Episode Transcript
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Speaker 1 (00:07):
Yeah, welcome to the Black Shoot Podcast. Once again, we
(00:34):
have we have an interesting guest. Maybe you've seen him
on the interwebs here in recent days. He's he's kind
of popping off and in our circles, maybe in your
circles as well. This is Chapel Fire.
Speaker 2 (00:48):
All right, Howdy howdy, tell us about yourself.
Speaker 1 (00:53):
Man, what do you what are you doing?
Speaker 2 (00:55):
What? What?
Speaker 1 (00:55):
Where are you at? What kind of things you up
to right now?
Speaker 2 (01:00):
Well, I'm currently up to working on a new EP,
like two songs deep into that, but to take a
step back and kind of see like who I am
and where I'm at. I started doing music as the
Chapel Fire about years ago. With doing like I just
decided one day I was like, you know what, I
(01:21):
want to make music, So I'm going to start making music.
I have all their equipment, I might as well just
do it. So I made I made my first record,
which is actually still on Spotify, Slow Hit and Drive,
and it's it's very like it's like Rush but bad productions.
It's just like it's prog rocky ripoff stuff. But it
was really fun and I love doing it. And so
(01:44):
the sound just developed and developed and developed and I
had to do everything myself because I don't really have
any like in a scene or any like neighbors or
like anything. So I'm just kind of here by myself,
figuring my shit out and like in music, and it
somehow evolved into the sound that you hear now, and.
Speaker 1 (02:07):
Hell yeah. What I love the most about it is
that you really have explored those whole kind of swath
of genres.
Speaker 2 (02:17):
So yeah, I've I've been all over the place, and
especially my older stuff, there's a lot of like there's
like Latin stuff in there. There's there's there's the heavy stuff,
but then there's there's blues, jazz, fusion, there's country, there's
like all kinds of stuff.
Speaker 1 (02:33):
Hell yeah, hell yeah. And I love that. I mean
because I think most of our listeners are not just
into the the alternative or metal kind of sphere. I
think I think we had to listen a little bit
of everything, and I certainly do it. I think it
shows a pretty strong sense of musicianship because I I
don't know. I've I played guitar, I played drums, I sing,
(02:57):
but I'm not good enough to be to do what
you're doing. And I'm very curious, you know, where did
you get your start?
Speaker 2 (03:05):
Where?
Speaker 1 (03:05):
How did you get into music? How did you pick
up all these instruments and and learn all these different
modes of singing and and everything, and it's and it
is really really impressive.
Speaker 2 (03:15):
Well, I would like to thank you, first of all,
that's very kind of you. I'm very specialized, Like I'm
good at what I do, but what I do is
very specialized. So like I wouldn't I wouldn't expect to
sit down with like real musicians and be able to
like jam through a chart or something like. I just can't.
I can't do that anymore. So what I do is
(03:39):
very specialized, and it came out of necessity almost entirely.
I started, well, my let's start from the beginning, right
My uh, my mother played piano in church and she
she plays hymns like a motherfucker. And my father was
just really into music, like prog rock. He was he
was a prog rock nerd those guys. So he was
like really into like all kinds of stuff and southern rock.
(04:01):
And I just got into too everything from there, so
I was I was a pretty big music fan from
the get go. Then I did piano in school. We
were doing piano lessons as part of music class, and
I really took to it, like, I really enjoyed it
quite a bit, and so I pursued it with the
teacher and I took piano lessons for a little bit,
but then it became not fun at all, with more
(04:22):
mature until I got a bass for Christmas one year. Coincidentally,
it was the year I got my father a Rush
CD and the first song on it is speared of
the radio, and so I heard that the Christmas I
got my bass, and so I was just I was gone,
Like I didn't put it down for three months.
Speaker 1 (04:43):
Were you just all getty lee all that time?
Speaker 2 (04:46):
Then I well, I because it was the first time
I'd heard that, So it was I didn't know music
could be that way, So it was it was a
real eye opening kind of thing, and it was it
gave me something to strive for, which I mean, every
one who plays strives for Rush. No one, no one's
gonna get it, but.
Speaker 3 (05:05):
You have a pretty good invitation at times, especially with
your bass tone.
Speaker 2 (05:09):
You know, it's all in the hands too. It's just
I hit really hard, so it gives it that slappy,
that party kind of tone.
Speaker 1 (05:17):
Yeah, I wounded up said party. I would have said
twinkly or maybe jag it, but yeah, party, I like that.
Speaker 2 (05:24):
Yeah's actually well kind of thing going on. But uh
so I got the bass and then and then I
wound up like playing all the lead guitar parts on
my bass and like I actually tried to tune it
up one time and wound up snapping a bass string
because I was like fifteen years old and like had
no idea what I was doing. So I got a guitar,
(05:46):
saved up, got a guitar, and that would I just
have lived and breathed and eaten and slept and done
that since I mean not entirely I did. I did
spend a lot of time working in a club, and
I was kind of like at that end of the
music industry, so I didn't really play incredibly much. But
(06:07):
as soon as I started Chapel Fire, it was just
like the music's just fallen out of me. I can't stop.
Speaker 1 (06:14):
Oh yeah, yeah, I drove you to want to explore
these different genres than you have.
Speaker 2 (06:28):
It is just my sensibility of how I listen to music,
Like I don't think of genre, like like genre is
only good inso much as you're playing with other people.
Where to go with it? I guess sure? Yeah, Like
like metal implies a certain certain idioms, certain sounds, certain textures,
(06:48):
you know, like bluegrass will imply certain certain instrumentation and
texture and tone and whatnot. But at the end of
the day, it's all just vibration, right, Like, it's all sure,
It's all just this vibrating thing that we live in,
(07:09):
you know, from the vibration.
Speaker 1 (07:11):
Sounds a little nihilistic so far.
Speaker 2 (07:13):
Yeah, well you can look at it that way, certainly,
and you can get lost in that. You can get
lost in that if you want. But but what good
does that do anyone? Really?
Speaker 1 (07:26):
No, that's true, That's very very true. So growing up
upstate New York, look in the way you do, I'm
you know, tattoos, different color hair, I'm sure that.
Speaker 3 (07:37):
I'm sure that you get some looks.
Speaker 1 (07:39):
That is that the case?
Speaker 2 (07:40):
Well, there's been a lot of movement from the city
up here, so I think a lot of a lot
of people, especially locals, kind of look at me like
I'm not supposed to be here, and I'm like, fuck you, you
moved here after I did, like like I've been here
my whole life. Like I just I've always done me,
Like I've always pursued what I wanted to and done
(08:01):
what I've wanted to. And I've been lucky enough that
I've been able to do that and been in a
situation where I've been able to know. But yeah, it's
it's definitely and my like I grew up Baptist like
church going God here and Bible reading. Yeah, and uh,
obviously that so you grew.
Speaker 1 (08:19):
Up that you grew up that way and.
Speaker 2 (08:21):
You said it did take is that he said, no,
I didn't.
Speaker 1 (08:26):
How does that? How has that informed your life? Now?
Do you do? You would back on that with like
disdain or you like, yay, you know what, it was
an upbringing that is not too uncommon for the area,
and it is what it is? Or or what what?
What is it for you? Well?
Speaker 2 (08:42):
This it's it's really interesting because it's been my entire
life's journey, Like losing my faith and rediscovering myself as
a spiritual being has been like the ultimate journey of
my life really and yeah, I looked back on it
with absolute disdain, and sometimes I still do, like there
are some things that happened to me that definitely shouldn't have,
(09:04):
but you can't, like, you can't hate the stuff that
made you. Right, if you love yourself, you can't hate
the stuff that made you. So Like now I look
back on it like I sing gospel now, like I'm
fond of There was a certain ethos, there was a
certain community, There was a certain at least I got
(09:26):
the impression that it was about the mercy and stuff,
you know, and the forgiveness and the compassion. And I
still cling to that, Like I still love the teachings
of Christ for the most part, Like He's said some
really good stuff that everyone should really be in tuned to.
But I also love the Gautama Buddha. You know, he
said some great stuff too. I think that I don't
think the two are mutually exclusive.
Speaker 1 (09:48):
Yeah, I tend to agree with you as well, And
I think I think that there is a little too
much of that exclusivity going on in the world.
Speaker 3 (09:57):
But I love that, you know, living in America, uh,
especially rural American.
Speaker 1 (10:02):
Where you're at, Yeah, I think you know, if you're
for at New York, people tend to think that there
is no such thing as rural New York, but there
definitely is.
Speaker 2 (10:11):
Oh yeah, there is due yeah.
Speaker 1 (10:13):
Yeah.
Speaker 3 (10:13):
I mean, so I'm from South Dakota, so I know rural.
Speaker 2 (10:16):
Well yeah, of course, but people around.
Speaker 1 (10:19):
Me would be like New York, there's no such thing
as world. I think that there's there's this beauty in this,
in this feeling that hey, you can kind of choose
your own path. And I know this sounds like very
patriotic and like hohorah kind of shit, but like it's
it is true, and and I think individuals such as
yourself really push that to the next level because you know,
(10:41):
you probably are a little bit of an odd duck.
Speaker 2 (10:42):
In your community, right, I would say I did that
in spite of American culture.
Speaker 1 (10:47):
Oh yeah, hell yeah, because now you're just falling red.
You're falling right into what American culture actually wants. They
want the odd ducks to come forward and.
Speaker 2 (10:55):
To really shine, absolutely, and for what reason, I don't know.
Well profit, No, ideally in their minds, it's all profit.
Speaker 1 (11:07):
But yeah, yeah, well as long as you got the
bootstraps theory gone as well.
Speaker 2 (11:12):
I don't know. I just as I'm just gonna do
it on my terms, Like if I don't want to
do something, I'm.
Speaker 1 (11:16):
Not Yeah, no, it makes that's perfect sense. So you
said that, like playing with bands and things like that
is not your forte playing solo have you found that
to be a freeing situation where you're just like, hey,
I don't have to talk with anyone else's thoughts or
feelings here. I can just do me. Or would you
(11:36):
ever would you ever want to plan in a group?
Speaker 2 (11:40):
I would absolutely love to work with absolutely, but not
with the Chapel Fon the Chapel Fire, that's your baby.
I like being able to do exactly what I want
with it always, And like, like if I wanted to
release the two new songs I have right now, I
could just boom, just put them right out and not
(12:02):
have to talk to not have to worry about to
do any advertise, you know what I mean? Like I
can do whatever I want and that's cool. But and
I think it's also great because it's taught me discipline,
because when you can do whatever you want, then you
wind up doing crazy shit or like nothing. And so
I've had to develop a certain degree of discipline to
(12:23):
actually get my stuff backaged and produced and out there.
But I would absolutely love to work with people. And
I think that if I found like a producer who
was like on their shit. I think if I were
to team up with someone like that, it would be
it would be over, Like from pop hits to like
(12:44):
the heaviest, most ridiculous ignorant shit, like, it'll be over
if I if I had a partner to fill in
all the gaps, I think it would would be some
special But.
Speaker 1 (12:53):
Hell yeah, so why haven't you done it.
Speaker 2 (12:58):
In the process? Right, Like, Yeah, I'll get there eventually,
I just haven't found it yet.
Speaker 1 (13:04):
Sure you are you looking actively for like that that
perfect partner that can make that happen or is it
something that you're just like, Hey, if it falls my lap,
if ills.
Speaker 2 (13:13):
My lap, the way to make God laugh is to
make a plan. Brother, so I stopped making them.
Speaker 1 (13:17):
Man, look at you. You are a Baptist.
Speaker 2 (13:19):
That's one of my favorites though. But yeah, you just
you just work hard and take every opportunity that's afforded
you and just be nice to people. And that has
worked out pretty well for me. Like it's not like
I'm I feel like I'm successful personally because I get
to like work a job I don't hate, come home,
make music I love, and like talk to cool people
all the time, like on the internet. Yeah, that's cool
(13:43):
for me. Like, I'm I'm healthy, I'm sober. I have
like a nice roof over my head currently, thank you Grandma.
Like it's it's it's I'm blessed. I'm very blessed, and
I I try to pay that forward.
Speaker 1 (13:57):
Love it, love it. What do you do? What do
you do on some out of music?
Speaker 2 (14:01):
I'm a TA for special needs kids.
Speaker 1 (14:04):
Very nice. I used to do that as well, did you. Yeah,
I'm a teacher now you're teachers. Used to be a
para professional. Oh yeah, I loved doing that stuff. What
do you what do you teach? High school social studies?
Speaker 2 (14:18):
High school social studies? Good on you, brother, that's got
to be a really tricky thing.
Speaker 1 (14:23):
Oh it's not. It's not people think it is. No,
you just so, so here's my thoughts on it. Right,
you gotta just be you.
Speaker 2 (14:33):
Yeah.
Speaker 1 (14:33):
Everyone's like, oh, you can't be biased, you can't do
this or any other thing. I'm like, no, I'm just
you know, I'm gonna tell them what I think, but
I'm mostly gonna say like, you're not have to believe this,
and honestly you probably shouldn't in certain cases.
Speaker 2 (14:44):
Yeah, that's that's exactly what I do. I I prime
them with I am biased. Here are my biases, this
is what I think. Here's the information. You decide.
Speaker 1 (14:55):
Yeah, that's so much more honest.
Speaker 2 (14:57):
It is, And like I was thinking about it today, actually,
how everyone's like your students shouldn't know your politics like bullshit,
and that's only aimed at people with left leaning politics.
No one cares if you spread jingoist bullshit. No one
cares about that.
Speaker 1 (15:16):
Isn't that true? Though? It's so true?
Speaker 2 (15:18):
But anyway, I digress.
Speaker 1 (15:19):
Yeah, yeah, no, Hey, good on you. I'm glad that you.
Speaker 2 (15:24):
Someone's got to do it right. These kids need it
right and it's not their fault, like they deserve an
equal shot like everyone else.
Speaker 3 (15:31):
Absolutely, absolutely, yeah, and we could go on a whole
nother tangent there.
Speaker 1 (15:36):
Absolutely, But what's uh, let's stick.
Speaker 3 (15:39):
With music for a little bit. Is there is there
a genre of music that.
Speaker 1 (15:42):
You are maybe interested in, not maybe not genre, but
maybe a style of music you're interested in exploring.
Speaker 2 (15:48):
Next, Oh, I'm just bluegrass is like my thing, like
I am, It's my favorite genre of music. I love it,
has it always has it always been, I've always liked it.
But I think the authenticity and well, first of all,
the just the skill required, the skill, the soul like
(16:08):
it's it's authentic, it's real, it's powerful, and it's like
and it harkens back to like like I live up
in the mountains, so I kind of get that vibe
of like the mountain music thing. And I grew up
in an Irish town and so I get a lot
of influence of that. Like like I Irish Arts Week
every week I was hanging out with with the fiddle
players and stuff, you know, So that was but bluegrass
(16:31):
is is huge for me. I really love it.
Speaker 1 (16:34):
So are you what would be considered the Catskills or
is that okay? Awesome? Awesome? Yeah, that has its own
it's all miss and lore to it, doesn't it.
Speaker 2 (16:47):
Well, what is one of the oldest forests in the world?
Is the next town over?
Speaker 1 (16:55):
Like how do they determine that? Like is it just
radio carbon data or whatever?
Speaker 2 (16:58):
I do? I I'm not sure because it was a
long time ago that I read this article, but yeah,
it's in the town over and it's like millions and
millions and millions of years old, which is which is
that's crazy? Because that's so we're like we're in some
like this is the foothills of the Appalachian Mountains, and
it's like it's it is some like there's some spiritual
stuff going on here for sure, Like oh yeah, it's crazy.
Speaker 1 (17:21):
Yeah, I just remember all of like the American folklore
that you grew up with, sleepy hollow and uh rich hollow,
rubble still skip Yeah, yeah, that's what I'm meant to say,
rip benwigal yeah yeah, rum still skin.
Speaker 2 (17:34):
That's that's what he was stealing babies or something.
Speaker 1 (17:37):
Yeah, something like that. Oh man, I now I'm curious,
like what did you learn growing up?
Speaker 2 (17:46):
Yeah?
Speaker 1 (17:47):
What what kind of stuff? What what like kind of
like regional stuff did you learn? We learned we learned
a lot that has to have to do something with
like bluegrass and stuff, right.
Speaker 2 (17:56):
Not so much. We learned a lot about the hood
in Saani and like the Three Sisters and oh yeah stuff,
well enough enough to pass the exams, but not enough
to know that we like absolutely slaughtered them, right right,
But yeah, so stuff like that. And then I wish
(18:18):
we would have learned a little bit more about the
Hudson River School of Art because there's like Thomas Cole's
house is right the two towns over. Olana is in Hudson,
like right across the river, and they're both. I mean,
I'm a huge fan of Hudson River School art. Like, yeah,
it's because it's inspired by the stuff that I look
at every day, so grand it's like, yeah, this this
(18:42):
human perspective, this deification of this, this landscape, it's kind
of this art is the deification of existence.
Speaker 1 (18:51):
That's right, that's right man. All right, well you've had
you've had so many of these wonderful little video clips
they're putting out. Are you on TikTok as well?
Speaker 2 (19:06):
I am on TikTok?
Speaker 1 (19:08):
Is that is that where most of them are popping off?
Speaker 2 (19:11):
Surprisingly, not so much anymore TikTok TikTok since it since
it went away and came back? Is just be sure sure,
like you got.
Speaker 1 (19:20):
Is it mostly? Is it? Is it mostly on Instagram now? Then?
Speaker 2 (19:23):
Yeah, Instagram has been the most traffic for sure. Like, man,
my likes are my followers are count as higher, the
interactions are better. Also, I don't like on TikTok you
can only post up to a minute of solid music. Yeah,
but on Instagram you can do a minute thirty and
it seems like all my parts when I try to
film them, it's just a little over a minute, so.
Speaker 1 (19:46):
You have to cut out like the best parts.
Speaker 2 (19:48):
Yeah, so I have to trim it, so it's not
exactly how I'd want to present it. Blah blah blah,
So it's not ideal. TikTok is cool. I used to
like TikTok a lot more. Now it's just Instagram is
getting more traffic.
Speaker 1 (20:01):
Are you finding it to be a good way for
people to find your music?
Speaker 2 (20:07):
I guess I've always wondered if I've always wandered.
Speaker 1 (20:09):
This translates right, like you know you have like the
ten Second Songs guy on YouTube and the mclauckey guy
on YouTube and all those guys that put out some
really really talented stuff, But I don't know if I've
ever actually listened to their music. But yours I did.
Yours actually did go up there and I did go
actually check it out, and I do love it.
Speaker 2 (20:30):
Thank you so much. I really do appreciate that. And
it is hard to get people to kind of make
the jump over to like you have to spoon feed
shit to people. And I get it because I'm the
same way. Like if somebody's like, listen to this band.
It's like, okay, send me a link right now so
I can click it or else I'm not going Yeah. Yeah, Well,
I know my my new EP that had like a
(20:54):
ridiculous amount of plays in like a very short amount
of time, Like it was saying I had like seven
thousand monthly listeners or something like that, and that was
up from twow that was up from like twenty something.
Speaker 1 (21:06):
Wow.
Speaker 2 (21:07):
So so you have seen some.
Speaker 1 (21:09):
New traffic and stuff. That's good. Yeah, So sure, plan
is I assume to like keep going down that route
and keep exploring these Yeah, you know, I'm just doing
doing fun stuff these. Oh first of all, I gotta
ask what made you want to do the strange camera
angle with most of you?
Speaker 2 (21:28):
You know, it's funny, That's that's was actually happenstance too.
One year for Christmas. One year for Christmas, my folks
got me a go pro and I'm like, thank you
very much. This is a lovely gift, probably expensive gift.
But I don't do downhill skiing, like I don't do BMX,
(21:51):
Like what am I gonna do with this? Then I
found the infamous string dusters actually used to post concert
forge with GoPros click to their instruments and I'm like, huh,
I'll try that, and that was that was it.
Speaker 1 (22:07):
Oh, so let's just clipped your It's it's a goose
neck like I have it right here.
Speaker 2 (22:11):
At It's a goose neck clamp mount in the GoPro
right there, and you can clip it right on the
end of your guitar and go with it.
Speaker 1 (22:21):
I never realized that it looks so much more art seeing,
isn't it. Yeah, it's maybe well thought out that well.
Speaker 2 (22:29):
I I played with the angles quite a bit, like
it was definitely like it took time to get to
where it is now.
Speaker 1 (22:35):
But yeah, I love it. Yeah, it feels like you
have absolutely no what's the word I'm looking for, no fear,
you know what I mean?
Speaker 2 (22:48):
Yeah, do you feel that.
Speaker 1 (22:53):
Or do you do you project it? Maybe at the
very least because when you are playing on those videos,
especially because you know that's the only like live kind
of situation I've seen you in. I mean, you just
look like you're after it.
Speaker 2 (23:05):
I'm fighting for my life, dude. Like those parts explained,
Those parts are hard, dude, like trying to do all
that shit together. And then like the scene is very,
very physical. So it's like I am sweating, like in
the in the Beast of my design one that I did,
like you can see me drenched, like just and it's
(23:26):
in my eyes like I'm trying to scream and like
I'm squinting because the sweats in my eyes, Like yeah,
I'm fighting for my life and it so I don't
realize what I do. Like there's this one dude who
loves to point out that I do a ppe dance
and now everyone's gonna see it and everyone's gonna think
about it.
Speaker 3 (23:39):
But like my legs like like yeah, yeah, you gotta
explain the pepe.
Speaker 2 (23:43):
I like march when I like, I don't know why.
I don't even feel that I'm doing it. I can't
because I'm too busy doing this stuff. But uh, yeah
I do like a little march or like move around
when I when I'm playing, I don't realize I'm doing it,
or like any of my facial expressions, I don't. I
have no idea what's going on. I'm just focusing on
the me music.
Speaker 1 (24:01):
I love it.
Speaker 2 (24:02):
So if I look like I'm locked in, I really
am locked in.
Speaker 1 (24:06):
Well it definitely looks that you're locked in. You know
what I really think it is, though, is I think
it's your I think it's your Baptist roots that are
that are coming forth, or maybe it's the Three Sisters
that are that are.
Speaker 2 (24:17):
It's it's definitely the support of the three sisters for sure.
It's the it's all the protein from the beans.
Speaker 1 (24:23):
Yeah.
Speaker 3 (24:24):
Yeah, Now we just got to get a wide, wide,
wide angle.
Speaker 1 (24:27):
Lens so we can have Hudson School of Art as well.
Speaker 2 (24:29):
Yeah, oh, that'd be sick. They actually have at the
Wadsworth in Hertford, Connecticut. They have a really great exhibit
of of Hudson HW School. They have like a forty
foot Thomas cool. It's not that big, but it's really huge.
It's really nice. So if you ever get a chance
to go to Hartford, go to the Wadsworth Adenium.
Speaker 1 (24:46):
Oh yeah, I will definitely do that if I'm ever there.
I do love that area of the country.
Speaker 2 (24:51):
Yeah, it's pretty cool.
Speaker 1 (24:52):
Sure, yeah, No, you'll have to like slap that thing
up on a drone or something like that and play.
Speaker 2 (24:58):
Yeah, I've super supersumed. I've got some plans, some some
cool stuff's gonna happen at some point.
Speaker 1 (25:03):
So killer.
Speaker 2 (25:05):
My sister has a drums.
Speaker 3 (25:06):
It's a it's a brilliant move. It's a brilliant move
for sure.
Speaker 1 (25:09):
Man. I I'm very, very curious as to how you like.
The music that you must have listened to growing up
has definitely informed you now. Right, so you talked about Rush.
I definitely definitely heard Rush right away. Uh wait. I
think one of the very first songs I looked at
after I looked you up was I'll forget the name
(25:32):
of it. It was one of your earlier ones, and
it sounded I was like, dude, this sounds like Rush.
I'm a big Rush fan. Who isn't. Yeah, But then
you know you've got a lot of the covers and
stuff like that as well. That were the first shared
to me. And I'm like, Okay, this guy listens to
good music.
Speaker 2 (25:48):
Yeah that's what I'll say about myself.
Speaker 1 (25:51):
Yeah, well you can. You can definitely be boastful about it.
Speaker 2 (25:54):
Oh yeah, I listened to the best music, han't sound.
Speaker 1 (25:57):
Yeah, yeah, it's only the music that that is the best.
Speaker 2 (26:00):
I listened to the good stuff. There's what a dude,
the Duke Ellington said, it's there's good stuff and there's
the other stuff. Yeah, there's too much of a statesman
to tell it like it is. Yeah, because yeah, there's
definitely bad music, like most of the stuff you listened
to for sure day is going to be really bad.
But like you can learn stuff from that too.
Speaker 1 (26:22):
Yeah. Yeah, you're kind of in a in like this
like in between world right where you're you know, you're
not Christian anymore, but you have some of these these
tunes from you know, mid two thousands that have you know,
(26:42):
Christian overtones or Christian undertones the very least, right, So
is that music that you're still into.
Speaker 2 (26:50):
I was never really into the Christian thing. In fact,
I think that kind of repelled me at the age
when I was listening to that music. Sure, maybe not
repair old me, but I definitely was like hat losers
at the time. I yeah, I personally, I just it's
just so inextricably tied to who I am that like
(27:11):
it comes out and I like, I like the mythology,
I like the message. Obviously we talked about Jesus like,
I like a lot of that stuff. But yeah, Christianity
is like it's like everything else. I take the good
parts from it and save that and leave the rest,
Like could care less good a.
Speaker 1 (27:31):
Call, couldn't care less? Yes, grammatically correct? That is a
ta right there? Like it?
Speaker 3 (27:39):
It's good, yep yep, fastened along?
Speaker 1 (27:42):
Well, awesome. You're are you? Are you classically trained in anyway?
Speaker 2 (27:48):
No, not at all. I took well the piano lessons
I took where I suppose classical. I studied jazz for
a little bit.
Speaker 3 (28:00):
Okay, when you say when you say studied.
Speaker 2 (28:02):
It, like you mean I went to Actually I went
to school for for jazz, and I studied with a
dude for about a year, and then I auditioned, and
then I went to school for about a year and
then I life happened and I wound up dropping out.
I wasn't taking out loans for art school, and I
(28:22):
got a promotion, so I was like, yeah, I'm gonna
do that. Probably because and I'm not a jazzer either,
Like I could not. I didn't know the repertoire, so
I just couldn't keep up.
Speaker 1 (28:33):
Yeah, that'd be extremely difficult without like the first education.
Speaker 2 (28:37):
Yeah, the first ensemble I walked into, they were like,
all right, take the A train B flat. Yeah, and
they all just started playing and I'm like, oh shit,
I've never even heard this song.
Speaker 1 (28:45):
Oh my god. Yeah, so it was that sounds that
sounds like my biggest fear in the entire world.
Speaker 2 (28:50):
Music school was absolutely humbling, humbling.
Speaker 1 (28:55):
Yeah, but none of them probably have.
Speaker 2 (28:58):
You know, sixteen than point one followers.
Speaker 3 (29:02):
I was gonna say, they probably don't have the following
that you do.
Speaker 1 (29:04):
Now, So who's laughing?
Speaker 2 (29:06):
Now, who's laughing? Man? They can still play better than me,
But I'm laughing.
Speaker 1 (29:16):
I'm humbling all the way though, right.
Speaker 3 (29:19):
I mean, god, I've I can play a good tune
by myself, but man, if you put me in front
of like people who know what they're doing, yeah, I
will completely freeze up people. You know you experienced that.
Speaker 2 (29:32):
Yeah, I actually Have you ever heard of Grant Gordy
He played with David Grisman. Okay, well he's an awesome guy.
Everyone look up Grant Gordy. He's a jazz guitarist, played
with David Grisman. Phenomenal, phenomenal player. But I was talking
to him in the green room one time when I
was when I was working at the club, and he
let me play his triple zero I think it was
(29:53):
his triple zero, and and I was I was playing
this beautiful Martin guitar right in front of him. I
just like fumbled. I just totally fumbled the bag and
I was like sorry, dude, and he's like, no, no,
you're all right, you're right. He's the nicest guy. He's
the nicest guy. But like I could not play his
guitar in front of him.
Speaker 1 (30:14):
It's it's so it's so terrifying.
Speaker 2 (30:17):
It is.
Speaker 1 (30:19):
When it's like it's like if you're someone who's like
an armchair intellectual, yes, and you meet someone who's like
a true I'm true.
Speaker 2 (30:29):
It's just like mensa like chess playing motherfucker.
Speaker 3 (30:32):
Like yeah, yeah, you're like what the fuck am I
even doing?
Speaker 2 (30:36):
They're talking and they're just talking around me, like I
can't I can't even.
Speaker 1 (30:40):
It's it's literally like Dunning Kruger effects, Yeah all the way.
Speaker 3 (30:46):
You're just like I really don't know what I don't
know yet.
Speaker 2 (30:51):
That's it. That's exactly it. And it's like that's I'm
kind of nervous about the playing live thing because like
I at this point in my life, I kind of
have trouble make short term memory, so like memorizing my
songs and like getting like it takes me like a
couple of days of like sleep to actually get my
stuff down.
Speaker 1 (31:08):
Sure, so well, not to mention, you've got some insane
rhythms and something like that too, like the rhythms that
I think I think your typical jazz artists would be quite.
Speaker 3 (31:19):
Challenged with playing.
Speaker 2 (31:21):
Yeah, it's that A lot of it's very angular and jarring,
for sure, or just like I use a lot of tuplets, sure,
a lot of tuplets. Yeah, yeah, rhythm Rhythm has always
been something I've always utilized rhythmic elements to their fullest capacity.
(31:43):
I think, like I've always done that and one of
the biggest things in heavy music, and I think the
thing that a lot of prog metal gets wrong is
it's gotta you gotta feel it like you got a groove.
Like it's what's really heavy is a good groove. That's
why My Sugar, why My Sugar is the best, because
it's all groove. Like. Yeah, it's odd feeling stuff sometimes,
(32:04):
but it's like you can still get behind that back,
you know. And and that's kind of where I like
to I like to make it groove and I like
to like get that like where your body just starts
going with it.
Speaker 1 (32:15):
Yeah, I was trying to think of the I was
trying to think of a really profound metaphoro that I
can I can ascribe to myself. And this probably sounds
cheesy as fucking I'm like, if it doesn't move you
or make you move, it ain't music. Yeah, you know,
(32:36):
I don't know.
Speaker 2 (32:36):
Yeah that's true.
Speaker 1 (32:37):
Maybe that's maybe that's not even original. Maybe that's well.
Speaker 2 (32:39):
Chris Teely had a really good quote about that, like
how you know music's got a dance as good as
it thinks?
Speaker 1 (32:44):
Like, oh, that's a way better way to say what
I said.
Speaker 2 (32:47):
But because he was talking about the way he plays
like bach jigues and like partidas and stuff, and like
that was originally dance music. But you listen to these
classical class play and there's like so much roboto and
so much like and you can't move to it. And
this is dance.
Speaker 1 (33:01):
Too much in and out?
Speaker 2 (33:02):
Yeah, too much in and out. And you got like
when Chris Teely plays a partida or something like, you're
you can feel it like there's rhythm right right?
Speaker 1 (33:11):
So what what what? What kind of groups do you
think do that better than anyone genre?
Speaker 2 (33:17):
Carbomb, car Bomb is just their rhythms are just stupid,
Like what they do it's not even it's math, it's
not even music. But like it's the best.
Speaker 1 (33:26):
I see that.
Speaker 2 (33:27):
I see that car Bomb's really good. Utopia was doing
really angular, crazy out there stuff for sure. Sure, I
don't even know. I don't think I listened too many
bands like that anymore.
Speaker 1 (33:44):
Yeah, I'm not trying. I don't try to be like
Super you know, I'm not. I'm not a Tool fan.
Oh yeah, Tool great, like one of those Tool fans
that are like evangelists about them. But I think Tool
does that pretty darn well.
Speaker 2 (33:59):
Tools, really, I I do. I'm not like a Tool fan, right, yeah,
you want to see you, But like I do like
Tool quite a bit for sure.
Speaker 1 (34:08):
Yeah, but they're one of those bands that I think
definitely does that right where they'll they'll they'll take you
down routes where you're like, I should not be able.
Speaker 2 (34:15):
To be moving to this, Yeah, yeah to it, and
yet I am that's exactly it. There's some get bands
that do that, like, yeah, Suga is probably like well, honestly,
I just think Sugar is the heaviest band ever like
so far as like esthetic lyrics, technicality, like the whole,
and they're I think that the most post psychedelic band
(34:37):
decide of Pink Floyd. Like if you look at their
imagery and their lyrics and some of the stuff that
they're talking about, like it's psychedelic stuff for sure, like
but just just the dark side of it, like the
the black angle of it versus like yeah, versus the
funny trippy sea squiggles and rainbows ship you know it's
right now there stuff is like that.
Speaker 1 (34:57):
Would I would throw like Gogira in that same yeah,
because you're maybe not quite as maybe not quite as dark,
no more more more radio friendly, I guess.
Speaker 2 (35:07):
Yeah, they're more they're more riffy. They're like they got
the riffs, Like, yeah, they're all about the riff and
that's that's important too, Like a good riff is is
where it's at for sure?
Speaker 1 (35:17):
Hell yeah, hell yeah. Interesting. So any plans to to
expand into a more band sex situation.
Speaker 2 (35:29):
Yeah, I know he's talked.
Speaker 1 (35:29):
About a producer or something like that, but like a
band type situation.
Speaker 2 (35:33):
I'm kind of developing an audition process like as as
I'm going because not only do I want to find
good players, I want to find great human beings and
like people that I can form lifelong connections with and
really like like people I know have my back and
vice versa. Yeah, so I'm coming up with with routines
and it's going to be strenuous and it's gonna suck.
(35:53):
So whoever's going to audition is going to have to
work for it for sure.
Speaker 1 (35:57):
For sure.
Speaker 2 (35:58):
But yeah, I'm doing that. And my buddy said he'll
play guitar for me, so I don't have to worry
about that because finding another guitar player would like, that's
a big deal. Like guitar players are hard. Yeah, but
like I really want a good rhythm section because that's
the most important part of the band. Like that, that's
the I think.
Speaker 1 (36:15):
I think I might know a dude that would love
to play drums and he's very very good, great chops, great.
Speaker 2 (36:23):
Seet send him my way.
Speaker 1 (36:25):
Yes, we'll do. We'll do if you need. If you
need a clean vocalist, I would love. I would love
to throw my hat in the audition ring.
Speaker 2 (36:33):
I would I would absolutely love to have your feature
on something or have you do whatever. That would be awesome.
Speaker 1 (36:39):
Sick. Yeah, well, I'll look to get like the exchange.
Speaker 2 (36:42):
No, Yeah, I'll have to check your portfolio and stuff.
Speaker 3 (36:44):
Yeah, I have no portfolio. My portfolio is I've won
a lot of karaoke contests.
Speaker 2 (36:49):
Oh that's a portfolio for me. It's all here, say though,
that's portfolio enough.
Speaker 1 (36:55):
I spent the money. I spent the money. Oh all right,
well hey, let's move into top five most influential albums.
Speaker 2 (37:06):
All right, you're ready, I am ready. Let me peep
my notes up and see what I put number one, well,
in no particular order between the Buried Mese colors. Oh yeah,
that record changed my life and actually saved my life really,
(37:27):
because like I have bipolar disorder and obsessive compulsive disorder,
and I've dealt with like some serious fucked up mental
health shit like my entire life. So I was obviously
and I wasn't diagnosed until like my late twenties, so
like I was a very depressed and messed up kind
of kid. And that album came along and there's you know,
(37:47):
that song Son of Nothing about the dude who like
hurls himself into the sun and like he gets he's
like on his way there, and he's like, wait, maybe
life is pretty cool and I want to live it.
And that was a good message for me, like because
I was kind of the spot I was at, like
I wanted to hurl myself into the sun and like,
here is this music that's like just like I I
didn't know music could be that way, and I didn't
know you were allowed to go that hard. Sure, So
(38:10):
like once I knew it was, then it was was over.
So Colors Colors was huge for me, and I still
play it all the time. I still put the vinyl
on every ow and then, Like it's a great record
and it aged really well.
Speaker 1 (38:21):
I think, oh yeah, it sounds just as good today
as it did that.
Speaker 2 (38:24):
Yeah number two number two Boston self titled oh yeah,
oh yeah. That was honestly what made me want to
play music was was my driving in my dad's old cutlass,
Sierra white Cutlass with.
Speaker 1 (38:44):
Did you hold up? Hold up?
Speaker 3 (38:45):
Did your dad have a gold chain and a hairy.
Speaker 2 (38:48):
He was, No, He's not a Guido, but he's kind
he's kind of the opposite. He like hates squidos.
Speaker 1 (38:56):
He like Guido bashes.
Speaker 2 (38:57):
Yeah he does, he does for sure all the short
like anyone from the city, he's like, he's like racist
to people from the city. It's horrible, but uh but yeah, Boston.
So listening to that on the tape deck in the
cutlass driving a karate class was like, my shit, So
driving a karate class, this.
Speaker 1 (39:18):
Is what this is? Like an ambulance entertainment kind of films.
Speaker 2 (39:21):
Oh, absolutely right. So so Boston self titled, and it's
like it's like the most punk record of that era
because it's all DIY like this dude made that shit
in his basement, like with his own shit, like and
it's it's the one of the best sounding records of
all time. Like I have no idea how he produced
that shit that well, it sounds so good. The songs
(39:42):
are incredible, Like Peace of Mind is heavy as fuck
like that the dueling guitar shit like that's so heavy.
So Boston was a huge, huge influence on me.
Speaker 3 (39:54):
I did not know that he produced that himself.
Speaker 2 (39:56):
Yeah, he did the whole thing in his basement by himself,
like on a twenty four trap reporder.
Speaker 1 (40:01):
That's fucking nuts.
Speaker 2 (40:02):
And did everything like it's it's that's why I say
it's so crazy, because it's like it's a d I
y like but the best sounding record of that era,
hands down, Like the arena round sound.
Speaker 1 (40:13):
It sounds so good. It sounds like it has you know,
hundreds of thousands of dollars, Yeah, you know of production
behind it. Yeah.
Speaker 2 (40:22):
And and if you pick it apart, and if you
pick it apart and listen to all the individual parts,
it's like this guy's a genius. Absolute fu. Yeah, he
went to like M I. T and stuff. Oh of course,
like engineering. Yeah, it was pretty crazy. Yeah. Number three
(40:43):
mm hmm. Number three Alman Brothers Band Live at Fillmore East.
Gotta love it, you got. That's that's a given. It's
the best live record ever record.
Speaker 1 (40:53):
Like, oh, that's a that's that's fighting words.
Speaker 2 (40:55):
That is a big claim. I take it.
Speaker 1 (40:57):
It's out there.
Speaker 2 (40:58):
I take it back, but it is up there, I
would says rock record.
Speaker 1 (41:02):
I'm alive, I'm alive at leads by the who Oh,
you're right. That one's just oh so just it's so heavy.
Speaker 2 (41:10):
Yeah that is really good too.
Speaker 3 (41:12):
Everything's turned up to eleven on that rend.
Speaker 2 (41:14):
Yeah.
Speaker 1 (41:14):
No, I agree, though you don't.
Speaker 2 (41:18):
We don't have to. Bros can listen to them both.
Speaker 1 (41:21):
Yeah that's true.
Speaker 2 (41:23):
But yeah, like like Dicky Bats, Rest in Peace was
a humongous influence on my playing like humongous and Dwayne
too like and that record like it's just musicianship, musicianship,
pure and simple, like never be a band like that,
No one will ever do it better, like no prodigies,
(41:45):
Prodigies just just and and the vibe like and the
fact that they were doing it first, like yeah, like
it was really something fresh and new. Yeah, they feel I.
Speaker 1 (41:56):
Feel like Allman Brothers sitting like this weird liminal space
that doesn't exist in any other music.
Speaker 2 (42:03):
They are absolutely their own thing.
Speaker 1 (42:05):
It's so extremely peaceful and yet so extremely heavy.
Speaker 2 (42:10):
It's rock and roll all the way, and yet it's
country music and it's jazz, and it's like it's all
and pure blues and it's like all these things together
and you can't tell where one begins the other ends,
and it's like right, yeah, So that that record was
huge for me. Like the first nice day in spring,
I rolled down my windows and I put on Statesboro
(42:31):
Blues and just crank it and like that's my thing.
Number four, here's one for you, A Vene sevenfold City
of Evil.
Speaker 1 (42:44):
Dude, I'm a fan.
Speaker 3 (42:46):
I'm a fan that record on way too much and
that is such a for.
Speaker 2 (42:49):
Like a fifteen year old kid like that shit. I
remember exactly, like I'll exactly where I was, and I
was in that I was in the living room over
there because my parents they blocked like MTV and views
and stuff on the TV are fused on the TV.
Of course it did, so I had I'd sneak over
to my grandma's house and I'd watch the music videos.
And I remember the back country music video came on
(43:11):
and it's you know, tattooed dudes back to back, shred
and guitars and half naked chicks all over the place
and cars and like the best. Yeah, and I was like,
my parents are gonna hate this lot.
Speaker 3 (43:24):
It's such a revel.
Speaker 2 (43:25):
Well, I think about it like a fifteen year old
dude who's like all fucked up in the head and
all of a sudden, it's like rock and roll extreme,
Like that's the appeal, right, That's that's the target audience.
Speaker 1 (43:36):
That's that's mainline.
Speaker 2 (43:37):
Then, yeah, mainline. So I did. I picked up that
record and I wore it out. Like the songwriting is incredible,
The musicianship is incredible. Like I'm not a fan of
the singing, but like that's it is, really is and
it's cool, like it's fine for what it is. Yeah,
it's a great where the solos are incredible, like, oh.
Speaker 1 (43:57):
All the way through it's great.
Speaker 2 (43:58):
Yeah, it's a great record.
Speaker 1 (43:59):
That was you know, go ahead, sorry, Well, so.
Speaker 2 (44:02):
Far as influence is concerned, that was probably the biggest,
like so far as like getting me into metal.
Speaker 1 (44:08):
And for sure, for sure, have you seen the trend
of like the you know, the single Moms with the
skull and wings even said sevenfold thing with the tram stamp. No,
as a tram stamp, I should.
Speaker 2 (44:23):
Say no, I've never seen that, but I imagine it's
probably pretty prolific.
Speaker 1 (44:27):
I'm looking it is very prolific. I'm looking for a
friend group that will just you know, get that as
a tram stamp together with me.
Speaker 2 (44:33):
So don't if you're interested, don't tempt me.
Speaker 1 (44:36):
I will tempt you. I've got all the way to
the edge.
Speaker 2 (44:39):
Mine. Mine is. I wanted to get Gene Wilder and
Cleveland little from blazing saddles on each of my ass
cheeks right like, but I don't think I'm gonna do that.
Speaker 1 (44:54):
Please do.
Speaker 2 (44:56):
If I do, everyone's gonna like yeah like that, like
you know, and you know the picture I'm talking about right,
like the one where they're like last exactly. Yeah, like
it's great.
Speaker 1 (45:07):
Oh that would be too good. Then you gotta get
a mango tramp.
Speaker 2 (45:11):
Stony yeah, oh my god, I do mango on the front.
Speaker 1 (45:15):
Just punching a horse.
Speaker 2 (45:17):
Oh Mongo Street. Yeah yeah. The punching the horse thing
was just so oh man, that movie was great. Oh wild, Yeah,
I'm out of pocket. Oh we're ready for number five.
I think we're missing out on number five, number five,
number five, And I just decided on this one today
(45:38):
and I mean it full chest. Ela Fitzgerald sings the
Irving Berlin Songbook Oh Okay like the Blue Skies on
that one of the best scat solos of all time.
Like Ela Fitzgerald was the best singer to ever live,
hands down, no equal, no comparison, no contests, and also
one of the best improvisers of all time. Like her
(46:00):
scatting is just like on on Just You Just Me.
You ever heard that track, dude, it's the bands swinging hard.
She's fucking crushing it. Like, what a great recording that's
not on that record though, I don't think, But man,
there's some some really great tunes on that one, and uh,
Irving Berlin was a fantastic songwriter, and like all that
(46:23):
tinpan alley stuff was was huge when I was doing jazz.
But uh, yeah, El Fitzgerald sings the Irving Berlin songbook.
You're laughing at me. That's a great one. Putting on
the ritz of course. Cheek to cheek. Cheek to cheek
is like that's the ultimate, like dance with a new
date kind of song. It's fantastic. Yeah, good, I've cheeked.
Speaker 1 (46:44):
To cheek out. I don't know if I've heard that one.
Speaker 2 (46:46):
Yeah, do it. It's Oh, it's so good. So Ella Fitzgerald, I.
Speaker 3 (46:51):
Love you some some some good deep deep soul blues singers.
Speaker 2 (46:57):
Yeah, there's not.
Speaker 1 (46:57):
There's not a lot of them around anymore.
Speaker 2 (46:59):
You gotta look for him.
Speaker 1 (47:02):
Who who's our modern interpretation of that? Who's our modern
elevis Joe?
Speaker 2 (47:06):
Have you ever heard of Alexis p Suiter? No, she's
really good. Maybe Staples is still and sing singing, still
living and singing, Stas May Staples is great, But I
don't like, there's no equals to.
Speaker 1 (47:22):
Like, No, there's definitely not.
Speaker 2 (47:24):
Everyone's different from there, you know, and and things will
never be the same again. But but there's still plenty
of really really good jazz singers out there.
Speaker 1 (47:30):
You just gotta like, well, for sure, I know there,
I know there are, but I mean, like what we're
talking about, like the superstar Diva, Yeah.
Speaker 2 (47:37):
No jet like jazz adab, they just would be like
the equivalent.
Speaker 1 (47:41):
But yeah, I don't want no blue Eyes sol though.
Speaker 2 (47:44):
I want I want, I want the authentic stuff. Yeah
for sure.
Speaker 1 (47:48):
Yeah, yeah, that's a good point.
Speaker 3 (47:52):
Uh sweet hey great less super eclectic.
Speaker 1 (47:54):
I love it. I don't think we've had a single
one of those records as one of the top five
most influential records of anyone's history. Cool, so good on you.
You are still you're still being ah you know that
Diamond and the Rough in that case, I love it,
thank you.
Speaker 3 (48:13):
We tend to get a lot of the same records
with that.
Speaker 2 (48:16):
So I can imagine, Well, there are certain records that
are just there, are big.
Speaker 1 (48:20):
They're ubiquitous, right, they're influential. That that's literally the whole
point to it, right, So like it.
Speaker 2 (48:26):
Makes sense absolutely absolutely, and that's yeah, there are certain
there are certain like I don't know, like Marvin Gaye's
what's going on, Like that that record is just good.
Everyone's going to be influenced by that record, you know,
stuff like that.
Speaker 3 (48:43):
If you're not you don't have you don't have a soul.
Speaker 1 (48:45):
Yeah, you can't really be a musician without being influenced
by it.
Speaker 2 (48:49):
Have you ever met like someone who's like, yeah, I
don't really listen to music, I don't really like music.
Speaker 1 (48:54):
I actually have and it's super it's weird. It's so
it's like, it feels very Mark Zuckerberg.
Speaker 2 (49:01):
Yes, yes, you're not You're not human.
Speaker 1 (49:04):
You're not human.
Speaker 2 (49:05):
I do feel very comfortable, or they would.
Speaker 1 (49:07):
Like fake it, right, yeah, you know, like, oh yes,
I really like I really like this musical Ella Finzgerald.
She fits in a Gerald. I think I have her
on Facebook. So what would you like to plug?
Speaker 2 (49:26):
Well, I would like to plug my music, of course
I have.
Speaker 1 (49:31):
Where should people go and find it?
Speaker 2 (49:33):
Well, all of my stuff is up for free download
on band camp if you would like to own it
or possess it, and I would like to keep it
that way, but unfortunately, circumstances being what they are, I
have to live and eat too. I will be doing
physical releases at some point. But my latest EP, Obsession
Cineration is is Live really proud of It came together
(49:54):
really quickly, really organically, and it's definitely like the hardest hitting,
wackiest stuff I've done so far. Hymnol. I just put
out a remix of that. It's the vocals are a
little louder. So yeah, check out my music. I'm on
TikTok Instagram, the Chapel Fire, at the Chapel Fire. What else.
(50:17):
I don't really have much to plug. It's basically just
the music. I'm all about the music.
Speaker 1 (50:19):
Man, good stuff man, Yeah, oh anything else?
Speaker 2 (50:24):
There is that one thing. Okay, So I well, so, okay,
so I met this guy when I was at the club,
right and he he actually makes digredoos, like handmade from
like all kinds of exotic woods, right yeah, And and
he fills them with like and there's different kinds of
like beads and like crazy stuff you can put in there,
like if you want to make like a rain stick
(50:44):
or whatever. There's like there's like all kinds of different
different instruments and stuff that he's that he's making with
these kinds of things. And uh so he actually got
in touch with me and is it wants to make
an album of didredoo music. So I've so, I've actually
been listening to and studying some of the great African,
Australian Aboriginal performers and uh, and so there's some really
(51:08):
some really great inspiration and wealth of knowledge coming out
of that that ancient style of of of music and
expression and sound. It's it's definitely, it's definitely something. So
so this guy is trying to get me to do
this album of music. And there's actually this this buddy
of mine who has a studio a couple of times
(51:29):
over does everything on analog, like you know, really great
like tape reel to reel recorders, and like he's got
like his own melotron, Like he's got vintage melotron, Like
he's got all kinds of really cool stuff. But the
most important thing he has is or his microphones, right,
and he's got these really great vintage microphones that really
pick up the the expressive nature and the the vibration
(51:52):
of the digur do. And so percussion will be primarily
rainstick and we've we've picked glass speads for this one
because that's just the tone for the preferred rainstick tone.
And and then did you do so it will be
me and this gentleman his name is Francisco, like a monk,
and he's uh yeah, and he's going to be playing
(52:14):
did you do with on this next record? Interesting? Yeah,
and it's I think it's going to be called something
typhoon typhoon.
Speaker 1 (52:22):
Is it gonna have like an interesting spelling on typhoon?
Speaker 2 (52:25):
Yeah? Yeah, yeah, it's it's actually like like an antiquated
spelling of Portuguese spelling Portuguese person the Portuguese, of course,
because they traveled all over that area.
Speaker 1 (52:36):
They sure they certainly did.
Speaker 2 (52:38):
Yeah, something like that, you know.
Speaker 1 (52:43):
Interesting. Are you going to add other instruments beyond rain
sticks and digiti?
Speaker 2 (52:50):
No, this is this is a purest record. This is
a record for THESS.
Speaker 3 (52:54):
So it's entirely cultural appropriation.
Speaker 2 (52:56):
It is absolutely cultural appropriation to the fullistics. Dan, I
love it. You could be the eminem of did you
do of of African Australian Australian Aboriginal Aboriginal music.
Speaker 1 (53:08):
Yes, I'm a fan of this. I think you should
shoot a music video at a luru on the very
top of it, completely naked in a buckskin. No, yeah, yeah,
completely naked except for a bucks.
Speaker 2 (53:20):
Except for a buckskin. Well, and then they.
Speaker 1 (53:23):
Should probably also have the fattest booty Aboriginals.
Speaker 2 (53:29):
Yeah, well, I don't know if you've ever just to
bring in views, I don't know if you've ever seen
you you know Fela Kuti right, oh, I love have
you ever seen his sons? I got to work with
sound and Femi and the dancers they have with them.
Holy shit, they move and they move and they move
(53:50):
and they move stop. Yeah, unbelievable, just skill.
Speaker 1 (53:54):
I think I've I've watched every single live performance of
Failure on uh that that that I can find on
the internet, and it's the same thing there, like unbelieva,
the dances he had and the backup singers he had.
He didn't stop moving.
Speaker 2 (54:09):
No, afrobeat is that real? Ship? Like that real real? Yes?
Speaker 1 (54:14):
Yes, but there's there's there's a farm line between good
and bad Afrobeat?
Speaker 2 (54:18):
No, absolutely, there's Well that's everything though, right like everything, Yeah,
for sure, bad stuff in it too, for sure. So yeah,
stay tuned for Typhoon.
Speaker 1 (54:28):
Dude, I'm excited Typhoon. I uh, you know, that's one
genre of music that I have not dipped my toes
too much.
Speaker 2 (54:34):
Australian Aboriginal.
Speaker 1 (54:37):
Yeah, I'm excited. I'm excited. I think I think if
it's you doing it, you'll lend a very interesting perspective.
You're you're a formally Baptist perspective of state in New
York perspective. And I can't wait.
Speaker 2 (54:49):
Absolutely, and it's it's going to be probably pretty racist.
So yeah, stay tuned. Typhoon is on the way, all right,
up the windows, batting down the hatches. There's a storm
comming and it sounds like it sounds like m M
(55:16):
to be clear, to be clear. I do respect that
music tremendously.
Speaker 1 (55:23):
It's it's not so clear, but it's good.
Speaker 2 (55:26):
Yeah, no, I want to make that clear for sure.
Speaker 1 (55:28):
It's clear. Now it's been clear.
Speaker 2 (55:31):
Yeah, awesome.
Speaker 1 (55:32):
Sick. Well, Hey, thank you so much for coming on this.
Speaker 2 (55:35):
I really appreciate it. Thank you for having me. Yeah,
it was a good time.
Speaker 1 (55:40):
Everyone. Go go check out Chapel Fire if you haven't yet,
if you need to check them out on the on
the Instagram and the tiktoks first, and then go get
yourself some some some delicious tunes on the old band
camp or on the Spotify. Yeah, Apple music, Tube music,
Shah Apple Music. So wherever you're at, you do you
a thing, do you thing, love it well, Thank you
Speaker 2 (56:02):
Again, thank you so much, appreciate it, and we'll be
in touch, sir,