PipemanRadio Interviews Fronz of Attila at Aftershock 2025

PipemanRadio Interviews Fronz of Attila at Aftershock 2025

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Aftershock 2025 Draws Record-Breaking Crowd Of Over 164,000 Fans, The Largest In The Festival’s History  

The West Coast’s Ultimate Rock, Punk & Metal Destination 115+ Bands • 4 Unforgettable Days • Fans From Every Corner of the Globe

Danny Wimmer Presents’ record-breaking 2025 festival season concluded October 2–5 with the largest Aftershock in history — drawing over 164,000 fans from all 50 states and more than 30 countries to Sacramento’s Discovery Park, generating an estimated $35 million in local economic impact.  

The West Coast’s biggest rock, punk, and metal festival reached new heights in 2025.

Debuting in 2025, Aftershock introduced several new fan-favorite experiences that elevated the  festival weekend to new heights. The Capitol Club offered an all-inclusive oasis with premium amenities and elevated views of the main stage, while Tremors Dive Bar kept the energy high with a pop-up set by  DJ Rock Feed with surprise guests My Darkest Days, and a special Sunday takeover by Sacramento’s own The Jungle Bird. Fans also discovered spontaneous performances at Beatbox and a blink-and-you’ll-miss-it speakeasy hidden beneath the underpass — each adding to the sense of discovery and excitement that defined this year’s festival.  

To celebrate DWP’s cultural and economic impact to the region, Sacramento Mayor Kevin McCarty, Senator Angelique Ashby, and Assemblymember Maggy Krell honored Danny Wimmer Presents with official recognitions from the City of Sacramento, the California State Senate, and the California State Assembly. The proclamation and resolutions celebrate Aftershock’s decade-long legacy, recognizing its profound cultural, economic, and charitable contributions to the Sacramento community and beyond, and highlighting how the festival has firmly established the city as a premier destination for live music in California.  

The 2026 dates for Aftershock will be announced in the coming months along with early bird tickets, allowing fans to lock-in lower level pricing and maximum payment plan options. Fans are encouraged to stay tuned to the festival’s official social media channels and AftershockFestival.com.

In addition to music performances, this year’s edition of Aftershock featured various partner onsite activations, award-winning beverages and delectable eats from partners including Animal Place, Astral Tequila, Beatbox Beverages, Black Shades, Blackcraft, Body Art Express, California Army National Guard, Coors Light, Don Julio, Eargasm, Freak On a Leash, Fxck Cancer, Golden State Cider, Hyatt Vacation Club, Jack Daniel's, Jeffree Star Cosmetics, Little Rocker Clothing, Mortus Viventi, Nowhere Fast, Parlor Root Beer, Red Bull, Sierra Nevada, Strüng, Take Me Home, The Pretty Cult, Tito's Handmade Vodka, To Write Love on Her Arms, Topo Chico Hard Seltzer, and Waterloo Sparkling Water.  

Aftershock is proud to partner with Visit Sacramento and is produced by Los Angeles-based Danny Wimmer Presents, one of the largest independent producers of destination music festivals in America.  

For more information on Aftershock please visit:
Website: www.aftershockfestival.com
Facebook: www.facebook.com/aftershockfestival
Instagram: https://www.instagram.com/aftershockfestival
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Episode Transcript

Speaker 1 (00:04):
Hi, you love then too?

Speaker 2 (00:06):
Yes, that's true.

Speaker 1 (00:08):
Why for you?

Speaker 3 (00:12):
You?

Speaker 2 (00:20):
This is pipe Man here on the Adventures pipe Man
W four C Y Radio and I'm here.

Speaker 1 (00:24):
With Franz from a Tilla Nice.

Speaker 2 (00:29):
A little Birdie told me or I overheard it. I
was eavesdropping that you're like the only unsigned band at
all of Aftershock. Is that true? Oh?

Speaker 1 (00:41):
Yeah, for sure.

Speaker 3 (00:42):
So we've been unsigned for several years and we do
our own operations, our own recordings, our own production. Everything
is fully in house. So it's kind of rare these days,
which is weird because it would make more sense for
band to do what we're doing. But bands are locked

(01:02):
into these label contracts and Attila is unsigned and we
self record, so everything is fully in house. Like we
have a we have a full studio house that we
purchased in Atlanta, Georgia. We have a full studio. We're unsigned.
We do everything fully alone and independent. All of our

(01:23):
music is unbiased, like there's no one influencing us to
make something. We only do what we want to do
and if we don't want to do it, we don't
do it. I love it and it's crazy, man, Like
we're the most free you could be and.

Speaker 2 (01:38):
It's crazy that you're the only one like that, because
that's the way it should be.

Speaker 1 (01:44):
Way it should be.

Speaker 2 (01:45):
I have this philosophy. I have somebody that sat backstage
during eighty sunset strip days and watch these record labels
tell bands how to play their music.

Speaker 1 (01:55):
Yep.

Speaker 2 (01:56):
The business people should stay to business people and the
artists stay to creative people.

Speaker 3 (02:01):
So I'll go ahead and say that there was a
point in time where I feel like labels did provide
an extreme amount of support, whether it be monetary or promotional.
So there was a point of time where labels were
a very integral factor of being in a band. But
for Attila, there is nothing a label could provide unless

(02:25):
you want to just drop millions of dollars on us,
Like yeah, okay, cool, we'll take it. But unless you're
gonna do what we want, yeah, exactly, Like, there's nothing
you can do to appease us. We're unsigned, we're independent,
we self record, We do everything on our own. We
make everything that we want to make, and it's really
fucking fun. It's cool that way because we don't have

(02:46):
a deadline. We don't have to release an album at
this day. We don't have to make this kind of song.
We don't have a label coming into the studio saying
oh we don't like this song, like make it different.
We just do whatever the fuck we want. And that's
what's fucking cool.

Speaker 2 (03:02):
What I think is cool about that is it makes
you a true artist because if you can express any
way you want. And like Kean on you said about deadlines,
I think deadlines make for not as good a music
because you, as and rs, you're rushing to put something
out and almost probably one hundred percent of the time

(03:23):
you're like, oh I would have done this, I would
have done this, but you didn't have the time to
really evaluate what you were putting out there.

Speaker 3 (03:30):
And we have unlimited time. If we don't like what
we're doing, we don't have to rush it right, So
there's no rushing in our process and making music, and
there's no rhyme or reason we meet up on a
women we're like, fuck it, let's make music because we
want to. And I think that's special because we're not
forced to do it. We do it because we love it,

(03:51):
and that's what separates us from everyone else in this
entire music scene.

Speaker 2 (03:55):
I love it, and you're also Kean you said, fun
if you're not having fun in this business. It's the
wrong business.

Speaker 3 (04:03):
Oh of course, And I think just I don't think,
I know, but looking at other bands that are signed
to these big labels, they're pretty fucking miserable. Bro Like,
they're pretty fucking miserable. They're not happy, they're not having fun.
They're on tour, they're miserable. They're doing this, doing that.

(04:23):
We don't have to tour unless we want to tour.
We don't have to make music unless we want to
make music. So I think it's cooler for a fan
in the audience to see a band that's actually like
happy to be there, right, So that that is the
essence of Attila. We're here because we're happy to be
here and we want to be here.

Speaker 2 (04:43):
And it shows like if you're out in the audience,
you can tell when a band is not having fun,
and then you can tell when you guys are just
having a.

Speaker 1 (04:53):
Blast exactly exactly.

Speaker 2 (04:56):
And if you're having a blast, I'm gonna have a blast.

Speaker 1 (04:58):
Yep.

Speaker 2 (04:59):
I can't tell how many times there's spend times I've
seen bands I know they're not having fun up there.

Speaker 3 (05:03):
I'm like, yeah, you can look at them and they
look miserable, or they're like worried about their stage sound
or this or that, or they're just not having fun
or they're tired or whatever. It's like, Attilla's here because
we fucking want to be here.

Speaker 2 (05:16):
I love it.

Speaker 1 (05:16):
That's it.

Speaker 2 (05:18):
And how do you feel playing these Danny Wimmer festivals?

Speaker 1 (05:21):
I fucking love it.

Speaker 3 (05:23):
Danny Wimmer is one of my favorite human beings on
the planet, and he has helped Attila so much and
we are forever grateful to him because being a band
in our position, like I said, unsigned, usually, like the
big sign bands get all these cool festivals like Aftershock,
but Danny Wimmer, he's got some place in his heart

(05:46):
for Attila and he somehow will choose Attilla to play
all these festivals. And we are forever grateful for Danny Wimmer,
and we're happy to be here. And it's cool, you know,
it's cool to be an unsigned art is that gets
these opportunities because we're just.

Speaker 1 (06:05):
Stoked to be here.

Speaker 3 (06:06):
And Danny Wimmer is a great person to provide this opportunity.

Speaker 2 (06:11):
And I love hearing that because in sixteen years of
doing this festivals, I've never heard an or say something bad. Yeah,
that's exactly because most other festivals that's definitely not the case.

Speaker 1 (06:25):
Mm hmm.

Speaker 3 (06:25):
And like we always play like Welcome to Rockville, which
is Florida where we're from, and we'll play like Sonic
Temple and Incarceration and all of those festivals that Danny
Wemmer puts on are phenomenal. But we haven't even played
California at all. This this is our own no, no no.

(06:46):
We played After Shock two years ago, but this is
our this is our first time playing California all of
twenty twenty five.

Speaker 2 (06:53):
Wow.

Speaker 3 (06:54):
So we didn't play a single show in California. But
Danny Wimmer was like, hey, at Tila, come on out
play after Shock. And we're like, hey, it's a lot
of work for us.

Speaker 1 (07:04):
To come out.

Speaker 3 (07:04):
We're on the opposite corner of the planet, right, but we'll.

Speaker 1 (07:08):
Come out and play.

Speaker 3 (07:09):
Just can you throw like some cabs on stage for
us to play with? And a drum said and he's
like bet. So we're like cool, we're done, Like let's
go take let's he takes care of us. So he
told him like, hey, we need some shit to play with.
We can't take all of our gear across the country.
It would take like four or five days, you know,
for a singular show, it wouldn't make sense. But he's like,

(07:32):
no problem, and he took care of us, and we
had a phenomenal show today and I'm happy that our
only show in California for this year is today at
Aftershock Lo.

Speaker 2 (07:42):
It was awesome, And you know that makes you want
to do better too, Right when you're being taken care
of by the person running the festival, it makes you
want to like just go up there and do everything
you can to make everybody happy.

Speaker 3 (07:56):
Of course, Yeah, we're here to put on a show,
and we're here to make the crowd and entertain. And
that's my favorite thing about the music industry. Like, I'm
here to entertain. I'm here to make people forget about
the bullshit in their life. I want people to disconnect
from their problems and I want people to just have

(08:16):
a great fucking time.

Speaker 2 (08:18):
I love it. And so what do you think is
your favorite part of being an artist.

Speaker 3 (08:26):
My favorite part of being an artist is probably just
being able to say whatever the fuck I want. And
I think my favorite part of being an artist is
probably the reason most people hate their lives is because
they're controlled by other people. And they have to do
what someone tells them to do or whatever. But with
Attila as an artist, in the singer of Attila, like,

(08:50):
we do what we want, Like, we don't have any
people pulling the puppet strings. We're just doing what we want,
when we want, on the time we want. And I
think that's such a blessing to be an artist and
be able to do that. And that's what makes it special,
is that we're just doing it because we fucking love

(09:11):
It's that's what it comes down to.

Speaker 2 (09:13):
And what about your crew? How do they like working
with Attila?

Speaker 3 (09:18):
So that's a good question. Our crew is fucking phenomenal.
And Attila is probably the only band also in the
whole industry that has had the same crew for multiple
multiple years because usually crew members, Yeah, usually crew members
dip out because the band fucks them over.

Speaker 2 (09:39):
Yeah.

Speaker 3 (09:40):
The only thing we've ever happened is that a lot
of our crew members I can name off a bunch
of them, but a lot of our crew members have
gone on to a bigger artists where they get paid more,
and we've given them our blessing because obviously, like if
you have an opportunity to make more money as a
crew member. We support that because we want you to

(10:00):
do the best you could do. But some of our
crew members, a lot of them went to Falling in Reverse,
one of them went to Bear Tooth, a lot of
them went to a band called Ocean Alley, which is
like a massive reggae rock Australian band. So we've had
like a lot of our crew like graduate essentially to
bigger bands, and we don't feel any hard feelings. These

(10:23):
are our best friends and it's not a weird thing.
But we've never had a crew member leave us because
they don't like us. Some people just get bigger opportunities,
but most of our crew has been the same exact
people from like day one, which is really cool.

Speaker 2 (10:40):
And I really love your attitude towards it because it
just shows what kind of human being you are, because
you don't want to hold anybody back. Hell no, and
you all wish them well exactly.

Speaker 1 (10:52):
Bro.

Speaker 3 (10:52):
You're telling me like, if you really love somebody and
they're your friend and they have an opportunity to make
like double money or triple money, if are you a
real friend? If you tell them like fuck, you don't
do that, right, that's a bad friend.

Speaker 1 (11:07):
So even even if you're.

Speaker 3 (11:09):
My best friend and you work for my band and
someone offers you triple the money that what a til
can pay. Fuck yeah, take that offer, like you you
have my blessing. I want you to succeed and make more.
We'll pay everyone as high as we can. But you know,
every band makes a different amount of money, and we
pay everyone as much as we possibly can. But if you,

(11:31):
if you, if you can work with a bigger band
and make more money, you have our blessing. We want
everyone to succeed, that's all. That's all we want. We
want everyone to thrive.

Speaker 2 (11:39):
Yeah, and if you could pay the more money you would.

Speaker 3 (11:41):
We would, yeah, dead ass, we would, like you know,
if we were making falling in reverse arena money or
you know whatever, like of course, like we would pay
everyone a fat fucking amount of money, right but we
don't make that money right now. And that's fine, and
I'm not mad about that. It's okay, but but I
think it's just fair to let your crew go. Like,

(12:04):
spread your fucking wings, bro, nob spread your fucking wings.
Make some money, bro, Like you're my friend, I want
to see you thrive.

Speaker 2 (12:11):
I love it. I love it, and okay, so I
saw again your caricature done earlier. Yeah, tell me and
tell me how cool that was.

Speaker 1 (12:20):
Bro, that's my favorite artist.

Speaker 3 (12:23):
He created all the original caricatures for Bob's Burgers, and
he also created two of my favorite music videos of
all time for a band called trash Talk, like the
animated cartoon videos, which are so fucking underrated they're insane.
If you haven't watched them, just look up the band
trash Talk music videos and you'll see the animated videos.

(12:45):
It's like dudes taking like acid and shrooms and shit
and they're like losing their minds and like motorcycles smashing
their heads open and like people pissing on their faces.
It's fucking insane.

Speaker 1 (12:57):
Bro.

Speaker 3 (12:57):
So he's made like a lot of my favorite art,
so for him to draw me is just such a blessing.
But him and I have become good friends and he's
drawn me quite a few times, and it's just a
really cool thing that I cherish.

Speaker 2 (13:14):
And I looked at it was pretty freaking good.

Speaker 3 (13:16):
It's fucking sick, dude, right, I look like a redneck,
redneck metal bobs Burger, cigar in mouth, beer in.

Speaker 1 (13:24):
Hand, just piece of shit. It's awesome. I've love album cover. Oh,
it could be. It's it's good.

Speaker 2 (13:32):
There it is. Is there anything else you want to
tell the listeners about that you got coming up that
they should know.

Speaker 3 (13:38):
I think the biggest thing that people should know right
now is that Attila is releasing our brand new album
on Halloween, October thirty.

Speaker 1 (13:47):
First.

Speaker 3 (13:47):
The album is called Concrete Throne. It's fully self produced.
We did everything on our own, and I'm not even kidding.
Like the album goes from like the heaviest song ever
as the intro to a country song, to a death
core slam song.

Speaker 1 (14:06):
To like it's all over the place.

Speaker 3 (14:08):
So I love that it kind of it kind of
feels like an album where if you listen, if you
actually listen to it front to back, you're gonna be like,
what the fuck is going on here?

Speaker 2 (14:16):
See?

Speaker 1 (14:17):
And I like that.

Speaker 2 (14:18):
We were just talking before. I was talking to the
dude from Bowling for Suit who you were talking to, Yeah,
but we were talking about that about you know, back
in the day, like everybody was a fucking gatekeeper and
you could only like this band and you gonna and
it was such bullshit, and I love We were talking
about aftershock and how you can have here hip hop, pop, punk, metal, rock, whatever,

(14:42):
and we're just one big, happy family.

Speaker 1 (14:44):
Yeah, exactly.

Speaker 3 (14:45):
And I think back in the day too, people just
had more of like an attention span where people really
valued the idea of an album, and when you dropped
a full album, people would sit down like that day
and they would listen to it front to back. But
now I think the issue is, like people are so
consumed in this like TikTok social media world where it's

(15:08):
like doom scrolling all day, and it's like, instead of
doom scrolling all fucking day, if you just actually sat
down and listened to your favorite band's brand new album
front to back, you might you might have like a
greater visceral experience, like you might feel something really cool.
But it's just you can't change people. You just have

(15:30):
to live with the world we live in. Yeah, but
I would just hope that people would listen to the
new Attila album front to back, because I think putting
out an album is a very special thing and I
think people should listen to it front to back.

Speaker 2 (15:44):
Yeah. You know, there's so many albums out there that
I think if they weren't listening to front to back,
they wouldn't really make any sense, you know. Yeah, imagine
Dark Side of the Moon if it was just released
as singles.

Speaker 1 (15:56):
Yeah, stupid, right fully stupid.

Speaker 2 (15:58):
Like you can't listen it at its album just once,
just even when they play it on the radio, you
hear like, fuck they cut it off where it's the
rest of the song.

Speaker 1 (16:06):
Yep, exactly.

Speaker 2 (16:08):
And it's interesting what you're saying, because I talk about
it all the time. I remember, first of all, when
you bought an album, you didn't get to hear what
it sounded like first. So one of the things you
would do is listen to it over and over and
over again. Why because you didn't get it free. You
had your hard earned money you had to buy, and

(16:29):
you made sure that you listened to it over and
over and that. But it was a full experience. I
would sit on my balcony with the headphones on, look
at all the artwork, and you know, read all the lyrics.
My kids will get in the car with me and
they're all like, Dad, how you know the lyrics of
every single song? Because that's what you did. You Yeah,
and you over and over and over the whole album,

(16:52):
not one song at a time. You would listen to
a whole album over and over and over and over again.

Speaker 3 (16:57):
So my fiance has the vinyl from Lenyard SKINNERD right
before the plane crash happened, and I opened that vinyl
and it gave me goosebumps because when you open that vinyl,
in the insert, it's all the details of the album
and everything. But also in that in that insert is like, hey,

(17:19):
if you want a T shirt, send five dollars. If
you want this, send two dollars. If you want this,
send six dollars, and then just like cut this slip
off and send your slip and your cash to this address.

Speaker 1 (17:33):
And we'll ship you a shirt.

Speaker 3 (17:34):
And I was like, fuck, that was such a cool
time to be alive, where you just you got to
you got to like live the album, listen to it,
and while you're listening to it on your vinyl player,
you got to just open this insert where you got
to choose like things you want. And then it was
also like, hey, we're gonna be on tour soon, like
you can buy a ticket, and it was just so

(17:56):
fucking cool. I'm not like that old where like I'm
super we're into the vinyl days, but I missed that
physical like experience days because I used I used to
open up a CD, for example, and read every lyric.
I would read every thing that the band had to
say about their process, like their their thank yous or

(18:19):
their whatever, like the backstory, the art, everything, and it's
so much more of an experience. But now with everything
being so digital and everything being so like fifteen second mindset,
Oh my god, it's so fucked.

Speaker 2 (18:35):
My favorite songs ever, people today would have never made
through the intro.

Speaker 1 (18:40):
Imagine exactly.

Speaker 2 (18:41):
Imagine like a song like Battery by Metallica. Yeah, let's
say the first ten seconds you'd be like, next track, yep,
you know, fast as a Shark by except you'd be like,
what the fuck is this next track?

Speaker 1 (18:54):
Yep?

Speaker 2 (18:54):
And we were like, oh my fucking god, so they waited.

Speaker 3 (18:57):
That's what's fucked, bro. They're like pro programming people to
live in this like ten to fifteen second like brain
time frame to where it's like when you're a musician,
it's difficult because you now we're living in this world
where we have to capture people's attention within fifteen seconds

(19:18):
or else we're fucked, right, and it shouldn't be like that.
We should be able to create like a piece of art.
But now we have to capture people's attention in like
TikTok world, and it's fucking stupid, dude, it's so fucking stupid, dude,
it's fucking it's so fucking retarded.

Speaker 1 (19:35):
I hate it.

Speaker 2 (19:36):
Oh. I even have talked to artists who we were
talking about the songwriting process nowadays, and like you have
to change if you go by what they tell you
to do, you have to change the songwriter. It used
to be like get an intro.

Speaker 4 (19:52):
A verse, chorus, verse, solo, Yeah, bridge, chorus, another, verse
and chorus.

Speaker 2 (20:02):
Now it's like, okay, you gotta go right into the chorus.

Speaker 1 (20:06):
Yeah, one verse, chorus.

Speaker 3 (20:09):
The chorus has to hit within thirty seconds. Now, if
you're gonna write a song that has a chorus, the
chorus has to hit within thirty seconds. If not, you're lost,
you're done, You're cooked. It's fucked. It takes away the artistry.
If you want to make like essentially like this big,
beautiful painting where people understand what you're doing, no one's

(20:30):
ever gonna understand. Like think about Bohemian Rhapsody right right,
the longest song ever, but that's also like the biggest
song ever. And everyone still loves that song because it's
like grandfathered in, so to speak. But if that song
where if Bohemian Rhapsody was released today, no one would
fucking care because they would just listen to the first

(20:52):
ten seconds and skip done. And it's like, no, you
can't just do the first ten seconds. Listen to the
whole fucking thing. It's a piece of art. But people
don't understand that. And that's okay, Like I'm not judging.
It's just kind of like, as an artist, a journey.

Speaker 2 (21:08):
That's what a song like that does. It takes you
on a journey.

Speaker 1 (21:12):
It takes you on a journey.

Speaker 3 (21:13):
But I think people these days don't want a journey,
they want a quick fix. So as an artist, it's
difficult being from the artist perspective, the one writing the
music and stuff. We have to navigate this new world
where people want a quick fix.

Speaker 1 (21:28):
They don't want the journey. They want the quick fix.

Speaker 3 (21:31):
And of course you will have the core fans that
will experience the journey, but you will never progress as
a band or become a big band so to speak,
unless you figure out how to hook people in right away. Yeah,
it's fucking weird. Dude, it sucks. It's I'm not gonna lie.
Everything sucks, right to build.

Speaker 2 (21:53):
Well, what happened to the build up? Some of the
best songs, there was a build up to it. I
remember taking a music class in college and they said
the key to writing this was then the key to
writing a hit song is to hit all three types
of people, visual, oratory, and kinesthetic. And they said the
example of the one song that does that best of

(22:15):
all is Stairway to Heaven yep. And it's because of
that build up, Like the whole song is a build
up yep.

Speaker 3 (22:23):
Yeah, of course. And even think of like another song
I think of is Don't Stop Believing. Yeah, you know where,
Like that part doesn't come in until like three or
four minutes into this song. It's a slow build, and
then at the very end you get.

Speaker 1 (22:40):
Dude, stop believe.

Speaker 3 (22:43):
But people back then they had no other choice but
to listen to the whole size, so they got the
full experience. But nowadays kids would just hear like don't
Stop Believing, which is a hit, they'd hear the first
ten seconds and skip, So it's we're kind of just
in this fucked world where dude, I don't even know
how to explain it, like, we're we're fucked, bro, Like.

Speaker 2 (23:04):
I I have a solution. I've been talking about all day.
I've been talking about a lot. The solution to the
whole world's problems is to have one big music festival
that everybody's required to attend. The only people that are
banned from the festival are politicians. Everybody else is perfect
quired to attend. Yeah, because listen, we won't fight, we

(23:27):
won't argue, and will just fucking enjoy this festival.

Speaker 1 (23:30):
Perfect.

Speaker 3 (23:31):
That sounds amazing. I think, though, to circle back and
answer the question, it's literally just social media that kind
of ruined everything because people expect a quick fix. Social
media is so curated to give everyone that quick fix,
quick fix that people expect that from music. Now where
they want that quick fix and people are they're not

(23:56):
excited for the long burn or the journey of a
song or where it takes you. Everyone wants a quick fix.
Everything is literally fifteen seconds or less. We're fucked. I
don't know how to reverse this.

Speaker 2 (24:09):
Even in my business. Okay, so where it used to
be either a thirty or a second sixty second commercial,
sixty doesn't even exist anymore. And it's like a five
fifteen or thirty and thirty is kind of long.

Speaker 1 (24:24):
Yeah, exactly.

Speaker 3 (24:26):
It's just everything like that, everything is shorter and shorter,
and it's like what happened, like because it's not like
we're all humans and we're all the same, so it's
not like our attention spans have gotten shorter. It's more
so that they've forced our attention spans to be shorter
because they're forced feeding us like quality, Like I say quality,

(24:48):
and it's all dog shit, but like bullshit quality content
that strikes your attention right away within the first like
few seconds, and you're just like boom boom boom, boom boom,
and you get everyone doomed scrolling. And that same thing
applies to music, where it's like, dude, music isn't meant
to be this way. It's meant to be a journey. Like,
listen to the album, enjoy it. And I'm very grateful

(25:11):
for the people out there that still appreciate the journey.
And I know that real music fans do appreciate the journey.
Real music fans when a band that they like releases
an album, they will listen to the full album front
to back. And I really appreciate those people, but those
people are gonna be your core fan base, whereas like

(25:34):
reaching new people becomes a difficult task as someone in
a band because you have to hit that like ten
second or less mark where you're like, fuck, dude, like
this is a good song, just fucking listen to the
whole thing, but everyone is so brain dead from doom
scrolling that they're just like boom click done, boom click done, boom,

(25:56):
Like all right, fuck it, they're gone, They're gone, dude,
It's fuck. It's as fucked dude.

Speaker 2 (26:01):
I can't wait for your new album because I I
am gonna listen listen from the gain to end, over
and over and over again.

Speaker 1 (26:09):
Thank you so much.

Speaker 3 (26:10):
Our new album is gonna take you on a journey
and you're gonna feel really weird. And I'm excited for
you to feel weird. I like that because it's gonna
take you from really heavy to country music to back
to even heavier, back to like rock and roll chorus,
back to heavy, back to Like anyone that listens to

(26:31):
the new Attila album front to back is gonna essentially
be like what the fuck is going on? And I
think that's what's cool. Is just creating an experience that's weird,
like it's it's a weird journey, and I want people
to experience the weird journey. So I hope that when
Concrete Throne comes out on Halloween that everyone sits down

(26:54):
and listens to it front to back so they can
experience how weird and different the album is.

Speaker 2 (26:59):
Well, they have to or they can't listen to my
show anymore.

Speaker 1 (27:02):
Deal the deal, dude, let's go.

Speaker 2 (27:04):
I love it well Man, always a pleasure to have
you here, and thanks for being on the Adventures of
pipe Man.

Speaker 1 (27:11):
Of course, pipe Man love you, bro. Thank you so much.

Speaker 3 (27:16):
Thank you for listening to the Adventures of pipe Man.
I'm w for Cui ray.

Speaker 2 (27:24):
Deal