E19 - "Tragedy Ghouls" by The Raging Nathans with Josh Goldman

Had the opportunity to catch up with Josh Goldman from The Raging Nathans to talk about their work "Tragedy Ghouls."

It's an open, candid, and sad tale that Josh has to tell behind the track.

They persevered and are out on the road with Less Than Jake as this is published.

Please show them your support through https://www.radgirlfriendrecords.com

#TheRagingNathans #TragedyGhouls #JoshGoldman #RadGirlfriendRecords #brettjamesjohnson #threecrowsclub #musicpodcast #bsidebreakdown

Episode Transcript

(00:01):
Three trows, Big Side Breakdown.Hey everyone, welcome to the B Side
Breakdown. My name is Brett Johnson. I am your host. This is
episode nineteen of a podcast where Italk with other artists, musicians, and
songwriters about a song they've written thatthey can give me permission to play in
its entirety on the episode and thenhave a chat with them to get deep

(00:23):
into the why behind it. Today, I'm going to be talking with Josh
Goldman from the band The Raging Nathan'sfrom Dayton, Ohio about their song Tragedy
Ghules. So let's get into it. Here is Tragedy Ghules by the Raging
Nathans. We know that there arenine dead twenty six injured. The shooter
was able to kill nine people andinjured twenty six in less than a minute.

(00:48):
Overnight, at least nine people killedat Dayton, Ohio. We're a
government opened fire and upon a townfilled with bars and restaurants. This morning,
at least nine dead and dozens injured. The hitting an around, blind
dog and the shter one person whereanybody on the left. Turin and her
bat rifle the hiding and make anew age or a net us. Not

(01:17):
the lady making children. He's workingpeople all they were build and join an
a town in the data. Youever go home with you and the Peter
building, you n letter notice thepresidents here's a Mark remarks. She seemed
to reference the wrong city. Ofcourse, the se was a paper in

(01:42):
the body rifle fire there in theregion's hr does there a body scattered singer
laying the football people who sat theremight a run of those fas you know,

(02:04):
d all over the fist murder withthe sitting out the fire for the
seconds to say the snaps part passwas setting forty one self, he says,

(02:28):
drop a turk you down, imaginingfourteen or fourteen another young man with
murder on his mind. People startedlight and that's when it started shocks f

(02:51):
th about three seconds though Fifth Streetwas a killing field as the shooter and
umber dust and totally in a soundstyle rifle with hundridge and JOm ammunition open
fire on the crowds outside of barnBull. This individual throw away the catastrophic

(03:15):
intry going on. Let's be honest. We were hearing people die, all
right, and that was tragedy.Ghules by the raging Nathan's We're gonna take
a quick break and we'll be rightback with Josh Goldman to talk about the

(03:37):
song and to see what he's workingon next. Stay with us, all
right, and we're back. Let'sbring in Josh from The Raging Nathan's to
talk about the song Tragedy Ghules.Hey, Josh, thanks again for taking
some time today to talk to meabout this song. Thanks for having me
absolutely man, it's you know,it's fun having you on this. I
I saw The Raging Nathan's open.I think it was a show at the

(04:00):
Earl in Atlanta a couple of yearsago in September or October of twenty twenty
one with Rat Owl and John Snodgrass. They had played and I think you
were on that bill, and I'mnot sure if you were on your way
to Fest too. I know thosebands were on the way to Fest,
but I was super stoked about yourband. And I know we've had a

(04:25):
little scheduling tag to get this going, but I'm glad that we got the
episode today. But thank you forputting forth the song Tragedy Ghules, and
I just wanted to check in withyou. What about that song? Did
you want to choose to talk aboutthat today. Well, first off,
yeah, I remember that show andthat was cool because we were on our

(04:47):
way to fest. We met upwith Canadian Niffel that night, but they
didn't play Gotcha. I love it, I love but yeah, I don't
know tragedy goals. I thought thatit was an interesting song to pick because
you know, it's it's kind ofintense. It was the first song on

(05:09):
the Oppositional Defiance record. It wasalso the first single for that record,
and there's just kind of a lotof like backstory behind it. You know,
that song has its own it hasits own story, which you know,
I thought was interesting to talk aboutand I've talked about it before.

(05:31):
But yeah, it's just it waskind of intense to make and to deal
with. And it's the only instrumentalsong that we have ever really done.
Got it Yeah, I mean itsounds intense. So can you share from
your perspective, what is the backstoryabout it? Well, in August of

(06:00):
nineteen, we were the region Nathan'swere on tour with the Dopamines in Europe,
and I mean we were we werein France and we had this like
everyone was kind of miserable and wehad these really long drives and and you

(06:20):
know, people were kind of youknow, drinking too much, and everyone
everyone was kind of at the endof the rope there. We had driven
all night after some festival and wegot to we drove from like Belgium to
France or I don't really remember what. But we got to this hotel at

(06:42):
like five in the morning, soyou know, it only gives you a
few hours to sleep, and sowe got there at five am. We
went to sleep, and I thinkwe had to be out of there at
like ten and there was no likeno one had any Wi Fi or internet
on their phone, maybe in tillwe got to the hotel or I don't

(07:02):
really remember, but at some pointearly in the morning, like everyone's phone
started kind of like you know,blowing up and you're getting all these weird
text messages. And I got onein particular from Jason Lebrono from Iron Chic,
and I was like, Hey,are you all right? Or like,

(07:25):
is everything okay? And I justthought that was odd because because you
know, we're we're friends and wehave been for a long time, but
like, you know, it waskind of a weird. It was a
weird person to hear from out ofthe blue, like asked her if you
were okay. So I think eventually, you know, I called my wife

(07:51):
and so it would have been themiddle of the night in where we live
in Dayton, and I told herto I asked to turn on the news.
We were on like FaceTime or something. I think I had some Wi
Fi at the hotel. Yeah,and so she turned on CNN and there
had been like, you know,a mass shooting that had killed you know,

(08:16):
nine people plus the shooter, sothat's ten people dead. And it
was all in front of like thisbar that I worked at. Oh wow,
and I had been there for likeat that point, I had been
there for like ten years. Some and Christian, our bass player,
we both worked there. And yeah, and that's how we found out about

(08:39):
it. Was like I had facetimed her and asked her to turn on
the news on FaceTime. So yeah, it was pretty fucked up, man,
And like, you know, there'slike a lot of intense feelings that

(09:00):
that went on over the next coupleof days. You know, from that
event, we were stuck in Europe. We you know, we couldn't come
home for the tour was not overfor like another week or so, sure,
and you know, there there isjust a lot of fighting and sadness.

(09:24):
It's weird like that, you know, I kind of like I kind
of was struck by this horrible tragedy, and I and and and I kind
of felt like, you know,at the time that there was yeah,

(09:46):
I don't know, I don't knowhow to put this without like being shitty.
It's just like, you know,me and Christian butted heads a lot
during that period because you know,I felt like there was a lot of
sensational that he was kind of playinginto, you know, in terms of

(10:07):
like what happened, who was there, blah blah blah, and you know,
it's like none of that shit reallymattered to me. It was like,
you know, it wasn't about us. It was about this fucked up
thing that happened, you know.Sure, and you know, we got
no big we got no big fightabout it. And I thought that was

(10:30):
going to be it for me andhim at that point. And then we
went home, and you know thatI was kind of I didn't realize that,
like, you know, the thenews people and the media, you

(10:52):
know, when something like this happens, they set up camp and you know,
they have their own tents and theyhave you know, and so the
area that we worked in is likethis bar district on Fifth Street, and
you know, man, I wasgetting like when when you're down, when

(11:13):
you work someplace for that long,you know, you know a lot of
people, like people were sending uslike stuff that you weren't seeing on the
news, you know, these fuckedup videos. And I remember like,
you know, somebody had sent mea video of this guy, you know,
performing CPR on this woman who wasdead. You know, just like

(11:35):
videos of like, yeah, peoplelike white sheets over them, you know,
just dead people. And it's likejust stuff that like videos that people
who are down there were taking andI remember, like I shouldn't have watched
some of that stuff. Pretty fuckbut anyway, you know, so the

(11:56):
media they set up these tents andthey stay down there for weeks, and
they're kind of like, you know, it's the big story. And like
the next day there was like somebig shooting in Texas at a Walmart that
killed you know, an enormous amountof people too, and it was just
like a really disgusting, scary,sad thing. And I remember coming home

(12:20):
and like the you know, thenews people had all been there for whatever,
like ten days at that point therestill were because like you know,
they were like still reporting on it, and but I hadn't been home yet,
so like I was kind of stillkind of like, you know,

(12:43):
I went to work that one thatday that I got home, and I
was like kind of trying to justI was like absorbing everything and you know,
letting it all, you know,sink in. And so other people
had been there you know when ithappened or whatever, you know, had
kind of like time to adjust oror you know, deal with what had

(13:05):
happened, but we had just itwas still fresh for us because we had
been away. So you know,I got there and there was like you
know, candle wax on the streetfrom from like a street light or you
know, like a vigil, youknow, and they were like bullet holes
in the fucking the building across thestreet, and you know there's just like

(13:26):
you so you're kind of like takingit all in and like, you know,
letting this immense tragedy kind of sinkin. And I look over and
there's like one of these you knownews guys and him and his cameraman and
they're just like you know, laughingand joking with each other and the guy's

(13:48):
fucking doing jumping jacks or some somethingweird. You know, that just struck
me as like it just pissed meoff because I'm like, you know,
I get that you guys have beenhere for fucking ten days, but you
know I haven't. And it's andit just seemed like a little you know,
jovial for the situation. So that'skind of where the the idea for

(14:13):
the for the song title came,you know, because that's what they that's
what that's called them. You know, they were like they're these like fucking
vultures. They kind of circle aroundwaiting for a news story, and like
that's what you see you watch thenews, but you don't see like,
you know, the people kind ofhovering around like like that's what makes their

(14:39):
job, that's what they do,you know. Yep. So yeah,
tragedy ghoules man, that's what Icalled them. And they are all those
Oh go ahead, sorry, no, it's just called an introduction. It
was just the you know, thefirst song on the record. It really
set the tone for you know,for the for the album Got It,
and were all the samples that werein it. Now, Is that all

(15:05):
were those all sound bites or clipsrelated to this specific event? Yeah,
totally. I like, you know, I found all of those clips and
yeah, that was like, youknow, that was hard to do,
I'm sure, but I don't know, like I looked at it as a

(15:28):
way of, you know, kindof dealing with what had happened myself,
because like, you know, there'sa lot of issues for me. It
was like I worked at this placefor you know, forty hours a week
for ten years, and you know, and Christian worked there for a long
time and he worked nights. Iworked during the day at that point.

(15:52):
But you know, it made youfeel like or it made me feel like
you know, and I've said thisbefore, but like it wasn't a feeling
of like, you know, guiltthat that we had for not being there,
but it was just like you know, but it kind of like hovered
somewhere in that realm. You know. It was just because like we could

(16:15):
have easily been there, and andtoo you know, if if we hadn't
been on tour, like one ofus surely would have been there, right.
Yeah, So it's like, youknow, it's com complicated feelings,
man, about it and yeah,you know, we had a coworker who
had gotten shot. She she's youknow, she was fine, but in

(16:38):
the end, but yeah, man, it's you know, it was it
was fucked up. And then likeI had this, I had this idea,
I had these like riffs, youknow, and once it started like
happening, and once we recorded thesong, I mean, it's pretty powerful,

(17:03):
and I wanted to release it asthe first single, and you know,
Christian really did not want that,and we we thought about that.
You know, ultimately, I didwhat I thought was best and that was
released it. We made a videofor it for Evan Wolf from the Cincinnati

(17:27):
band Vacation made the video, andyeah, man, I don't know.
I feel like it was my wayof kind of expressing my grief or like
my way of, you know,dealing with this thing that you never think
is gonna happen to you or anyoneyou know, and then and then when

(17:49):
it does, it's just such animmense shock, you know. Yeah,
well it sounds like a I mean, certainly, yeah, that's it's overwhelming
to hear the story from your perspective, just because I can't even I can't
fathom how that would feel. Well, yeah, I mean then you mix,

(18:15):
you know, you mix those feelingswith alcohol and drugs and whatever you
know everyone else is doing on tourand being so far away, and you
know, these kind of hyphen emotionsand it really made for like like a
way to end the tour. Andyeah, I mean, you know,

(18:37):
I just I remember unfortunately butting headswith with Christian about and you know,
now when I look back at it, whatever he was doing was just his
way of, you know, dealingwith this situation, you know what I
mean, just like I do,Just like I did. Yeh, yeah,

(18:59):
I hear that. I mean,I've been in I mean, I
certainly understand a lot of the feelingsthat you just described in your perspective on
things. I mean, not havingbeen directly involved or affected by a specific
incident like that hits so close tohome, like a mass shooting where I
work, that's just really hard towrap my mind around about how to process

(19:25):
that. And but the way thatyou did it through the song sounds like
a really great kind of cathartic wayto at least, you know, the
turn the pressure valve on a littlebit to release some of it, you
know, if nothing else and thatreally comes through, I mean, in
it from from my experience with thesong. But at the same time,

(19:48):
you know, it's like I hearyou about you know, and I appreciate
what you're saying about Christian and youknow, I'm I appreciate your candidness and
how you're speaking about it. Andalso you know that you acknowledge, right
he had his own process and howhe deals with things is kind of how
he deals with it, just likehow everybody deals with it their own way.

(20:11):
And you know, I mean,I know, I've certainly been in
situations like that where it's really justI have to acknowledge people are doing the
best they can with what they got, and whether or not it's acceptable or
not is wholly different. But Imean, I do understand that people are
just where they are and they processhow they process, and I don't have

(20:33):
any control over that. And evenwith the you know, the tragedy goals
that you're talking about doing Jumpin' Jacksonthe side, I mean, yeah,
that's it's got to sting like ason of a bitch. But at the
same time, it's also and thisis just so obviously easier for me to
see, but I mean, atthe same time, it's like, well,
I mean I get it kind of, but I mean, right,

(20:55):
that doesn't make it suck any lessthat Yo, dude, I just got
back and I'm dealing with fucking shipand you guys are doing jumping Jackson joking
around, like can you just fuckoff for a minute and let me process
this, you know, I meanthat's what it was. I mean I
hear it, and the whole andthe whole song was like, you know,
less about you know, my kindof letting letting you know, letting

(21:22):
it out or like or how Ifelt more than it was my disgust at
the the way that the media kindof like covers those events for sure.
Yeah, and so that's really whatthe song was aimed at. And by
taking taking those very clips and addingit to to the to the music,

(21:44):
you know, and I'm not surethat that gets you know, that that
gets by like or that everybody wholistens to that understands it, because like
you listen to it and it's it'skind of just like, yeah, these
like it's sad, you know,you listen to all these clips of the
news media or whatever. But itwas really kind of an attack on I

(22:10):
don't want to say like the media, because I think that it's crucial for
you know, a free country likethe United States to have an open media.
But it was just like the amountof it, this twenty four hour
news cycle which requires them and reportersand cameramen and you know, to just

(22:36):
be there twenty four hours a day, and they had left the street.
There was trash, there was youknow, it's like you couldn't walk down
because like what I think it getslost on those people is like this is
a place where people work, thisis a place where people live, and
it's not like, you know,it's not your playground for you for your

(22:59):
new story, right at least that'show I you know, that's how I
felt. Anyways. Yeah, no, I hear that too, And I
certainly didn't mean to minimalize it justto no. No, you I mean
this, you know, this iswhy I wanted to talk about the song.
You know it is because you know, I didn't get to always explain

(23:21):
it. Yeah, and I'm gladyou did, because it's like you said
earlier, you mentioned it's right,I mean, this is layered and complex
to begin with, and and rightand and you're you're making a deliberate statement
at the same time, you knowwhat I mean, And it's I think
that's just it's it's powerful for meto have heard it out of context and

(23:44):
not understanding this and now having thisdiscussion with you, because now I want
to go back and listen to itagain with that freshet of years knowing really
what this is about and what it'saimed at, you know. So,
I mean, I think it's it'sgreat that we've that you've had, that
you've shared what you have, andthat we've been able to talk about that,
just because I think anybody else who'slistening or will listen to this episode,

(24:07):
I hope we'll go back and relisten to that, you know,
or go find the record specifically andto that. I forgot the name of
the record. It was on oppositionWhat is it Oppositional Defiance? Oppositional Defiance?
And what year did this record comeout? Twenty twenty twenty twenty and
is that? Can you get itthrough band camp or where can people find

(24:27):
it? Yeah, I mean youcan order it through Radgirlfriendrecords dot com.
Okay, I'm trying to think itwas released. There was a there was
a European pressing of it. Butyeah, I mean there's still copies available
here in the States from from theyou know, I run of record label

(24:48):
called radgirl Friend Records and yip.Yeah, so that's where you can get
it band Camp or listen to iton any streaming service. Okay, good,
it's on the streaming services too.Okay, well cool? Is there
anything more or anything else you wantto add about just the song itself or

(25:10):
or I think anything more than thatreally kind of just you know, tears
it apart a little bit. Butnow that I think that was the important
the important bits. Okay, cool. Well, then with that, let's
take a quick break and we'll beright back more with Josh Goldman from The
Raging Nathan. Stay with us,all right, and we're back with Josh

(25:33):
Goldman from The Raging Nathan's. Josh, thank you so much for again coming
on to talk about tragedy goals andgiving us that background in context of the
event and the purpose of the song. I really appreciate you doing that,
and I wanted to ask you nowso one kind of on a different note.

(25:55):
I I also at one point startedand ran an independent record label at
Minneapolis, Minnesota, called Blueworm Recordsfor a decade or so, started in
the late nineties. And I knowthat you're running Rad Girlfriend Records, that's
your label. How long has thatlabel been around? Since twenty eleven,
so it'll be thirteen years this year, right on? Man, Good for
you. And are the Raging Nathan'sthe only artist on it or do you

(26:18):
have like a whole kind of rosterof different bands. No, we've worked
with hundreds of bands. I mean, we've we've put out at this point,
I think one hundred and eighty fiveyou know records, and it's you
know, mostly ninety nine vinyl releases. We've done some CDs and tapes and
stuff. But sure, now we'veworked with a wide variety of of you

(26:42):
know, people well known and notstill well known, and basically whoever we've
whoever we like. You know,that's awesome and so home to the Raging
Nathans. Yeah, yeah, yeah, okay, got it. And so
then with that, I'm also curiousbecause independent labels to me are obviously near

(27:02):
and dear to my heart and fascinatingto me for various reasons. But the
Blueworm Records when we started in Minneapolis, it was very much it was about
like the Twin Cities sort of musicscene or kind of expanding to if you're
from Minneapolis or the area. There'sthis you know, concept of the five
state area, which is north southDakota, Minnesota, Wisconsin, and Iowa

(27:23):
and and sort of we wanted toonly really represent artists kind of initially from
that region, just to kind ofkeep it in the spirit of I think
of you know, like Discord inDC, you know, Washington, d
C. That kind of thing issort of where we were feeling or heading
with that. And so with RadGirlfriend Records, are artists you're working with

(27:44):
specific to the Dayton, Ohio areaor is it global just people from all
over the world you're working with?No, No, it was it was
just you know, it started offwith you know, my friends, you
know people. It didn't really matterlike what city. Fact, Dayton probably
has the less, you know,the least representation on the label at all.
I mean, it's just like,I don't know, the scene here

(28:07):
is it's hard. There were alot of bands, There are a lot
of good bands, but like youknow, I found that anytime that we
put out from Dayton, they youknow, they'd break up or there wasn't
a lot of support. It's kindof sad, actually, I mean,
you know, I hate to sayit, but I never there just wasn't

(28:29):
a whole lot of action going onin terms of like bands being able to
you know, it's everybody wants youto put out their record, but no
one has any idea of like whatit takes to to like to do that
or to sell a record, right, you know, yeah we do,
but it doesn't you know, thatdoesn't preclude anybody. It's just if it

(28:49):
works out that way, we'll doit. You know. Yeah, No,
that's funny. I hear you.And good for you for still keeping
it going in still doing it,and yeah, I remember, I just
remember this kind of discussion that wasso I just kept having with bands over

(29:11):
and over again that I'd never heardof, They'd never had toured. I
know nothing about them. They've notplayed locally. They don't have a following
at all that I'm aware of,even when I'm asking them, you know,
like, so cool, then tellme about like where are you guys
playing, or where have you toured? Or who have you toured with?
Or you know, what are youdoing? Because they're talking about releasing this

(29:33):
record and they want blue them torelease it, and you know, when
it's like they haven't done anything forme, it's like, yeah, it's
a little challenging, you know.Or when they would ask me, like
what our distribution is, like I'mlike, dude, what difference does it
make if you've never if you're notgoing to play anywhere your record's going to
be because no one's going to buyit because no one will know about it.

(29:53):
But it is also you know,pre social media era for me,
like pre I, so it's notas it was way more challenging for like
spreading the word basically, like reallygetting it out there in some way that
yeah, here's some random band fromMinneapolis touring Paducah, Kentucky was always my
go to example. It's like,who gives a shit if your records in

(30:15):
some mom pow record store in Paducah, Kentucky if you're not going to play
there, Like if no one's evergonna know about you in that city,
then you know, And that wasalways that was always the hard part to
convey to aspiring bands that wanted totour, wanted to release records, which
for me was just like it there'sa diy spirit here for a reason,

(30:36):
like you have to do it,like you have to put in the work
to create kind of this momentum foryourself. And yeah, love to help
anybody help themselves succeed further and helprelease their record and work together on some
of those things. But then itjust got to be to a point I
think similar to what you were justdescribing with Dayton, where yeah, I
mean like one of the last band'srecords I put out, I mean,

(30:59):
right is putting it out in vinyl, like did a typical indie deal of
you know, fifty to fifty splitafter proceeds or like recouped costs and all
those kinds of things just kind ofstandard, like you guys agree to this,
it's cool, Like I'm down todo it. Let's do it.
And then they broke up, likeyou know, as the records came back
from the manufacturer, and well,like I had a problem saying no to

(31:23):
my friends. You know, theseare things that I've since you know,
worked on because it's like you wantto help out and you know a lot
of stuff I used to do,man, I you know, it was
like you know, and I haveno qualms about saying this or or about
you know, who I am totry to get to where I wanted to

(31:44):
be. Like, you know,it's like sometimes I thought that if I
put out someone's record, then youknow, maybe they'd reciprocate in some fashion
for me. And you know,sometimes that worked, but majority of the
time it didn't, you know,and which leads to disappointment. So you
know, this year, I mean, I'm just really focused on you know,

(32:07):
last year we put out twenty threerecords. Man, that's amazing,
I mean, but and it justfor the first time though in thirteen years.
It's like, you know, Ihave credit cards that I need to
pay off, like you know,and I'm just like kind of just sick
of dealing with people that I don'twant to deal with, you know,

(32:30):
and it's like, yeah, Idon't have to impress I don't have to
impress anybody anymore. And I feltlike for a long time that I did,
and I felt that I needed to, you know, help everyone out,
and but you can only kind ofdo that for so long, you
know, before you get burned out. And so that's where I'm at.
Really, It's like I'm burned outand I need to like just focus on

(32:51):
my band and you know, recordsthat from bands that that really care about
me and that I care about,And I got to stop, you know,
just doing shit to do it,you know, because I think that
it's gonna help me somewhere down theroad. You know. Yep, I
do. I understand that sentiment veryvery deeply. And yeah, I did

(33:17):
a lot of the similar those similarthings where ultimately I think I deluded sort
of the pool a little bit toomuch, with too much stuff, kind
of too wide of a net kindof people, some doing stuff, some
not, but then over extending myselfand then I'm not able to focus on
anything meaningfully. And like you justyou mean, you mentioned yourself feeling burnt

(33:39):
out. I certainly got there.But good for you for focusing on,
you know, taking care of yourselfand your band and you know the people
that you want to support and thatsupport you back. I mean, that's
awesome and I totally understand that.I totally get that. So then with
that, what's next for you?Then? Are you what's going on with

(34:00):
the Raging Nathan's I see you putout a record in twenty twenty three.
I was listening to it the otherday and it's awesome, Like I love
it, But then I see thisother single that you have and I was
a little confused on the timing ofthat, so like there's a I have
to look it up because I don'tremember the name of it now terrible.
Oh dude. We put out Weput out a lot of records, man,
So like we put out Oppositional Defiancein twenty twenty, We did Waste

(34:22):
My Heart, which is another LPin twenty twenty one, and then a
kind of rash of seven inches andsplit seven inches and twenty you know,
all the meanwhile releasing seven inches,and then twenty twenty two we had like
a singles compilation come out, andthen we did Still Spinning Blood and twenty

(34:43):
twenty that's what I was listening to. Twenty you know kind of got released
well and then it's Paradise. Sois that is that just like a two
song? Was that just something thatcame out after Still Spinning Blood? Yeah?
That was a split seven inch withthis band, well, a band
from Dayton. Actually the story changes, which has you know, Mark McMillan

(35:07):
and Poppy from Hawthorne Heights in thatband. So yeah, I mean we're
always trying to put out split seveninches and do stuff that we want to
do to keep it fun. Youknow, a lot of I think a
lot of our best songs end upon seven inches actually, which is stupid.
You know. I neglect to seethat. You know, maybe this

(35:31):
should go on an actual record,you know. But yeah, coming up,
we've got we're doing, you know, like about I think like ten
days in February in Florida or somethinglike that with the Queers, and then
March we have, yeah, wehave a tour with where we are opening

(35:52):
for Less than Jake and strung outfor a couple of weeks. And then
yeah, we have some other stuffgoing on in April that that hasn't been
announced yet. Yeah, a splitseven inch with that's it gives you a

(36:13):
hint, Oh got it? Cool? But yeah, you know man,
And then we're working on a newrecord and we've got a lot of songs
and we're just trying to find sometime to get into the studio. Sure
are you when you're doing the stintin Florida? Are you playing Orlando at
all? Yeah, we'll be atWill's Pub. Cool, I'll look it
up and I'll come say hi.Yeah, please do man, please let

(36:36):
me know. Yeah, yeah,that'd be super fun. And now I
was looking back and thinking of oldInstagram posts that I've seen since the rat
Owls show that I saw you guysat. I always call it the rat
owl Show because I went there becauserat all our friends of mine from Minneapolis.
And that's why I went to theEarl that day, not that it
was their show, just clarifying tothe world, but the did I see

(37:00):
that you guys? Did you doa stint with like a tour or something
with Midnight? Have you played withthem Bank the band Midnight? Okay,
I got it, the band theband Ribs Will Yeah, yeah, I
love them, And and that's whereI thought that, Uh I thought I
saw that. I was like,that is fucking amazing. You know.
I was super stoked for you guysif that it happened. But no,

(37:21):
But if you never have one ofthose guys on your podcast put in a
good word man, oh for sure, Will for sure Will. No,
that's awesome. Well cool, I'mstoke for your upcoming tours. I'm glad
that you're It's just cool that you'realways putting out stuff. Man. I
love hearing that that get it down, get it out. Here's a new
record, here's a new seven,and here's this. Oh yeah, we
got another record, and here's abunch of different tours we got coming up,

(37:43):
and we're opening for the queers.Like that? Is that is pretty
amazing? Wait, you know it'sjust yeah yeah, yeah, yeah,
no, it's it's inspiring to hearthat people are still still busting their asses
as hard as you guys are.I mean, it's it's really really awesome
to hear. Where oh yeah,yeah, yeah, absolutely, where's the

(38:07):
uh so again? Overall, like, where's the where's the best place to
people go find and follow the raisingNathan's? Is it on Instagram? Is
it through Red Girlfriend Records? Isit? Where's the best everywhere you can?
You know, Instagram is at theRaging Nathan's and Facebook? And sorry,

(38:31):
I'm like blanking out right now.Yeah, Red Girlfriend Records dot Com.
I mean we're we're kind of easilyaccessible. Okay, cool, cool,
Well, I'll I'll be sure toinclude links to those spots in the
episode information so people can go findyou. But yeah, Josh, thank
you so much for taking the timeto talk with me about that today and

(38:53):
give me the background and you withraising Nathan's Red Girlfriend records and the things
you got coming up. Super stokedfor you and look forward to seeing you,
you know, sometime in Florida andon your next tour. Thanks for
having me three trows B Side Breakdown. All right, and that wraps up

(39:32):
another episode of the B Side Breakdown. I want to thank Josh Goldman from
The Raging Nathan's for coming along totalk about their song Tragedy Ghouls. I
also want to thank Adam Kolong andCarry Bosel for helping me put together the
jingle you hear at the beginning andthe end of this episode. Up next,
we have Dynamite by Tragic Hands,and I'm gonna be talking with Richard
Horton. I'm gonna give you abrief sneak peek on that song and a

(39:54):
little bit. In the background,you're listening to a track called s F
three from the legendary skatee video Searchfor Animal Chin by the A M B
Team. Thank you George Powell andstay superlative for give me permission to play
that on this episode. Please subscribeto this podcast wherever you get your podcast.
Be safe and we'll catch in thenext one. Thanks set us up

(41:00):
a way Yeah.