PipemanRadio Interviews AITTALA About Isolation of Ill-Gotten Gains

Episode Transcript
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Speaker 1 (00:04):
Hi, you love done to censure for wow for you young.

Speaker 2 (00:30):
This is the pipe Man here on the Adventures of
Pipe Man W four c Y Radio. And I'm here
with our next guest who has some pure new music
and what a long history and I love that. So
let's welcome to the show. Eric from Aler, Thank you,
thanks for Did I do it right?

Speaker 1 (00:51):
Yeah, you pronounced it right. It's I know, it is difficult,
it's finish, and so people in America really don't get it.
So when I'm in Europe, people pronounce it correctly because
I guess they just see the letters different there. Yeah,
they're just speaking English right as a second language. They

(01:11):
get it right.

Speaker 2 (01:12):
There you go. So I want to start off from
the very beginning. So you started to saying way back
in the previous century. Yes, and you're American, but you
started it in the Netherlands, one of my favorite places
in the world, by the way. And so had that
come about that American would start a band in the Netherlands.

Speaker 1 (01:37):
Well, because I was in the military a long long
time ago and I was stationed in the Netherlands. So
that's how that's why I was there.

Speaker 2 (01:45):
Well, thank you for your service.

Speaker 1 (01:47):
Well I appreciate that years ago.

Speaker 2 (01:51):
Yeah, my son's been in the army for almost twenties,
like a half a year away from retirement.

Speaker 1 (01:56):
Oh that's awesome.

Speaker 2 (01:58):
Yeah, yeah, And he never went to anotherlands. I'm gonna
have to tell him, like, hey, idiot, why are you
getting going to Somalia when you could have been stationed
in the Netherlands.

Speaker 1 (02:09):
There wasn't a lot of army facilities in the Netherlands.
There weren't Germany, though, so I'm surprised in twenty years
he usually did. Oh he did go to Germany.

Speaker 2 (02:18):
Yeah, he was stationed there for three years. And my
daughter and my daughter herd ex husband when they were married,
they were in Germany for three years too. That's like that,
that's the place everybody's got go. But he went to
Germany a rock Kuwait, South Korea twice, Somalia a couple

(02:41):
of times because he's sigh up. So they dropped him
out of a plane and said, we'll see in six
months and if you get caught, we don't know you.

Speaker 1 (02:52):
Good luck. Well luckily, I mean I was only in
for five years, and I was stationed in Japan before that,
so I had kind of a cushy wheat assignments. Plus
I was in the Air Force and if people know
or don't know, they call it the chair Force. Not
quite real military, but it gets the job done. I mean,
I was happy to be in the military. I had
a good time.

Speaker 2 (03:13):
Hey, listen, if I always said when I was younger,
if I joined the military, would be the Air Force,
because I don't know, it just seemed cool.

Speaker 1 (03:20):
It is a little easier. You're not sleeping intense for
the most part in the middle of the desert, right
they are. They're air conditioned.

Speaker 2 (03:28):
Hey that wow, that shocks me right there, you know.
So do you think being in the Netherlands is what
kind of created your sound? You know, it's a different
vibe over there.

Speaker 1 (03:43):
Well, I would say, you know, the songs the original
incarnation of the band was playing were actually songs that
I started writing in Japan. So I can't say it
influenced anything in particular, just because the basis of the
songs we started playing were written before I got there. Right,

(04:04):
So the idea, you know, we were forming a band.
Originally it was going to be like a cover band,
and then we you know, I so it was an
American singer. I wasn't the singer at the time, so
I was an American singer and we had, you know,
we were he was his wife was in the military,
so he was over there. And then we were trying
to you know, form a band, and initially we were
going to do a cover band, you know, just to

(04:26):
play out, and then we you know, I was writing originals,
so we so we were like, well, let's just learn
some of my originals as kind of a starting point,
and then it kind of just rolled from there. And
then we were looking for a band name, and we
came up you know, any band. Even I feel sorry
for bands i'd have to name a band today, but
even back then, trying to find a band name was impossible.

(04:48):
And one of them was more Big Curiosity. Somebody came
up with and we were like, that sounds cool, but
that sounds more death metal. So the singer just said,
you know, hey, you know, it wasn't my idea, right,
I didn't want to call it, but the singer was like, well,
let's use Ila. You know, you're writing the songs and
nobody else has that name, and so we just kind

(05:08):
of went with that, and so that was the original incarnation.
I was around about a year and a half. You know,
then I got out of the military, and then my
idea was, or my hope was, oh, I'm going to
go back to the States or get back to the States,
and I'm going to reform another version of the band.
And that never really happened until two thousand and eight. Wow,

(05:30):
But I wasn't I was always writing songs in the background,
and I was always you know, with the intent of
recording them someday. But my goal really at that time
was to get into a band that was more of
like a kiss, meaning you had multiple singers, you know,
and so you could be a little more kind of
dynamic and what you're doing, or you know, even like

(05:51):
a night Ranger where we have two guys singing lead,
and those bands that were more versatile that I looked
at it. Back then, I always wanted to be in
a band with two guitar players and a keyboard player
and a bass player and the drummer. But you know,
after I moved to North Carolina in two thousand, I
was in a few bands and you know, someone were cool,

(06:12):
but they'd had the same thing. I would join another
band and was already exit that existed, and then we play,
you know, practice, and by the time it was on
the write and record, the band would implode. And I
just got kind of tired of that. After three times
I think that I was in those situations and I said,
I'm just going to focus on my stuff and you know,

(06:32):
just have my resurrect ititla again. And so we've been
kind of steady since two thousand and eight.

Speaker 2 (06:40):
Nice, you know. And it's funny. We were talking about
my son because he's home. Bass has been Fort Bragg
for his whole career, so he's in Vietnam.

Speaker 1 (06:53):
I'm about hour away. So I've played in Fayteville many times. Right,
That's part of our music scene in this area is Fayetteville.

Speaker 2 (07:02):
I would imagine. So, hey, did you know okay? Because
I do, uh, I do coverage a whole bunch of festivals,
but at all the Danny Wimmer festivals, there's a band
that plays that is a constant, you know, changing of
the guards I speak. But it's it's an army band.
That's a job in the army. I told my son,
you're a schmuck. You took this job. You could have

(07:24):
had a band man.

Speaker 1 (07:26):
But every every branch has a band like that because
I remember, long story short is when I was in
the Air Force, I had one job and I didn't
like it, so I kind of failed out of the
school on purpose. But I was looking at the job choices,
and they actually had a job that was lighting and
sound for the Air Force band. But what they do

(07:46):
is they just have this thing called MWR. You might
be familiar. It's Moral Recreate, Moral Welfare and Recreation, and
so they have sort of this thing where MWR will
put on these shows and sometimes the military bands will
travel around. Sometimes you can do it as a temporary duty,
meaning they'll take you out of your regular job. And

(08:07):
then I knew a woman who was a really good
singer and they took her out of her regular job
because she's saying so well, just so she could tour
the different military bases. But then you have kind of
the main musicians and you'll see that like when you
watch a football game or something. They have the guys
in the military, you know, playing the regular what we
think is a marching band stuff, you know, but they

(08:30):
also have a rock band ironically, so where they'll play
more modern music or more you know, kind of rock
based stuff. So people who are Lucky who are really
good musicians. You know, if you like being a musician
and like serving your country and getting a decent paycheck.
It's not the greatest, but you know that has a
way to do it.

Speaker 2 (08:49):
Yeah, you know this band they play at all the
Danny Wimmer festivals, which are basically metal and hard rock festivals,
and I'm like, man, they if I knew they had
that way back, Glenn, I would join the Army.

Speaker 1 (09:02):
Well, you definitely got to be a real good musician,
like sight reading, and even if you're just playing well
maybe for metal or something or more rock based, still
take a little lesser educated musician. But you know, I
kind of had an interest in the Air Force band,
but I wasn't quite the virtuoso. I couldn't read and
write music or you know, things like that. So I'm

(09:24):
just a dumb metal guitar player. I tell people I
play metal because I'm not good enough to play anything else.
Because if you know you're a musician, you know basic
rock stuff. I mean, it can't get complex with you know,
scales and stuff. But most people who play metal guitar
aren't probably good at any other type of music.

Speaker 2 (09:46):
Well, you know, it's funny because you mentioned scales, and
when I was playing guitar as a teenager, I quit
playing guitar because I was sick of having the practice scales.
I'm like, just let me play man, how this ship's
boring me?

Speaker 1 (10:02):
Well, but those are the skills you know that you
developed to help you get right.

Speaker 2 (10:10):
You're a dumb teenager. You want it tomorrow, you don't
want you don't think of, oh, I may have to
learn the basics first. You know, I can't just get
up and be Eddie van Hallen.

Speaker 1 (10:21):
Right. Well, I'm surprised you didn't switch the bass, because
that's what most frustrated that guitar players do, is like, ah,
this stuff's too hard. I'll switch the bass, because you know,
that's even easier to play rocks in eric eighties where
you're just riding a or the e and you're not
really doing too much involved musically unless you're like, you know,
a Geezer butler, which don't seem to exist much anymore.

(10:45):
Those types of really good musicians on bass.

Speaker 2 (10:49):
Or I talk about a lot with people that are
bassist Paul McCartney because he was a guitarist that had
to play bass because there was already three of them
playing guitar, so he drew the show straw.

Speaker 1 (11:01):
And he's a really good bass player, though. I mean,
there are people who can play bass. There are guitar
players that play bass or that you can tell, and
then there are real bass players. So I mean, and
up to my own horn, because I play a bass
on a lot of the material. I don't mean to,
but it seems like by the time we're going to
record something, we don't have a bass player. Again, for

(11:23):
whatever reason, bass players are the flakiest people, but I
get a lot of compliments. They're like, Wow, it's a
really good bass line. Who wrote that bass line? You know,
because I try to do something complimentary to the guitar
and not just play the root note, which is sort
of the Black Sabbathy Geezer Butler kind of thing where
you're you know, you're really carrying the song below the rhythm,

(11:44):
but not just copying the rhythm.

Speaker 2 (11:46):
Right totally well. And I have the utmost respect for
people like you that will play both instruments, because you know,
it is kind of difficult, I think, even in your head,
like to switch zones from guitars to bassis to whatever
else you play. You know, it's like a different mindset

(12:08):
or a different brain part of your brain and you
have to kind of switch it.

Speaker 1 (12:12):
Well, especially people who can play guitar, piano, like who
are virtuosos on several instruments, wind instruments, string instruments. It's
like to me similarly, it's almost like speaking other languages.
I've tried to learn other languages and my brain doesn't
function that way. I don't get it, Like I was
pretty good at Japanese, but I did. I had to

(12:33):
think about it. Like there are some people either they
have the capacity or they were born, you know, into
different cultures where they had to learn Spanish or French,
And to me, it's amazing that they just like you
can just switch on and off. Like to me, that
would be like playing guitar and then going and play
like clarinet, like right right things. But they're just brain

(12:55):
just because like oh I'm holding the clarinet now, now
I can play a clarinet or I think clarinet's this.

Speaker 2 (12:59):
With And I played a bunch of instruments and sucked
at all of them, probably because I didn't perfect any
of them. So I was just fuck messing up on
all of them, right, And you know, speaking languages, I
get what you're saying, because, like I speak Spanish. I
took seven years of Spanish. But when I'm not using it,

(13:23):
I'm not good at Like I got Costa Rica a lot,
and after I'm there for a while, then it starts,
it starts coming back. But you have to think in
the language you're speaking. And I think that's the same
maybe with instruments too, Like if you're sitting there in
your head and trying to translate everything from English to
whatever language, you're not gonna be fluent no matter what.

(13:46):
You have to actually like think in that language. And
then you were in the Netherlands. To me, Dutch is
one of the hardest languages. In fact, all the people
I know there too, they're like, yeah, most Dutch people
can't even speak it properly.

Speaker 1 (14:00):
Right, Well, here's the thing about Holland, right, or you
know the Netherlands, however you refer to it officially, it's
the Netherlands. But I was lazy. I was a lazy American.
But all Dutch people speak English. They learned five languages
in school, right, because they're Dutch English. Because they're next
to the UK German because they're next to Germany, Spanish
because they go on vacation in Spain, and French because

(14:22):
they're near France, and so you know, it's ingrained into
their brain. And you know, in Japan, nobody, if you
went off base, nobody spoke English. I mean, Japanese people
rarely speak you'll find anybody else speak a little bit
of English. But in Holland, the Netherlands, anybody speaks English,

(14:43):
especially younger people would be more fluent. And funny enough,
I had a guy, he was the manager of the
band when I was there, pseudo manager, but he spoke
English so well. One time we were at a music
store and then he was speaking to me in English,
and then he spoke to the guy in Dutch the
music store, and the guy at the music store thought
he was an American who spoke Dutch. Wow, oh dummy,

(15:06):
I'm Dutch. But he told me the way he learned English,
this is kind of funny. The way he learned English
is so fluently is from watching then the nuances of English,
you know, and those little things like sarcasm. People really
have a problem with that. Aren't American or really learned English?
Is he watched nine o two one zero at Dutch
TB and then he watched the Chuck Willery's Dating Game.

Speaker 2 (15:29):
So that's why that's so funny.

Speaker 1 (15:31):
That's how he honed his English skills to be a
perfect English speaker. Well when he was speaking English, because
if you spoke to him, you wouldn't know he was Dutch, right,
he didn't have that accent.

Speaker 2 (15:42):
Wow, that's amazing man. And you know, it's funny that
you mentioned that because a lot of Europeans, I know,
they watch a lot of English television so they can
get better at English because our language is difficult because
there's so many rule rules that don't that you break
exceptions to the rule, you know, like instead of the rule.

(16:04):
So it's like I feel like if I didn't have
that as my native language, I wouldn't understand most Americans,
especially like you're talking about certain things like sarcasm, Like
you cannot explain sarcasm to somebody.

Speaker 1 (16:19):
Well, if you try to explain it, then they don't
get it right. It's so nuanced and double on time.
We have so many double entendres, right, and it can
be just inflection using a word, and how you inflect
it changes the meaning totally, totally.

Speaker 2 (16:34):
So now in twenty twenty five, you have this new
EP coming out, Ill Gotten Games, right, that's so descriptive
of today, by the way, I love that title. And
so what's different Now? What do you think has evolved
for you as a songwriter, musician, band, et cetera.

Speaker 1 (16:57):
I mean, I would say over the years. Initially, like
when I was younger and was writing songs, I was
more influenced. I was young, so it was the late eighties,
so the more Metallica e thing. You know, everybody love
Metallica if you play guitar, and so I would say
my songwriting was more influenced by Metallica, and I was
more of a storyteller, kind of sometimes overbloated lyrics of

(17:20):
a story, Like I would think of a story like
a main character in my head, I would write a
story around it. But then as I got older, as
I'm getting older, and the songs would be super long too,
write you know, Metallica type things five six, seven minutes.
And now I understand being older, I sort of turned
in from a turned in evolved from like early Metallica

(17:42):
to black album Metallica. But you know I say that
in more editing of the songs, shorter songs, songs that
get to the point faster and less about storytelling but
more about themes. Yeah, the theme of the song is
this not necessarily here's the eggs Zac story and a
little more obscure with lyric writing and not so obvious.

(18:09):
So I think that's how it's evolved. And you know,
I would say we were more The music was more
regular heavy metals so to speak. I don't know what
to describe it, but now we're more the iles sound
is more doomy. A lot of people have called this
eclected doom, which I think is cool, cool, uh descriptor
so I kind of go with that. I mean, I

(18:29):
just call it heavy metal, but our metal. But people
love to call like the all the sub sub genre.

Speaker 2 (18:36):
Out there nuts right. It strives me so nuts. When
I go on tour and I do coverage at these festivals,
one of the things I do to be funny is
during the interview, I'll have the band if they were
going to design their own genre for just their band,
what would they call it? Because it is that ridiculous

(18:57):
nowadays that there's so many sub and micro genres that
Jesus like every band has its own genre pretty much.

Speaker 1 (19:06):
Right well, And I'd say I don't know if any
I've never heard of any of the band say they're
a collectic doom. So the income that came from a
guy that originally I heard it from a guy We
were doing some stuff in Europe, a little tour, and
the tour manager I was talking to him. He was
just like, I think you guys are like a collectic.
You're not quite doom, but it's doomy stuff. So I

(19:28):
think a colectic doom. And he was a German guy,
so I thought I was a good description. Then a
couple other people over the years I just ironically said
it as well, and I said, Okay, I like that
eclectic doom kind of thing.

Speaker 2 (19:40):
I do like that. That's a cool like if you're
gonna make a new genre name, I think that's a
cool one. It just sounds cool. I think people too.
It leaves a little to the imagination where people are
getting like, well, what would that be? Let me go
listen to it?

Speaker 1 (19:57):
Right, And it's especially prevalent in our new single that's
out now from Ill Gotten Gains called Isolation.

Speaker 2 (20:03):
Yes, tell us about that too, because that name to
me now I might put a different mean to it,
which is what a great song would be that has
a shitload of meaning to me.

Speaker 1 (20:15):
That song, well, I mean, I don't really have some
magical story other than I thought it sounded cool, Like
I was just you know again, I write more obscure
now and I just write. I hear phrases, and I'll
jot down phrases and then when I start to put
them together and sort of themes to create songs. I
don't know where I heard it, but I heard ill

(20:35):
Gotten Gains. I was like, I got to use that again,
and so they just kind of evolved from there. As
you know, the title track is ill Gotten Gains. And
you know, I don't really have a good story around
I wish I was trying. My brain was kind of
like what can I create? Look, it just sounded cool,
like every you know, what are ill gotten gains? Well,

(20:56):
there are things that people acquire in nefarious ways, you.

Speaker 2 (21:02):
Know, I think it all gotten gains and isolation just
describes the last five years of our world.

Speaker 1 (21:11):
Yeah, you know, some of it is you know again
the theme theme themetrically, No, that's not the right word.
You know. The themes are about those kinds of things, right,
the carryover from COVID a little bit, but you know,
basic stuff about you know, what's going on in the world,
you know, influenced by that things you see on the news.
I don't like to write direct things anymore. Like I said,

(21:33):
I like to keep it kind of high level, and
it leaves more the interpretation to the listener to listen
to the lyrics and say, well, this is what I
got out of it. And you know, it's funny how
people quick story of from a long time ago. I
had a song and somebody found it on the internet
and we were talking to I don't know, I don't

(21:54):
even know how we got in contact. But she told
me I was wrong because she said, oh, your song
is about this. I can't remember of the song. And
I said, well, no, well, I said, that's a great interpretation,
but just so you know the writing process, you know,
here's the story what was in my head at the time.
And then she said, no, you're wrong. I said, wow,
I mean, you tell the guy who you know made
the hot dog. I know it's in the hot dog,

(22:16):
but if he if you taste different ingredients, that's fine.
But to tell the guy who made the hot dog
his recipe.

Speaker 2 (22:22):
I know, right, you used.

Speaker 1 (22:24):
I thought that was just kind of funny. I said, well, okay,
I mean you're a listener. You can you can have
anything that you want be the the you know, be
the meaning of that song.

Speaker 2 (22:35):
Yeah. And you know, I think that's where you're smart
in your songwriting now, because I think the key to
a good song is as a specific meaning to you.
But that doesn't mean it's the same meaning to other people.
And when they put their own interpretation to it, they
can kind of you know, they connect to the song,

(22:56):
you know, opposed to like this other story you're talking
about that person saying you're wrong. Well, first of all, yeah,
you're right. What an idiot just to be blunt? You know,
how could you be wrong? You're the author? Okay, But
you know if that person took a different approach to it,

(23:17):
like oh wow, I didn't think of it that way.
I had this way of thinking, and then it's like, well,
that's the way a good song should be. I interpreted
as the listener the way I want, But that doesn't
mean it discounts what the songwriter was actually meaning exactly.

Speaker 1 (23:34):
And if you're good at writing songs, or if you're
conscious about it, you write songs that are more timeless
and not reference certain you know, whatever's currents in vernacular
at the time, and you know, I think that comes
across better. I mean, you know, I love some rap
and hip hop, but you know they'll always still win
certain references and you're like, oh, that's specific to this year.

(23:57):
But if you write a good song, it's timeless and
it doesn't lend itself to any time period. And then
a good example is the last EP. We had another
EP out earlier this year in April called Machines, and
that was all songs I had written in the nineties.
It was like four songs, and I thought, Okay, those
are good songs. I want to put them out, but
as a collection, which kind of shows the evolution of

(24:18):
the songwriting. Because if you listen to Machines back to
back with Ill Gotten Gains when it comes out in November,
you know, you'll definitely hear two different styles of music.
But we had some good reviews that came out, you know,
when they listened to Machines, but they said, you know,
even though these songs were written in the nineties, you know,
they still sound current or they could be written current,

(24:40):
They could be current in you know, listening to them now,
you wouldn't know when they were written, because you know,
they're not specifically written enough where you go like, oh,
that's automatically you know, from nineteen eighty five or whatever.

Speaker 2 (24:55):
See. I love that you mentioned that, because I talk
about a lot too nowadays that it's so weird to
me that songs in the eighties are so relevant today
in two twenty five. But all you'd have to do
is change some of the names in it, you know,
and like if those names maybe were left out back

(25:15):
then they would be more timeless. Like you take songs
like that were about Reagan could easily substitute Trump in there,
you know in some of the songs. You know, not
that they're the same person, they're the same politician, but
similar things, you know. So if you like kind of
left the name now, people kids today would be like,

(25:36):
oh my god, that's how's that song about today? It
was written back in the eighties, right. Well.

Speaker 1 (25:42):
The problem with the eighties though, when you listen to
a lot of eighties middle in particular the production right
the gated snare is a dead giveaway. And this I
don't know why they didn't record well in the eighties
because that was for some reason. You know, you listen
to some seventies albums, or you listen to Back in Black,
you're like, oh my god, that album sounds so huge,
even like well, Mutt Lang, you know, also did High

(26:05):
and Dry by Death Leopard, But some of the albums
were so big sounding. And then the eighties came and
I don't know what the style of production happened. It
went to garbage because you had these all these compressed
drums and terrible guitar sounds. For the most part. I mean,
there's some albums that stand out, but that eighties really
suffered from production issues. And then the two thousands or

(26:26):
late nineties when they started brickwalling everything and mastering, that's
another time period. You listen to it and go like
that sounds like crap because they brickwall mastered it because
they thought it had to be as loud as possible
with no dynamics. And I think people were getting away
kind of from that now, so things are hopefully things
will be more timeless.

Speaker 2 (26:47):
I think kind of reasons is somebody that was totally
immersed in the eighties metal scene, like I was that
slayer in Matawica's first shows ever, you know. And you know,
I think the way we were and I think the
bands were appealing to us is all we wanted was loud,

(27:07):
heavy and fast, the heavier and the faster, and we
didn't really give a crap about sound quality, at least
the attendees, the teenagers.

Speaker 1 (27:15):
You know.

Speaker 2 (27:16):
It's like, oh, you know, there's some songs I listen
to now that absolutely love back then and I still
like him, but I'm like, oh, wow, that production is horrific,
you know type of thing, you know, But I think
it was on purpose. Perfect example I like to bring
up is Hatfield. Okay, his voice. I love his original voice.

(27:42):
He hates it. He hates it because he said, like
he says, they play Seeking Destroy at the San Jose
Sharks games. He goes, why don't they play the remastered
one instead of the original one. I didn't even know
how to sing then I sucked. Now I know how
to sing, you know, type of thing. And then, in
reference what you're talking about, the Black album me and

(28:05):
you know, the hard tour, Metallica fans like the twenty
five of us from the beginning when that album came out,
we were all like posers, sellouts, fuck then blah blah blah.
But meanwhile, the reason Metallica is one of the biggest
mel bands ever now is because of the production of
that album. It might be that the songs are good,

(28:27):
they are good. I love the songs, but the production
value was so much better.

Speaker 1 (28:31):
To your point, true, So I think we can thank
Cliff passing Away for the Black album because I don't
think Cliff would have let them, you know, become what
they became. Unfortunately, no, they wouldn't, but you never know, right,
I was just in fact I read it. I was
just telling I had an opinion that had Metallica not
met Cliff and stayed on the kill them All kind

(28:54):
of trajectory, they would have just been another Testament or
another you know exit.

Speaker 2 (29:00):
Totally totally right.

Speaker 1 (29:02):
Cliff made them what they were what they became, because
Kill Them All and Ride the Lightning are two different bands, right,
There's no way you listen to those back to back
and go, well, those are the same exact guys who
wrote the album, because it's not it's Cliff coming in
and making them more melodic. But that was sort of
you know, their shift and I don't even think they're
really they keep calling them the big one of the

(29:23):
Big four. I don't even think they're a thrash band.

Speaker 2 (29:26):
Not anymore really, And I'm a total thrash metal head.
But there's some thrash songs, you know. But originally it's
funny because originally they were considered power metal, which makes
me laugh too, because Kill Them All Days was not
power metal, but there was no such thing as thrash.
But to your point, me and my friends when Ride

(29:49):
the Lightning came out, we always said, if you took
fight fire with Fire and brought off of Ride the
Lightning and put it on Kill Them All, and took
Jumping the Fire off of Kill the Mall and put
it on Ride the Lightning, Kill Mal's the best band
record ever, you know. And that's what we say back then.
So that's to your point, because that's probably the least

(30:09):
melodic of all the songs on Ride the Lightning and
Jumping the Fire is the least thrashy of all the
songs on Kill Mal.

Speaker 1 (30:20):
Yeah, yeah, i'd agree with that.

Speaker 2 (30:23):
And so I think you evolve as a musician like
you have. You know, It's like I was one of
those people while I was young, But then you get
older and realize, like your favorite bands, you don't want
them to stay garage bands even though you think you do.
Like if you have respect for the musician, because the

(30:46):
musician learns their craft more, and if you were playing
in twenty twenty five the exact same way you were
in nineteen ninety one, how much did you learn about
your craft and how much did you evolve?

Speaker 1 (30:59):
That's why double edged Sword because bands that we love
and Metallica is a great example, who likes really anything
After the Whack album and Load and reload, they're okay,
but then at saying anger and then they you know,
you don't listen. You don't go like, wow, I can't
wait to hear them play a song off seventy two

(31:20):
Seasons or Hardwired for Self Destruction right when.

Speaker 2 (31:24):
You just Hardwired, that's a thrash that should be un
kill them all.

Speaker 1 (31:29):
But I'm just saying in general, Yeah, there's a time
period that your band has a shelf life and you
whether it be because you were in high school during
that time, or you're in your twenties or whenever, there's
always seems to be a cutoff that says your favorite band,
if they have new material, it's probably not going to
be as good or you're not going to give it

(31:49):
as the chance you should, even though it could be better.
I could be way better than their first album. But
because your life identified like my life identified, you know,
you know, up to the really up to the black album, right,
and that's where I really like them. I mean, I
think Death Magnetic was pretty good, and I still listen
to that. But if you're gonna give me a choice

(32:09):
of Death Magnetic and Ride the Lightning or Master Puppets,
I'm gonna go back and listen to those. And that's
what people want to hear live. So bands are in
this weird situation in general. Right. Of course, I'm not
in a band that's famous enough to be pigeonholed yet,
and I probably never will be because it's the reality
of today's Internet culture. And you know so many bands

(32:32):
out there. But you know, any band that comes out,
they're just gonna be stuck in a rut at some point.
And I don't want to say they're gonna be a
nostalgia act, but people are going to hear you play
the songs that they want to hear you play, they
don't want to hear. Oh there's the new album and
it's you know, take a piss break kind of songs
that people will put that like, oh yeah, I'm glad

(32:53):
they play new songs, so I could, you know, go
use the bathroom, which is a sad thing, right, because
you're a fan, you should like everything or give it
a chance. But sometimes people just like I just want
to see the first three albums, and that's it.

Speaker 2 (33:06):
It's so true because to your point, even specifically with Metallica,
like I could listen to Kill Them All every day,
no matter what, you know. But other albums, like you
said passed the Black album, I like a couple songs
on it, but I won't listen to the album per
se regular I'll listen to those songs, or like with

(33:27):
seventy two Seasons, which there's good songs on there. But
when it first came out and they had that thing
in the movie theaters, I decided to go because like,
they're in my top five for you know, for forty
five years, you know, And I went to this thing
where I was like, what, you know, they played the

(33:48):
whole album and I was bored, Like and for me
to say I'm bored with Metallica. That says. That says
a lot. And it's not that there weren't good songs
on there, just it's not that that same feeling like
whiplash gives.

Speaker 1 (34:04):
You real because you're not you're not fifteen anymore discovering
it for the first time. Right, You're not a virgin anymore.
There was a time when you had virginity to certain things,
and then you lost it, and then you get kind
of used to it and you're like, well, this is
still good, but it's not as good as I remember
when you're still trying to chase the dragon and get
that feeling again. But it's also them changing as well,

(34:27):
where I don't think their thrashy stuff feels as organic.
And for some reason they have Metallica. Sorry Metallica, they
have the shittiest guitar tone, which I don't understand. It's
not it's so thin for some reason, I don't know why,
Like they got the best money production. You think the
guitars are to be the best sounding metal guitars ever,

(34:47):
like the Black album guitar sound, and then I listened
to it and go like it doesn't sound the guitars
just don't like even the new Judas, the newer Judas
Priest album whatever, Shield that was really good. I had
a great guitar sounds, and I'm like, just you know,
you have the ability and the money to have the
production that you want, and it just sounds meh when

(35:10):
it comes to the guitar sounds.

Speaker 2 (35:12):
Yeah, it's weird too, right, Like you would think, like
you're saying, if they had all kinds of money to
spend on it, that you would get the best production
and the best sound ever.

Speaker 1 (35:22):
They need Bob rock back.

Speaker 2 (35:24):
There you go. That's the key right there. And so
tell us what else you got coming up? You got
the album drop in November here, well the EP album
I call everything albums, yeah, and anything else moving forward
that people have to look for for you guys, I think.

Speaker 1 (35:46):
That's November twenty second it comes out. There's gonna be
a video for ill Gotten Gains coming out that day,
a lyric video. Another video is already in that can
for I can't even think of the song. One of
the others songs is gonna come out in December, oh
ever after and then we're gonna be shooting another video

(36:07):
in December it'll come probably come out in February, so
we'll have like four videos from a five song EP.
You know, they're just fun to do, and you know,
the two videos are ill gotten gains and ever after
our lyric kind of animated videos. That guy did a
really good job, so you know, look out for those,

(36:28):
you know, and we just it took us two years
basically to find a permanent bass player. We had been
using a filling guy for a while because we wanted
to find the right permantent guy. And you know, the
filling guy was too busy because he's in some other
bands and so you know, we played shows here and there.
But about a couple of months ago we finally and
we haven't announced him yet, so pretty soon we're gonna

(36:50):
be taking pics next week in November, and we're gonna
be you know, finally officially posting welcome to the family,
to the new guy. So and then then we can
start booking regularly. So so hopefully in twenty twenty six,
you know, will be a lot busier. We had played
like a handful of shows that came to me and
then you know, the people reach out to me and say, hey,

(37:11):
can you play the show, and so we were able
to do you know, probably five in the last two years,
which isn't a lot. But again, we wanted to find
the right bass where it's yeah, when you're when you're older,
you just don't want a guy, you just don't want
to hang out with a guy just because you want
to find some of the gels. And we found a
perfect guy, same age bracket, same background. Like he came

(37:33):
in and I was like, oh, this guy, this guy
is the guy, right, So it works, and it makes
it so much easier when somebody has a similar background
and similar thought processes to work in. And it ironically
he's learned all the songs the way they were originally
played on the album, and I'm like, oh my god,
I haven't heard that baseline like that since I wrote

(37:54):
it and recorded it, because he's taken the time to
actually learn the material. Because I give bass player's leeway
like hey, just play, you know, let's play what you want.
It's the root notes, and he took the time to
actually learn some some of the more intricate stuff and
I was like, oh, that's awesome. So yeah, so that's
that's kind of what's coming up right, new EP new video,

(38:14):
I mean release of the EPE new videos. Pricey U
is playing out more so that's that's our goal.

Speaker 2 (38:21):
There you go. Well, I hope I see you at
the DWP festivals in twenty twenty six.

Speaker 1 (38:26):
Okay, I don't know what those are, but I hope
we see here.

Speaker 2 (38:29):
They're the big US ones.

Speaker 1 (38:30):
Oh okay, well that is that the production company.

Speaker 2 (38:33):
That's yeah, DWP, Danny Wimmer, he does Aftershock, Louder than Life, Incarceration,
Sonic Temple, Welcome to Rockville.

Speaker 1 (38:43):
Okay, well, we probably won't see you there, but we're
playing at two in the afternoon on the Wednesday before
it starts on Friday or something.

Speaker 2 (38:55):
You never know. You never know. We've had bands that
these festivals that actually crashed, like the old School Punk
thing crashed the festival and played in the parking lot,
and then Wimmer saw him and instead of kicking them out,
he put them on stage the next day. Yeah, you
never know. So I'm putting the vibe out there for you.

Speaker 1 (39:15):
Okay, I'm accepting it.

Speaker 2 (39:17):
There you go. Well, tell everybody how they can reach
out to you guys on the internet on socials, get
the new album and drops all that good stuff.

Speaker 1 (39:28):
Well, I mean it's going to be in all the
regular places, right Spotify, any streaming service, it's gonna be everywhere,
you know, wherever you get your music. As far as
getting a hold of us, you know, it's a I
T T A L A. I mean, hopefully you'll have
some links with this, you know, but really, you know,
we're Itler Music on you know the big ones like YouTube, Instagram, TikTok,

(39:53):
Facebook and if anybody uses Facebook anymore. Butler Music is
our ore us her name. And if you go to
Eitler dot com, you know you'll find our website, even
tho I don't keep it up to date as much,
but you know you can find their basic links off there.
So that's you know, the usual places that people can
easily find us. But make sure you spell it right

(40:15):
because if you misspell it a little bit, it's going
to redirect you to Attila, which.

Speaker 2 (40:19):
I was gonna just say that was the one that
went in my head.

Speaker 1 (40:23):
Well, and that's what we get mixed up with Attila.
And actually, if you go to Metal Sucks and look
at their archives, they did a story about Eitler versus Attila,
and their conclusion with was both bands sucked equally, and
I was like, Okay, I'll accept that.

Speaker 2 (40:42):
That's funny. Well, see, now you should do a tour
like Contact Fronds and do a tour with both bands.

Speaker 1 (40:50):
Well, they are a little a lot different and they've
they've definitely changed their sound over the years too, so
I was surprised that they're still around, but they're I
think they're more of an electronic death metal man. Now,
you know, they don't seem to have as many people
in the band anymore. But we digress. You know, we
want to still talk aboutlaw as we're closing.

Speaker 2 (41:09):
This out, no doubt, no doubt. So aler get the
album or you can't listen to my show exactly.

Speaker 1 (41:18):
He's gonna hold he's gonna hold you hostage.

Speaker 2 (41:20):
That's right. Well, thanks a lot for making us great
music and thanks for being on the Adventures of pipe Man.

Speaker 1 (41:25):
Well thanks pipe Man, appreciate it. Hope to be back.

Speaker 2 (41:30):
Thank you for listening to the Adventures of pipe Man.

Speaker 1 (41:35):
I'm w for CUI Radio.

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