June 17, 2025 • 44 mins
Cullen and Mason chat with Matt Carter from Emery. They chat about the legacy of The Question for the band and its place in the scene.
Check out Emery here: https://emerymusic.com
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Check out Emery here: https://emerymusic.com
Get tickets for Furnace Fest here: https://www.furnacefest.us
Follow us on Instagram: instagram.com/theblacksheeppodcast
Subscribe to our YouTube channel: youtube.com/@theblacksheeppodcast
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-blacksheep-podcast-presented-by-hm-magazine--2258933/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's like a pencil with the racist at both ends
upon it all but with dealing and.
Speaker 2 (00:05):
Pests and music.
Speaker 1 (00:06):
Champdies that you abigationed in Just the Planet Sics a scene.
Speaker 3 (00:10):
You danced with him.
Speaker 1 (00:12):
We began with concluding remarks, ut the pieces and examine
the cause. Johns always cut when the clich Shane like,
is my not because of cape of the bus face.
Speaker 2 (00:23):
This is the way it comes and when you have
thought of that.
Speaker 3 (00:29):
Today we've got none other than Matt Carter for I
believe the third time on this podcast. Hell yeah, uh,
this might be the first time somebody that we've interviewed
has been interviewed while they're in a Tesla, which is
basically just a computer you can drive. At this point,
That's what it is, and that's what like Tesla is
known for us their software really it is.
Speaker 4 (00:51):
It's like a golf cart and iPhone put together.
Speaker 5 (00:58):
Yeah don't they really aren't. They essentially a like just
a straight up tech company. Like that's why they can
get around like all like the dealership requirements and stuff
like that too.
Speaker 4 (01:07):
It's a different animal.
Speaker 2 (01:08):
I don't I wasn't expecting it, but it's a totally
different type of product as soon as I got in
and I was like, oh, this is a whole different
category of thing. So yeah, it definitely feels like a
different type of of product.
Speaker 6 (01:24):
What what Tesla do you have? Is it model Why?
Speaker 4 (01:26):
It's a why? Yeah?
Speaker 3 (01:30):
And it is okay, that feels like the very like
you know, if you've got kids, you have to have
a y Yeah for sure?
Speaker 4 (01:35):
For sure? Is that?
Speaker 5 (01:39):
And uh? And and what uh? Profanities have been scratched
into your car so far in Seattle there?
Speaker 2 (01:45):
Well, I've I've I've had more interior damage from my
own kids doing stuff to it than exterior so far.
But in my neighborhood, you you need to have a
fuck elon sticker on your Tesla to have a Tesla.
And I don't have a dum feeling need to really
do that, but it makes me nervous because there have
been some definitely vandalisms.
Speaker 5 (02:09):
You know, I think I think what you have to
do is you just need to get a sticker on
the back of your car. I don't know if you're
a gun enthusiast or not, but you just need a
sticker on the back of your car that says saving
on gas to buy more AMMO and you'll be Okay.
Speaker 4 (02:22):
Oh yeah, that'll help, that'll do the trick.
Speaker 3 (02:30):
Well, Matt, we didn't bring you on to just talk
about Tesla. Let's talk about the question. Twentieth anniversary. I
will say this is the first Emory album that I
was like, like, I remember the whole like album cycle,
the like the sort of promotion of it. By that point,
I was like kind of old enough to like get
into Emory, and so I really have a fondness for
(02:50):
the question. I do think it probably is my favorite
Emory album. I would have to maybe think about that
a little bit more, but but like just off the
top of my head, my guess is it's probably my
favorite Emory album. I would imagine that's the case for
a lot of Emery fans. But yeah, it was the
first Emory album where I just remember like there being
an entire album cycle, the promotion of it. I remember
getting excited for the release of it, watching the Studying
(03:12):
Politics music video, all of that, Like just that was
the first album for me. So I have a special
connection to it. Colin, I don't know if you have
your own like story around the question.
Speaker 5 (03:21):
I love the question, but it's not even in my
top five favorite Emory albums. Wow, that's I think that's
also a song of praise there too, So.
Speaker 2 (03:30):
Oh yeah, I mean if you give one of things
you guys got better afterwards, Yeah, if you have four
other ones you like better than that, then that makes
you a fan not a hater.
Speaker 6 (03:42):
That's true. That's true.
Speaker 3 (03:44):
Like I was thinking about this the other day, you know,
like Walls is still probably your top like.
Speaker 6 (03:48):
Song, at least on Spotify.
Speaker 3 (03:50):
I don't know if like when you guys play that
song live, like if it feels like it gets the
most reactions. Still, but that had to have been one
of the first songs you guys ever wrote, and to think,
like the song that you guys wrote at what like
twenty two to twenty three years old, one of the
first songs you probably ever wrote, and at least from
a fan reaction, it doesn't get any better still, Like
that's that's I mean, that's like mister Brightside. I don't
(04:11):
know if you knew, but mister Brightside was the very
first song the Killers ever wrote, and it just went
all downhill from there. And it does it feel like
it went downhill from Walls.
Speaker 4 (04:18):
That's exactly right. I mean, you know it.
Speaker 2 (04:21):
The Wall's origin happened in the late nineteen hundreds. It
was a different century, and it was the first thing.
It's the oldest thing that is in Emery's catalog as
far as its origin, and it's had some iterations and
version updates all the way up until the beginning. Screaming
(04:42):
was put in in during the recording of the Weeks
and in two thousand and three, but I think it
was probably started in ninety nine as a as an
entity out there where there was a something that came
home that came into the world.
Speaker 4 (04:56):
I came home from a.
Speaker 2 (04:59):
Show where we saw Hope Fall play and like ninety
nine or something like that, and and something came out
that was a riff that was doing this pretty thing
and a heavy thing, and and then that evolved all
the way into the song over a few years. But
it was the earliest thing that was any that is Emery,
and so it never got any better. It's definitely the
(05:20):
biggest song. And even though the question is the biggest album,
it doesn't.
Speaker 6 (05:24):
It's not.
Speaker 2 (05:24):
You don't really close with any of those songs, and
it doesn't have more plays on Spotify, and so it
you know that might there's that's just the way it is,
and I guess I wouldn't change it, and maybe we'll
write a bigger song than Walls.
Speaker 4 (05:37):
Still, that's the only way I can say.
Speaker 2 (05:39):
All there's left to do is still try to top it,
but I doubt it.
Speaker 6 (05:45):
I think you gotta be the only Reasonhony, you guys
are still a.
Speaker 2 (05:47):
Band, Yes, because and I know that's a fact. That's
has to be a fact because the reason we're still
a band. I'm gonna make some claims to fame here.
What is special about Emory is that we are not
what I call a zombie band, because we are not
a reanimated band that died and then was reanimated. We
(06:09):
never stopped being a band, so AH am proud of
that as we sit here in the long term cycle.
Speaker 4 (06:15):
We never stopped.
Speaker 2 (06:18):
Although I do think the same thing about the Bad
Christian Podcast and the band is like, we're the smallest
thing that you can be and survive. We're the smallest
you could ever be as a band and survive across
twenty years continuously as your primary thing that you could
make a career out of a little bit smaller than us.
No life, you die, and we have done everything to
(06:41):
make it work, to not break up, to make it,
just enough money to make it, to make it through
the downtimes, to the whatever. So if you took any
momentum out of us at all, we would not be here,
or we wouldn't be hearing this current form at least
that's continuous that I'm proud of. I mean, we could
have broken up and come back shirt to really do
the thing that emory is. That's the long lasting thing
(07:04):
that's been going since the whole time here, twenty five years.
Speaker 4 (07:08):
Really, we've been a band.
Speaker 2 (07:10):
If you take walls out of that, there's no way
there's enough momentum or money or streams or notoriety or
word of mouth.
Speaker 4 (07:18):
There's just no chance. There's no chance without that one song.
Speaker 2 (07:21):
So so.
Speaker 5 (07:23):
What you're saying is you made just enough success from
the first couple albums to get yourself at one point
to have a free tesla from your uncle.
Speaker 4 (07:35):
That's right, That's exactly right.
Speaker 3 (07:40):
So the question is kind of an interesting album for
you all in comparison to maybe some well certainly The
Week's End, But it's not like a concept album really,
but there is kind of this conceptual piece to it.
About you know, obviously, like every track is supposed to
be kind of like followed by or like every track
is sort of like the end of a question, that's
(08:01):
the question. Yeah, Like was that something that like I
don't know, like whose idea was that? Like what was
there a purpose for that to like make it feel
a little bit more conceptual being I'm curious, like just
kind of that kind of factoid of the album.
Speaker 2 (08:13):
Well, the album is an attempt, for sure to be
more of what I would say today at least I
would identify as it's to be more immersive of a
feel than a lot of albums. So there's transitions and
stuff between songs, and it is very it goes goes go,
like there's not breaks between the songs and everything. So
(08:35):
it's supposed to feel immersive, and when we play it live,
that's the way our set is designed. This in this
like the Week's Same was very loose and we play
them out of order and talk between songs, and this
one just wants to be just super forward and focused
and have you pulled into it. But it's not supposed
to be a concept record where you're supposed to all
(08:57):
the songs tell a bigger story. It's not that right,
but it's nice to give people the feeling of that,
if that makes sense.
Speaker 5 (09:05):
It's like non sequitor with segues.
Speaker 2 (09:08):
Yeah, because I like that feeling of that. But it's
it's if you try to pull off a concept record,
it doesn't ever really work. And people always tell us
that we're theatrical, they'll say, and it sounds like a musical,
they'll say, And I love that feedback, but it's a
little ambitious to actually do that. So I think we've
(09:30):
always known that. My mom used to say that even
a long time ago, you should do a musical. It's
a musical. Especially with the two vocalists, I think it's like, oh,
they're having a dialogue. It's lines from something, So you
want it to be a story, and so all the
things that make it feel more that way are good.
So having a theme to it, having the stuff in
(09:52):
the fold out of the of the album, it seems
like the questions of the thing is you delivered the
envelope somebody and he gives it to him, and what
is it? So it's just intended to sit on that
boundary and not have concrete answers, which I believe is
really wise, especially looking back on it, to not have
been over ambitious to say it is a certain thing
and try to control it so people can put their
(10:15):
own meaning into it. That's definitely the territory that it's in.
So having that question, since it's called the question, and
the each song is like a response to a question,
and the era is that time when songs have these
weird song titles anyway, so you could like say these
really long weird song titles and that just to tile
(10:37):
that up kind of the bow with the preemptive kind
of question and albums called the question. I think it's genius.
Looking back, I was like, wow, that was really cool.
How did that work? You know, I don't know, but
it wasn't super thoughtful, but it was just following each
impulse and then tying things together. And you're putting an
album together and you're it feels like you're unlocking it
as you're going through that process, and then I don't
(10:58):
know how it wound up. So we had the idea
to have it look like an invitation, like wow, like
that's that. All that stuff really does pull you in,
So that but it's you know, I would it suggest
you try to decode the story.
Speaker 6 (11:12):
It's a good Uh.
Speaker 5 (11:13):
That's a good way to put it, I think, and
that makes total sense when you when you listen to
the record itself. I'm kind of curious as as a
guitar player, primarily when you look back at your guitar
playing skills at that time, are you like happy with
your output then or do you feel like like because
(11:35):
obviously you're gonna grow as a musician, right, but do
you view that time of your life as like, Hey,
I'm still really really proud of my guitar playing, or wow,
I would have fixed so many different things.
Speaker 2 (11:46):
Or I feel like your question sets SMI up for
this insecurity of I would have said yes until you
just asked me. Now, I think you're saying it sounds
like immature guitar playing.
Speaker 5 (11:57):
No, it definitely does not. That's not what I meant.
Speaker 2 (11:59):
But I like immature guitar playing is where I'm gonna
take that, because those are my words, not yours. I know.
I love the guitar playing on it, and something I've
noticed about it that I is we just did this
run of playing it, and I have a pedals I've
had a bigger pedal board and it's been shrinking over
time and have my pedal board down to a very
small couple three little pedals that fit in my guitar case,
(12:22):
so I don't even have a pedal board. They just
go on my guitar case. And then my delay pedal
started doing weird on the one of the nights of
the tour, and I said, I'm just gonna get rid
of that, so I have nothing but a tuner, and
then I took it down further from the distortion pedal
and took that off too, So I just went straight
amp tuner and then turned the volume up on the
amp to get it to gain, and then I just
(12:44):
been rolling the volume back and stuff mostly to achieve
the everything and I did. That's kind of an over
dramatic experiment, but the fact that this we're playing the
question is really dry. There's not much delay, there's not
much any effects on there. It's very clean and it's distorted,
and I'm a lot more expressive, I'm a lot better
(13:05):
guitar player now, but having it be ultra dry is
like this immature sound that I really like. And so
I'm playing live with the driest and least just the
most stripped down thing where you just really hear this
little little things and some of them are like quirky,
like it's quirky guitar playing. So I love it for that.
(13:28):
I love it so I'm really enjoying the guitar playing
when I go back and do it and some of
the stuff, and I think it's just really focused and
not it's not overdone, but there's some really nice arrangements
between the two guitars and it's very tight, it's very intentional,
and it has an immaturity that I think is its virtue.
Speaker 3 (13:48):
I agree, well, and maybe immaturity is not like the
right word, but it almost sounds like at least from
a guitar tone. And I mean, I think the fact
that you're saying like, hey, I'm like now when I'm
playing it like I'm at least this last two where
you're playing with like totally stripped down where it probably
feels like you're it probably feels like when you first
started learning guitar, right, like you didn't have a bunch
(14:09):
of guitar pedals when you start, you know, first learning guitar,
that you just got the guitar, You got an AMP
and that's all you're working with and so probably to
some degree, at least from a tone perspective, it almost
maybe feels like when you first picked up a guitar
for the first time.
Speaker 2 (14:22):
It's pure in that way, and it's like and of
course now it's like, oh, the tone comes from the fingers.
But I'm doing I'm sliding and I'm bending and I'm
wiggling and I'm preaking with my right hand super hard
and like all the things I can do with my fingers.
It's like, well, this is fun that I can do.
This album allows me to maximize that the last song
Win Win situation really will issues that had little delay
(14:42):
and some things on there, and so even that's a
real challenge, but I'm enjoying doing it without And but
it's when I first was into guitar. The whole thing
for me is this very powerful all of guitar to
the whole thing everything I do. It's so easy in
retrospect to like storytell about yourself. But you know, Nirvana
(15:06):
got to me in the middle of the woods in
South Carolina in the ninety one. Somehow it just got
there and cut through everything and spoke to me, and
I had then I got an acoustic guitar and I
couldn't make it sound like any of that. And I
had no idea. There's no internet, no nothing, and they
get a court yard and it's like, this doesn't sound
like Nirvana. But I was an acoustic guitar. I didn't
(15:30):
know anybody that played guitar except for my dad, knew
I got to play bluegrass, and I just show him
and he say, I don't know what that is, Okay,
I mean, I assumed the electric guitar was something, but
it was an electric acoustic guitar I had, and so
I thought, I just need a amp, and I got
an amp and I plugged the electric acoustic in the
amp and it didn't do it. It didn't do the
thing at all. And then eventually I found somebody who
(15:51):
had an electric guitar and they had one of those
orange Boss distortion pedals and they and I went in
the room and it was just somebody's bedroom that was
older than me. At my school, and there's literally nobody
in my school had or played guitar. And it was
two people and I found them and they got to
their house and they had up thing and when they
(16:11):
put on the distortion pedal, it's like that's there there,
that's it. So to me, it's always just clean, just
and they clean guitar and then you click on distortion
and explodes, and that's that's the whole thing. Like that's
the whole thing that takes you out of hoody and
the blowfish culture that I grew up in. Like I
(16:32):
promise it was Capo's and burking Stocks and Hooty and
the Blowfish and Dave Matthews or whatever. That's all it was.
And nobody was into any There was nothing else that
you could get any access to. And then I found
the electric guitar with the distortion pedal and that's all.
I mean, there's everything else is nothing else really matters
to me. That's is what it's all about.
Speaker 3 (16:52):
Whenever I hear you guys talk about like where you
guys come from, it really like you know, you guys
got a lot of stories about it, but like truly
is almost like a miracle. It's like an act of
God that somehow you all it discovered each other, discovered
this music and then started making it.
Speaker 6 (17:09):
Because I mean literally, like.
Speaker 2 (17:12):
For sure I think it is. I mean it's like
I could send you a picture, but there's a or
maybe you saw it on Instagram. But Devin and I
played on the same baseball team when I was in
the second grade. Me and Devor are on the same
baseball team, you know, and like, how's that? How does
that happen? And we're here now, like that's how does
(17:34):
that happen? Toby grew up down the street and he
would sing. He was older, and he was singing at
my church and my mom. I didn't know who he
was or anything, but my mom was saying that his
voice is so amazing. This is just my favorite. She
she knew, you know, she was like in love with
Toby's voice, just cause he would come singing my church
as a guest with this other person. And my mom
was all involved in church choir whatever stuff like that,
(17:56):
and just lived down the road from us, you know,
the next high school over. So it's and and then
I got the the Nirvana thing, and I started getting
my other friend, Seth, who's coming, who was our first drummer.
He's coming over here. As soon as I'm done with this,
I'm going to lunch with him today. He could play
the drums somehow. He could play the intro that smells
like teen spirit and I got a guitar and he
(18:17):
could play that thing and it just blew my mind.
And then he's and then we me and Devin and
Seth and then eventually get to tell It's like we
started doing that stuff as soon as I found it,
as soon as we found it was trying to I
don't know, and just we just I just who can
get the bass amp? All? We got to buy bass drings?
How are we gonna get a gig? Are we gonna
borrow my dad's trailer to go to a Halloween party?
(18:37):
That's the same people I'm doing it with now. I've
never done anything different than that in my whole life.
And they were just the people in my neighborhood.
Speaker 3 (18:48):
I mean, it's like it's like if you like met
a girl in second grade and now you're like married
or something. It's just it's truly like one of those
sort of situations. It's like, how are some of the
people that we got to know so early on still
very much in part of our life because it's.
Speaker 2 (19:00):
Who you you know? I mean, they're Devin and Toby.
Really I wasn't very like naturally talented, but they were singers,
so they had some talent or whatever, and I was like,
why I can And I'm just saying I could use that,
Oh you can do this? Can we I'm just putting
everything together. I just have that drive, just like can
we make the magical thing happen? It's just been very like,
how could you not be trying to do that? Like
(19:20):
as soon as you feel that energy, how can you
not be trying to make it yourself? And what is
it gonna take to make that happen? It's been fun
and it's that's all. And so we're friends, we're close.
It's a relationship based situation for us. Then we go
to college together. Then we find you know, better and
(19:41):
better music and just keep just keep finding stuff. But
we've been bad more than we together, more than we've
been good together. Really, I mean it's like even like,
what weren't that good when we you know, it's just
just stumble, keep stumbling it.
Speaker 6 (19:57):
I mean, did you guys even feel like you had
any like or like when you.
Speaker 3 (20:00):
Look back to the question in particular, right like you
by that point you had already released weeks in and
that does well, But when you get to the question,
did you even at that point still feel like like
you guys were still like I don't know, still learning
a lot, or did you feel like okay, but maybe
maybe this is something good, Like maybe there's something here,
but yeah, like when you look back to the question
(20:20):
in terms of like where you are with your songwriting,
your ability to play guitar or whatever, it is like, yeah,
how do you like reflect back on that time period?
Speaker 2 (20:29):
So the week's in period was, like I said, four
or five years of writing songs, being terrible, having no
clue what we were doing, and just improving those songs
and playing live and moving to Seattle and being a
local band and making demos and making demos again and
eventually recording the weeks, saving up the money and recording weeks,
end ourselves and have a few local fans, really slow evolution,
(20:53):
and then it came out and we you know, it
was all about just getting signed. Back then, it's like
you don't think we have to come great. You just think,
I wonder if we can get like you. In those times,
it's like getting signed. Everybody knows that it's just getting signed.
It's like even if you trick somebody into getting you signed,
it was like not about you. It didn't we didn't
(21:14):
think of us as being good. We just thought can
we were trying and if we could. We think we're
good on some level. If we could just get signed,
then they would help us make a good record or
get fans or whatever. You don't think. You're not thinking
of yourself as a total package or anything. You just
think there's an outside force that's gonna get you where
you want to go. So we weren't taking credit for
(21:36):
knowing what we were doing at that time. Really we
were obviously just had the drive to keep trying and
looking for magic from above and found it, and so
we didn't you know, then we felt blessed, like, Okay,
now we're in this position. Oh it sold good. Oh
these people are singing our words, so what are we?
(21:56):
And then as soon as the week's end came out,
we were on the road every day until the day
we had to make the Question, And so we got
off the road and went to a rehearsal space and
had thirty days before we were going to record The Question,
So we didn't think about anything at all. It was
not an overthought sophomore album. It was Okay, we've took
(22:20):
five years to write songs before and now we're going
in the studio with Aaron Sprinkle with an eighty thousand
dollars budget in thirty days and don't have any songs,
but no problem, like not, it wasn't a panic, It
wasn't overthought.
Speaker 6 (22:37):
Just wake up.
Speaker 2 (22:38):
I mean nobody was married. I mean Toby might have
been married, but yeah, I think Toby was married. But
you know, we're just that's we didn't have. It was
just we were just living that touring thing and the
writing was just not overthought. But we didn't know. We'd
only been in the studio one time with one producer
and it was just a two week, ten days, you know,
nine day tracking thing. We'd never been in with it,
(23:01):
so we were still just thinking these it's gonna have.
All we do is make the demos and then we'll
show up and I don't know how the recording's gonna happen.
I don't know. I don't know anything about that stuff. Really,
still like I wonder how it'll be this time. And
Sprinkle was completely different than ed Rose, but obviously he's
an important figure for us in that record, but we
trusted him totally and that's it. So it was just
(23:24):
not I don't think we were feeling big ego necessarily,
we just weren't even quite We weren't even quite there yet.
You know, we still thought maybe this is nothing. They're
all gonna go away, or you don't think you're gonna
knock it out of your parkers knock it out of
the park necessarily yet that I don't think that's what
we were thinking. But after the question, we that's when
that kicked in. So for sure, after the question comes
(23:46):
out and is huge, the first week was huge and
we're like, okay, so we can do no wrong, that's
when that started. That's when I was like, okay, so
I've been a genius my whole life, and now it
is finally I get it now that it happened until
after the question came out, And definitely the ego, the
(24:08):
think you know what you're doing and ego absolutely came
in with the release and response to the question that
was like, okay, so obviously everything we do is that
we're magic. We have it.
Speaker 5 (24:22):
Did you think it was like looking back at it now,
do you think it's a Dunning Kruger effect kind of
situation where like you thought you knew more than you
actually knew.
Speaker 2 (24:30):
The confidence was there in what was it in the
right I don't think it was in the The confidence
was there in I guess probably just the writing and vocals.
Like it's like these songs are good, and the singing
is good, and this screaming is good. And I put
(24:54):
so much energy into, like I said before, arranging the stuff,
like I love just doing all the details. But that's
just for fun, Like it's just ooh, what's all the
neat stuff you can pack into a good song? And
I think that's important. But it's a privilege to have
(25:14):
good singers and the good songs that are showing up
there to do that with. And but how we would
write the songs was kind of mysterious. But I just
always felt that they were catchy. Yeah, they're catchy, Like
I know, we can access catchiness and then we can
make that complex and then you can add more vocals
and scream on it, and I think we're I think
(25:37):
that is good. I think that's a good formula. And
that was the only confidence was kind of in that
it's not a formultive of how to do it, But
like that recipe of tons of vocals, tons of harmony,
tons of screaming, make it complex, but it has to
start by being catchy. And you're doing it still kind
of ahead of a little ahead time wise, And we've
(26:01):
been camped out there on that territory for five years.
So I thought we were doing a good job with
the compositions of the songs, and the rest I just
thought was all the external stuff about marketing or label
or producer recording. We didn't know anything about that for sure.
Speaker 5 (26:17):
Well, we all know that, like there's songs that we write,
there's songs that we listen to that kind of transport
us to a different time, a different mood, or different
a different state of being even in some cases, right,
are there songs that when you play them live or
when you go to play them live here for the anniversary,
are you are you curious if they're gonna, you know,
(26:41):
pop back up those those times in place, those those
time stamps. Are they gonna come back and live in
your head while you're playing or are you are you
just like fully invested in the performance.
Speaker 2 (26:53):
I love that question because there's the music has got
this quality to it where you can ex experience it.
I mean, I don't know, I guess like a painting
or something, but you can experience it so many different ways.
Every time you listen to it you can do it different,
and every time you play it you can do it different.
But some of the ways that it does pop up
(27:16):
sometimes it's like, no, I mean, yeah, let me. I
could probably just list one hundred ways that it can happen,
but one of them you are describing, which is the
timestamp thing of Like we'll be playing this some song
listening to Freddie Mercury. We played oh a thousand times.
I probably I bet we played it a thousand times,
(27:36):
and I will remember how which snare drum we picked
it was that six lug snare drum, and how we
tuned it and it had the one plat head on
it had don't know, but I'll think about that. It
comes up for me sometimes and it's like, why am
I thinking about that in this year doing I mean,
(27:57):
I'm playing guitar, the lyrics are happening, the fans are here,
the songs. It's like, what is the why are these things?
Why do I remember almost what it smelled like in
the studio when that when the when Devin said that
thing about this part? How is that possible?
Speaker 4 (28:13):
But it's there.
Speaker 5 (28:15):
It's a good that's a good example. I love that,
like the smell comes back, the the the random off
the off the cuff, things that are said by Devin
come up.
Speaker 6 (28:25):
They do.
Speaker 5 (28:26):
I think it's so interesting that music does that because
there's not a lot of other things in life that
do that. There's certainly places you can go that you
know they'll kind of trigger those kind of memories, but
it's things that you have to make.
Speaker 2 (28:38):
The one smelling music or the two like they're like, yeah,
different than other things. They're they're non they're so I mean,
visual is its own thing for humans, Like I don't know,
like that's not my area, you know, I don't know.
But it's like you can see stuff and it's what
it's just too complicated. But sound is just straight to
(28:59):
the way you feel, and smell is like so it's
like nonverbal, Like it's so nonverbal, like it's sound you
hear talking, but that's language and stuff. But the feeling
of music is really closer to smell I think than
anything in that. It's just it takes you to a
(29:20):
time and a place where it imprinted somehow and it
feels it's close to the heart or whatever. It's not
close to the mind as much in that way you
feel it and you remember how you felt, and it's
just obviously closer to the emotions. I mean, I don't
know exactly what that is, but it's seems important to
me that the combinations of the texture and the tones
(29:44):
and the something about I'm obsessed with the structure of
like the math of the music, the chords, the harmony,
but really the texture of it and the fuzziness or
whatever it is. It's just doing something that activates you
internally in some way that you can't really you can't
really forget it.
Speaker 5 (30:05):
Yeah.
Speaker 2 (30:05):
Absolutely, So that's one of the coolest things. And that's
not to speak about how well a song is composed
or what it means or there's so many other ways
to think about songs or get you know, but there's
something about the patterns that underlie it or something underlies it,
and then the textures, the textures and the patterns are
so fundamental to it.
Speaker 5 (30:26):
Yeah. I even get that with with like like your
voice in particular, like I'm like immediately transported back to
my dorm room in twenty twelve, when I first started
listening to podcasts for the very first time, and then yeah, yeah, yeah,
and then I think of like.
Speaker 2 (30:43):
It in the that was so so so language is
is musical? Yeah, okay, so language and what I'm saying
is important to separate is language the meaning that's different, Yes,
But the sounds we make with our voice are more fundamental,
way more than the meanings of words. They're this thing
(31:07):
that birds do. They talk up and they talk down,
And here's the way you emphasize something. And we were
doing that as humans long before, long before we had
words with fixed meaning to it, long before. And then
there's you know, words and the meaning and poetry and
that stuff, and that's really an important layer. But the
(31:28):
but the way a person.
Speaker 4 (31:29):
Talks, Yeah, the rhythm, that's where it's.
Speaker 6 (31:34):
That's like a band like Cigarross.
Speaker 3 (31:37):
I don't know Icelandic at all, but a band like
Cigareross I can listen to their music and there, even
though I don't know what the lyrics mean, they can
still really move me.
Speaker 2 (31:46):
That's right, that's right. We were just in Brazil and
playing the question. It was the best trip I've been
on so far.
Speaker 5 (31:54):
Brazil knows how to do it.
Speaker 2 (31:55):
It's unreal. And and so we're down there with a
band called Fresno, who's a Portuguese band, and they are
a big band. They're much bigger than we are, just
on Spotify everywhere, and they're huge in Brazil. Their Portuguese.
They speak and sing in Portuguese and they do our
style of music. And they even brought us there with
this great they hosted us and I reverend to us.
(32:18):
They found us on MP three dot com in the
in the in two thousand and one and two, and
we influenced their music and then Amberlin two in May
went and they and then they've taken it to another
level in Brazil and are you know, have more more
awareness than we do. Their big they're famous, they're amazing,
and they're doing it in Portuguese and it's like, yes,
(32:39):
got it, thank you, I feel it. Oh that's better.
That sounds better than English. It's not. It's so nice
and I don't know what they're saying, but trust me,
we're on the same page.
Speaker 5 (32:48):
You know, I love it.
Speaker 2 (32:49):
I love it.
Speaker 5 (32:50):
Well, we know you got to get going, so we'll
do we'll do your top five bands that you should
like on paper.
Speaker 3 (32:57):
But you don't, okay, okay, or maybe not a whole
top five, but at least one.
Speaker 6 (33:01):
I know where the story that you should like all right,
just for whatever reason you can get into.
Speaker 2 (33:05):
Okay, So this this is one of those things you
know where you feel like you're it's like a It
really comes across as music that I hate because I'm
mad that I don't get it. Is well. How it
strikes me because there's music that I think fucking sucks
and nobody should like it, and that's one thing. But
(33:26):
then there's music that I say it sucks and I'm
all reactive to it. But then people that I respect,
that I know or understand things are liking and that
really bugs me because it just means I don't get
it right.
Speaker 5 (33:41):
Yeah, you nailed it, you nail it.
Speaker 3 (33:43):
Yeah, but I feel like out of like you feel
out of the loop or something.
Speaker 2 (33:47):
Yeah. It's like because I believe in music. I mean
I know this, like everybody's different things speak to different people.
But bugs me that I can't get it, but it
doesn't work on me. I pay attention, I try, but
it does not work on me. And then if I
hear myself criticized, and I'll act like it's silly or
shallow or I know what's wrong with this? Like I want,
I mean, I can generate all this criticism for it,
(34:08):
but I must just be projection. But I have to
respect other people that like it. But the number one
on that list is Ryan Adams. I hate that.
Speaker 5 (34:14):
Oh, yes, that's a good one. That's a really really
good one in your in your brain that it doesn't.
Speaker 2 (34:23):
No, that's what I'm saying. I don't think you can though.
I think it's like this really deep mystery. I really
believe it. It's like like the people in Brazil that
we resonate with. These guys. Oh, they're like my brothers.
I've known them out there exactly like me. But they're
there and there's no way we're not. Just so, so
of course the same chord sound, it's deep. It's deep,
deep deep. The chords that work on me work on
(34:44):
certain people. And then there's other stuff that just doesn't.
It doesn't.
Speaker 3 (34:49):
Whenever I hear his name, I just like assume like
an MLB picture and not a musician. So I think,
like part of the reason why I'm not into his
music is I just like he's got the wrong name
for music.
Speaker 2 (35:00):
So if I think about him, it's like I think,
what a just hipster dufist that's trying to like be cool.
He's probably a dirt bag and he's just trying to
be arty for women and just whatever loser like that's
what I think, But I know he's by the meat.
The lyrics mean something as deep. It's like, I don't know,
I just have a guy doing stupid stuff, right, so
(35:22):
I can't get it. The one I know it's good.
Speaker 5 (35:25):
For sure, for sure, the one we keep hearing recently
is sleep.
Speaker 2 (35:29):
Token, Right, Yeah, that's understand that.
Speaker 5 (35:32):
It's either it's either you're like a huge, huge fan
or like, even if you're in that same kind of genre,
people are like, yeah, I don't know, especially for artists.
I've really noticed artists are not big fans of Sleeptoken.
Speaker 2 (35:43):
Well, I'll react to sleep Token in my own way,
but it's I don't hate sleep Tooken. I like them
musically because I feel like they're like they speak to
my nerdishness and stuff. So I don't like them. I
don't like masks, don't care, don't I don't like the
fantasy element and all that stuff. I don't like that.
(36:05):
But but if I listen to that music, I just
am you know, I lean in to hear what's going
on with the musical detail there and the diversity, so
I can do that for them, But the whole package
I don't really care about. You know. Sure, sure the
other one that's in that, oh, you know, I can't get.
(36:26):
And this one bothers me a lot too. But I
can't get that nineteen seventy five. I can't really get
Jack Antonoff's vibe either. And when they'll do when they'll
do something with Taylor Swift, it's the weirdest thing with
the Jack Antonoff thing because it's like, Okay, this obviously
is serious and he knows something and anything that's just him.
(36:51):
I'm not liking it. But something if he'll do something
with a co writer like Taylor Swift and they're getting
something out of it that I can like. But if
I strip it back down to just what is his
influences and what is it I think the sounds and
textures are really coming from him, I'm not I don't
like it, and I don't like the nineteen seventy five.
I don't like that. It's just gross sounding to me,
(37:13):
Like the it just doesn't I don't like it. You
know what I mean, but I know it's good.
Speaker 5 (37:18):
It sounds like I have issues with music marketed towards women.
Speaker 2 (37:23):
Well, I like Taylor Swift, you know, I like Taylor Swift.
I'm saying it's the sounds that they make. I don't
like them. They do not work on me. It doesn't resonate,
like it passes through me. I go, what is I
don't hear anything. They don't hear it. I can't hear
what it's even trying to do. I don't even I
can't hear it. And it's like, why is everybody like?
(37:43):
And then I started to get angry, like they're stupid
or bad, but it's not. I know that's not true,
but that's how reactive I am. I get mad because
I don't get it. But that nineteen seventy five that
it's like, it just has a vibe. I don't like
they It's plasticky sounding. It sounds like that weird stuff
in the eighties. It's just not I don't care. I
don't like it, you know, I wish I could. I
guess what I'm saying. You can't put language to it,
(38:05):
but it doesn't work on me. And then I guess
I feel like I'm missing out a little bit. Yeah, fair,
and I'll give you one in our scene too. Okay, Oh,
I went and saw. I went and saw. This one's
just really clear to me too, and I can do
it with not I mean, I don't mean hate as
I'm saying. I know all those people are musical geniuses.
I believe that, so I know I'm sitting here with envy.
(38:28):
But within our scene, I went and saw Saves the Day.
And since his failed to her and and I've seen
those bands a million times, Saves the Day is one
of the best bands of all time. It's just so
unreal and I've never been able to have since his
fails music. I can't possibly understand. I can't possibly and
(38:51):
I think people probably confuse.
Speaker 1 (38:52):
Uh.
Speaker 2 (38:53):
I told Chris that places in our bank seeps in Saves.
He's in Saves the Day. I said, you know, when
you look back on this, people, we're gonna say, oh yeah,
you're in that band, say anything. Since its fail saves today,
it's all gonna be one band to people and it
Saves the Day and say anything. I could just take
it in all day, but since it's fail and it's
the same audience that likes those three bands, and two
(39:18):
of them are just so good to me. And since
it's fail nothing and I was gonna make stay and
watch myself watch since his fail in that same room
with Saves the day that night, I said, I'm gonna
make myself watch this and try to get it. And
I'm sitting there, I'm looking at this giant place filled
with people that look identical to Emory fans. I'm like,
(39:40):
this is my people, this is our this is my
whole group of people. Saves the day that everybody here
looks like the people that are at the Emory show
when we play in Seattle, and a lot of them are.
And I'm just watching it and it's just music's coming
on to me and I'm going, I'm trying to like it.
What is it? And I'm just keep looking around and
(40:00):
I look at the people and they're into it and
they're digging it. I'm just going, but how what is
going on here? It's just like what? Like I look
up at the people on stage, I go, who are
those people? What is this? I don't know why? But
I like that mystery and there's no hate on them,
Like I don't know what that is. So you could say, oh,
they suck or whatever, but I don't think that's the
(40:21):
right response. I'm just saying, what a mystery that is.
Speaker 5 (40:24):
Yeah, yeah, that's that's fair. You nailed it. You absolutely
nailed exactly the assignment there. Oh so we're gonna have
senses fail on here.
Speaker 6 (40:33):
Very very soon.
Speaker 2 (40:34):
But don't tell them I said that we are.
Speaker 5 (40:36):
I'm totally going to tell them.
Speaker 2 (40:39):
Well you can, but it's like it won't sound right.
I mean, if they if you listen to my words
I'm saying here, it's no shade. I appreciate all the
people that feed the scene. There, you go there, you.
Speaker 5 (40:51):
Know, yeah, good, awesome. Well what would you like to plug?
Speaker 2 (40:56):
Well, obviously we have the tour that we're doing the question.
The next leg of that is in July, and it
is in the Midwest. It's like in Iowa, and you're
gonna have to go to Emorymusic dot Com. I said, Iowa.
I don't know why. That's the only one that pops
in my head. That's at Willie and I don't have
them all memorized in front of me. But you go
to emorymusic dot Com and you can see those dates there,
(41:20):
and then we're adding a leg in Oh, the September
leg is out and that's with the s Citi's Burn
and the Classic Crime and Good Terms and that's in
like Texas and Louisiana and all that area. So that
one's just going to be amazing the Dead again. Yeah again. Yeah,
and then we're doing we'll have one in November, we'll
(41:40):
have one in January. So it's going to come everywhere.
But those are the ones that are on sale, you know,
right now. Yeah. And then also I have a my
daughter just started a gaff tape company because we always
are the thing we're Yeah, so that I want to
plug that.
Speaker 1 (42:00):
Wow.
Speaker 2 (42:01):
Yeah, it's just different.
Speaker 5 (42:04):
How is it different than your regular gaff tape.
Speaker 2 (42:08):
Well, it's it's it's got it's all patterns. So she
does fat like design and stuff. So it's like, you know,
it's neon green or whatever. But it's like we had
we she does these patterns and we get it printed
on Stuff's George's Gaff tape. So george'sgaff dot com is
the website, and so she just does you know, she
always is doing these art and designs and stuff. And
I'm always trying to make products of stuff and I'm
(42:28):
always wanting the younger generation to you know, start businesses
and do things. So I just put the two and
two together for her and just said, you know, you
got to like get out there. And I'm always ordering
gaff tape. I'll pay whatever it costs. That's twenty dollars,
three dollars a roll. I order three roles, and you
leave it and you forget and you always have to
keep reordering it. That's true. And it's better than duct
tape because everybody knows duct tape is like the best
thing on earth, you know, except for that residuve sucks,
(42:51):
And people don't understand that gaff tape is like really better.
It's that much better than duct tape. But duct tape
has all this reputation if you can build anything, save
anything with it. But GAF tapes actually better. And I
think you got to just take it up to a
premium level with the design. So still use a lot
of Neon colors for visibility and stuff like that, but
there's actually you know, some art and pattern in it.
Speaker 4 (43:10):
So fun.
Speaker 5 (43:11):
I like that. That's a good idea.
Speaker 6 (43:14):
I love it.
Speaker 3 (43:14):
I The only thing I was going to say about
gaff tape is uh, you know, to me, it's it's
never been a purchase of mine. So it's just I
don't know if I've ever been in the market.
Speaker 2 (43:24):
But well it's like it was a tour thing, you know.
But you know, duct tape it leaves that glue on everything.
The GAF tape doesn't.
Speaker 6 (43:34):
The reason why you can make a boat out of
duct tape.
Speaker 2 (43:36):
But you can make it out of GAF tape is better.
Speaker 6 (43:38):
It's really yes, if you.
Speaker 2 (43:40):
Don't know what I'm talking, that's what I'm saying. I
guess people don't know. It's like like, but that's what
I'm saying.
Speaker 6 (43:44):
To do a GAFF tape episode, they only need a
duct I know.
Speaker 2 (43:46):
Duct tape has the reputation, but it's cheaper, like duct
tape is cheap, and it's and it's damaging to things
because we gotta we gotta bring GAF tape.
Speaker 6 (43:55):
You gotta bring down big duct tape.
Speaker 5 (43:58):
Well, the Red Green Show has something to say about that.
Speaker 6 (44:01):
True God, that's a great show. All right, Matt, thank
you so much for hanging out again. We're really excited.
Speaker 3 (44:07):
I'm going to see you in July and then I'm
going to see you again in October. For furnace, best
hope in the next few months. I'll make sure to
give you a big, nice hug.
Speaker 2 (44:15):
Yeah, thank you guys. As always, I appreciate the opportunity.
Speaker 5 (44:18):
Thank you, thank you.
It's like a pencil with the racist at both ends
upon it all but with dealing and.
Speaker 2 (00:05):
Pests and music.
Speaker 1 (00:06):
Champdies that you abigationed in Just the Planet Sics a scene.
Speaker 3 (00:10):
You danced with him.
Speaker 1 (00:12):
We began with concluding remarks, ut the pieces and examine
the cause. Johns always cut when the clich Shane like,
is my not because of cape of the bus face.
Speaker 2 (00:23):
This is the way it comes and when you have
thought of that.
Speaker 3 (00:29):
Today we've got none other than Matt Carter for I
believe the third time on this podcast. Hell yeah, uh,
this might be the first time somebody that we've interviewed
has been interviewed while they're in a Tesla, which is
basically just a computer you can drive. At this point,
That's what it is, and that's what like Tesla is
known for us their software really it is.
Speaker 4 (00:51):
It's like a golf cart and iPhone put together.
Speaker 5 (00:58):
Yeah don't they really aren't. They essentially a like just
a straight up tech company. Like that's why they can
get around like all like the dealership requirements and stuff
like that too.
Speaker 4 (01:07):
It's a different animal.
Speaker 2 (01:08):
I don't I wasn't expecting it, but it's a totally
different type of product as soon as I got in
and I was like, oh, this is a whole different
category of thing. So yeah, it definitely feels like a
different type of of product.
Speaker 6 (01:24):
What what Tesla do you have? Is it model Why?
Speaker 4 (01:26):
It's a why? Yeah?
Speaker 3 (01:30):
And it is okay, that feels like the very like
you know, if you've got kids, you have to have
a y Yeah for sure?
Speaker 4 (01:35):
For sure? Is that?
Speaker 5 (01:39):
And uh? And and what uh? Profanities have been scratched
into your car so far in Seattle there?
Speaker 2 (01:45):
Well, I've I've I've had more interior damage from my
own kids doing stuff to it than exterior so far.
But in my neighborhood, you you need to have a
fuck elon sticker on your Tesla to have a Tesla.
And I don't have a dum feeling need to really
do that, but it makes me nervous because there have
been some definitely vandalisms.
Speaker 5 (02:09):
You know, I think I think what you have to
do is you just need to get a sticker on
the back of your car. I don't know if you're
a gun enthusiast or not, but you just need a
sticker on the back of your car that says saving
on gas to buy more AMMO and you'll be Okay.
Speaker 4 (02:22):
Oh yeah, that'll help, that'll do the trick.
Speaker 3 (02:30):
Well, Matt, we didn't bring you on to just talk
about Tesla. Let's talk about the question. Twentieth anniversary. I
will say this is the first Emory album that I
was like, like, I remember the whole like album cycle,
the like the sort of promotion of it. By that point,
I was like kind of old enough to like get
into Emory, and so I really have a fondness for
(02:50):
the question. I do think it probably is my favorite
Emory album. I would have to maybe think about that
a little bit more, but but like just off the
top of my head, my guess is it's probably my
favorite Emory album. I would imagine that's the case for
a lot of Emery fans. But yeah, it was the
first Emory album where I just remember like there being
an entire album cycle, the promotion of it. I remember
getting excited for the release of it, watching the Studying
(03:12):
Politics music video, all of that, Like just that was
the first album for me. So I have a special
connection to it. Colin, I don't know if you have
your own like story around the question.
Speaker 5 (03:21):
I love the question, but it's not even in my
top five favorite Emory albums. Wow, that's I think that's
also a song of praise there too, So.
Speaker 2 (03:30):
Oh yeah, I mean if you give one of things
you guys got better afterwards, Yeah, if you have four
other ones you like better than that, then that makes
you a fan not a hater.
Speaker 6 (03:42):
That's true. That's true.
Speaker 3 (03:44):
Like I was thinking about this the other day, you know,
like Walls is still probably your top like.
Speaker 6 (03:48):
Song, at least on Spotify.
Speaker 3 (03:50):
I don't know if like when you guys play that
song live, like if it feels like it gets the
most reactions. Still, but that had to have been one
of the first songs you guys ever wrote, and to think,
like the song that you guys wrote at what like
twenty two to twenty three years old, one of the
first songs you probably ever wrote, and at least from
a fan reaction, it doesn't get any better still, Like
that's that's I mean, that's like mister Brightside. I don't
(04:11):
know if you knew, but mister Brightside was the very
first song the Killers ever wrote, and it just went
all downhill from there. And it does it feel like
it went downhill from Walls.
Speaker 4 (04:18):
That's exactly right. I mean, you know it.
Speaker 2 (04:21):
The Wall's origin happened in the late nineteen hundreds. It
was a different century, and it was the first thing.
It's the oldest thing that is in Emery's catalog as
far as its origin, and it's had some iterations and
version updates all the way up until the beginning. Screaming
(04:42):
was put in in during the recording of the Weeks
and in two thousand and three, but I think it
was probably started in ninety nine as a as an
entity out there where there was a something that came
home that came into the world.
Speaker 4 (04:56):
I came home from a.
Speaker 2 (04:59):
Show where we saw Hope Fall play and like ninety
nine or something like that, and and something came out
that was a riff that was doing this pretty thing
and a heavy thing, and and then that evolved all
the way into the song over a few years. But
it was the earliest thing that was any that is Emery,
and so it never got any better. It's definitely the
(05:20):
biggest song. And even though the question is the biggest album,
it doesn't.
Speaker 6 (05:24):
It's not.
Speaker 2 (05:24):
You don't really close with any of those songs, and
it doesn't have more plays on Spotify, and so it
you know that might there's that's just the way it is,
and I guess I wouldn't change it, and maybe we'll
write a bigger song than Walls.
Speaker 4 (05:37):
Still, that's the only way I can say.
Speaker 2 (05:39):
All there's left to do is still try to top it,
but I doubt it.
Speaker 6 (05:45):
I think you gotta be the only Reasonhony, you guys
are still a.
Speaker 2 (05:47):
Band, Yes, because and I know that's a fact. That's
has to be a fact because the reason we're still
a band. I'm gonna make some claims to fame here.
What is special about Emory is that we are not
what I call a zombie band, because we are not
a reanimated band that died and then was reanimated. We
(06:09):
never stopped being a band, so AH am proud of
that as we sit here in the long term cycle.
Speaker 4 (06:15):
We never stopped.
Speaker 2 (06:18):
Although I do think the same thing about the Bad
Christian Podcast and the band is like, we're the smallest
thing that you can be and survive. We're the smallest
you could ever be as a band and survive across
twenty years continuously as your primary thing that you could
make a career out of a little bit smaller than us.
No life, you die, and we have done everything to
(06:41):
make it work, to not break up, to make it,
just enough money to make it, to make it through
the downtimes, to the whatever. So if you took any
momentum out of us at all, we would not be here,
or we wouldn't be hearing this current form at least
that's continuous that I'm proud of. I mean, we could
have broken up and come back shirt to really do
the thing that emory is. That's the long lasting thing
(07:04):
that's been going since the whole time here, twenty five years.
Speaker 4 (07:08):
Really, we've been a band.
Speaker 2 (07:10):
If you take walls out of that, there's no way
there's enough momentum or money or streams or notoriety or
word of mouth.
Speaker 4 (07:18):
There's just no chance. There's no chance without that one song.
Speaker 2 (07:21):
So so.
Speaker 5 (07:23):
What you're saying is you made just enough success from
the first couple albums to get yourself at one point
to have a free tesla from your uncle.
Speaker 4 (07:35):
That's right, That's exactly right.
Speaker 3 (07:40):
So the question is kind of an interesting album for
you all in comparison to maybe some well certainly The
Week's End, But it's not like a concept album really,
but there is kind of this conceptual piece to it.
About you know, obviously, like every track is supposed to
be kind of like followed by or like every track
is sort of like the end of a question, that's
(08:01):
the question. Yeah, Like was that something that like I
don't know, like whose idea was that? Like what was
there a purpose for that to like make it feel
a little bit more conceptual being I'm curious, like just
kind of that kind of factoid of the album.
Speaker 2 (08:13):
Well, the album is an attempt, for sure to be
more of what I would say today at least I
would identify as it's to be more immersive of a
feel than a lot of albums. So there's transitions and
stuff between songs, and it is very it goes goes go,
like there's not breaks between the songs and everything. So
(08:35):
it's supposed to feel immersive, and when we play it live,
that's the way our set is designed. This in this
like the Week's Same was very loose and we play
them out of order and talk between songs, and this
one just wants to be just super forward and focused
and have you pulled into it. But it's not supposed
to be a concept record where you're supposed to all
(08:57):
the songs tell a bigger story. It's not that right,
but it's nice to give people the feeling of that,
if that makes sense.
Speaker 5 (09:05):
It's like non sequitor with segues.
Speaker 2 (09:08):
Yeah, because I like that feeling of that. But it's
it's if you try to pull off a concept record,
it doesn't ever really work. And people always tell us
that we're theatrical, they'll say, and it sounds like a musical,
they'll say, And I love that feedback, but it's a
little ambitious to actually do that. So I think we've
(09:30):
always known that. My mom used to say that even
a long time ago, you should do a musical. It's
a musical. Especially with the two vocalists, I think it's like, oh,
they're having a dialogue. It's lines from something, So you
want it to be a story, and so all the
things that make it feel more that way are good.
So having a theme to it, having the stuff in
(09:52):
the fold out of the of the album, it seems
like the questions of the thing is you delivered the
envelope somebody and he gives it to him, and what
is it? So it's just intended to sit on that
boundary and not have concrete answers, which I believe is
really wise, especially looking back on it, to not have
been over ambitious to say it is a certain thing
and try to control it so people can put their
(10:15):
own meaning into it. That's definitely the territory that it's in.
So having that question, since it's called the question, and
the each song is like a response to a question,
and the era is that time when songs have these
weird song titles anyway, so you could like say these
really long weird song titles and that just to tile
(10:37):
that up kind of the bow with the preemptive kind
of question and albums called the question. I think it's genius.
Looking back, I was like, wow, that was really cool.
How did that work? You know, I don't know, but
it wasn't super thoughtful, but it was just following each
impulse and then tying things together. And you're putting an
album together and you're it feels like you're unlocking it
as you're going through that process, and then I don't
(10:58):
know how it wound up. So we had the idea
to have it look like an invitation, like wow, like
that's that. All that stuff really does pull you in,
So that but it's you know, I would it suggest
you try to decode the story.
Speaker 6 (11:12):
It's a good Uh.
Speaker 5 (11:13):
That's a good way to put it, I think, and
that makes total sense when you when you listen to
the record itself. I'm kind of curious as as a
guitar player, primarily when you look back at your guitar
playing skills at that time, are you like happy with
your output then or do you feel like like because
(11:35):
obviously you're gonna grow as a musician, right, but do
you view that time of your life as like, Hey,
I'm still really really proud of my guitar playing, or wow,
I would have fixed so many different things.
Speaker 2 (11:46):
Or I feel like your question sets SMI up for
this insecurity of I would have said yes until you
just asked me. Now, I think you're saying it sounds
like immature guitar playing.
Speaker 5 (11:57):
No, it definitely does not. That's not what I meant.
Speaker 2 (11:59):
But I like immature guitar playing is where I'm gonna
take that, because those are my words, not yours. I know.
I love the guitar playing on it, and something I've
noticed about it that I is we just did this
run of playing it, and I have a pedals I've
had a bigger pedal board and it's been shrinking over
time and have my pedal board down to a very
small couple three little pedals that fit in my guitar case,
(12:22):
so I don't even have a pedal board. They just
go on my guitar case. And then my delay pedal
started doing weird on the one of the nights of
the tour, and I said, I'm just gonna get rid
of that, so I have nothing but a tuner, and
then I took it down further from the distortion pedal
and took that off too, So I just went straight
amp tuner and then turned the volume up on the
amp to get it to gain, and then I just
(12:44):
been rolling the volume back and stuff mostly to achieve
the everything and I did. That's kind of an over
dramatic experiment, but the fact that this we're playing the
question is really dry. There's not much delay, there's not
much any effects on there. It's very clean and it's distorted,
and I'm a lot more expressive, I'm a lot better
(13:05):
guitar player now, but having it be ultra dry is
like this immature sound that I really like. And so
I'm playing live with the driest and least just the
most stripped down thing where you just really hear this
little little things and some of them are like quirky,
like it's quirky guitar playing. So I love it for that.
(13:28):
I love it so I'm really enjoying the guitar playing
when I go back and do it and some of
the stuff, and I think it's just really focused and
not it's not overdone, but there's some really nice arrangements
between the two guitars and it's very tight, it's very intentional,
and it has an immaturity that I think is its virtue.
Speaker 3 (13:48):
I agree, well, and maybe immaturity is not like the
right word, but it almost sounds like at least from
a guitar tone. And I mean, I think the fact
that you're saying like, hey, I'm like now when I'm
playing it like I'm at least this last two where
you're playing with like totally stripped down where it probably
feels like you're it probably feels like when you first
started learning guitar, right, like you didn't have a bunch
(14:09):
of guitar pedals when you start, you know, first learning guitar,
that you just got the guitar, You got an AMP
and that's all you're working with and so probably to
some degree, at least from a tone perspective, it almost
maybe feels like when you first picked up a guitar
for the first time.
Speaker 2 (14:22):
It's pure in that way, and it's like and of
course now it's like, oh, the tone comes from the fingers.
But I'm doing I'm sliding and I'm bending and I'm
wiggling and I'm preaking with my right hand super hard
and like all the things I can do with my fingers.
It's like, well, this is fun that I can do.
This album allows me to maximize that the last song
Win Win situation really will issues that had little delay
(14:42):
and some things on there, and so even that's a
real challenge, but I'm enjoying doing it without And but
it's when I first was into guitar. The whole thing
for me is this very powerful all of guitar to
the whole thing everything I do. It's so easy in
retrospect to like storytell about yourself. But you know, Nirvana
(15:06):
got to me in the middle of the woods in
South Carolina in the ninety one. Somehow it just got
there and cut through everything and spoke to me, and
I had then I got an acoustic guitar and I
couldn't make it sound like any of that. And I
had no idea. There's no internet, no nothing, and they
get a court yard and it's like, this doesn't sound
like Nirvana. But I was an acoustic guitar. I didn't
(15:30):
know anybody that played guitar except for my dad, knew
I got to play bluegrass, and I just show him
and he say, I don't know what that is, Okay,
I mean, I assumed the electric guitar was something, but
it was an electric acoustic guitar I had, and so
I thought, I just need a amp, and I got
an amp and I plugged the electric acoustic in the
amp and it didn't do it. It didn't do the
thing at all. And then eventually I found somebody who
(15:51):
had an electric guitar and they had one of those
orange Boss distortion pedals and they and I went in
the room and it was just somebody's bedroom that was
older than me. At my school, and there's literally nobody
in my school had or played guitar. And it was
two people and I found them and they got to
their house and they had up thing and when they
(16:11):
put on the distortion pedal, it's like that's there there,
that's it. So to me, it's always just clean, just
and they clean guitar and then you click on distortion
and explodes, and that's that's the whole thing. Like that's
the whole thing that takes you out of hoody and
the blowfish culture that I grew up in. Like I
(16:32):
promise it was Capo's and burking Stocks and Hooty and
the Blowfish and Dave Matthews or whatever. That's all it was.
And nobody was into any There was nothing else that
you could get any access to. And then I found
the electric guitar with the distortion pedal and that's all.
I mean, there's everything else is nothing else really matters
to me. That's is what it's all about.
Speaker 3 (16:52):
Whenever I hear you guys talk about like where you
guys come from, it really like you know, you guys
got a lot of stories about it, but like truly
is almost like a miracle. It's like an act of
God that somehow you all it discovered each other, discovered
this music and then started making it.
Speaker 6 (17:09):
Because I mean literally, like.
Speaker 2 (17:12):
For sure I think it is. I mean it's like
I could send you a picture, but there's a or
maybe you saw it on Instagram. But Devin and I
played on the same baseball team when I was in
the second grade. Me and Devor are on the same
baseball team, you know, and like, how's that? How does
that happen? And we're here now, like that's how does
(17:34):
that happen? Toby grew up down the street and he
would sing. He was older, and he was singing at
my church and my mom. I didn't know who he
was or anything, but my mom was saying that his
voice is so amazing. This is just my favorite. She
she knew, you know, she was like in love with
Toby's voice, just cause he would come singing my church
as a guest with this other person. And my mom
was all involved in church choir whatever stuff like that,
(17:56):
and just lived down the road from us, you know,
the next high school over. So it's and and then
I got the the Nirvana thing, and I started getting
my other friend, Seth, who's coming, who was our first drummer.
He's coming over here. As soon as I'm done with this,
I'm going to lunch with him today. He could play
the drums somehow. He could play the intro that smells
like teen spirit and I got a guitar and he
(18:17):
could play that thing and it just blew my mind.
And then he's and then we me and Devin and
Seth and then eventually get to tell It's like we
started doing that stuff as soon as I found it,
as soon as we found it was trying to I
don't know, and just we just I just who can
get the bass amp? All? We got to buy bass drings?
How are we gonna get a gig? Are we gonna
borrow my dad's trailer to go to a Halloween party?
(18:37):
That's the same people I'm doing it with now. I've
never done anything different than that in my whole life.
And they were just the people in my neighborhood.
Speaker 3 (18:48):
I mean, it's like it's like if you like met
a girl in second grade and now you're like married
or something. It's just it's truly like one of those
sort of situations. It's like, how are some of the
people that we got to know so early on still
very much in part of our life because it's.
Speaker 2 (19:00):
Who you you know? I mean, they're Devin and Toby.
Really I wasn't very like naturally talented, but they were singers,
so they had some talent or whatever, and I was like,
why I can And I'm just saying I could use that,
Oh you can do this? Can we I'm just putting
everything together. I just have that drive, just like can
we make the magical thing happen? It's just been very like,
how could you not be trying to do that? Like
(19:20):
as soon as you feel that energy, how can you
not be trying to make it yourself? And what is
it gonna take to make that happen? It's been fun
and it's that's all. And so we're friends, we're close.
It's a relationship based situation for us. Then we go
to college together. Then we find you know, better and
(19:41):
better music and just keep just keep finding stuff. But
we've been bad more than we together, more than we've
been good together. Really, I mean it's like even like,
what weren't that good when we you know, it's just
just stumble, keep stumbling it.
Speaker 6 (19:57):
I mean, did you guys even feel like you had
any like or like when you.
Speaker 3 (20:00):
Look back to the question in particular, right like you
by that point you had already released weeks in and
that does well, But when you get to the question,
did you even at that point still feel like like
you guys were still like I don't know, still learning
a lot, or did you feel like okay, but maybe
maybe this is something good, Like maybe there's something here,
but yeah, like when you look back to the question
(20:20):
in terms of like where you are with your songwriting,
your ability to play guitar or whatever, it is like, yeah,
how do you like reflect back on that time period?
Speaker 2 (20:29):
So the week's in period was, like I said, four
or five years of writing songs, being terrible, having no
clue what we were doing, and just improving those songs
and playing live and moving to Seattle and being a
local band and making demos and making demos again and
eventually recording the weeks, saving up the money and recording weeks,
end ourselves and have a few local fans, really slow evolution,
(20:53):
and then it came out and we you know, it
was all about just getting signed. Back then, it's like
you don't think we have to come great. You just think,
I wonder if we can get like you. In those times,
it's like getting signed. Everybody knows that it's just getting signed.
It's like even if you trick somebody into getting you signed,
it was like not about you. It didn't we didn't
(21:14):
think of us as being good. We just thought can
we were trying and if we could. We think we're
good on some level. If we could just get signed,
then they would help us make a good record or
get fans or whatever. You don't think. You're not thinking
of yourself as a total package or anything. You just
think there's an outside force that's gonna get you where
you want to go. So we weren't taking credit for
(21:36):
knowing what we were doing at that time. Really we
were obviously just had the drive to keep trying and
looking for magic from above and found it, and so
we didn't you know, then we felt blessed, like, Okay,
now we're in this position. Oh it sold good. Oh
these people are singing our words, so what are we?
(21:56):
And then as soon as the week's end came out,
we were on the road every day until the day
we had to make the Question, And so we got
off the road and went to a rehearsal space and
had thirty days before we were going to record The Question,
So we didn't think about anything at all. It was
not an overthought sophomore album. It was Okay, we've took
(22:20):
five years to write songs before and now we're going
in the studio with Aaron Sprinkle with an eighty thousand
dollars budget in thirty days and don't have any songs,
but no problem, like not, it wasn't a panic, It
wasn't overthought.
Speaker 6 (22:37):
Just wake up.
Speaker 2 (22:38):
I mean nobody was married. I mean Toby might have
been married, but yeah, I think Toby was married. But
you know, we're just that's we didn't have. It was
just we were just living that touring thing and the
writing was just not overthought. But we didn't know. We'd
only been in the studio one time with one producer
and it was just a two week, ten days, you know,
nine day tracking thing. We'd never been in with it,
(23:01):
so we were still just thinking these it's gonna have.
All we do is make the demos and then we'll
show up and I don't know how the recording's gonna happen.
I don't know. I don't know anything about that stuff. Really,
still like I wonder how it'll be this time. And
Sprinkle was completely different than ed Rose, but obviously he's
an important figure for us in that record, but we
trusted him totally and that's it. So it was just
(23:24):
not I don't think we were feeling big ego necessarily,
we just weren't even quite We weren't even quite there yet.
You know, we still thought maybe this is nothing. They're
all gonna go away, or you don't think you're gonna
knock it out of your parkers knock it out of
the park necessarily yet that I don't think that's what
we were thinking. But after the question, we that's when
that kicked in. So for sure, after the question comes
(23:46):
out and is huge, the first week was huge and
we're like, okay, so we can do no wrong, that's
when that started. That's when I was like, okay, so
I've been a genius my whole life, and now it
is finally I get it now that it happened until
after the question came out, And definitely the ego, the
(24:08):
think you know what you're doing and ego absolutely came
in with the release and response to the question that
was like, okay, so obviously everything we do is that
we're magic. We have it.
Speaker 5 (24:22):
Did you think it was like looking back at it now,
do you think it's a Dunning Kruger effect kind of
situation where like you thought you knew more than you
actually knew.
Speaker 2 (24:30):
The confidence was there in what was it in the
right I don't think it was in the The confidence
was there in I guess probably just the writing and vocals.
Like it's like these songs are good, and the singing
is good, and this screaming is good. And I put
(24:54):
so much energy into, like I said before, arranging the stuff,
like I love just doing all the details. But that's
just for fun, Like it's just ooh, what's all the
neat stuff you can pack into a good song? And
I think that's important. But it's a privilege to have
(25:14):
good singers and the good songs that are showing up
there to do that with. And but how we would
write the songs was kind of mysterious. But I just
always felt that they were catchy. Yeah, they're catchy, Like
I know, we can access catchiness and then we can
make that complex and then you can add more vocals
and scream on it, and I think we're I think
(25:37):
that is good. I think that's a good formula. And
that was the only confidence was kind of in that
it's not a formultive of how to do it, But
like that recipe of tons of vocals, tons of harmony,
tons of screaming, make it complex, but it has to
start by being catchy. And you're doing it still kind
of ahead of a little ahead time wise, And we've
(26:01):
been camped out there on that territory for five years.
So I thought we were doing a good job with
the compositions of the songs, and the rest I just
thought was all the external stuff about marketing or label
or producer recording. We didn't know anything about that for sure.
Speaker 5 (26:17):
Well, we all know that, like there's songs that we write,
there's songs that we listen to that kind of transport
us to a different time, a different mood, or different
a different state of being even in some cases, right,
are there songs that when you play them live or
when you go to play them live here for the anniversary,
are you are you curious if they're gonna, you know,
(26:41):
pop back up those those times in place, those those
time stamps. Are they gonna come back and live in
your head while you're playing or are you are you
just like fully invested in the performance.
Speaker 2 (26:53):
I love that question because there's the music has got
this quality to it where you can ex experience it.
I mean, I don't know, I guess like a painting
or something, but you can experience it so many different ways.
Every time you listen to it you can do it different,
and every time you play it you can do it different.
But some of the ways that it does pop up
(27:16):
sometimes it's like, no, I mean, yeah, let me. I
could probably just list one hundred ways that it can happen,
but one of them you are describing, which is the
timestamp thing of Like we'll be playing this some song
listening to Freddie Mercury. We played oh a thousand times.
I probably I bet we played it a thousand times,
(27:36):
and I will remember how which snare drum we picked
it was that six lug snare drum, and how we
tuned it and it had the one plat head on
it had don't know, but I'll think about that. It
comes up for me sometimes and it's like, why am
I thinking about that in this year doing I mean,
(27:57):
I'm playing guitar, the lyrics are happening, the fans are here,
the songs. It's like, what is the why are these things?
Why do I remember almost what it smelled like in
the studio when that when the when Devin said that
thing about this part? How is that possible?
Speaker 4 (28:13):
But it's there.
Speaker 5 (28:15):
It's a good that's a good example. I love that,
like the smell comes back, the the the random off
the off the cuff, things that are said by Devin
come up.
Speaker 6 (28:25):
They do.
Speaker 5 (28:26):
I think it's so interesting that music does that because
there's not a lot of other things in life that
do that. There's certainly places you can go that you
know they'll kind of trigger those kind of memories, but
it's things that you have to make.
Speaker 2 (28:38):
The one smelling music or the two like they're like, yeah,
different than other things. They're they're non they're so I mean,
visual is its own thing for humans, Like I don't know,
like that's not my area, you know, I don't know.
But it's like you can see stuff and it's what
it's just too complicated. But sound is just straight to
(28:59):
the way you feel, and smell is like so it's
like nonverbal, Like it's so nonverbal, like it's sound you
hear talking, but that's language and stuff. But the feeling
of music is really closer to smell I think than
anything in that. It's just it takes you to a
(29:20):
time and a place where it imprinted somehow and it
feels it's close to the heart or whatever. It's not
close to the mind as much in that way you
feel it and you remember how you felt, and it's
just obviously closer to the emotions. I mean, I don't
know exactly what that is, but it's seems important to
me that the combinations of the texture and the tones
(29:44):
and the something about I'm obsessed with the structure of
like the math of the music, the chords, the harmony,
but really the texture of it and the fuzziness or
whatever it is. It's just doing something that activates you
internally in some way that you can't really you can't
really forget it.
Speaker 5 (30:05):
Yeah.
Speaker 2 (30:05):
Absolutely, So that's one of the coolest things. And that's
not to speak about how well a song is composed
or what it means or there's so many other ways
to think about songs or get you know, but there's
something about the patterns that underlie it or something underlies it,
and then the textures, the textures and the patterns are
so fundamental to it.
Speaker 5 (30:26):
Yeah. I even get that with with like like your
voice in particular, like I'm like immediately transported back to
my dorm room in twenty twelve, when I first started
listening to podcasts for the very first time, and then yeah, yeah, yeah,
and then I think of like.
Speaker 2 (30:43):
It in the that was so so so language is
is musical? Yeah, okay, so language and what I'm saying
is important to separate is language the meaning that's different, Yes,
But the sounds we make with our voice are more fundamental,
way more than the meanings of words. They're this thing
(31:07):
that birds do. They talk up and they talk down,
And here's the way you emphasize something. And we were
doing that as humans long before, long before we had
words with fixed meaning to it, long before. And then
there's you know, words and the meaning and poetry and
that stuff, and that's really an important layer. But the
(31:28):
but the way a person.
Speaker 4 (31:29):
Talks, Yeah, the rhythm, that's where it's.
Speaker 6 (31:34):
That's like a band like Cigarross.
Speaker 3 (31:37):
I don't know Icelandic at all, but a band like
Cigareross I can listen to their music and there, even
though I don't know what the lyrics mean, they can
still really move me.
Speaker 2 (31:46):
That's right, that's right. We were just in Brazil and
playing the question. It was the best trip I've been
on so far.
Speaker 5 (31:54):
Brazil knows how to do it.
Speaker 2 (31:55):
It's unreal. And and so we're down there with a
band called Fresno, who's a Portuguese band, and they are
a big band. They're much bigger than we are, just
on Spotify everywhere, and they're huge in Brazil. Their Portuguese.
They speak and sing in Portuguese and they do our
style of music. And they even brought us there with
this great they hosted us and I reverend to us.
(32:18):
They found us on MP three dot com in the
in the in two thousand and one and two, and
we influenced their music and then Amberlin two in May
went and they and then they've taken it to another
level in Brazil and are you know, have more more
awareness than we do. Their big they're famous, they're amazing,
and they're doing it in Portuguese and it's like, yes,
(32:39):
got it, thank you, I feel it. Oh that's better.
That sounds better than English. It's not. It's so nice
and I don't know what they're saying, but trust me,
we're on the same page.
Speaker 5 (32:48):
You know, I love it.
Speaker 2 (32:49):
I love it.
Speaker 5 (32:50):
Well, we know you got to get going, so we'll
do we'll do your top five bands that you should
like on paper.
Speaker 3 (32:57):
But you don't, okay, okay, or maybe not a whole
top five, but at least one.
Speaker 6 (33:01):
I know where the story that you should like all right,
just for whatever reason you can get into.
Speaker 2 (33:05):
Okay, So this this is one of those things you
know where you feel like you're it's like a It
really comes across as music that I hate because I'm
mad that I don't get it. Is well. How it
strikes me because there's music that I think fucking sucks
and nobody should like it, and that's one thing. But
(33:26):
then there's music that I say it sucks and I'm
all reactive to it. But then people that I respect,
that I know or understand things are liking and that
really bugs me because it just means I don't get
it right.
Speaker 5 (33:41):
Yeah, you nailed it, you nail it.
Speaker 3 (33:43):
Yeah, but I feel like out of like you feel
out of the loop or something.
Speaker 2 (33:47):
Yeah. It's like because I believe in music. I mean
I know this, like everybody's different things speak to different people.
But bugs me that I can't get it, but it
doesn't work on me. I pay attention, I try, but
it does not work on me. And then if I
hear myself criticized, and I'll act like it's silly or
shallow or I know what's wrong with this? Like I want,
I mean, I can generate all this criticism for it,
(34:08):
but I must just be projection. But I have to
respect other people that like it. But the number one
on that list is Ryan Adams. I hate that.
Speaker 5 (34:14):
Oh, yes, that's a good one. That's a really really
good one in your in your brain that it doesn't.
Speaker 2 (34:23):
No, that's what I'm saying. I don't think you can though.
I think it's like this really deep mystery. I really
believe it. It's like like the people in Brazil that
we resonate with. These guys. Oh, they're like my brothers.
I've known them out there exactly like me. But they're
there and there's no way we're not. Just so, so
of course the same chord sound, it's deep. It's deep,
deep deep. The chords that work on me work on
(34:44):
certain people. And then there's other stuff that just doesn't.
It doesn't.
Speaker 3 (34:49):
Whenever I hear his name, I just like assume like
an MLB picture and not a musician. So I think,
like part of the reason why I'm not into his
music is I just like he's got the wrong name
for music.
Speaker 2 (35:00):
So if I think about him, it's like I think,
what a just hipster dufist that's trying to like be cool.
He's probably a dirt bag and he's just trying to
be arty for women and just whatever loser like that's
what I think, But I know he's by the meat.
The lyrics mean something as deep. It's like, I don't know,
I just have a guy doing stupid stuff, right, so
(35:22):
I can't get it. The one I know it's good.
Speaker 5 (35:25):
For sure, for sure, the one we keep hearing recently
is sleep.
Speaker 2 (35:29):
Token, Right, Yeah, that's understand that.
Speaker 5 (35:32):
It's either it's either you're like a huge, huge fan
or like, even if you're in that same kind of genre,
people are like, yeah, I don't know, especially for artists.
I've really noticed artists are not big fans of Sleeptoken.
Speaker 2 (35:43):
Well, I'll react to sleep Token in my own way,
but it's I don't hate sleep Tooken. I like them
musically because I feel like they're like they speak to
my nerdishness and stuff. So I don't like them. I
don't like masks, don't care, don't I don't like the
fantasy element and all that stuff. I don't like that.
(36:05):
But but if I listen to that music, I just
am you know, I lean in to hear what's going
on with the musical detail there and the diversity, so
I can do that for them, But the whole package
I don't really care about. You know. Sure, sure the
other one that's in that, oh, you know, I can't get.
(36:26):
And this one bothers me a lot too. But I
can't get that nineteen seventy five. I can't really get
Jack Antonoff's vibe either. And when they'll do when they'll
do something with Taylor Swift, it's the weirdest thing with
the Jack Antonoff thing because it's like, Okay, this obviously
is serious and he knows something and anything that's just him.
(36:51):
I'm not liking it. But something if he'll do something
with a co writer like Taylor Swift and they're getting
something out of it that I can like. But if
I strip it back down to just what is his
influences and what is it I think the sounds and
textures are really coming from him, I'm not I don't
like it, and I don't like the nineteen seventy five.
I don't like that. It's just gross sounding to me,
(37:13):
Like the it just doesn't I don't like it. You
know what I mean, but I know it's good.
Speaker 5 (37:18):
It sounds like I have issues with music marketed towards women.
Speaker 2 (37:23):
Well, I like Taylor Swift, you know, I like Taylor Swift.
I'm saying it's the sounds that they make. I don't
like them. They do not work on me. It doesn't resonate,
like it passes through me. I go, what is I
don't hear anything. They don't hear it. I can't hear
what it's even trying to do. I don't even I
can't hear it. And it's like, why is everybody like?
(37:43):
And then I started to get angry, like they're stupid
or bad, but it's not. I know that's not true,
but that's how reactive I am. I get mad because
I don't get it. But that nineteen seventy five that
it's like, it just has a vibe. I don't like
they It's plasticky sounding. It sounds like that weird stuff
in the eighties. It's just not I don't care. I
don't like it, you know, I wish I could. I
guess what I'm saying. You can't put language to it,
(38:05):
but it doesn't work on me. And then I guess
I feel like I'm missing out a little bit. Yeah, fair,
and I'll give you one in our scene too. Okay, Oh,
I went and saw. I went and saw. This one's
just really clear to me too, and I can do
it with not I mean, I don't mean hate as
I'm saying. I know all those people are musical geniuses.
I believe that, so I know I'm sitting here with envy.
(38:28):
But within our scene, I went and saw Saves the Day.
And since his failed to her and and I've seen
those bands a million times, Saves the Day is one
of the best bands of all time. It's just so
unreal and I've never been able to have since his
fails music. I can't possibly understand. I can't possibly and
(38:51):
I think people probably confuse.
Speaker 1 (38:52):
Uh.
Speaker 2 (38:53):
I told Chris that places in our bank seeps in Saves.
He's in Saves the Day. I said, you know, when
you look back on this, people, we're gonna say, oh yeah,
you're in that band, say anything. Since its fail saves today,
it's all gonna be one band to people and it
Saves the Day and say anything. I could just take
it in all day, but since it's fail and it's
the same audience that likes those three bands, and two
(39:18):
of them are just so good to me. And since
it's fail nothing and I was gonna make stay and
watch myself watch since his fail in that same room
with Saves the day that night, I said, I'm gonna
make myself watch this and try to get it. And
I'm sitting there, I'm looking at this giant place filled
with people that look identical to Emory fans. I'm like,
(39:40):
this is my people, this is our this is my
whole group of people. Saves the day that everybody here
looks like the people that are at the Emory show
when we play in Seattle, and a lot of them are.
And I'm just watching it and it's just music's coming
on to me and I'm going, I'm trying to like it.
What is it? And I'm just keep looking around and
(40:00):
I look at the people and they're into it and
they're digging it. I'm just going, but how what is
going on here? It's just like what? Like I look
up at the people on stage, I go, who are
those people? What is this? I don't know why? But
I like that mystery and there's no hate on them,
Like I don't know what that is. So you could say, oh,
they suck or whatever, but I don't think that's the
(40:21):
right response. I'm just saying, what a mystery that is.
Speaker 5 (40:24):
Yeah, yeah, that's that's fair. You nailed it. You absolutely
nailed exactly the assignment there. Oh so we're gonna have
senses fail on here.
Speaker 6 (40:33):
Very very soon.
Speaker 2 (40:34):
But don't tell them I said that we are.
Speaker 5 (40:36):
I'm totally going to tell them.
Speaker 2 (40:39):
Well you can, but it's like it won't sound right.
I mean, if they if you listen to my words
I'm saying here, it's no shade. I appreciate all the
people that feed the scene. There, you go there, you.
Speaker 5 (40:51):
Know, yeah, good, awesome. Well what would you like to plug?
Speaker 2 (40:56):
Well, obviously we have the tour that we're doing the question.
The next leg of that is in July, and it
is in the Midwest. It's like in Iowa, and you're
gonna have to go to Emorymusic dot Com. I said, Iowa.
I don't know why. That's the only one that pops
in my head. That's at Willie and I don't have
them all memorized in front of me. But you go
to emorymusic dot Com and you can see those dates there,
(41:20):
and then we're adding a leg in Oh, the September
leg is out and that's with the s Citi's Burn
and the Classic Crime and Good Terms and that's in
like Texas and Louisiana and all that area. So that
one's just going to be amazing the Dead again. Yeah again. Yeah,
and then we're doing we'll have one in November, we'll
(41:40):
have one in January. So it's going to come everywhere.
But those are the ones that are on sale, you know,
right now. Yeah. And then also I have a my
daughter just started a gaff tape company because we always
are the thing we're Yeah, so that I want to
plug that.
Speaker 1 (42:00):
Wow.
Speaker 2 (42:01):
Yeah, it's just different.
Speaker 5 (42:04):
How is it different than your regular gaff tape.
Speaker 2 (42:08):
Well, it's it's it's got it's all patterns. So she
does fat like design and stuff. So it's like, you know,
it's neon green or whatever. But it's like we had
we she does these patterns and we get it printed
on Stuff's George's Gaff tape. So george'sgaff dot com is
the website, and so she just does you know, she
always is doing these art and designs and stuff. And
I'm always trying to make products of stuff and I'm
(42:28):
always wanting the younger generation to you know, start businesses
and do things. So I just put the two and
two together for her and just said, you know, you
got to like get out there. And I'm always ordering
gaff tape. I'll pay whatever it costs. That's twenty dollars,
three dollars a roll. I order three roles, and you
leave it and you forget and you always have to
keep reordering it. That's true. And it's better than duct
tape because everybody knows duct tape is like the best
thing on earth, you know, except for that residuve sucks,
(42:51):
And people don't understand that gaff tape is like really better.
It's that much better than duct tape. But duct tape
has all this reputation if you can build anything, save
anything with it. But GAF tapes actually better. And I
think you got to just take it up to a
premium level with the design. So still use a lot
of Neon colors for visibility and stuff like that, but
there's actually you know, some art and pattern in it.
Speaker 4 (43:10):
So fun.
Speaker 5 (43:11):
I like that. That's a good idea.
Speaker 6 (43:14):
I love it.
Speaker 3 (43:14):
I The only thing I was going to say about
gaff tape is uh, you know, to me, it's it's
never been a purchase of mine. So it's just I
don't know if I've ever been in the market.
Speaker 2 (43:24):
But well it's like it was a tour thing, you know.
But you know, duct tape it leaves that glue on everything.
The GAF tape doesn't.
Speaker 6 (43:34):
The reason why you can make a boat out of
duct tape.
Speaker 2 (43:36):
But you can make it out of GAF tape is better.
Speaker 6 (43:38):
It's really yes, if you.
Speaker 2 (43:40):
Don't know what I'm talking, that's what I'm saying. I
guess people don't know. It's like like, but that's what
I'm saying.
Speaker 6 (43:44):
To do a GAFF tape episode, they only need a
duct I know.
Speaker 2 (43:46):
Duct tape has the reputation, but it's cheaper, like duct
tape is cheap, and it's and it's damaging to things
because we gotta we gotta bring GAF tape.
Speaker 6 (43:55):
You gotta bring down big duct tape.
Speaker 5 (43:58):
Well, the Red Green Show has something to say about that.
Speaker 6 (44:01):
True God, that's a great show. All right, Matt, thank
you so much for hanging out again. We're really excited.
Speaker 3 (44:07):
I'm going to see you in July and then I'm
going to see you again in October. For furnace, best
hope in the next few months. I'll make sure to
give you a big, nice hug.
Speaker 2 (44:15):
Yeah, thank you guys. As always, I appreciate the opportunity.
Speaker 5 (44:18):
Thank you, thank you.
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