, which they were. 314 00:14:12,559 --> 00:14:14,600 Speaker 4: They were a lot of fun to uh to work with. 315 00:14:15,000 --> 00:14:17,600 Speaker 1: Yeah, No, they're great. Yeah, I've known them forever and 316 00:14:18,440 --> 00:14:20,240 yeah we often play there while They've been on the 317 00:14:20,279 --> 00:14:21,840 show a bunch of times, and of course and they're 318 00:14:21,840 --> 00:14:24,519 also a part of uh, you know, the Midnight Creatives 319 00:14:24,519 --> 00:14:28,919 Collective and Terminus Underground in Nashua. And yeah, I love 320 00:14:28,960 --> 00:14:31,799 that uh that song Terror Grinder, Yeah, I love that song. 321 00:14:32,200 --> 00:14:34,639 Speaker 4: That one and Monolith Florid. I think that's my favorite 322 00:14:34,639 --> 00:14:35,000 off of that. 323 00:14:35,120 --> 00:14:37,679 Speaker 1: Yeah. Yeah, no, those are those are great. Those are great. 324 00:14:37,879 --> 00:14:40,840 Speaker 7: I was lucky enough to have my paintings on display 325 00:14:40,840 --> 00:14:43,960 there last month and there's a cool video of them. 326 00:14:43,960 --> 00:14:46,080 It was all of my darkest paintings and this is 327 00:14:46,159 --> 00:14:48,840 cool video with Dead Harrison playing in the background because 328 00:14:48,840 --> 00:14:51,000 they're their practice room was right on the other side 329 00:14:51,000 --> 00:14:51,399 of the wall. 330 00:14:51,759 --> 00:14:52,399 Speaker 4: That's awesome. 331 00:14:52,840 --> 00:14:57,399 Speaker 1: Yeah, well we should, Uh let's play another studio track 332 00:14:57,879 --> 00:15:01,039 from the new release, but I will uh, I'll let 333 00:15:01,080 --> 00:15:04,159 you guys pick what should we where should we go next? 334 00:15:04,559 --> 00:15:09,279 Speaker 4: Brendan, you pick probably peel Back, Feel Back, Okay. 335 00:15:09,120 --> 00:15:11,279 Speaker 1: And uh, why why do you. Uh, why do you 336 00:15:11,360 --> 00:15:13,639 choose this one? Is there any any particular reason or 337 00:15:13,759 --> 00:15:16,159 or is there a story about the song we should. 338 00:15:15,919 --> 00:15:20,639 Speaker 3: Know or it's it's my personal favorite. But apart from that, 339 00:15:20,639 --> 00:15:21,879 it's just the first track. 340 00:15:22,960 --> 00:15:23,320 Speaker 1: Okay. 341 00:15:23,879 --> 00:15:25,879 Speaker 4: It was like it was between that and with Grace 342 00:15:25,919 --> 00:15:26,480 for a single. 343 00:15:26,759 --> 00:15:28,799 Speaker 1: Yeah, we were, we were defeating it for a long time. 344 00:15:28,919 --> 00:15:33,039 Oh okay, Oh excuse me, I apologize for my voice. 345 00:15:33,360 --> 00:15:35,159 Uh yeah, So I'll hurry up and get to the 346 00:15:35,200 --> 00:15:37,679 track so I can clear my throat. Here we go. 347 00:15:38,120 --> 00:15:39,039 Speaker 4: This is peeled. 348 00:15:38,759 --> 00:16:04,519 Speaker 6: That it was paying a serial. 349 00:16:25,559 --> 00:16:33,960 Speaker 8: I mean such resting and my stay. 350 00:16:36,720 --> 00:16:44,759 Speaker 6: I think its answers I need to. 351 00:16:49,399 --> 00:17:05,799 Speaker 9: Or fading out turning you ser so she called ROMs not. 352 00:17:22,400 --> 00:17:22,960 Speaker 10: This was. 353 00:17:28,000 --> 00:17:33,359 Speaker 11: Cass from you said. 354 00:17:36,640 --> 00:17:38,440 Speaker 8: All the same. 355 00:17:44,480 --> 00:18:32,480 Speaker 6: Said jo up, so my sorry, I'm it last for nothing, your. 356 00:18:32,480 --> 00:18:36,359 Speaker 10: Right and you're trying cannot or contectment. 357 00:18:35,960 --> 00:18:37,440 Speaker 6: For your h my pride. 358 00:18:37,759 --> 00:18:41,559 Speaker 8: But ever those donors still laughs, and I say, no, 359 00:18:41,799 --> 00:18:42,519 that's worth the. 360 00:18:42,680 --> 00:18:43,839 Speaker 6: Great not to day. 361 00:18:44,000 --> 00:18:49,440 Speaker 1: Wherebout just stay where thout. 362 00:18:55,640 --> 00:19:16,440 Speaker 12: Just stay for those rounds? Sures you are jermy sick. 363 00:19:19,240 --> 00:19:20,440 Speaker 8: Ji sigar. 364 00:19:22,960 --> 00:19:25,319 Speaker 6: Joy secret wou. 365 00:20:17,119 --> 00:20:19,960 Speaker 1: Oh that is so good. That is peel back the 366 00:20:20,039 --> 00:20:22,400 band is the Forest Forgets And we have The Forest 367 00:20:22,440 --> 00:20:25,240 Forgets here with us live in studio this morning, and 368 00:20:25,640 --> 00:20:27,880 what a great track. And yeah, that's a perfect opener 369 00:20:28,000 --> 00:20:31,559 for the EP. That is absolutely fantastic. So I can see, uh, 370 00:20:32,039 --> 00:20:33,680 I can see why you guys went with that. Yeah, 371 00:20:33,720 --> 00:20:34,880 it grabs you right away. 372 00:20:35,640 --> 00:20:36,359 Speaker 2: I love. 373 00:20:37,960 --> 00:20:40,359 Speaker 1: Yeah, yeah, no, that is so good. And that uh 374 00:20:41,039 --> 00:20:46,000 that solo at the end, man, it's really really good, 375 00:20:46,519 --> 00:20:48,559 really good. If you are dis joining us, of course, 376 00:20:48,720 --> 00:20:50,839 we do have The Forest Forgets here with us live 377 00:20:50,960 --> 00:20:56,519 in studio. And now do you guys plan to are 378 00:20:56,599 --> 00:20:59,240 you going to be recording more soon or are you 379 00:20:59,440 --> 00:21:01,640 just kind of I mean, obviously this has been out 380 00:21:01,680 --> 00:21:04,200 for a relatively short time, right the the new EP. 381 00:21:04,680 --> 00:21:07,160 Speaker 5: Well, the first single dropped Thursday. 382 00:21:07,599 --> 00:21:09,079 Speaker 1: Yeah yeah, oh so very new. 383 00:21:09,359 --> 00:21:12,960 Speaker 5: Yeah, and then the EP actually fully releases next Friday. Okay, 384 00:21:12,960 --> 00:21:14,759 it's like a little teaser for everybody. 385 00:21:14,799 --> 00:21:15,519 Speaker 1: Oh very good. 386 00:21:17,559 --> 00:21:19,519 Speaker 7: Is this a world premiere on radio? 387 00:21:19,680 --> 00:21:23,039 Speaker 1: Yes, very good. Week, We do love, We do Love 388 00:21:23,119 --> 00:21:25,960 The world radio premieres here on the show. So that's wonderful. 389 00:21:26,960 --> 00:21:30,400 Are you guys already writing stuff, because you strike me 390 00:21:30,440 --> 00:21:32,839 as you probably write a lot. I'm guessing you've got 391 00:21:32,839 --> 00:21:35,519 a lot of tunes. Yeah, we have a lot of like, 392 00:21:35,599 --> 00:21:36,079 we have a lot of. 393 00:21:38,640 --> 00:21:43,839 Speaker 4: Getting longer, yeah, right, less and less digestible. 394 00:21:44,400 --> 00:21:46,640 Speaker 5: Yeah, I have like sixteen minutes worth of music, but 395 00:21:46,720 --> 00:21:47,519 it's two songs. 396 00:21:47,720 --> 00:21:47,839 Speaker 9: Right. 397 00:21:49,440 --> 00:21:51,279 Speaker 5: In terms of like going back to record, I think 398 00:21:51,279 --> 00:21:53,480 we're probably not going to go back for a little bit. Yeah, 399 00:21:53,559 --> 00:21:56,160 like a year, eight months. I'm actually just talking to 400 00:21:56,200 --> 00:21:58,680 the guys about it in the group chat yesterday. I 401 00:21:58,759 --> 00:22:00,519 feel like an EP has like eight on's worth of 402 00:22:00,599 --> 00:22:03,480 legs until people like Okay, So our main goal right 403 00:22:03,480 --> 00:22:05,799 now is to play out, start playing some shows, yea, 404 00:22:05,960 --> 00:22:09,680 develop a live set, get in that space consistently. Yeah, 405 00:22:09,839 --> 00:22:11,240 we can once we start. 406 00:22:11,680 --> 00:22:13,640 Speaker 2: What now that we can show people what we're playing. 407 00:22:13,759 --> 00:22:15,680 Speaker 5: Yeah, now that we people know what we sound like, 408 00:22:15,880 --> 00:22:19,039 right right, demos on band camp Yeah, But for the 409 00:22:19,119 --> 00:22:21,359 newer material that we are working on, I definitely want 410 00:22:21,400 --> 00:22:24,279 to approach it from a live setting with Brandon's mixing. 411 00:22:25,359 --> 00:22:27,720 The whole goal was like live, Yeah, this is how 412 00:22:27,799 --> 00:22:28,480 we sound live. 413 00:22:28,759 --> 00:22:32,839 Speaker 1: Yeah. So you guys haven't played out yet or we've 414 00:22:32,880 --> 00:22:35,480 played what three shows too? Okay? So we've done three. 415 00:22:35,319 --> 00:22:38,680 Speaker 5: Shows, yeah, three shows in nine months. Okay, it's been 416 00:22:38,720 --> 00:22:40,759 pretty sparse, but nobody knows what we sound like. 417 00:22:40,920 --> 00:22:43,759 Speaker 1: Right, right exactly? Yeah, yeah, so that, yeah, this is 418 00:22:43,799 --> 00:22:49,240 all new. And what went into the decision to do 419 00:22:49,359 --> 00:22:52,319 an EP because you know a lot of the guests 420 00:22:52,359 --> 00:22:54,039 that we have on the show, they approach it different ways. 421 00:22:54,039 --> 00:22:55,319 You know, you can do an EP, you can do 422 00:22:55,400 --> 00:22:58,119 a full album, you can do some people now they 423 00:22:58,240 --> 00:23:00,839 just release a series of singles that eventually become an album. 424 00:23:01,359 --> 00:23:03,880 What what went into that decision to do an EP. 425 00:23:05,640 --> 00:23:08,359 Speaker 3: I think it was just like we wanted to get 426 00:23:08,359 --> 00:23:10,519 stuff out quickly, Yeah, and we didn't want to have 427 00:23:11,039 --> 00:23:13,880 eight or ten tracks to put on an album, right, 428 00:23:14,440 --> 00:23:17,559 and we didn't want to have as little as a single. Yeah, 429 00:23:17,759 --> 00:23:20,319 because we had a lot of stuff working. Yeah, yeah, 430 00:23:20,880 --> 00:23:22,200 that had a consistent sound. 431 00:23:22,519 --> 00:23:27,000 Speaker 1: Yeah, the songs together work well. You know, I can 432 00:23:27,079 --> 00:23:29,079 see why you would want to put them together instead 433 00:23:29,079 --> 00:23:30,759 of just putting them out of singles necessarily. 434 00:23:30,839 --> 00:23:32,839 Speaker 3: Yeah, it's a very consistent project, I think. 435 00:23:33,079 --> 00:23:35,359 Speaker 1: Yeah, yeah, definitely, No, that makes a lot of sense. 436 00:23:36,440 --> 00:23:38,240 Do you have another video that you're working on or 437 00:23:38,759 --> 00:23:40,200 I mean, I know this one again. I know with 438 00:23:40,359 --> 00:23:42,359 Grace Jeff came out, but no. 439 00:23:43,119 --> 00:23:47,519 Speaker 5: Las one was a tour de force yeah, on all fronts. Yeah, 440 00:23:47,599 --> 00:23:50,039 so I felt like for an EP, like here's a 441 00:23:50,119 --> 00:23:53,880 nine minute short film that you know, I was talking 442 00:23:53,920 --> 00:23:55,759 to the guys the other day about maybe doing something 443 00:23:55,759 --> 00:23:58,880 a little bit smaller, a little bit smaller in scale 444 00:23:59,000 --> 00:24:02,359 for like another single, right, but as of right now, 445 00:24:02,440 --> 00:24:04,079 it's just with Grace. We kind of felt like that 446 00:24:04,200 --> 00:24:06,359 was like a statement piece. Come out with a bang. Yeah, 447 00:24:06,480 --> 00:24:09,200 here's a concept, it's all cohesive, it all ties in 448 00:24:09,599 --> 00:24:13,720 YEP and again legs like, it's got four songs. Here's 449 00:24:13,720 --> 00:24:16,240 a nine minute video. So if I were to do another, 450 00:24:16,279 --> 00:24:18,960 that'd be like fifteen minutes for a twenty five minute EP. Right, 451 00:24:19,119 --> 00:24:20,680 it's a little crazy. But we do have more like 452 00:24:21,039 --> 00:24:23,759 behind the more content about how we made the EP 453 00:24:24,279 --> 00:24:27,319 and like behind the scenes on the video itself, because 454 00:24:27,319 --> 00:24:29,799 we still want to like give people something to engage with. 455 00:24:29,960 --> 00:24:32,680 But in terms of like artistic expressions through the form 456 00:24:32,720 --> 00:24:34,640 of a music video, I think that's probably going to 457 00:24:34,680 --> 00:24:35,200 be it for now. 458 00:24:35,440 --> 00:24:35,640 Speaker 1: Yeah. 459 00:24:35,640 --> 00:24:37,680 Speaker 5: I think now the direction is just let's play live. 460 00:24:38,000 --> 00:24:43,240 Speaker 1: Yeah, yeah, no, that makes sense. And then what was 461 00:24:43,359 --> 00:24:46,480 the Oh, so, what what do you have? Like, do 462 00:24:46,519 --> 00:24:47,400 you have shows coming up? 463 00:24:47,400 --> 00:24:49,079 Speaker 5: Do you have do you have some shows booked or 464 00:24:49,319 --> 00:24:52,240 if we have two shows booked in December, Okay, I don't. 465 00:24:52,720 --> 00:24:54,880 I think you know more details about those than I do. 466 00:24:55,279 --> 00:24:59,039 Speaker 4: All I know is that they're more than likely happening. 467 00:24:59,240 --> 00:25:01,799 Speaker 1: Yeah, Yeah, nothing to announce. 468 00:25:01,880 --> 00:25:04,559 Speaker 5: Yeah, a single dropping. We've had a lot of people 469 00:25:04,640 --> 00:25:07,039 reach out and they're like, hey, play a show. So yeah, 470 00:25:07,079 --> 00:25:08,319 it's kind of naturally occurring. 471 00:25:08,480 --> 00:25:12,000 Speaker 1: No, I'm curious, curious to see you guys live big time, 472 00:25:12,079 --> 00:25:15,799 me too. Absolutely, we should also talk about too, So 473 00:25:15,920 --> 00:25:17,680 I don't know they will necessarily play it. But there 474 00:25:17,720 --> 00:25:20,079 was a track run here that's that is different than 475 00:25:20,160 --> 00:25:22,680 the others. Yeah, catching the big Fish in the vast 476 00:25:22,759 --> 00:25:26,039 purple Sea. That's kind of an ambient. There's no lyrics 477 00:25:26,079 --> 00:25:26,960 of that, correct from what I. 478 00:25:27,119 --> 00:25:29,519 Speaker 4: Call it's it's all all guitar. 479 00:25:29,799 --> 00:25:31,279 Speaker 1: Yeah, Oh, it's all guitar. 480 00:25:31,799 --> 00:25:35,279 Speaker 4: Sound sources that I found and recorded. I think it's 481 00:25:35,880 --> 00:25:37,960 my favorite sound that I put in there is my 482 00:25:38,119 --> 00:25:43,000 drag machine. Oh really, like my drag machine in my apartment. 483 00:25:43,279 --> 00:25:43,480 Speaker 1: Yeah. 484 00:25:43,640 --> 00:25:45,119 Speaker 4: I had like a like it was like a pair 485 00:25:45,160 --> 00:25:46,720 of pants that and coins in there, and it was 486 00:25:46,759 --> 00:25:49,200 just making this funny sound. Yeah, And I recorded it 487 00:25:49,279 --> 00:25:50,960 one day and then I was mixing it, and I 488 00:25:51,039 --> 00:25:52,640 was like, I think that'd be fun to throw in there. 489 00:25:52,799 --> 00:25:53,000 Speaker 1: Yeah. 490 00:25:53,279 --> 00:25:55,720 Speaker 4: Nice, but yeah, that's just ambient guitar. 491 00:25:55,839 --> 00:25:56,079 Speaker 10: It was. 492 00:25:57,319 --> 00:25:59,759 Speaker 4: It was something I think Griffin had me do for 493 00:26:00,119 --> 00:26:01,440 our first video. 494 00:26:02,720 --> 00:26:06,680 Speaker 5: At first, like we do a YouTube series called Broots Remain. 495 00:26:07,000 --> 00:26:09,279 It's just kind of like about us as a band. Yeah, 496 00:26:09,319 --> 00:26:11,880 it's all self produced. It's you know, I wouldn't expect 497 00:26:11,920 --> 00:26:14,599 much from it, but I was like, hey, can you 498 00:26:14,680 --> 00:26:16,240 just like make this ambient guitar track just so I 499 00:26:16,319 --> 00:26:18,680 have some space to fill And then and. 500 00:26:18,720 --> 00:26:20,880 Speaker 4: Then I I think I did it at the practice 501 00:26:20,880 --> 00:26:23,279 space and we all kind of liked like the like 502 00:26:23,359 --> 00:26:25,119 the vibe of it. And the first show we played, 503 00:26:25,160 --> 00:26:27,640 we actually we in the middle of this that we 504 00:26:27,759 --> 00:26:29,519 just stopped and I sat on the ground and just 505 00:26:29,559 --> 00:26:34,359 played you know, ambient guitar for what like five five minutes. Yeah, 506 00:26:34,720 --> 00:26:35,319 I think that's right. 507 00:26:35,319 --> 00:26:35,680 Speaker 13: And then. 508 00:26:37,119 --> 00:26:38,759 Speaker 4: I don't know, I really liked it and I wanted 509 00:26:38,759 --> 00:26:40,960 to have it on the EP. So when it was 510 00:26:41,079 --> 00:26:43,480 like almost a complete afterthought in the studio, like we 511 00:26:43,559 --> 00:26:44,880 were all wrapped up and I was like, wait, I 512 00:26:44,920 --> 00:26:47,759 got one more thing to do, and it was just 513 00:26:47,839 --> 00:26:52,160 like one take of improv guitar with layers of reverb. 514 00:26:52,480 --> 00:26:52,720 Speaker 1: Yeah. 515 00:26:53,279 --> 00:26:55,359 Speaker 5: I think it's one of those songs feeling it as 516 00:26:55,359 --> 00:26:57,960 opposed to listening to it like live, feeling all that 517 00:26:58,119 --> 00:27:02,240 running around you, right, Yeah, very transcendental. I guess I 518 00:27:02,279 --> 00:27:03,920 would say, I don't know if that's the word, James, 519 00:27:03,960 --> 00:27:04,759 but I'm trying. 520 00:27:07,160 --> 00:27:09,079 Speaker 4: Because I got the I got the name actually from 521 00:27:09,720 --> 00:27:13,920 it's a quote from the filmmaker David Lynch, the way 522 00:27:13,960 --> 00:27:18,200 he approaches making films that he'll do transcendental meditation. Oh, 523 00:27:18,359 --> 00:27:21,319 he thinks of himself fishing for ideas in like a 524 00:27:21,880 --> 00:27:22,960 large purple ocean. 525 00:27:23,559 --> 00:27:25,720 Speaker 1: I didn't know that about David Lynch, but if you 526 00:27:25,839 --> 00:27:28,720 told me, I guess a director who approaches it this way, 527 00:27:28,880 --> 00:27:33,440 I would probably guess it was David Lynch. Yeah, that's interesting, 528 00:27:33,640 --> 00:27:36,279 that's interesting. Well, let's all the time goes so quick. 529 00:27:36,480 --> 00:27:38,440 Let's I want to make sure we get the rest 530 00:27:38,480 --> 00:27:42,759 of these and let's listen to disintegrate. Sure, you guys 531 00:27:42,799 --> 00:27:45,079 were kind enough to provide a radio edit, so appreciate that. 532 00:27:45,440 --> 00:27:47,640 But no, this is another great track. I really love 533 00:27:47,720 --> 00:27:49,359 this a lot. If you are just joining us, we 534 00:27:49,400 --> 00:27:51,559 have the forest Frigets here with us live in studio, 535 00:27:51,680 --> 00:27:54,599 and here's another track from their new EP. And this 536 00:27:54,759 --> 00:27:56,480 track is called dist a great check it out. 537 00:28:08,559 --> 00:28:08,880 Speaker 8: It's not. 538 00:28:11,920 --> 00:28:12,359 Speaker 13: Like an. 539 00:28:19,039 --> 00:28:21,720 Speaker 8: J star f as well to Dard. 540 00:28:24,799 --> 00:28:26,319 Speaker 6: And there's like five. 541 00:28:27,720 --> 00:28:29,319 Speaker 10: I'm telling the second fighting. 542 00:28:29,640 --> 00:29:24,839 Speaker 11: I'm not a kind of what you py Jason's son. 543 00:29:14,720 --> 00:29:16,319 Speaker 6: Tell me about the. 544 00:29:16,799 --> 00:29:22,160 Speaker 11: Sac jeers can I sister joslic. 545 00:29:21,880 --> 00:30:03,480 Speaker 8: On my part, she's another. 546 00:30:03,160 --> 00:30:10,079 Speaker 13: He rolls gets your shot away from here burning day 547 00:30:10,519 --> 00:30:11,240 by day. 548 00:30:15,440 --> 00:30:17,920 Speaker 9: No, this body's shoting down. 549 00:30:18,480 --> 00:30:21,200 Speaker 6: You're like, you know they all far now. 550 00:30:21,720 --> 00:30:28,759 Speaker 13: The RELs jump sounds me. Do you don't want to 551 00:30:28,799 --> 00:30:32,640 see places with me? We see you what it's like 552 00:30:32,880 --> 00:30:37,400 to be shot up in a show brown and over 553 00:30:37,920 --> 00:30:38,839 the center. 554 00:30:41,160 --> 00:30:45,720 Speaker 10: Bec sis very up. 555 00:30:45,880 --> 00:30:50,039 Speaker 6: So you know your boto put you. 556 00:30:50,160 --> 00:31:29,240 Speaker 10: Jump secondary jack drunk rice joke this license. 557 00:31:39,720 --> 00:32:21,400 Speaker 14: Secer you're saying, well, Zen skim. 558 00:32:24,640 --> 00:32:26,640 Speaker 6: Never what of that? 559 00:32:31,599 --> 00:32:35,240 Speaker 14: Nothing nothing, We'll erase this end. 560 00:32:35,759 --> 00:32:41,519 Speaker 4: And never never what of fo. 561 00:32:44,400 --> 00:32:48,039 Speaker 1: Mm hmmm that is disintegrate And the band is The 562 00:32:48,200 --> 00:32:50,680 Forest Forgets, and we have The Forest Forgets here with 563 00:32:50,839 --> 00:32:54,000 us alive in studio and uh we're talking off air. 564 00:32:54,119 --> 00:32:57,640 Uh Griffin, you were saying that song has your favorite scream. 565 00:32:57,839 --> 00:33:00,279 Speaker 5: On the ev in it Ye, that last one at 566 00:33:00,319 --> 00:33:01,920 the end of the high one. Yeah, it felt very 567 00:33:02,039 --> 00:33:05,559 Chino Deaftnes kind of. Yeah, those whistle note screams he does. Yeah, 568 00:33:05,640 --> 00:33:06,519 it's just satisfying. 569 00:33:06,920 --> 00:33:09,839 Speaker 1: I'm always impressed by that when I hear a vocalist 570 00:33:09,920 --> 00:33:11,519 who can do that. Do you do anything to kind 571 00:33:11,559 --> 00:33:13,000 of like, do you have to do anything to really 572 00:33:13,039 --> 00:33:15,960 take care of your throat to pull that off without, 573 00:33:16,599 --> 00:33:19,480 you know, without damaging your vocal cords? Like like like 574 00:33:19,599 --> 00:33:21,480 most people if they just said, oh, I'm gonna do that, 575 00:33:21,640 --> 00:33:24,480 you know, they'd end up, like, you know, harming their throat. 576 00:33:25,480 --> 00:33:28,359 Speaker 5: How do you approach that technique and balance I guess, 577 00:33:28,559 --> 00:33:32,319 like balance of pressure and diaphragm and whatnot. 578 00:33:32,519 --> 00:33:33,200 Speaker 1: Yeah, you just don't. 579 00:33:33,279 --> 00:33:35,359 Speaker 5: You don't push that hard to get those sounds. Yea, 580 00:33:35,359 --> 00:33:39,359 it's more the technique and Mike the mic does a 581 00:33:39,400 --> 00:33:40,599 lot of the work. If I were to do that 582 00:33:40,680 --> 00:33:43,440 in the room, it would sound pretty different. Yeah, compression 583 00:33:43,519 --> 00:33:45,480 and everything. I think that's a big thing when, like, 584 00:33:45,599 --> 00:33:47,039 especially when I was first starting out, it was like, 585 00:33:47,039 --> 00:33:49,359 how do I get this to sound like that? Well, 586 00:33:49,839 --> 00:33:51,640 there's a lot of tricks that go into it, right, 587 00:33:51,759 --> 00:33:54,720 that big bands can do consistently that you can't really 588 00:33:54,799 --> 00:33:56,799 do in a basement in Nashua. 589 00:33:57,079 --> 00:33:57,240 Speaker 10: Yeah. 590 00:33:57,319 --> 00:34:00,839 Speaker 1: Yeah, so if you learn to do it correctly, you 591 00:34:00,920 --> 00:34:02,519 can do it without hurting yourself. 592 00:34:02,680 --> 00:34:06,039 Speaker 5: And yeah, yeah, I mean any great technique you do 593 00:34:06,200 --> 00:34:08,320 something every day, you could have the best technique in 594 00:34:08,320 --> 00:34:10,599 the world. But like as far as I can tell, 595 00:34:10,719 --> 00:34:12,840 big bands that have to tour two hundred days out 596 00:34:12,840 --> 00:34:14,880 of the year, it doesn't really matter how good your 597 00:34:14,920 --> 00:34:17,760 technique is, because you're gonna get hurt after a while. 598 00:34:17,800 --> 00:34:19,119 It's gonna wear down. 599 00:34:19,480 --> 00:34:23,199 Speaker 1: Right right, Yeah, no doubt, no doubt. Have you always? 600 00:34:23,239 --> 00:34:26,599 Has that always been your approach vocally to mix it, 601 00:34:26,719 --> 00:34:28,679 you know, the singing with the you know, the aggressive 602 00:34:28,800 --> 00:34:30,039 the screams and all that. 603 00:34:30,840 --> 00:34:33,840 Speaker 5: I'd say, so, yeah, first, starting out, I didn't really 604 00:34:33,920 --> 00:34:36,400 know how to do anything. Yeah, and then I found 605 00:34:36,480 --> 00:34:38,559 bands like Tool and I was like, Okay, I'm gonna 606 00:34:38,599 --> 00:34:41,400 do that like bark Yell he does yeah. And I 607 00:34:41,480 --> 00:34:43,880 found Deftones. I'm like, that's cool. Yeah, I'm gonna start 608 00:34:43,920 --> 00:34:46,599 doing that. And then we've been listening to this band Sumac, 609 00:34:46,960 --> 00:34:49,280 which is uh, I don't know the band isis the 610 00:34:49,360 --> 00:34:52,440 band isis yeah right yeah, and Turner he does all 611 00:34:52,480 --> 00:34:55,280 the the low like false chord guttural stuff. Oh k, 612 00:34:55,280 --> 00:34:57,239 I'd have been on that kick, just kind of picked 613 00:34:57,320 --> 00:34:58,840 things I like and see if I can do them 614 00:34:59,000 --> 00:35:00,239 in my own way, I guess yeah. 615 00:35:00,280 --> 00:35:03,519 Speaker 1: Yeah. Oh there's a song too that which was a 616 00:35:03,599 --> 00:35:05,920 song we played earlier that James, you do some some 617 00:35:06,039 --> 00:35:08,039 of the harmony, because I think we talked about that 618 00:35:08,119 --> 00:35:11,000 off air with Grace. Yeah, oh with Grace. Yeah. So 619 00:35:11,119 --> 00:35:13,320 you're on that too vocally with the. 620 00:35:13,480 --> 00:35:16,599 Speaker 2: Last chorus, I kind of no, I'm in both yah 621 00:35:16,840 --> 00:35:19,079 yeah yeah, the last one it has that really hidden 622 00:35:19,920 --> 00:35:21,360 the third harmony in the last chorus. 623 00:35:21,519 --> 00:35:23,480 Speaker 1: Yeah, yeah, I kind of add some texture to it. 624 00:35:24,559 --> 00:35:26,559 Is that Is it just on that track? Is that 625 00:35:26,599 --> 00:35:28,679 the only one where you've got a vocal? Yes? Yeah? 626 00:35:28,920 --> 00:35:30,920 Will you be doing that live too? Like when when 627 00:35:30,920 --> 00:35:31,880 you guys play that live? 628 00:35:31,920 --> 00:35:32,320 Speaker 4: Will you be? 629 00:35:32,719 --> 00:35:36,519 Speaker 2: We've been feeling it out, uh in the practice space. 630 00:35:36,599 --> 00:35:39,239 I think we started doing that after we were in 631 00:35:39,320 --> 00:35:41,679 the studio, just to see how it would be. So 632 00:35:41,920 --> 00:35:44,840 there's a chance eventually that I might start doing some 633 00:35:45,039 --> 00:35:47,679 of the harmonies, even the harmonies that Griffin was doing. 634 00:35:47,920 --> 00:35:51,440 But that's a little touch and go right now. I 635 00:35:51,519 --> 00:35:52,840 don't know if we're going to end up there. 636 00:35:53,039 --> 00:35:55,559 Speaker 1: Yeah, yeah, yeah, it might be tricky to pull off, 637 00:35:56,119 --> 00:35:59,119 but yeah, it's funny to you. Guys were talking about, uh, 638 00:35:59,559 --> 00:36:04,880 Morgan's storage. You have a practice space there, and it's funny. 639 00:36:05,000 --> 00:36:08,239 I was remembering the I was in some bands that 640 00:36:08,360 --> 00:36:11,880 had rehearsal space there and the pain of when you're 641 00:36:11,920 --> 00:36:13,639 trying to do something and you've got a band right 642 00:36:13,719 --> 00:36:16,840 next door who's very loud. And I was talking with 643 00:36:17,000 --> 00:36:18,920 I was there actually a couple of weeks ago. I 644 00:36:19,039 --> 00:36:21,000 went to meet with I don't know if you guys 645 00:36:21,079 --> 00:36:23,760 know the band day to attend, but I was in 646 00:36:23,840 --> 00:36:26,880 their practice space, and I swear it was so familiar 647 00:36:27,599 --> 00:36:29,960 that I think it might have been the same room, 648 00:36:30,119 --> 00:36:32,079 one of the rooms that I had there years ago. 649 00:36:32,519 --> 00:36:34,760 But yeah, they were talking about that too. How sometimes 650 00:36:34,800 --> 00:36:36,960 it's such a challenge because there's so many bands in there, 651 00:36:37,480 --> 00:36:39,480 you know, and if you've got somebody right next door 652 00:36:39,519 --> 00:36:43,239 to you who's loud or I mean, I know there's 653 00:36:43,880 --> 00:36:45,280 I don't know if there's any you know, if there's 654 00:36:45,280 --> 00:36:47,440 any recording studios currently in there. I know there has 655 00:36:47,519 --> 00:36:49,559 been in the past, and I don't even know. I 656 00:36:49,599 --> 00:36:51,280 don't even know how they managed to do it, even 657 00:36:51,360 --> 00:36:52,480 with a lot of soundproofing. 658 00:36:52,559 --> 00:36:54,920 Speaker 3: You know, there's a lot of bands over there right now. 659 00:36:54,920 --> 00:36:57,239 I'd be surprised if anybody's trying to record anything. 660 00:36:57,400 --> 00:37:03,159 Speaker 1: Yeah, yeah, yeah, no doubt, no doubt. Uh do you guys, 661 00:37:03,599 --> 00:37:06,519 I assume you rehearse on a pretty consistent basis because 662 00:37:06,559 --> 00:37:09,039 your music is you know, it's it's complex, it's not 663 00:37:09,280 --> 00:37:11,320 you know, it's not like a three chord thing that 664 00:37:11,400 --> 00:37:14,000 you can just pick up every you know, every few weeks, right, 665 00:37:14,039 --> 00:37:15,320 you guys must probably every week. 666 00:37:15,360 --> 00:37:18,159 Speaker 5: I would think we for the past eight months we 667 00:37:18,239 --> 00:37:20,840 were doing three nights a week. Yeah, that's good, just 668 00:37:20,920 --> 00:37:21,840 to get the ball rolling. 669 00:37:22,039 --> 00:37:22,239 Speaker 1: Yeah. 670 00:37:22,320 --> 00:37:24,360 Speaker 5: Yeah, and with the EP out, we're dropping it down 671 00:37:24,360 --> 00:37:26,360 to two nights a week. Yeah, a long day on 672 00:37:26,480 --> 00:37:29,360 Sundays and yeah, two and a half hour thing on Wednesdays. 673 00:37:29,519 --> 00:37:32,800 Speaker 4: Yeah, writing day and then like a rehearsing day, I guess. 674 00:37:33,000 --> 00:37:36,000 Speaker 1: Yeah, yeah yeah, because image I would imagine with what 675 00:37:36,079 --> 00:37:37,880 you're doing, if you take too much time off, it's 676 00:37:37,920 --> 00:37:38,960 probably hard to really. 677 00:37:39,079 --> 00:37:42,079 Speaker 3: You know, Yeah, you don't want to lose Yeah, especially 678 00:37:42,159 --> 00:37:44,719 with the writing process. Yeah yeah, sure, you've got to 679 00:37:44,719 --> 00:37:46,119 be in that headspace consistently. 680 00:37:46,400 --> 00:37:49,119 Speaker 1: Yeah, no doubt, no doubt. You guys do any covers 681 00:37:49,239 --> 00:37:52,119 or strictly original or when you when you are playing 682 00:37:52,159 --> 00:37:55,000 out on a regular basis, will you be doing strictly originals? 683 00:37:55,039 --> 00:37:55,400 Speaker 2: Do you think? 684 00:37:55,519 --> 00:37:56,239 Speaker 5: Or probably? 685 00:37:56,440 --> 00:37:59,559 Speaker 4: I think strictly originals. We tried playing a couple of 686 00:37:59,599 --> 00:38:03,480 covers the first couple of practices when we first got together. Yeah, 687 00:38:05,239 --> 00:38:07,480 but I mean that was back in what November? That 688 00:38:08,039 --> 00:38:10,159 the last time we played a cover songs back in November. 689 00:38:10,280 --> 00:38:12,440 So yeah, I think it's gonna be all originals. 690 00:38:12,679 --> 00:38:15,840 Speaker 1: Yeah, yeah, no, that's good. That's good. Before we run 691 00:38:15,880 --> 00:38:17,280 out of time, because I do want to make sure 692 00:38:17,280 --> 00:38:20,800 we get this last track. And let's see, we haven't 693 00:38:20,840 --> 00:38:25,679 played Chemo yet. And I'm curious to ask you too, 694 00:38:25,719 --> 00:38:27,599 because we're gonna play it with a name like that. 695 00:38:28,199 --> 00:38:29,559 Is there a story behind this? 696 00:38:29,800 --> 00:38:29,920 Speaker 8: Uh? 697 00:38:30,760 --> 00:38:31,400 Speaker 1: Behind the song? 698 00:38:34,519 --> 00:38:39,519 Speaker 5: I read a couple of years ago that like every 699 00:38:39,599 --> 00:38:43,159 seven years, every cell on your body body has regenerated, 700 00:38:43,239 --> 00:38:44,719 so you're like not the same person. It's like that 701 00:38:44,840 --> 00:38:47,119 paradox of like the ship you replace, every board is 702 00:38:47,159 --> 00:38:50,800 at the same ship. Right, So if you've like been 703 00:38:50,920 --> 00:38:52,880 through experiences in the past that kind of leave a 704 00:38:52,960 --> 00:38:55,920 sour taste in your mouth, there's the reassurance that like 705 00:38:56,159 --> 00:38:57,960 there will be a version of you that hasn't been 706 00:38:58,320 --> 00:38:59,880 like touched interest. 707 00:39:00,559 --> 00:39:04,320 Speaker 1: Yeah. Yeah, that's so, that's that's what the song is about. 708 00:39:04,360 --> 00:39:05,360 Speaker 5: I'd say effectively. 709 00:39:05,480 --> 00:39:09,199 Speaker 1: Yeah, yeah, I've read that too. Actually, yeah that's interesting. Yeah, 710 00:39:09,280 --> 00:39:11,360 so we'll listen to that in a moment when we 711 00:39:11,440 --> 00:39:13,639 close out the segment. But uh, the other thing too. 712 00:39:13,679 --> 00:39:16,559 I want to make sure that people know where to 713 00:39:16,639 --> 00:39:18,519 find you guys online, where's the best place to go, 714 00:39:18,679 --> 00:39:20,239 how they can keep up with everything that you're doing, 715 00:39:20,280 --> 00:39:21,199 how they can get the music. 716 00:39:21,480 --> 00:39:21,719 Speaker 10: This is? 717 00:39:22,159 --> 00:39:23,719 Speaker 1: Is this refresh my memory? 718 00:39:23,800 --> 00:39:23,920 Speaker 13: Is this? 719 00:39:24,360 --> 00:39:28,400 Speaker 1: This isn't quite out yet available as a fullyp yet online. 720 00:39:28,079 --> 00:39:30,639 Speaker 5: Not on streaming. No, okay, you pick up physical copies 721 00:39:30,760 --> 00:39:32,199 at the Music Connection in Manchester. 722 00:39:32,440 --> 00:39:33,079 Speaker 1: Oh excellent. 723 00:39:34,000 --> 00:39:35,360 Speaker 5: And I think we're going to get them over to 724 00:39:35,400 --> 00:39:38,079 bull Moose eventually because they have a new one and 725 00:39:38,920 --> 00:39:40,639 I don't remember where they just they closed the one 726 00:39:40,679 --> 00:39:42,639 and sale and they moved it to somewhere else. 727 00:39:42,679 --> 00:39:44,239 Speaker 1: I was gonna say, yeah, they just moved right the 728 00:39:44,360 --> 00:39:45,280 Salomon Yeah. 729 00:39:45,239 --> 00:39:48,519 Speaker 5: Yeah, Newberry Comics eventually. Too good. We're gonna talk to them. 730 00:39:48,519 --> 00:39:49,480 We got to figure that out though. 731 00:39:49,719 --> 00:39:49,920 Speaker 1: Yeah. 732 00:39:49,960 --> 00:39:54,719 Speaker 2: The fully drops on the twenty seventh. That's correct, okay, 733 00:39:54,840 --> 00:39:59,199 and it'll be available on all the major streaming websites 734 00:39:59,320 --> 00:40:01,360 we have, be Camp, Spotify, iTunes. 735 00:40:03,599 --> 00:40:11,800 Speaker 1: Oh yeah, I found Deezer by accident. I was googling one. 736 00:40:11,920 --> 00:40:12,039 Speaker 10: You know. 737 00:40:12,079 --> 00:40:13,960 Speaker 1: Every once in a while I'll just google Matt Conderton 738 00:40:14,039 --> 00:40:16,119 Unleashed to see if there's anything about the show, like 739 00:40:16,199 --> 00:40:19,159 if the show is Sometimes the show shows up places 740 00:40:19,239 --> 00:40:21,639 I don't know about. Yeah, that's literally how I found 741 00:40:21,679 --> 00:40:25,559 out about Deezer. I googled the show one day, and 742 00:40:26,280 --> 00:40:28,559 a link to Deezer pops up, and I'm like, oh, 743 00:40:28,679 --> 00:40:32,639 my show is on Deezer And I had no idea, 744 00:40:34,400 --> 00:40:36,960 but which is fine. It's great, you know, if somebody 745 00:40:37,000 --> 00:40:39,920 finds it that way. But yeah, but uh no, it's 746 00:40:40,000 --> 00:40:42,039 cool too that you're doing physical copies, because you know, 747 00:40:42,159 --> 00:40:45,480 not everyone does. Although I feel like lately most of 748 00:40:45,559 --> 00:40:48,639 the guests that we've had on do do physical copies. 749 00:40:48,679 --> 00:40:50,440 It seems like I feel like, maybe I don't know, 750 00:40:50,519 --> 00:40:52,320 five or six years ago, like there was a space 751 00:40:52,360 --> 00:40:54,960 a time where a lot of people were just kind 752 00:40:55,000 --> 00:40:57,280 of like, eh, do we really need to do physical copies? 753 00:40:57,320 --> 00:40:59,880 Everything's digital now, But I think it kind of came back, 754 00:41:00,880 --> 00:41:02,800 you know, people still like to have something they can, 755 00:41:03,280 --> 00:41:05,239 especially with I don't know if you guys have any 756 00:41:05,280 --> 00:41:07,719 plans to do vinyl in the future, but it seems 757 00:41:07,760 --> 00:41:11,039 like vinyl now a lot of a lot of our guests. 758 00:41:11,119 --> 00:41:13,679 It's it's expensive to do it, but they'll do vinyl, 759 00:41:14,159 --> 00:41:16,360 you know, which is really just for the diehards, because 760 00:41:16,360 --> 00:41:19,000 I think most people, if they buy vinyl, they probably 761 00:41:19,079 --> 00:41:21,119 never even open it. They just want to have it 762 00:41:21,280 --> 00:41:23,119 because if you really like, if you're a big fan 763 00:41:23,199 --> 00:41:25,719 of that artist, it's cool to have it. But you know, 764 00:41:25,920 --> 00:41:27,840 to actually have a record player and then open the 765 00:41:27,920 --> 00:41:29,800 vinyl up and put it on, it's probably not something 766 00:41:29,840 --> 00:41:31,400 people do, but but it's but it's. 767 00:41:31,280 --> 00:41:36,039 Speaker 4: Cool to have the exception of that oh yeah record vinyl, 768 00:41:36,159 --> 00:41:39,519 Oh no kidding, yeah, night, just flipping through the oh 769 00:41:39,599 --> 00:41:40,800 no kidding, different things. 770 00:41:41,079 --> 00:41:41,800 Speaker 1: Oh cool. Cool. 771 00:41:41,800 --> 00:41:44,480 Speaker 4: I'd love to have a vinyl of our stuff, but 772 00:41:44,679 --> 00:41:48,480 as you said, it's ridiculously expensive. Oh yeah, yeah, maybe 773 00:41:48,519 --> 00:41:49,519 some day, yeah someday. 774 00:41:49,679 --> 00:41:49,880 Speaker 10: Yeah. 775 00:41:50,079 --> 00:41:51,400 Speaker 1: Yeah. You got to sell a lot of them to 776 00:41:51,480 --> 00:41:53,960 recoup the cost of it, that's for sure. Yeah, but 777 00:41:54,199 --> 00:41:55,400 uh no, But I think it's cool that you have 778 00:41:55,440 --> 00:41:58,360 a physical CD and I appreciate you bringing that in absolutely. 779 00:41:58,400 --> 00:42:00,400 We Actually we do have a CD player here. I 780 00:42:00,559 --> 00:42:03,280 never use it, but I think the only one that 781 00:42:03,400 --> 00:42:04,880 uses it is Rob as a veto. He does a 782 00:42:04,920 --> 00:42:07,119 show here on Friday nights at six called Granted State 783 00:42:07,159 --> 00:42:08,679 of Mind. I don't know if you know Rob. He 784 00:42:08,760 --> 00:42:11,639 also interviews local artists and but he actually uses the 785 00:42:11,880 --> 00:42:14,480 CD player. I think I used it once. It does work, 786 00:42:14,920 --> 00:42:18,159 but but I don't even have one. I don't have 787 00:42:18,239 --> 00:42:20,639 one at home. Well, right, Jenny, you don't have anything 788 00:42:20,679 --> 00:42:24,119 to play. I'm I'm my old Mac that will play CDs. 789 00:42:24,719 --> 00:42:25,719 Speaker 2: That's the one we use. 790 00:42:25,920 --> 00:42:28,440 Speaker 1: Yeah, yeah, but it's but it's good to have. It's 791 00:42:28,480 --> 00:42:29,880 good to have. And of course if you have an 792 00:42:29,880 --> 00:42:35,440 older car too. CD players still still exist in older vehicles, 793 00:42:35,480 --> 00:42:39,320 but so we will. And of course you guys are 794 00:42:39,400 --> 00:42:41,079 very easy to find if you google the forest for 795 00:42:41,199 --> 00:42:46,599 gats with content right right, which is good. Good to 796 00:42:46,639 --> 00:42:47,840 pick a name that you know you're not going to 797 00:42:47,840 --> 00:42:51,639 be fighting anybody over. No, but I really appreciate you 798 00:42:51,719 --> 00:42:54,000 guys coming in. We'll definitely have to do this again 799 00:42:54,039 --> 00:42:56,320 in the future, and thank you all four of you. 800 00:42:56,480 --> 00:42:59,840 And we will close out the segment with this another 801 00:43:00,039 --> 00:43:02,639 great track and the uh oh I should mention too 802 00:43:02,719 --> 00:43:05,559 the name of the EP of Wind and Willow. Any 803 00:43:05,599 --> 00:43:08,880 particular meaning of the name of the EP, by the way, No. 804 00:43:09,079 --> 00:43:10,840 Speaker 5: It just felt like a cool visual. Yeah, you know, 805 00:43:10,920 --> 00:43:13,760 the sound of music when she's like standing in the 806 00:43:14,000 --> 00:43:15,599 grass and it's like a noll blowing. 807 00:43:15,800 --> 00:43:16,039 Speaker 9: Yeah. 808 00:43:16,199 --> 00:43:18,679 Speaker 5: Yeah, I guess in my mind it's where I wanted 809 00:43:18,719 --> 00:43:19,480 my grandparents to go. 810 00:43:19,719 --> 00:43:22,800 Speaker 1: Oh interesting, okay, okay, oh very nice. All right, so 811 00:43:22,880 --> 00:43:25,199 we will close with this track. Guys, thank you again 812 00:43:25,679 --> 00:43:28,079 and thank you very much. Here it is The Forest 813 00:43:28,119 --> 00:43:28,840 Forgets Chema.