July 18, 2025 • 28 mins
Instagram
https://chirpradio.org/blog/chicago-sounds-vinto-van-go
Bio
CHICAGO, IL – Psychedelic soul outfit Vinto Van Go is bringing the summer heat with
their new single “Hot Pants Boots,” a vibrant, groove-heavy track that sets the stage for
their upcoming album In the Neon Wilderness, out July 4.
“It became a party right there in the studio,” says the band’s frontman and lyricist.
“Everybody chirping in little bits... the whole construction of the song was so fun.” Built
collaboratively, the track captures the band’s spontaneous, celebratory energy and
reflects their deep roots in Chicago’s psych-rock and soul scene.
Described as “the best band at your local bar” and “the ultimate party band,” Vinto Van
Go has carved out a distinct space in the city’s live music community. Their sound
draws from the gospel-soaked soul traditions of Chicago’s past while pushing forward
with layers of distortion, reverb, and psychedelic texture. “I love psychedelic music
because it pulls the audience into the music. You’re not an observer anymore. You’re
inside it.”“Hot Pants Boots” has already become a live staple. “When we play it live, people
immediately start dancing and cheering. Some of them are even dressing up for it,” the
band shares. “We played a private Pride party last weekend, and the crowd showed up
in hot pants and boots, knowing we were going to play that song. That’s the dream.”
Vinto Van Go formed during the pandemic, when longtime collaborators and friends
used the pause in touring to experiment together in the studio. Each member brings a
unique voice to the group. Ann brings theatricality and character to every vocal
performance. Jon, a bassist from Manhattan who studied under jazz legend Ron Carter,
guides the groove with precision. Jason anchors the outfit with sharp, intuitive
drumming. Kevin, the band’s keyboardist and recording engineer, blends his Afrobeat
experience into every arrangement. “We all know what to do and when to leave space
for each other,” the frontman says. “You can hear that clearly in ‘Hot Pants Boots.’”
In the Neon Wilderness is the band’s second album, written and recorded entirely in the
past year. Their debut album dropped in April 2024 and helped solidify their status as
one of Chicago’s most exciting live acts. With local indie radio and fans alike rallying
behind them, the group has developed a loyal following that’s spreading beyond the city.
“We’ve got a scene here. If you go to a Vinto Van Go show, you’re going to run into at
least 50 people you love seeing. That kind of community is rare.”
As they gear up for their album release and upcoming gigs, including a show in New
York later this month, Vinto Van Go is keeping it simple.
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
https://chirpradio.org/blog/chicago-sounds-vinto-van-go
Bio
CHICAGO, IL – Psychedelic soul outfit Vinto Van Go is bringing the summer heat with
their new single “Hot Pants Boots,” a vibrant, groove-heavy track that sets the stage for
their upcoming album In the Neon Wilderness, out July 4.
“It became a party right there in the studio,” says the band’s frontman and lyricist.
“Everybody chirping in little bits... the whole construction of the song was so fun.” Built
collaboratively, the track captures the band’s spontaneous, celebratory energy and
reflects their deep roots in Chicago’s psych-rock and soul scene.
Described as “the best band at your local bar” and “the ultimate party band,” Vinto Van
Go has carved out a distinct space in the city’s live music community. Their sound
draws from the gospel-soaked soul traditions of Chicago’s past while pushing forward
with layers of distortion, reverb, and psychedelic texture. “I love psychedelic music
because it pulls the audience into the music. You’re not an observer anymore. You’re
inside it.”“Hot Pants Boots” has already become a live staple. “When we play it live, people
immediately start dancing and cheering. Some of them are even dressing up for it,” the
band shares. “We played a private Pride party last weekend, and the crowd showed up
in hot pants and boots, knowing we were going to play that song. That’s the dream.”
Vinto Van Go formed during the pandemic, when longtime collaborators and friends
used the pause in touring to experiment together in the studio. Each member brings a
unique voice to the group. Ann brings theatricality and character to every vocal
performance. Jon, a bassist from Manhattan who studied under jazz legend Ron Carter,
guides the groove with precision. Jason anchors the outfit with sharp, intuitive
drumming. Kevin, the band’s keyboardist and recording engineer, blends his Afrobeat
experience into every arrangement. “We all know what to do and when to leave space
for each other,” the frontman says. “You can hear that clearly in ‘Hot Pants Boots.’”
In the Neon Wilderness is the band’s second album, written and recorded entirely in the
past year. Their debut album dropped in April 2024 and helped solidify their status as
one of Chicago’s most exciting live acts. With local indie radio and fans alike rallying
behind them, the group has developed a loyal following that’s spreading beyond the city.
“We’ve got a scene here. If you go to a Vinto Van Go show, you’re going to run into at
least 50 people you love seeing. That kind of community is rare.”
As they gear up for their album release and upcoming gigs, including a show in New
York later this month, Vinto Van Go is keeping it simple.
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
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Speaker 2 (00:34):
Hi, everyone, welcome to another episode of Creators to Creators. Today,
Today we have a very special guest.
Speaker 3 (00:40):
Hi, I'm Vincent Brucker. Vinnie Brucker. Miss, I'm Kevin Ford,
and we're from Vinto Van Go, Chicago's psychedelic garage music.
Speaker 2 (00:50):
Nice. Nice, I love it, such a great name as well.
I love going back to the beginning. I always say
the beginning charge architectory in life, you know, a little
habits that would pick up along the way follow us
into our adulthood. So tell me a little bit about
your childhood, you know, briefly and and how like was
music always the uh? I don't know the way for you, guys.
Speaker 4 (01:16):
Kevin, why don't you start?
Speaker 5 (01:18):
Since I started playing piano when I was a little kid,
my mother got a piano. I remember when I was
maybe four years old or something, and I thought it
was cool used to bang around on and she's like,
I'm gonna give him keyboard lessons, and I guess that's
what kicked it all off for me. But she also
(01:39):
used to put these giant headphones on my little head
and play records like Kat Stevens and Elton John and
amazing stuff like that, and I would just be like mesmerized,
like taken to another place, you know, absolutely.
Speaker 3 (01:56):
I remember I did not come from a musical family,
though we are because everyone has caught the bug, but
as children, we were very non musical. Neither of my
parents played any instruments. We had none in the house,
and so in first grade I had my music classes,
and I don't really remember it, but I do know
(02:18):
this fact that the way I would act and sing
and dance to the music during music class prompted our
music teacher to bring my parents in to show them
my enthusiasm for music. And it took a while because
my parents were hesitant, but by fourth grade I'd finally
gotten them to buy me a guitar. So I struggled
(02:41):
to want to be able to play by not having
those instruments. And then once I got it, I've never
let go. I love playing the guitar.
Speaker 2 (02:50):
That's incredible. Would you guys say that like you're living
your purpose?
Speaker 4 (02:57):
Yeah, it feels like it. I guess that.
Speaker 3 (03:01):
While we are musicians who love playing live and are
out on the scene quite a bit, yeah we're not.
Speaker 4 (03:10):
You know.
Speaker 3 (03:10):
We even play with side acts all over the place
and other main performance groups, but where we really have
a home is this studio that you can see here,
this board right here, and this room here in Chicago,
and we really formed this place into a clubhouse.
Speaker 4 (03:31):
That.
Speaker 3 (03:32):
Yeah, we must have a purpose because we built ourselves
a church. You know. Kevin built the studio and I
made it a vital part of my life to attend it.
Speaker 5 (03:43):
Viy is a cherished regular of the studio, and he's
one of the smart people that knows you should go
every week. Yeah, and just make a habit of being
in the studio and things will happen. You'll get things done,
you'll improve at what you're doing. It's good to have
(04:04):
that consistent creative flow. And then he's definitely got that
going for him.
Speaker 4 (04:09):
Yeah, I figured that.
Speaker 3 (04:10):
I figured that out when we first started recording here,
like a lot of musicians do, and they just all right,
we have three hour hours, how many songs can we
get recorded?
Speaker 4 (04:19):
You know what I mean?
Speaker 3 (04:21):
But being able to make it a home means you're
not under any of that time pressure and instead you're
focusing on the actual thing of that is the creative process.
Speaker 4 (04:32):
What do I want to do today? What kind of
thing can I play with today?
Speaker 2 (04:37):
I love that. That's beautiful. And you guys come you
know Chicago. I mean, it's like one of the greatest
artists come from Chicago. Music is like you know, ingrained
in Chicago.
Speaker 3 (04:50):
Yeah, and we have you know, we're surrounded in our
scene here in Chicago with songwriters too. It's incredible. Uh,
just this week get the fest down the block from here.
Natalie Bergman from Wild Bell played Neighborhood in the in
the bars that we hang out, we have John Langford
and the Waco Brothers and of the me cons in town.
(05:14):
We we have a city that likes writers too, And
that's kind of I throw that out there because that's
kind of who I am too. I write the lyrics
for the songs and I see myself as contributing into
the spand significantly because of the writing.
Speaker 2 (05:30):
That's awesome. So what was the first moment in the
studio when you realized hot pants Boots was pure magic?
Speaker 4 (05:38):
Oh? We we we made that the party in the
play in there. Yeah.
Speaker 3 (05:46):
Uh, that does get thrown over to the fact of
what Kevin is. Kevin's not just uh, keyboards, He's the producer.
So he's sitting in front of what we call the
template at all times, and like a conductor in front
of symphony, he's like, Okay, something can go here. Oh,
we've got some room for something here. You know, I'm
(06:06):
sitting there thinking I want this song.
Speaker 4 (06:07):
On the radio. Let's not go over three in four minutes.
Speaker 1 (06:11):
You know.
Speaker 3 (06:14):
They use all that time then, and how to bring
it up so hopefully as you hear it, you know,
some different sounds are always happening, and you're like, well,
how did that happen? It seems if that was a
question you're asking because you hand someone the authority.
Speaker 5 (06:27):
There were moments, there were opportunities to have fun with
the song. I remember, well, Vin, he's good at giving
us kind of a story, kind of like a subtext
that goes along with the song. Yeah, and he'll kind
of tell us like, this is my idea, these are
my visuals I'm picturing, you know, these these people out
on the town, you know, and they end up in jail. Basically,
(06:51):
it's kind of what happens and just kind of a
wild night of partying.
Speaker 4 (06:55):
And all that.
Speaker 5 (06:56):
And so you know, there was a moment when Anne
was doing her vogue and we're like, let's record like
three or four as you know, and they're all different characters.
They are all the different women you know that are
out in this uh raucous party of of ladies.
Speaker 4 (07:14):
Out in the town.
Speaker 5 (07:14):
And so there's that to it. I forget at some
point the chance, you know, that's at the beginning and
the end of the song just kind of popped into
somebody's head.
Speaker 4 (07:25):
I forget and came up with that.
Speaker 5 (07:28):
Yeah, yeah, and came up with that, and so you know,
and that that beaten. It was kind of very quickly
came together, I would say for this.
Speaker 4 (07:37):
Yeah.
Speaker 2 (07:38):
Yeah, there's a lot of sounds, right like what was
one of the weirdest sounds that or instruments instruments that
made it into the final mix.
Speaker 3 (07:47):
Oh, I think I think you might be mentioning what
the space monk is, Well, I tell them what.
Speaker 5 (07:53):
Is that's the Well, there's there's an instrument called a melotron.
Everybody knows the mellotron from the beginning of beatles, that
flute sound. Ye, but it's in all kinds of recordings.
It basically I don't want to bore too much with
the technology details, but it's it's one of the first samplers,
(08:14):
kind of we're talking like nineteen sixty, you know, and
it played tape loops. You'd press a key and it
would play a loop of a tape, you know, say
it was a flute. Somebody would actually there was a
flutist that recorded that note. Wow, And each of the
notes on the keyboard is a separate recording of an
actual flute being played. So, and it has all these
sounds on it anyway, So they have these vocal sounds,
(08:35):
these choral sounds or these you know, there's one that's
like male voice and like boys choir and like that.
So I coined the term, I think space monks to
kind of cover all of those voice sounds. Yeah, you know,
and you just add trippy effects to them and stuff.
So once in a while, it's kind of a Vento
van Goo uh.
Speaker 4 (08:56):
I never write monk.
Speaker 3 (08:57):
I never write for the Space Monks. We're laying down
basic tracks. You don't play with the space months and
then somewhere in the stages have always been able to
be in the clubhouse the Space Monks make their appearance.
Speaker 5 (09:12):
They're like a frosting. Yeah. I sit and contemplate, you know.
I listen to what everybody's doing and listen to the
bare bones of the song, and I go, does this
one needs Space Monks or you know, a cello or something.
Speaker 3 (09:27):
No, no, no, you know, then when we know we
got the Space Monks pretty close to being done with it.
Speaker 6 (09:33):
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Speaker 2 (10:11):
I love that.
Speaker 4 (10:12):
I love that.
Speaker 2 (10:12):
Now what you said, you know, writing is your thing,
so like I mean, you know, I have a background
in film and so I'm a super perfectionist, and so
I'm curious when you're writing a song or you know,
coming up with the idea, how do you know like, okay,
it's final, it's complete, because you know you can keep building,
you can add on. How do you know how to
like stop yourself doing?
Speaker 4 (10:33):
You're right, you do have to stop yourself.
Speaker 3 (10:35):
Of the French pub Paul Valery said, a poem has
never finished written, it's only abandoned. One of the things
that happens with songwriting when you're not going to sing
the songs themselves. And Ann Filmer, but Ann Filmer's got
great theater talent. She's a director and actor with great
(10:56):
dance experience in theater, so she knows how to come
and take the heart of it. And so I think
for me, it's it's collaborative. It's when the band has
owned it enough that it's no longer just my song
that I wrote. It's their song too, because they've written
it and what they've written now has made it so Okay,
there's not much more room for my you know, reinvention
(11:18):
here because I'm working with something that's already being developed.
And that's something you wouldn't get or Paul Valley would
have gotten from writing a poem, which is the fact
that you know when you write for music. And Copperhead
that woman cop the Dory, She's story song, so I mean,
and you can.
Speaker 4 (11:37):
Go through all the other vocals too.
Speaker 3 (11:40):
I think I'm trying to find really strong characters in
my life and that's how the songs are coming out
for the second album, because they're being written for Ann's voice.
Speaker 2 (11:49):
Yeah, that's that's that's awesome. So I have a fun
question that I like asking every guest, and there is
no wrong answer. I promise the levels of influence, money power,
and respect. And if you could choose anthon one of
those things, which one could you choose? Would you choose?
And why? Money power and respect?
Speaker 3 (12:13):
I'll speak for both of us say we haven't made
choices for the first two, but we've made so many.
And his talent and the way he takes care of music,
it's definitely important doing things that are of high quality,
and we talk about it all the time and I
hear him in his jazz band, I hear him in
his Zapfrob ensemble. Uh, this is a guy who's looking
(12:38):
for quality over here, and so I think that fits
more under the reds part.
Speaker 2 (12:42):
Right, Yeah, I love that, great, great answer. Would you
say you guys say that right? Would you say that?
The music world? I mean, obviously now everything is so saturated,
you know, being in the artists, it's kind of difficult
to get your music out because you're going against these
(13:05):
big labels or conglomerates. What what's something that keeps you going,
you know, and keep pushing even though yeah, it's saturated,
but you know, getting your work out there.
Speaker 3 (13:17):
Well, we have an audience here in Chicago that keeps
us going. We we play for them, we know them well,
they're not our fans, they're clearly our friends. And one
of the fun things about putting yourself out there, like
we're about to go on tour.
Speaker 4 (13:38):
Was our last rehearsal before the tour begins.
Speaker 3 (13:41):
And the concept of going on this tour is so
that when we come back home, we're going to be
even better the next time they see us, because we're
going to have more experience. And yeah, I think that
maybe my relationship with you, Kevin's always been based on
knowing that I had something to learn from you, and
so that whatever I'm doing isn't about trying to compete
with that other market. It's about like, all right, where
(14:03):
am I and what can I do and what can
I learn?
Speaker 5 (14:06):
Yeah, we all learn from each other, I think. I mean,
I think the process of making the music in itself
is very rewarding as well. I think, especially working in
the studio where you can really craft what you're doing
and really bring the ideal life. You know, there's just
there's something so rewarning about that. I almost think nothing's
(14:30):
almost nothing's going to be better than that feeling than
when it really connects with the crowd of people if
you're lucky enough for them to happen. And then it's
just a real culmination of all those all those things,
and it's it's you know, it's not about being famous
and rich so much, I think, as it is just
(14:52):
those moments when it's like, wow, that was like you know,
something cool happened. Life was happening there. You know, that
was an experience.
Speaker 3 (14:59):
Like yeah, the person and then now it exists, Yeah,
you didn't have that memory before and now we own
that memory.
Speaker 4 (15:07):
Yeah.
Speaker 5 (15:08):
Yeah. And Vinny's you know, his songs are these worlds
into into themselves and so there's just a whole uh
kind of journey involved with with all of them, you know,
stories and yeah, feelings and stuff and vibes and which
is hot Pants Boots is a party? It's kind of
a fun party song that there's other songs that are
more serious and depends.
Speaker 2 (15:30):
But I really like hotpants butoot because it's it's it's
such a crazy time that we're living in. I feel
like we need something like escapism, something to get from
all the negative things that you see in the news.
Speaker 4 (15:42):
Yes, let's have some summer fun.
Speaker 5 (15:45):
Yeah, there's something about celebrating, uh, losing control a little bit,
you know, and maybe or maybe not getting horible, but
you know, just totally letting go and enjoying yourself.
Speaker 4 (16:02):
Yes. Becoming.
Speaker 5 (16:04):
Yeah, just what Pretty Bibby is all about?
Speaker 4 (16:07):
Becoming.
Speaker 3 (16:07):
That's what life's personal journeys mean. Like what are you
becoming now?
Speaker 2 (16:12):
Yeah? I love that when you hit a creative block,
what's your ritual for breaking out of it?
Speaker 3 (16:20):
Well, I think I can't say that that creative block
is something that would happen. I could just say, oh,
I'm not writing a song today, but I have something
to work on. So it's like, as a writer's point
of view is if you have the desk, and if
you sit at the desk, perhaps something happens. If I know,
(16:44):
once a week we're gonna be sitting at this desk, yeah,
and looking at these boards.
Speaker 4 (16:48):
We need something for it so.
Speaker 3 (16:52):
That those creative blocks when they happen, or when you're
just not being as creative with new songs, it's a
perfect opportunity then to be working on the things we've
already gotten.
Speaker 4 (17:01):
And perhaps because I'm not.
Speaker 3 (17:05):
As rushed with that, I don't feel like and there's
a lot of work about sharing my stuff with the
band that I don't feel as intimidated about. I'm just
like it'll come. I'll just stay in your desks and
there'll be something will happen.
Speaker 5 (17:21):
Yeah, I don't think we've ever had a session where
we were like, what are we gonna do? This guy's
always got new music since I met him. He's just
always been working on new stuff. So yeah, if it's
not a new song that we're kind of building the
structure for or something like that, it's finishing what we've
(17:42):
already got and yeah, exactly, that's all the things we
can do.
Speaker 2 (17:49):
Definitely, do you guys, I mean obviously you know now
we're living in a type of AI. A lot of
people hate this question because they're just like AI, what
do you mean? People are afraid of it. Some people
will brace said, how do you guys feel about AI?
And you know how it applies to music world in
the future.
Speaker 3 (18:07):
Oh wow, I'm gonna leave this one for him as
a producer. They're building the AIS for guys like him.
Speaker 5 (18:15):
I steal my job. They'll never do it. No, there
are some things like I noticed with with mastering, for one,
which is the process of taking Like so you have
a song, if something that you mixed in your computer
or whatever, you know, anybody, and there are sites that
(18:35):
you can use AI to get it mastered, which is
where you make it you know, loud enough to be
played on Spotify and everything. It kind of you know,
little problems and if there's too much bass or too
much trouble or something in the song, or if it's
you know, just to get it to play up to
spec And that's a whole I mean, mastering engineers are
(18:56):
just disappearing, I think fast than anybody else in the industry,
because you know, I still find them valuable personally. But
there are sites will upload your mix to and it
just masters it.
Speaker 4 (19:08):
For you, you know.
Speaker 5 (19:11):
But there are other and there are other things with
AI that are actually really cool that you can use
in the producing process. Like there's a program now that'll
take a song. You can take a whole song and
feed it into this you know, AI based software, and
it will separate all the parts of the music in
the separate parts. So it'll take the bass track out
(19:32):
of the song and separate that and separate the drums
and the vocals. And there's people that use that, and
then they'll do a remix of something that was recorded
in like nineteen thirty or whatever if you wanted to,
because it'll pull all the pieces of the song out
and then you can you know, manipulate that, just do
a new base line. I mean, it's just pretty amazing.
(19:52):
So there's many exciting things as there are you know, disappointing.
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Speaker 3 (20:49):
Though for me, the writing part, which I know writers
have to any guild of writers, has to be really definite.
But for what I'm after with what I'm writing, i
AI doesn't make as much sense anyway, because I'm trying
to tell my stories, you know, Yeah, and that is
(21:11):
that is I think the thing that you will see
that AI fits into. It's to help us tell the stories,
to be extensions of our stories, not to tell our
stories for us.
Speaker 4 (21:23):
Right, you know what I mean?
Speaker 2 (21:25):
I love that? Yeah, I mean it's it's a lot
of people are afraid and and I understand and like
you said, like there are frozen colls to everything, right,
and it's like I guess it's how you use them all,
is there? You know, if another fun question like asking
if there's any artist living or dead that you guys
(21:46):
could perform with, who would it be and why?
Speaker 3 (21:50):
Oh well, he already has performed so many musical heroes.
What might you say about that you've gotten to play with?
Speaker 5 (22:03):
And I don't know, that's that's tricky. I mean I've
always I've always liked I mean, you could pick almost
any instrument a guitarist would be like Jimi Hendrix because
you just had something so unique and his whole relationship
with his instrument. I mean, it must have been just
amazing to play with him because of his unique you know,
(22:25):
energy and his just physical connection.
Speaker 7 (22:27):
With every note he was playing. Yeah, there was just
a fire in his music, but you know, but physical
connection to what he was playing. Yeah.
Speaker 5 (22:41):
I'm always drawn to people that seemed to be on
their own wavelength. Yes, what they're doing in music, yes,
some unique.
Speaker 3 (22:49):
You know.
Speaker 5 (22:51):
It's like anybody can be good at filling the blank,
you know this or something. But ever once in a
while you meet somebody that's got their own approach and
you're like, there's this guy's doing something different.
Speaker 2 (23:01):
Yeah, you know, do you think they just tapp into
some like source people that kind of get to that
level is like a sourcic pet like they've tappened to
because I don't know, it's something like it's like, like
you said, Jimi Hendrix, or you know, you can go
down the list like a Michael Jackson or certain people
that just kind of, I don't know, reach some level
of Yeah, I mean there.
Speaker 5 (23:21):
Was something that John Lennon, you know obviously that it's
like anybody around him just gained so much talent just
by being around. Every one of the Beatles wrote great songs.
I mean yeah, and maybe it wasn't just John Lennon.
I mean all those guys are talented in their own
right too. But you know there's people that you wonder
if I could work with this person and get some
(23:43):
of that to rub off on me a little bit.
Speaker 3 (23:45):
Yeah, And I think we were saying that with Lennon,
is exactly it, like it isn't all you know, who
do you want to play with? I want to play
with all of them, right, Yeah. But what really reinforces
the creativity of a band is why some of these
people had it is because they were part of scenes
and they had people around them, and I love that.
(24:06):
I love that we're, you know, not teenagers, and we
don't play of most of our concerts in would be
it per se, And I love that right now there's
a way to use rock and roll that isn't talking
nothing against the Beatles, but holding your hand, you know.
(24:27):
And there's a time now in the history of rock
and roll where it doesn't have to be just about
adolescent identity and maturity, and it can become about people
who would say that's what was about, you know what
I mean?
Speaker 4 (24:39):
And I see so many people out there. I already
mentioned a bunch of the.
Speaker 3 (24:46):
Jeff tweety, but there's a whole bunch of people out
there in America right now who are writing and using
rock and roll to communicate what it means to have
lived in America of these last many years that we have.
Speaker 4 (25:00):
And I like that scene out there that there is.
Speaker 3 (25:03):
Rock and roll isn't just for kids anymore, and it's
becoming a major vehicle for a lot of really mature
literary like levels and high musical levels of uh, the
artistic creative journeys that we take.
Speaker 4 (25:19):
Through our life.
Speaker 2 (25:20):
Absolutely absolutely, you know what what advice would you would
you give to to you know, those guys out there
that are trying to, you know, get their band out
there or even start start on.
Speaker 3 (25:33):
Yeah, you have to get out there. That's the thing,
and that's what everybody will say to you when you
first do it. It isn't that they have to talk
about whether you're great or not. You have to recognize
what they'll see all the time is ge you're putting
yourself out there. Yeah, that's what I think was I
(25:54):
think that's what was happening in first grade when my
parents had to come to see the school and see
what I was doing in music class.
Speaker 4 (26:00):
They say, look, your boy's putting it out there. He's
excited about music.
Speaker 1 (26:05):
Yeah.
Speaker 2 (26:05):
Absolutely, I love that. Thank you guys for coming on.
And it was just so awesome to hear the journey
of it all. Do you guys have anything coming up?
Any shows that you guys are going to be doing
and performing it.
Speaker 3 (26:22):
Yes. July twenty fifth at Buttonwood's Brewery in Providence, Rhode Island,
just off the Brown University campus. And then we're on
the Lower East Side next Saturday, July twenty sixth at
the Parkside Lounge on Houston Street in New York City,
and then we'll be returning in the fall and playing
(26:44):
shows around the Chicago area, and our big feature show
this fall will be at the Cobby Bear on Saturday,
October eighteen.
Speaker 2 (26:52):
I love that. I love that. I love having gets too,
love that you guys are booked and busy. I love it, yes,
any like, and I love I'm kind of a quote
kind of girl.
Speaker 5 (27:05):
I love quotes.
Speaker 2 (27:06):
Is there a quote that you know either one that like,
a favorite quote that just kind of keeps you going
on those hard days?
Speaker 4 (27:15):
Mmm? I like that.
Speaker 3 (27:22):
Ability of all music to have those kinds of quotes.
So I think what I do is I do that
I look for quotes. I never thought of it this way.
I'm Wes said before, But when I'm picking music for
my bike ride in the morning or or in the car,
at some point I'm probably I'm looking for some great quotes.
Today we were rehearsing our music, so it was our songs.
Speaker 4 (27:43):
I was focused on love it, love that.
Speaker 3 (27:47):
Well.
Speaker 2 (27:47):
Thank you guys again. And oh and also where can
people find you guys on social media? To follow everything
you have going?
Speaker 3 (27:53):
All? Right? Vinto van Go, Facebook, vinto Vango, Instagram, and
we really use our band camp as an introduction to
our music, so all our songs lyrics are posted there,
plus a little stories about them and if there's a
guest musician besides the space monk here or there, it
mentions that there nice.
Speaker 5 (28:13):
There's there's a time when the space monks did have names.
There was there was a person that's saying that you know, yes,
we just never don't know.
Speaker 2 (28:23):
The hell there in space?
Speaker 7 (28:26):
I love it.
Speaker 2 (28:27):
Yes, thank you guys again, and thank you all for
listening and always remember to live, love, laugh. We'll see
you guys next time.
Speaker 4 (28:37):
Thank you us
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Speaker 2 (00:34):
Hi, everyone, welcome to another episode of Creators to Creators. Today,
Today we have a very special guest.
Speaker 3 (00:40):
Hi, I'm Vincent Brucker. Vinnie Brucker. Miss, I'm Kevin Ford,
and we're from Vinto Van Go, Chicago's psychedelic garage music.
Speaker 2 (00:50):
Nice. Nice, I love it, such a great name as well.
I love going back to the beginning. I always say
the beginning charge architectory in life, you know, a little
habits that would pick up along the way follow us
into our adulthood. So tell me a little bit about
your childhood, you know, briefly and and how like was
music always the uh? I don't know the way for you, guys.
Speaker 4 (01:16):
Kevin, why don't you start?
Speaker 5 (01:18):
Since I started playing piano when I was a little kid,
my mother got a piano. I remember when I was
maybe four years old or something, and I thought it
was cool used to bang around on and she's like,
I'm gonna give him keyboard lessons, and I guess that's
what kicked it all off for me. But she also
(01:39):
used to put these giant headphones on my little head
and play records like Kat Stevens and Elton John and
amazing stuff like that, and I would just be like mesmerized,
like taken to another place, you know, absolutely.
Speaker 3 (01:56):
I remember I did not come from a musical family,
though we are because everyone has caught the bug, but
as children, we were very non musical. Neither of my
parents played any instruments. We had none in the house,
and so in first grade I had my music classes,
and I don't really remember it, but I do know
(02:18):
this fact that the way I would act and sing
and dance to the music during music class prompted our
music teacher to bring my parents in to show them
my enthusiasm for music. And it took a while because
my parents were hesitant, but by fourth grade I'd finally
gotten them to buy me a guitar. So I struggled
(02:41):
to want to be able to play by not having
those instruments. And then once I got it, I've never
let go. I love playing the guitar.
Speaker 2 (02:50):
That's incredible. Would you guys say that like you're living
your purpose?
Speaker 4 (02:57):
Yeah, it feels like it. I guess that.
Speaker 3 (03:01):
While we are musicians who love playing live and are
out on the scene quite a bit, yeah we're not.
Speaker 4 (03:10):
You know.
Speaker 3 (03:10):
We even play with side acts all over the place
and other main performance groups, but where we really have
a home is this studio that you can see here,
this board right here, and this room here in Chicago,
and we really formed this place into a clubhouse.
Speaker 4 (03:31):
That.
Speaker 3 (03:32):
Yeah, we must have a purpose because we built ourselves
a church. You know. Kevin built the studio and I
made it a vital part of my life to attend it.
Speaker 5 (03:43):
Viy is a cherished regular of the studio, and he's
one of the smart people that knows you should go
every week. Yeah, and just make a habit of being
in the studio and things will happen. You'll get things done,
you'll improve at what you're doing. It's good to have
(04:04):
that consistent creative flow. And then he's definitely got that
going for him.
Speaker 4 (04:09):
Yeah, I figured that.
Speaker 3 (04:10):
I figured that out when we first started recording here,
like a lot of musicians do, and they just all right,
we have three hour hours, how many songs can we
get recorded?
Speaker 4 (04:19):
You know what I mean?
Speaker 3 (04:21):
But being able to make it a home means you're
not under any of that time pressure and instead you're
focusing on the actual thing of that is the creative process.
Speaker 4 (04:32):
What do I want to do today? What kind of
thing can I play with today?
Speaker 2 (04:37):
I love that. That's beautiful. And you guys come you
know Chicago. I mean, it's like one of the greatest
artists come from Chicago. Music is like you know, ingrained
in Chicago.
Speaker 3 (04:50):
Yeah, and we have you know, we're surrounded in our
scene here in Chicago with songwriters too. It's incredible. Uh,
just this week get the fest down the block from here.
Natalie Bergman from Wild Bell played Neighborhood in the in
the bars that we hang out, we have John Langford
and the Waco Brothers and of the me cons in town.
(05:14):
We we have a city that likes writers too, And
that's kind of I throw that out there because that's
kind of who I am too. I write the lyrics
for the songs and I see myself as contributing into
the spand significantly because of the writing.
Speaker 2 (05:30):
That's awesome. So what was the first moment in the
studio when you realized hot pants Boots was pure magic?
Speaker 4 (05:38):
Oh? We we we made that the party in the
play in there. Yeah.
Speaker 3 (05:46):
Uh, that does get thrown over to the fact of
what Kevin is. Kevin's not just uh, keyboards, He's the producer.
So he's sitting in front of what we call the
template at all times, and like a conductor in front
of symphony, he's like, Okay, something can go here. Oh,
we've got some room for something here. You know, I'm
(06:06):
sitting there thinking I want this song.
Speaker 4 (06:07):
On the radio. Let's not go over three in four minutes.
Speaker 1 (06:11):
You know.
Speaker 3 (06:14):
They use all that time then, and how to bring
it up so hopefully as you hear it, you know,
some different sounds are always happening, and you're like, well,
how did that happen? It seems if that was a
question you're asking because you hand someone the authority.
Speaker 5 (06:27):
There were moments, there were opportunities to have fun with
the song. I remember, well, Vin, he's good at giving
us kind of a story, kind of like a subtext
that goes along with the song. Yeah, and he'll kind
of tell us like, this is my idea, these are
my visuals I'm picturing, you know, these these people out
on the town, you know, and they end up in jail. Basically,
(06:51):
it's kind of what happens and just kind of a
wild night of partying.
Speaker 4 (06:55):
And all that.
Speaker 5 (06:56):
And so you know, there was a moment when Anne
was doing her vogue and we're like, let's record like
three or four as you know, and they're all different characters.
They are all the different women you know that are
out in this uh raucous party of of ladies.
Speaker 4 (07:14):
Out in the town.
Speaker 5 (07:14):
And so there's that to it. I forget at some
point the chance, you know, that's at the beginning and
the end of the song just kind of popped into
somebody's head.
Speaker 4 (07:25):
I forget and came up with that.
Speaker 5 (07:28):
Yeah, yeah, and came up with that, and so you know,
and that that beaten. It was kind of very quickly
came together, I would say for this.
Speaker 4 (07:37):
Yeah.
Speaker 2 (07:38):
Yeah, there's a lot of sounds, right like what was
one of the weirdest sounds that or instruments instruments that
made it into the final mix.
Speaker 3 (07:47):
Oh, I think I think you might be mentioning what
the space monk is, Well, I tell them what.
Speaker 5 (07:53):
Is that's the Well, there's there's an instrument called a melotron.
Everybody knows the mellotron from the beginning of beatles, that
flute sound. Ye, but it's in all kinds of recordings.
It basically I don't want to bore too much with
the technology details, but it's it's one of the first samplers,
(08:14):
kind of we're talking like nineteen sixty, you know, and
it played tape loops. You'd press a key and it
would play a loop of a tape, you know, say
it was a flute. Somebody would actually there was a
flutist that recorded that note. Wow, And each of the
notes on the keyboard is a separate recording of an
actual flute being played. So, and it has all these
sounds on it anyway, So they have these vocal sounds,
(08:35):
these choral sounds or these you know, there's one that's
like male voice and like boys choir and like that.
So I coined the term, I think space monks to
kind of cover all of those voice sounds. Yeah, you know,
and you just add trippy effects to them and stuff.
So once in a while, it's kind of a Vento
van Goo uh.
Speaker 4 (08:56):
I never write monk.
Speaker 3 (08:57):
I never write for the Space Monks. We're laying down
basic tracks. You don't play with the space months and
then somewhere in the stages have always been able to
be in the clubhouse the Space Monks make their appearance.
Speaker 5 (09:12):
They're like a frosting. Yeah. I sit and contemplate, you know.
I listen to what everybody's doing and listen to the
bare bones of the song, and I go, does this
one needs Space Monks or you know, a cello or something.
Speaker 3 (09:27):
No, no, no, you know, then when we know we
got the Space Monks pretty close to being done with it.
Speaker 6 (09:33):
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Speaker 2 (10:11):
I love that.
Speaker 4 (10:12):
I love that.
Speaker 2 (10:12):
Now what you said, you know, writing is your thing,
so like I mean, you know, I have a background
in film and so I'm a super perfectionist, and so
I'm curious when you're writing a song or you know,
coming up with the idea, how do you know like, okay,
it's final, it's complete, because you know you can keep building,
you can add on. How do you know how to
like stop yourself doing?
Speaker 4 (10:33):
You're right, you do have to stop yourself.
Speaker 3 (10:35):
Of the French pub Paul Valery said, a poem has
never finished written, it's only abandoned. One of the things
that happens with songwriting when you're not going to sing
the songs themselves. And Ann Filmer, but Ann Filmer's got
great theater talent. She's a director and actor with great
(10:56):
dance experience in theater, so she knows how to come
and take the heart of it. And so I think
for me, it's it's collaborative. It's when the band has
owned it enough that it's no longer just my song
that I wrote. It's their song too, because they've written
it and what they've written now has made it so Okay,
there's not much more room for my you know, reinvention
(11:18):
here because I'm working with something that's already being developed.
And that's something you wouldn't get or Paul Valley would
have gotten from writing a poem, which is the fact
that you know when you write for music. And Copperhead
that woman cop the Dory, She's story song, so I mean,
and you can.
Speaker 4 (11:37):
Go through all the other vocals too.
Speaker 3 (11:40):
I think I'm trying to find really strong characters in
my life and that's how the songs are coming out
for the second album, because they're being written for Ann's voice.
Speaker 2 (11:49):
Yeah, that's that's that's awesome. So I have a fun
question that I like asking every guest, and there is
no wrong answer. I promise the levels of influence, money power,
and respect. And if you could choose anthon one of
those things, which one could you choose? Would you choose?
And why? Money power and respect?
Speaker 3 (12:13):
I'll speak for both of us say we haven't made
choices for the first two, but we've made so many.
And his talent and the way he takes care of music,
it's definitely important doing things that are of high quality,
and we talk about it all the time and I
hear him in his jazz band, I hear him in
his Zapfrob ensemble. Uh, this is a guy who's looking
(12:38):
for quality over here, and so I think that fits
more under the reds part.
Speaker 2 (12:42):
Right, Yeah, I love that, great, great answer. Would you
say you guys say that right? Would you say that?
The music world? I mean, obviously now everything is so saturated,
you know, being in the artists, it's kind of difficult
to get your music out because you're going against these
(13:05):
big labels or conglomerates. What what's something that keeps you going,
you know, and keep pushing even though yeah, it's saturated,
but you know, getting your work out there.
Speaker 3 (13:17):
Well, we have an audience here in Chicago that keeps
us going. We we play for them, we know them well,
they're not our fans, they're clearly our friends. And one
of the fun things about putting yourself out there, like
we're about to go on tour.
Speaker 4 (13:38):
Was our last rehearsal before the tour begins.
Speaker 3 (13:41):
And the concept of going on this tour is so
that when we come back home, we're going to be
even better the next time they see us, because we're
going to have more experience. And yeah, I think that
maybe my relationship with you, Kevin's always been based on
knowing that I had something to learn from you, and
so that whatever I'm doing isn't about trying to compete
with that other market. It's about like, all right, where
(14:03):
am I and what can I do and what can
I learn?
Speaker 5 (14:06):
Yeah, we all learn from each other, I think. I mean,
I think the process of making the music in itself
is very rewarding as well. I think, especially working in
the studio where you can really craft what you're doing
and really bring the ideal life. You know, there's just
there's something so rewarning about that. I almost think nothing's
(14:30):
almost nothing's going to be better than that feeling than
when it really connects with the crowd of people if
you're lucky enough for them to happen. And then it's
just a real culmination of all those all those things,
and it's it's you know, it's not about being famous
and rich so much, I think, as it is just
(14:52):
those moments when it's like, wow, that was like you know,
something cool happened. Life was happening there. You know, that
was an experience.
Speaker 3 (14:59):
Like yeah, the person and then now it exists, Yeah,
you didn't have that memory before and now we own
that memory.
Speaker 4 (15:07):
Yeah.
Speaker 5 (15:08):
Yeah. And Vinny's you know, his songs are these worlds
into into themselves and so there's just a whole uh
kind of journey involved with with all of them, you know,
stories and yeah, feelings and stuff and vibes and which
is hot Pants Boots is a party? It's kind of
a fun party song that there's other songs that are
more serious and depends.
Speaker 2 (15:30):
But I really like hotpants butoot because it's it's it's
such a crazy time that we're living in. I feel
like we need something like escapism, something to get from
all the negative things that you see in the news.
Speaker 4 (15:42):
Yes, let's have some summer fun.
Speaker 5 (15:45):
Yeah, there's something about celebrating, uh, losing control a little bit,
you know, and maybe or maybe not getting horible, but
you know, just totally letting go and enjoying yourself.
Speaker 4 (16:02):
Yes. Becoming.
Speaker 5 (16:04):
Yeah, just what Pretty Bibby is all about?
Speaker 4 (16:07):
Becoming.
Speaker 3 (16:07):
That's what life's personal journeys mean. Like what are you
becoming now?
Speaker 2 (16:12):
Yeah? I love that when you hit a creative block,
what's your ritual for breaking out of it?
Speaker 3 (16:20):
Well, I think I can't say that that creative block
is something that would happen. I could just say, oh,
I'm not writing a song today, but I have something
to work on. So it's like, as a writer's point
of view is if you have the desk, and if
you sit at the desk, perhaps something happens. If I know,
(16:44):
once a week we're gonna be sitting at this desk, yeah,
and looking at these boards.
Speaker 4 (16:48):
We need something for it so.
Speaker 3 (16:52):
That those creative blocks when they happen, or when you're
just not being as creative with new songs, it's a
perfect opportunity then to be working on the things we've
already gotten.
Speaker 4 (17:01):
And perhaps because I'm not.
Speaker 3 (17:05):
As rushed with that, I don't feel like and there's
a lot of work about sharing my stuff with the
band that I don't feel as intimidated about. I'm just
like it'll come. I'll just stay in your desks and
there'll be something will happen.
Speaker 5 (17:21):
Yeah, I don't think we've ever had a session where
we were like, what are we gonna do? This guy's
always got new music since I met him. He's just
always been working on new stuff. So yeah, if it's
not a new song that we're kind of building the
structure for or something like that, it's finishing what we've
(17:42):
already got and yeah, exactly, that's all the things we
can do.
Speaker 2 (17:49):
Definitely, do you guys, I mean obviously you know now
we're living in a type of AI. A lot of
people hate this question because they're just like AI, what
do you mean? People are afraid of it. Some people
will brace said, how do you guys feel about AI?
And you know how it applies to music world in
the future.
Speaker 3 (18:07):
Oh wow, I'm gonna leave this one for him as
a producer. They're building the AIS for guys like him.
Speaker 5 (18:15):
I steal my job. They'll never do it. No, there
are some things like I noticed with with mastering, for one,
which is the process of taking Like so you have
a song, if something that you mixed in your computer
or whatever, you know, anybody, and there are sites that
(18:35):
you can use AI to get it mastered, which is
where you make it you know, loud enough to be
played on Spotify and everything. It kind of you know,
little problems and if there's too much bass or too
much trouble or something in the song, or if it's
you know, just to get it to play up to
spec And that's a whole I mean, mastering engineers are
(18:56):
just disappearing, I think fast than anybody else in the industry,
because you know, I still find them valuable personally. But
there are sites will upload your mix to and it
just masters it.
Speaker 4 (19:08):
For you, you know.
Speaker 5 (19:11):
But there are other and there are other things with
AI that are actually really cool that you can use
in the producing process. Like there's a program now that'll
take a song. You can take a whole song and
feed it into this you know, AI based software, and
it will separate all the parts of the music in
the separate parts. So it'll take the bass track out
(19:32):
of the song and separate that and separate the drums
and the vocals. And there's people that use that, and
then they'll do a remix of something that was recorded
in like nineteen thirty or whatever if you wanted to,
because it'll pull all the pieces of the song out
and then you can you know, manipulate that, just do
a new base line. I mean, it's just pretty amazing.
(19:52):
So there's many exciting things as there are you know, disappointing.
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Speaker 3 (20:49):
Though for me, the writing part, which I know writers
have to any guild of writers, has to be really definite.
But for what I'm after with what I'm writing, i
AI doesn't make as much sense anyway, because I'm trying
to tell my stories, you know, Yeah, and that is
(21:11):
that is I think the thing that you will see
that AI fits into. It's to help us tell the stories,
to be extensions of our stories, not to tell our
stories for us.
Speaker 4 (21:23):
Right, you know what I mean?
Speaker 2 (21:25):
I love that? Yeah, I mean it's it's a lot
of people are afraid and and I understand and like
you said, like there are frozen colls to everything, right,
and it's like I guess it's how you use them all,
is there? You know, if another fun question like asking
if there's any artist living or dead that you guys
(21:46):
could perform with, who would it be and why?
Speaker 3 (21:50):
Oh well, he already has performed so many musical heroes.
What might you say about that you've gotten to play with?
Speaker 5 (22:03):
And I don't know, that's that's tricky. I mean I've
always I've always liked I mean, you could pick almost
any instrument a guitarist would be like Jimi Hendrix because
you just had something so unique and his whole relationship
with his instrument. I mean, it must have been just
amazing to play with him because of his unique you know,
(22:25):
energy and his just physical connection.
Speaker 7 (22:27):
With every note he was playing. Yeah, there was just
a fire in his music, but you know, but physical
connection to what he was playing. Yeah.
Speaker 5 (22:41):
I'm always drawn to people that seemed to be on
their own wavelength. Yes, what they're doing in music, yes,
some unique.
Speaker 3 (22:49):
You know.
Speaker 5 (22:51):
It's like anybody can be good at filling the blank,
you know this or something. But ever once in a
while you meet somebody that's got their own approach and
you're like, there's this guy's doing something different.
Speaker 2 (23:01):
Yeah, you know, do you think they just tapp into
some like source people that kind of get to that
level is like a sourcic pet like they've tappened to
because I don't know, it's something like it's like, like
you said, Jimi Hendrix, or you know, you can go
down the list like a Michael Jackson or certain people
that just kind of, I don't know, reach some level
of Yeah, I mean there.
Speaker 5 (23:21):
Was something that John Lennon, you know obviously that it's
like anybody around him just gained so much talent just
by being around. Every one of the Beatles wrote great songs.
I mean yeah, and maybe it wasn't just John Lennon.
I mean all those guys are talented in their own
right too. But you know there's people that you wonder
if I could work with this person and get some
(23:43):
of that to rub off on me a little bit.
Speaker 3 (23:45):
Yeah, And I think we were saying that with Lennon,
is exactly it, like it isn't all you know, who
do you want to play with? I want to play
with all of them, right, Yeah. But what really reinforces
the creativity of a band is why some of these
people had it is because they were part of scenes
and they had people around them, and I love that.
(24:06):
I love that we're, you know, not teenagers, and we
don't play of most of our concerts in would be
it per se, And I love that right now there's
a way to use rock and roll that isn't talking
nothing against the Beatles, but holding your hand, you know.
(24:27):
And there's a time now in the history of rock
and roll where it doesn't have to be just about
adolescent identity and maturity, and it can become about people
who would say that's what was about, you know what
I mean?
Speaker 4 (24:39):
And I see so many people out there. I already
mentioned a bunch of the.
Speaker 3 (24:46):
Jeff tweety, but there's a whole bunch of people out
there in America right now who are writing and using
rock and roll to communicate what it means to have
lived in America of these last many years that we have.
Speaker 4 (25:00):
And I like that scene out there that there is.
Speaker 3 (25:03):
Rock and roll isn't just for kids anymore, and it's
becoming a major vehicle for a lot of really mature
literary like levels and high musical levels of uh, the
artistic creative journeys that we take.
Speaker 4 (25:19):
Through our life.
Speaker 2 (25:20):
Absolutely absolutely, you know what what advice would you would
you give to to you know, those guys out there
that are trying to, you know, get their band out
there or even start start on.
Speaker 3 (25:33):
Yeah, you have to get out there. That's the thing,
and that's what everybody will say to you when you
first do it. It isn't that they have to talk
about whether you're great or not. You have to recognize
what they'll see all the time is ge you're putting
yourself out there. Yeah, that's what I think was I
(25:54):
think that's what was happening in first grade when my
parents had to come to see the school and see
what I was doing in music class.
Speaker 4 (26:00):
They say, look, your boy's putting it out there. He's
excited about music.
Speaker 1 (26:05):
Yeah.
Speaker 2 (26:05):
Absolutely, I love that. Thank you guys for coming on.
And it was just so awesome to hear the journey
of it all. Do you guys have anything coming up?
Any shows that you guys are going to be doing
and performing it.
Speaker 3 (26:22):
Yes. July twenty fifth at Buttonwood's Brewery in Providence, Rhode Island,
just off the Brown University campus. And then we're on
the Lower East Side next Saturday, July twenty sixth at
the Parkside Lounge on Houston Street in New York City,
and then we'll be returning in the fall and playing
(26:44):
shows around the Chicago area, and our big feature show
this fall will be at the Cobby Bear on Saturday,
October eighteen.
Speaker 2 (26:52):
I love that. I love that. I love having gets too,
love that you guys are booked and busy. I love it, yes,
any like, and I love I'm kind of a quote
kind of girl.
Speaker 5 (27:05):
I love quotes.
Speaker 2 (27:06):
Is there a quote that you know either one that like,
a favorite quote that just kind of keeps you going
on those hard days?
Speaker 4 (27:15):
Mmm? I like that.
Speaker 3 (27:22):
Ability of all music to have those kinds of quotes.
So I think what I do is I do that
I look for quotes. I never thought of it this way.
I'm Wes said before, But when I'm picking music for
my bike ride in the morning or or in the car,
at some point I'm probably I'm looking for some great quotes.
Today we were rehearsing our music, so it was our songs.
Speaker 4 (27:43):
I was focused on love it, love that.
Speaker 3 (27:47):
Well.
Speaker 2 (27:47):
Thank you guys again. And oh and also where can
people find you guys on social media? To follow everything
you have going?
Speaker 3 (27:53):
All? Right? Vinto van Go, Facebook, vinto Vango, Instagram, and
we really use our band camp as an introduction to
our music, so all our songs lyrics are posted there,
plus a little stories about them and if there's a
guest musician besides the space monk here or there, it
mentions that there nice.
Speaker 5 (28:13):
There's there's a time when the space monks did have names.
There was there was a person that's saying that you know, yes,
we just never don't know.
Speaker 2 (28:23):
The hell there in space?
Speaker 7 (28:26):
I love it.
Speaker 2 (28:27):
Yes, thank you guys again, and thank you all for
listening and always remember to live, love, laugh. We'll see
you guys next time.
Speaker 4 (28:37):
Thank you us
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