Latest / The BlackSheep Podcast: Presented by HM Magazine / Tanner Morita: A Hope for Home and My Epic

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Tanner Morita: A Hope for Home and My Epic · The BlackSheep Podcast: Presented by HM Magazine

• 0:35
  Speaker 1: Today, we've got Tanner Marita with us and Tanner. You've
• 0:38
  Speaker 1: been involved with a few bands. If you're somebody who
• 0:42
  Speaker 1: is a big Face Down Records fan, like Colin and
• 0:45
  Speaker 1: I are, and you've and you like listen to all
• 0:48
  Speaker 1: the Face Down Records discography, Yeah, and you're like, why
• 0:52
  Speaker 1: is some of this stuff sound so pretty? That's Tanna
• 0:56
  Speaker 1: Marita right there. That's the reason why it's the prettiest
• 0:59
  Speaker 1: stuff you'll ever hear in your life. And it's the
• 1:02
  Speaker 1: very reason why my epic sounds like my epic and
• 1:04
  Speaker 1: why I hope for home sounds like.
• 1:06
  Speaker 2: The reason you can't dance or mosh or it's not
• 1:09
  Speaker 2: fun to watch. The biggest buzzkill musically there ever was
• 1:16
  Speaker 2: on Face Done Records.
• 1:17
  Speaker 3: If you just want to think or get high, he's
• 1:20
  Speaker 3: your man.
• 1:21
  Speaker 4: He is your man.
• 1:23
  Speaker 1: The amount of you're so you make music that people
• 1:27
  Speaker 1: should study exams for.
• 1:29
  Speaker 4: That's the kind of music you make.
• 1:31
  Speaker 3: Or love to make or love or love.
• 1:34
  Speaker 2: It's maybe music you should have in the background while
• 1:37
  Speaker 2: you're studying for your exam. But yeah, yeah, if anybody's
• 1:42
  Speaker 2: going to make love to any of music, I'm honed,
• 1:46
  Speaker 2: but I wouldn't advise it I guess I don't know.
• 1:49
  Speaker 1: Yeah, but has anyone ever told you that they've made
• 1:53
  Speaker 1: love to any of your music?
• 1:55
  Speaker 2: I'm assuming that it's happened. I'm hoping that it's you know,
• 1:59
  Speaker 2: like uh, you know some of the like very acoustic
• 2:03
  Speaker 2: y Miampic, Broken Voice. You know there's that cover, the
• 2:08
  Speaker 2: like hymnal cover on us, like broken Voice.
• 2:14
  Speaker 3: It sounds like a terrible idea. That sounds blasphemous. I
• 2:17
  Speaker 3: don't know.
• 2:17
  Speaker 2: It sounds holy, is what it does.
• 2:18
  Speaker 3: I'll say this though, I've gotten a professional massage with
• 2:23
  Speaker 3: Hope for Home playing in the background. Yeah, there was this,
• 2:26
  Speaker 3: there was this. There's this is not a Robert Craft story.
• 2:32
  Speaker 3: Uh So in my hometown there was this. There's this
• 2:37
  Speaker 3: massage therapist who rented out part of my parents restaurant,
• 2:41
  Speaker 3: like kind of like a side building. Her name was
• 2:43
  Speaker 3: Anna Garza, and she was a big Christian alternative music fan.
• 2:47
  Speaker 3: So she would like play Emory and stuff like that,
• 2:50
  Speaker 3: like when you walked in and and then you know,
• 2:53
  Speaker 3: oftentimes a little bit of Hope for Home would be
• 2:55
  Speaker 3: playing in the background while you're you know, having all
• 2:59
  Speaker 3: the knots Paul so good, wow, wild, Yeah, amazing, it's
• 3:04
  Speaker 3: one of my favorite stories about Hope for Home.
• 3:08
  Speaker 2: It is a great story just in general, clearly the
• 3:11
  Speaker 2: probably the closest that anybody's ever listened to A Hope
• 3:14
  Speaker 2: for Home while having sex.
• 3:16
  Speaker 3: That's close.
• 3:18
  Speaker 2: Maybe Yeah.
• 3:20
  Speaker 1: So wow, good time, Well good good to know well
• 3:23
  Speaker 1: Tanner Again, obviously we're big fans of both A Hope
• 3:26
  Speaker 1: for Home in my epic, these are two bands that
• 3:29
  Speaker 1: I mean truly like, we've been listening to you guys
• 3:32
  Speaker 1: for fifteen years. I mean I literally have it's hard
• 3:35
  Speaker 1: to kind of show I literally haven't A Hope for Home.
• 3:38
  Speaker 2: Oh my god.
• 3:40
  Speaker 1: Yeah yeah an abstraction Yeah yeah, I know, like seriously
• 3:44
  Speaker 1: in abstractions, probably a top five album of all time
• 3:46
  Speaker 1: for me.
• 3:47
  Speaker 2: Like, that's incredible, Oh my god, A huge.
• 3:49
  Speaker 4: Huge fan.
• 3:50
  Speaker 1: And uh so you've been a part of two projects
• 3:53
  Speaker 1: that Colin and I have loved for many, many years,
• 3:56
  Speaker 1: and so we're super stoked that you're even willing to
• 3:58
  Speaker 1: talk about about the band.
• 4:00
  Speaker 4: So we're just really staked.
• 4:01
  Speaker 2: Yeah, thanks for having me. That's that's so awesome.
• 4:04
  Speaker 3: I'm so did you Also, did you also fill in
• 4:07
  Speaker 3: with hands a few times?
• 4:10
  Speaker 2: No, I can take credit for that, but no.
• 4:14
  Speaker 3: So Mason and I saw you at a festival and
• 4:16
  Speaker 3: I could have swore that you were No, that was
• 4:18
  Speaker 3: our drummer.
• 4:20
  Speaker 2: Our drummer filled in for hands for a little bit
• 4:23
  Speaker 2: because we were on tour with them, and they're what happened,
• 4:29
  Speaker 2: Oh my gosh, they're current or their drummer, uh Josh, Josh.
• 4:37
  Speaker 2: He had some weird injury. I think he was sitting
• 4:40
  Speaker 2: on a donut drumming every night, and then Ed was like,
• 4:43
  Speaker 2: I have to go home. So our drummer intimate yea,
• 4:51
  Speaker 2: our drummer filled in for a number of dates to
• 4:53
  Speaker 2: finish out the rest of the tour.
• 4:55
  Speaker 3: Sick got you. Yeah, I'm conflating that in my mind
• 4:58
  Speaker 3: that you were helping out out with hands. Well, we
• 5:01
  Speaker 3: did see you with my epic back in like, oh,
• 5:03
  Speaker 3: what was it twenty twelve?
• 5:04
  Speaker 1: Mats was yeah, twenty eleven or twenty twelve at Sunshine
• 5:08
  Speaker 1: And so that that's actually a good point. Maybe that's
• 5:10
  Speaker 1: maybe that's where we lead in here. So to me,
• 5:13
  Speaker 1: this is always kind of a fun thing that whenever
• 5:15
  Speaker 1: this does come up on the podcast, where we, you know,
• 5:17
  Speaker 1: interview lots of different musicians. In some cases some of
• 5:20
  Speaker 1: these musicians we have actually spoken to hung out with before,
• 5:25
  Speaker 1: and more than likely, you know, knowing just the nature
• 5:28
  Speaker 1: of being a musician and you're meeting so many different
• 5:30
  Speaker 1: kinds of people, you just totally forget who you've all met,
• 5:34
  Speaker 1: and this is probably one of those cases. So Tanner,
• 5:37
  Speaker 1: we have actually spoken to you before, but like literally
• 5:40
  Speaker 1: like thirteen years ago.
• 5:42
  Speaker 4: But yeah, we were at the yeah again. I don't remember.
• 5:44
  Speaker 1: It was two ether twy eleven and twenty twelve Sunshine
• 5:46
  Speaker 1: and uh I remember I think it was maybe after
• 5:49
  Speaker 1: the my Epics set we went up and you know,
• 5:51
  Speaker 1: knowing that you were involved with I hope for Home.
• 5:54
  Speaker 1: I maybe it was me or maybe it was you
• 5:56
  Speaker 1: callin I remember who was asked this question, but I
• 5:59
  Speaker 1: remember asking something about, like, you know, what's like an
• 6:01
  Speaker 1: album or what's a band that you like listen to
• 6:03
  Speaker 1: a lot that like, you know, has like kind of
• 6:05
  Speaker 1: shaped the way that you make music. And I still
• 6:07
  Speaker 1: remember you talking all about This Will Destroy You, which
• 6:11
  Speaker 1: is one of Colin and I's favorite bands of all time. Yeah,
• 6:14
  Speaker 1: and so anyway, I remember that conversation. I still think
• 6:17
  Speaker 1: about that conversation all the time because I also have
• 6:20
  Speaker 1: this will Destroy You tattoo as well, so I love
• 6:23
  Speaker 1: this will destroy you. So anyway, I just remember you
• 6:27
  Speaker 1: talking a little bit about how much you love this
• 6:28
  Speaker 1: will destroy you.
• 6:29
  Speaker 2: I think it was like so rare to be linking
• 6:31
  Speaker 2: up with people at some of these festivals that were like, oh,
• 6:36
  Speaker 2: I'm also into like post rock, experimental noise, skate type bands.
• 6:43
  Speaker 2: It was just such a rarity. Yeah, when you know
• 6:46
  Speaker 2: you're playing in bands that are like, I mean, Ope
• 6:49
  Speaker 2: for Home and My both have elements of these like ambient, shoegayzy,
• 6:54
  Speaker 2: post rocky type elements. Hope for Home Adopt did more
• 7:00
  Speaker 2: a little bit later on, but if you're like an
• 7:03
  Speaker 2: earlier fan of a Hope for Home that was like
• 7:06
  Speaker 2: more in the pocket of like post hardcore under Oath
• 7:09
  Speaker 2: Thrice kind of totally realm then. And we had a
• 7:14
  Speaker 2: lot of fans from that era, So meeting people that
• 7:19
  Speaker 2: got the kind of like what we were trying to
• 7:22
  Speaker 2: do and what we're trying to push forward and these
• 7:25
  Speaker 2: elements that we're drawing from that were not just from
• 7:29
  Speaker 2: that specific world, it was like, oh, you guys, you
• 7:33
  Speaker 2: guys get it, thank you, thank you for being here.
• 7:38
  Speaker 2: Oh my god, Like I get for people like.
• 7:41
  Speaker 4: This, I get for probably a lot of your fan base.
• 7:44
  Speaker 1: It's one of those things that might feel a little alienating,
• 7:47
  Speaker 1: but I will say for the two of us that
• 7:50
  Speaker 1: exists in the world that love under oath and love
• 7:53
  Speaker 1: this will destroy you, it was like literally the perfect combination,
• 7:57
  Speaker 1: and it's it's honestly, it's a big reason why especially
• 8:00
  Speaker 1: Abstraction became one of my favorite albums of all time
• 8:02
  Speaker 1: is because it was this perfect mix of all the
• 8:05
  Speaker 1: things that I love in music, both like the heavy
• 8:07
  Speaker 1: post hardcore elements but also the ambient post rock elements,
• 8:12
  Speaker 1: and it's just this beautiful combination of both.
• 8:15
  Speaker 3: Yeah.
• 8:15
  Speaker 2: Thanks, Yeah, I mean we worked really hard to like
• 8:17
  Speaker 2: kind of I mean, anytime you're taking a band kind
• 8:21
  Speaker 2: of from one context into another, and I think, you know,
• 8:26
  Speaker 2: we made incremental changes within that, like from Realist to
• 8:30
  Speaker 2: an Abstraction, but you know, we made a pretty big
• 8:34
  Speaker 2: jump from the Everlasting Man to Realities and then another
• 8:39
  Speaker 2: big jump, you know, further in that direction for an Abstraction.
• 8:43
  Speaker 2: You know, it's it's a difficult to ask your fan
• 8:47
  Speaker 2: base to be along for the ride and put you
• 8:50
  Speaker 2: in context in a different you know, ocean of sound
• 8:55
  Speaker 2: and not feel like not feel like you're doing dirty
• 8:59
  Speaker 2: to your fan base, like you're alienating them. And I
• 9:01
  Speaker 2: think a lot of people, you know, felt alienated or
• 9:04
  Speaker 2: just didn't understand, like, right, you know, I like these
• 9:07
  Speaker 2: you know, fast you know Jamie songs and stuff like that.
• 9:11
  Speaker 2: It's like that's cool, but that's not really where we
• 9:14
  Speaker 2: feel our identity anymore.
• 9:16
  Speaker 3: Sure, sure, you know. We were actually just talking with
• 9:19
  Speaker 3: with another individual actually kind of in the same realm,
• 9:24
  Speaker 3: you know, heavier music with some with some pretty significant
• 9:27
  Speaker 3: post rock type elements, and we were we were talking
• 9:30
  Speaker 3: about how there's actually a lot of crossover of listeners
• 9:34
  Speaker 3: these days with post rock and uh and and more
• 9:38
  Speaker 3: of like you're just straight up heavy music, uh scene. Yeah,
• 9:42
  Speaker 3: absolutely doesn't matter what what venue we go to or
• 9:46
  Speaker 3: where we go in the country. It seems like any
• 9:49
  Speaker 3: anybody we talked to in the crowds like, oh yeah,
• 9:51
  Speaker 3: I also love cigarettes and I also love explosions in
• 9:54
  Speaker 3: the sky or whatever, And it is kind of an
• 9:57
  Speaker 3: interesting crossover. And we were trying to like put a
• 9:59
  Speaker 3: finger on it, like, wh the most extreme ends of
• 10:02
  Speaker 3: the rock spectrum, Why why are they coalescing so much?
• 10:08
  Speaker 3: It's cool.
• 10:09
  Speaker 2: I think it's like, I mean, I've always been into
• 10:12
  Speaker 2: these like post genres, you know, post rock, post hardcore,
• 10:17
  Speaker 2: post metal.
• 10:17
  Speaker 4: Post punk.
• 10:18
  Speaker 1: Yeah, I feel the same way, like post hardcore, post rock, yeah,
• 10:22
  Speaker 1: post punk, post.
• 10:24
  Speaker 3: Not post grunge, right, I don't even know.
• 10:27
  Speaker 2: Maybe the only post grunge probably like post grunge is
• 10:30
  Speaker 2: like kind of like a post alt, you know, post
• 10:33
  Speaker 2: all rock. Like so, you know, you go through some
• 10:36
  Speaker 2: of these and they don't really necessarily make sense, but
• 10:40
  Speaker 2: just like the it's it's kind of being post genre
• 10:45
  Speaker 2: in general is kind of its own, like, yeah, I
• 10:48
  Speaker 2: like the bucket of this these sounds, but I want
• 10:52
  Speaker 2: to hear something new within it, you know, and I
• 10:55
  Speaker 2: think that's what the whole post label is really about,
• 11:00
  Speaker 2: you know. And you can say, like there's post classical,
• 11:05
  Speaker 2: which they just call that neo classical, you know, like
• 11:07
  Speaker 2: you're you know that borrow from like Mills from and
• 11:10
  Speaker 2: all these like all off for Arnold's genres and stuff
• 11:14
  Speaker 2: like that, but it's a post genre just the same
• 11:17
  Speaker 2: as like post rock, post hardcore, post metal.
• 11:20
  Speaker 3: Do you ever do you ever feel like it might
• 11:23
  Speaker 3: sound pretentious to say, oh, yeah, this is post so
• 11:28
  Speaker 3: that was that was that that was that time, that
• 11:31
  Speaker 3: was like the regular genre and now we're in post
• 11:34
  Speaker 3: because we're enlightened and we're.
• 11:36
  Speaker 1: Let's post hair metal. We need a post, we need
• 11:39
  Speaker 1: a post hair metal.
• 11:40
  Speaker 2: Yeah, I mean it's really just like there as long
• 11:43
  Speaker 2: as you can define that stamp. But that that stamp
• 11:46
  Speaker 2: is just gonna mean. I mean, it's it sucks that
• 11:48
  Speaker 2: there's not like posts is a term of like time
• 11:54
  Speaker 2: temporal like signifier, and that's like not always going to
• 11:59
  Speaker 2: be true because if it's post, then it's going to
• 12:02
  Speaker 2: always be moving. But like I feel like, for the
• 12:06
  Speaker 2: most part, like post hardcore has a specific sound that
• 12:10
  Speaker 2: now feels like pretty early to thousands.
• 12:14
  Speaker 3: Yeah, it's almost like it has like we have to
• 12:16
  Speaker 3: like redefine it because a new kind.
• 12:18
  Speaker 2: Of post exactly, You're you're going to be post post
• 12:20
  Speaker 2: hardcore at some point, And what do you call that?
• 12:24
  Speaker 4: We call that a hope for home.
• 12:28
  Speaker 2: Yeah, maybe that's what you get.
• 12:34
  Speaker 3: Yeah, Triple.
• 12:37
  Speaker 1: You just start adding more to it, just keep going
• 12:41
  Speaker 1: quintuple post. So before we more of the music stuff,
• 12:48
  Speaker 1: i'd love to just hear how you got into music
• 12:50
  Speaker 1: to be good with. I mean, obviously, what one of
• 12:53
  Speaker 1: the things I love about your your particular contribution to
• 12:56
  Speaker 1: the music that you've you've created is you know, there's
• 12:59
  Speaker 1: definitely obviously you're primarily a guitarist, but you know, literally
• 13:03
  Speaker 1: a piano behind you, and so there's definitely this like
• 13:06
  Speaker 1: multi instrumentalist nature that I would imagine you have. So
• 13:10
  Speaker 1: I'm just curious, like, like, what got you involved in
• 13:12
  Speaker 1: music to begin with.
• 13:14
  Speaker 2: Yeah, So, I mean I grew up in a musical family.
• 13:17
  Speaker 2: My parents were both fairly musical to one degree or another.
• 13:23
  Speaker 2: I'm the youngest of three, and both my brother's musical
• 13:27
  Speaker 2: in some regard in schooling and stuff like that. So
• 13:30
  Speaker 2: I kind of always grew up kind of watching them
• 13:33
  Speaker 2: and being influenced by the things that they were bringing home,
• 13:36
  Speaker 2: whether it's like kind of their music or the CDs
• 13:40
  Speaker 2: that they brought home, the music that they were listening to,
• 13:42
  Speaker 2: and just latching onto that. So I started started in
• 13:47
  Speaker 2: elementary school. I mean, we had like vinyl records, you know,
• 13:51
  Speaker 2: at our house growing up, and I remember this, we
• 13:54
  Speaker 2: had like a you know, one of those classic huge
• 13:58
  Speaker 2: sound systems, like the old school analog sound systems in
• 14:01
  Speaker 2: our basement, and you know, you could my family would
• 14:06
  Speaker 2: be watching TV and I'd put on a record and
• 14:08
  Speaker 2: plug in the like huge bucket headphones and and just
• 14:13
  Speaker 2: like mess around with stuff and and just listen. But yeah,
• 14:17
  Speaker 2: so there's always music around and and my my my,
• 14:20
  Speaker 2: both my brothers like joined like band and stuff like
• 14:24
  Speaker 2: that and started learning instruments early on, and I wanted
• 14:27
  Speaker 2: to follow along. So I picked up like saxophone and
• 14:32
  Speaker 2: started playing in in like our school band and stuff
• 14:35
  Speaker 2: like that, and and then progressed into like we had
• 14:39
  Speaker 2: a we had a fairly like prominent music program at
• 14:42
  Speaker 2: our middle school and a pretty pretty successful music program
• 14:47
  Speaker 2: in our high school as well. So I kind of
• 14:49
  Speaker 2: followed the route there, playing saxophone in the classical bands
• 14:55
  Speaker 2: and stuff like that, but then also mainly as an
• 14:57
  Speaker 2: avenue to be able to like play in the jazz ensembles,
• 15:01
  Speaker 2: which was happening all before school, you know, your zero
• 15:05
  Speaker 2: periods or whatever, so you have to be there at
• 15:06
  Speaker 2: six am to be able to play in the jazz
• 15:08
  Speaker 2: bands and stuff. So I played saxophone all growing up
• 15:11
  Speaker 2: throughout high school and middle school, jazz, classical, all that
• 15:15
  Speaker 2: sort of stuff, all the while kind of getting influenced
• 15:18
  Speaker 2: with CDs that my brothers would bring home and the
• 15:22
  Speaker 2: music that like them and their group of friends were
• 15:26
  Speaker 2: listening to and just exploring stuff at that point, and
• 15:30
  Speaker 2: eventually picked up guitar in early middle school. I think
• 15:33
  Speaker 2: it was like ten or eleven when I started, when
• 15:36
  Speaker 2: I got my first guitar, started playing, sure, and then
• 15:39
  Speaker 2: you know.
• 15:40
  Speaker 4: Was it a first act?
• 15:41
  Speaker 2: It was a washburn. Oh jeez, it was pretty tight.
• 15:46
  Speaker 2: It's pretty tight.
• 15:48
  Speaker 3: How does Nate feel about that?
• 15:50
  Speaker 2: How does Nate feel about though, that I had a washburn?
• 15:53
  Speaker 3: That you played a washburn to start with?
• 15:54
  Speaker 2: I don't know if I've told him I need to
• 15:57
  Speaker 2: think you play a washburn. I need to thank him
• 15:59
  Speaker 2: for my first guitar. Yeah, So I mean I play
• 16:08
  Speaker 2: guitar at that point. And then then at some point
• 16:12
  Speaker 2: in high school, I just like lost the like motivation
• 16:17
  Speaker 2: for all school stuff at a certain point, like I
• 16:22
  Speaker 2: just knew. I was like, I'm I'm in music, Like
• 16:25
  Speaker 2: I'm here for music and I'm playing like music. And
• 16:31
  Speaker 2: I committed to school because I needed to commit to
• 16:33
  Speaker 2: like jazz, or I needed to commit to school so
• 16:37
  Speaker 2: I could play in the jazz band. And then once
• 16:39
  Speaker 2: I was like, well, I kind of don't think I'm
• 16:41
  Speaker 2: gonna play jazz all my life, so I rather play
• 16:47
  Speaker 2: like guitar and be in a band and like tour
• 16:50
  Speaker 2: and stuff like that. And at that I think at
• 16:52
  Speaker 2: that point I was like kind of well, why am
• 16:54
  Speaker 2: I doing school or why am I trying? So I
• 16:58
  Speaker 2: lost a lot of drive in school, and at that
• 17:02
  Speaker 2: point I was like, this is a I just need
• 17:04
  Speaker 2: to kind of figure out ways to satiate doing what
• 17:09
  Speaker 2: I need to do so I can spend more time
• 17:11
  Speaker 2: playing music, playing with bands, and you know the whole
• 17:14
  Speaker 2: classic like playing with your friends and their basement that
• 17:17
  Speaker 2: also play guitar and forming these like little bands and
• 17:20
  Speaker 2: stuff like that, and then you know, band to band
• 17:23
  Speaker 2: to band, eventually meeting up with the guys for Rome.
• 17:28
  Speaker 2: I was still in high school at that time, and
• 17:31
  Speaker 2: at that point I just like basically worked out a
• 17:35
  Speaker 2: deal and begged my teachers because I was still in
• 17:38
  Speaker 2: high school, and I just was like, I'll take all
• 17:41
  Speaker 2: the course load, give me all the books, whatever I
• 17:44
  Speaker 2: need to do, and I'll just do it from the road.
• 17:47
  Speaker 2: And so we started touring while I was still in
• 17:48
  Speaker 2: high school, finishing out my last senior year of high school.
• 17:51
  Speaker 3: Your parents were perfectly okay with that, Huh, Weirdly, that's wild. Yeah,
• 17:59
  Speaker 3: So they must been pretty supportive of the whole of
• 18:01
  Speaker 3: the whole journey.
• 18:02
  Speaker 2: They were super supportive, Like I think they knew how
• 18:07
  Speaker 2: like it wasn't any like secret how miserable I was
• 18:13
  Speaker 2: jumping through the hoops doing school and course loads and
• 18:16
  Speaker 2: stuff like that, and.
• 18:17
  Speaker 4: It must be so nice to be the youngest child.
• 18:19
  Speaker 2: It is because you've kind of given up that time.
• 18:22
  Speaker 4: Like yeah, it's like there's no way was getting away with.
• 18:30
  Speaker 2: It's definitely true. Yeah, So I I had a lot
• 18:32
  Speaker 2: of leeway in that regard, and I think I had
• 18:35
  Speaker 2: a lot of trust from my parents, and I'm surprised
• 18:39
  Speaker 2: that they were chill with me doing that, but that's
• 18:43
  Speaker 2: what I was able to do. I almost was like
• 18:46
  Speaker 2: we were doing a tour with Hope for Home and
• 18:49
  Speaker 2: we played in Salt Lake with we got linked up
• 18:53
  Speaker 2: with this show with Life in Your Way if you
• 18:57
  Speaker 2: guys remember them, they they were awesome.
• 19:00
  Speaker 4: Yeah, favorite hardcore bands.
• 19:01
  Speaker 2: Yeah right, And there was like a chance that we
• 19:03
  Speaker 2: could jump on that tour at the end of this tour,
• 19:06
  Speaker 2: but that would also mean I would miss my graduation,
• 19:09
  Speaker 2: and then I wouldn't graduate if I did that, So
• 19:12
  Speaker 2: I was like, maybe I just drop out.
• 19:14
  Speaker 4: Wait to graduate. You had to like actually walk across.
• 19:17
  Speaker 4: I think there was some that's like is that a
• 19:19
  Speaker 4: class itself?
• 19:20
  Speaker 2: I think there was like stuff I had to like
• 19:22
  Speaker 2: be there to specifically file for and stuff like that,
• 19:25
  Speaker 2: and I had to be I was like planning to
• 19:28
  Speaker 2: be back for to like finish up my high school stuff,
• 19:31
  Speaker 2: and I was like, I could maybe just not and
• 19:35
  Speaker 2: we can just tour with life in your way, which
• 19:37
  Speaker 2: would be awesome. We ended up not jumping on that
• 19:39
  Speaker 2: tour and I went home and I eventually actually graduated.
• 19:43
  Speaker 4: But are you the youngest guy in a hope for home?
• 19:47
  Speaker 2: Yeah?
• 19:49
  Speaker 1: Okay, So that's like because if it seems like if
• 19:52
  Speaker 1: they were maybe all in this like part of their
• 19:55
  Speaker 1: life where they're like, let's like do this whatever, Like
• 19:57
  Speaker 1: if if you're still finishing a high school, then in
• 20:01
  Speaker 1: some way you could have been maybe potentially the person
• 20:04
  Speaker 1: that's like holding them back because it's like, well I
• 20:05
  Speaker 1: gotta graduate.
• 20:06
  Speaker 2: Still, Yeah, for sure, I didn't. I definitely didn't want
• 20:08
  Speaker 2: to be the one keeping everybody from being able to
• 20:12
  Speaker 2: pursue these things that were like opportunities, and especially for
• 20:15
  Speaker 2: something that I really didn't give a shit about, which
• 20:17
  Speaker 2: was school.
• 20:21
  Speaker 3: Did you ever do you ever feel like you use
• 20:23
  Speaker 3: some of that those jazz methods or jazz stylings within
• 20:28
  Speaker 3: your guitar work as well.
• 20:30
  Speaker 2: Definitely, like like I think like voicings and jazz voicings
• 20:37
  Speaker 2: are really like interest creates some beautiful dissonance, and I think,
• 20:46
  Speaker 2: you know, I've always been like I think I was
• 20:51
  Speaker 2: like more technically proficient earlier on in my guitar playing,
• 20:58
  Speaker 2: and then at a certain point, I think, especially after
• 21:01
  Speaker 2: touring with all these like face sound bands and these
• 21:03
  Speaker 2: like metalcore bands, that these are incredible guitar players and
• 21:07
  Speaker 2: I will never play notes as fast as them. H
• 21:11
  Speaker 2: I think at a certain point I just was like
• 21:14
  Speaker 2: kind of a less is more kind of mentality, And
• 21:17
  Speaker 2: at that point, it's like, what can melody play in
• 21:21
  Speaker 2: in something? And what can emphasizing inter voicings within chords
• 21:29
  Speaker 2: bring to change the mood? And what's most important is
• 21:34
  Speaker 2: how the sound makes you feel, not what the notes
• 21:39
  Speaker 2: are played. It doesn't matter. I've always been the lessons
• 21:42
  Speaker 2: more in that in that in that sort of range.
• 21:46
  Speaker 2: But but yeah, definitely that that's a lot from jazz.
• 21:51
  Speaker 3: That's good. That's good that it wasn't like, uh, you know,
• 21:54
  Speaker 3: totally wasted on saxophone.
• 21:57
  Speaker 4: Yeah, I mean you could joined a sky band.
• 22:01
  Speaker 2: Yeah. I was never really huge into Scott. I liked
• 22:04
  Speaker 2: SKA for the punk elements when I was at Once. Yeah,
• 22:07
  Speaker 2: and that's you know it was. It had a lot
• 22:10
  Speaker 2: of attitude, you know, but I never got a zoot
• 22:12
  Speaker 2: suit or anything like that.
• 22:14
  Speaker 3: Well, that's good for you. Some of the cringiest parts
• 22:20
  Speaker 3: of the whole scene.
• 22:22
  Speaker 2: I feel like there's rumblings. I think that's coming back.
• 22:27
  Speaker 2: I think we're just so close to to like zers
• 22:30
  Speaker 2: picking up SKA bands and be like this is the
• 22:32
  Speaker 2: cool thing because because you know that they want to
• 22:35
  Speaker 2: like find the thing, because they're doing all these like
• 22:38
  Speaker 2: callback like oh we're into Nirvana now, they're.
• 22:41
  Speaker 4: Like taking all these metals coming back.
• 22:43
  Speaker 2: Yeah, but they want to make it so that, like,
• 22:46
  Speaker 2: you know, millennials are not cool with it, and I
• 22:50
  Speaker 2: think SKA would be the secret like the dagger to
• 22:54
  Speaker 2: be like we're we're showing you how lame this is
• 22:57
  Speaker 2: by adopting it and saying it's cool, and you guys
• 23:00
  Speaker 2: will never be able to latch onto that because you know,
• 23:04
  Speaker 2: because you went through this and you know how bad
• 23:07
  Speaker 2: it is.
• 23:08
  Speaker 3: Our listeners are going to lamb based.
• 23:11
  Speaker 2: You, Oh, I got a lot of Scoff fans.
• 23:14
  Speaker 3: Well, the ones that are Scoff fans are like next die.
• 23:19
  Speaker 2: Hard and like rightfully so like there's a lot out there,
• 23:23
  Speaker 2: so you have to like really be you know, punching
• 23:27
  Speaker 2: it hard.
• 23:27
  Speaker 3: They're like the Trump people of the music world.
• 23:31
  Speaker 2: You've just married them together. That's gonna that's gonna make
• 23:37
  Speaker 2: them even stronger.
• 23:41
  Speaker 3: This is how Trump won in the first place.
• 23:43
  Speaker 4: Leonora, Leonora is there Trump.
• 23:48
  Speaker 3: She's gonna love that. I hope she hears that.
• 23:53
  Speaker 1: That's so funny, you know, I have thought about Okay,
• 23:56
  Speaker 1: so obviously like Scott Super nineties, uh and we still
• 24:00
  Speaker 1: haven't quite seen like quite the huge Like obviously there's
• 24:03
  Speaker 1: probably like a fourth Way scar or whatever, but it's probably.
• 24:05
  Speaker 4: Lesser known than Yea.
• 24:07
  Speaker 1: His name is Postcus called Postcu, but like one of
• 24:12
  Speaker 1: the one of the genres of music that feels like
• 24:15
  Speaker 1: it just it like had a five year shelf period
• 24:18
  Speaker 1: that just has not come back that I'm just like,
• 24:21
  Speaker 1: we're like a twenty year period now from it where
• 24:24
  Speaker 1: I'm like, ah, this has got to be coming back
• 24:25
  Speaker 1: at some point. And that is piano rock, Like when
• 24:29
  Speaker 1: is the next Fray gonna pop off right or or
• 24:34
  Speaker 1: like or the next the next train old Play?
• 24:36
  Speaker 4: Like when is when is that gonna pop off again?
• 24:38
  Speaker 3: Yeah? But Coldplay is not really a piano rock band anymore,
• 24:40
  Speaker 3: you know.
• 24:41
  Speaker 4: Not anymore.
• 24:42
  Speaker 1: But like, yeah, when is that version of Coldplay gonna
• 24:44
  Speaker 1: pop off again?
• 24:46
  Speaker 2: Yeah?
• 24:47
  Speaker 4: Like somebody somebody's.
• 24:48
  Speaker 1: Like, somebody's got to like recreate that, because there was
• 24:51
  Speaker 1: a point where, you know, piano was seen as like
• 24:54
  Speaker 1: it's kind of like an Elton John like old school
• 24:57
  Speaker 1: kind of thing. But then there was this whole group
• 24:59
  Speaker 1: of this whole wave of artists that were like bringing
• 25:02
  Speaker 1: this in back into the forefront of rock music. Yeah,
• 25:04
  Speaker 1: that made it cool again. See I was hoping I
• 25:08
  Speaker 1: gotta be getting close to that again.
• 25:09
  Speaker 2: I was hoping that you were going in the route
• 25:11
  Speaker 2: of like, where are we going to get the next
• 25:13
  Speaker 2: Billy Joel.
• 25:15
  Speaker 4: I think we're past that. I think we're past that.
• 25:18
  Speaker 3: I hope we get another Billy Joel, be.
• 25:20
  Speaker 1: Honest, I mean, I love I love that, But I like,
• 25:22
  Speaker 1: I think we're at like that twenty year period of
• 25:26
  Speaker 1: when when during the heyday of piano rock, you know,
• 25:30
  Speaker 1: I remember all these big piano like even the Christian
• 25:32
  Speaker 1: ones like the Rocket Summer I.
• 25:35
  Speaker 4: Was a big one.
• 25:35
  Speaker 3: Yeah, Bird, you were a receiver.
• 25:37
  Speaker 1: Bird, yes, Seabird until June they had a huge hit
• 25:41
  Speaker 1: out in like Europe or something. So there was all
• 25:43
  Speaker 1: these like piano rock bands that.
• 25:46
  Speaker 3: They had.
• 25:49
  Speaker 1: So there were there were these piano rock bands that
• 25:51
  Speaker 1: that were big, And it's just like kind of hard
• 25:53
  Speaker 1: to believe that like that that version of music or
• 25:56
  Speaker 1: that genre of music hasn't like we're in like that
• 25:58
  Speaker 1: twenty year period where it feels like every.
• 26:00
  Speaker 3: You know, I think I think piano rock goes in
• 26:02
  Speaker 3: I think it goes in thirty yard waves because.
• 26:05
  Speaker 1: So yeah, well maybe maybe we're five to ten years
• 26:07
  Speaker 1: awa the cycle.
• 26:08
  Speaker 2: You know, each each genre has a different kind of
• 26:10
  Speaker 2: cycle rate, you know. I mean we're we're in the heavy,
• 26:14
  Speaker 2: We're in the heavy, like uh, Nirvana, we're hitting like
• 26:18
  Speaker 2: you know metal, Third Eye Blind, and like shoegaze is
• 26:23
  Speaker 2: having a huge moment right now. Yeah, like you know,
• 26:28
  Speaker 2: especially stuff in the vein of like hum and stuff
• 26:32
  Speaker 2: like that, like that's having a huge moment. So and
• 26:36
  Speaker 2: pop is borrowing from grunge a lot. So I feel
• 26:39
  Speaker 2: like it's if that's like nineties, you know, we're about
• 26:43
  Speaker 2: to hit the like late nineties and early two thousands. Ye,
• 26:47
  Speaker 2: and that's when we're going to start, you know, we're
• 26:50
  Speaker 2: going to be really receptive to the cringe of that
• 26:52
  Speaker 2: era exactly. Yeah.
• 26:59
  Speaker 4: So point so we were kind of talking about this earlier.
• 27:03
  Speaker 1: I'd love to kind of dive more into it than
• 27:05
  Speaker 1: and we don't really necessarily, I think, need to go
• 27:08
  Speaker 1: like album by album with a hope for Home. But
• 27:11
  Speaker 1: we were discussing earlier about how there was kind of
• 27:15
  Speaker 1: a sound change, especially from and why am I blanking
• 27:19
  Speaker 1: on that first the album right before Realis? Why am
• 27:22
  Speaker 1: I blanking on.
• 27:22
  Speaker 2: That name right now? Everlasting Man?
• 27:24
  Speaker 4: Everlasting Man? That's right.
• 27:26
  Speaker 1: So there was certainly a sound change from Everlasting Man
• 27:29
  Speaker 1: to Realis, and then certainly from Realities to an abstraction.
• 27:34
  Speaker 1: And I've wondered this just generally for bands that try
• 27:38
  Speaker 1: their best to have some sort of sound change album album,
• 27:43
  Speaker 1: and there there must be some sort of balancing act
• 27:47
  Speaker 1: of there's there from the band's perspective, they want to
• 27:51
  Speaker 1: push boundaries around this is the sound that we want
• 27:54
  Speaker 1: to create, but there also must be a balance around Okay,
• 27:58
  Speaker 1: this is the sound that our fans expect, and if
• 28:00
  Speaker 1: we go too far off the deep end, We're going
• 28:03
  Speaker 1: to totally alienate all that fan base and now we're
• 28:06
  Speaker 1: an entirely new band. But also I think good bands
• 28:11
  Speaker 1: like a Hope for Home want to push their sound
• 28:14
  Speaker 1: more too, And so there is this balancing act of
• 28:17
  Speaker 1: like album the album, trying to figure out, Okay, how
• 28:20
  Speaker 1: much can we push our sound to something new but
• 28:23
  Speaker 1: not alienate our fan base. And I think under Oath
• 28:27
  Speaker 1: has done this.
• 28:27
  Speaker 3: Really well, done it just about this one as well.
• 28:32
  Speaker 1: So my Epic certainly has done this well. You've talked
• 28:35
  Speaker 1: a little bit about Thrice Tanner. I think Thrice has
• 28:38
  Speaker 1: done this really well. Under Oath has done this really well,
• 28:40
  Speaker 1: especially under Oath from like Chasing Safety, we're super emo
• 28:43
  Speaker 1: to like basically to find the great line being essentially
• 28:46
  Speaker 1: a hardcore Yeah, for sure, like they they navigated that well,
• 28:50
  Speaker 1: but in a way that still resonated with fans. So
• 28:53
  Speaker 1: I'm just curious, like as a band, whether you think
• 28:56
  Speaker 1: you did that successful or or not, Like, as a band,
• 28:59
  Speaker 1: that must be a conversation you're having with each other.
• 29:02
  Speaker 4: How do we balance this well?
• 29:05
  Speaker 2: Yeah? I think I mean part of the major sound
• 29:10
  Speaker 2: change for Hope for Home was talking about these like
• 29:14
  Speaker 2: identity crisis kind of moments that we had about like
• 29:17
  Speaker 2: what kind of band are we because if we're going
• 29:19
  Speaker 2: to be an under oath cover band, we're like all
• 29:23
  Speaker 2: of us are out. Nobody here wants this. And I
• 29:28
  Speaker 2: think we specifically had like and not to dog on
• 29:36
  Speaker 2: our drummer for like, you know what he did. He's
• 29:40
  Speaker 2: an incredible drummer, but he had a certain style that
• 29:43
  Speaker 2: was like his pocket was very different than the pocket
• 29:46
  Speaker 2: that we were trying to move to, what we were
• 29:49
  Speaker 2: influenced by and what we were trying to move toward.
• 29:53
  Speaker 2: So ended up we found a new drummer. We moved
• 29:58
  Speaker 2: on from from the drummer that we had to a
• 30:01
  Speaker 2: new drummer, and that tone change allowed us to make
• 30:06
  Speaker 2: that jump, but also it changed These were two very
• 30:13
  Speaker 2: very stylistically different drummers, and I think neither of those
• 30:17
  Speaker 2: drummers could replicate the style of the other drummer. Like
• 30:21
  Speaker 2: if we wanted to play old old pro home songs,
• 30:25
  Speaker 2: it would it would kind of not work. And if
• 30:29
  Speaker 2: we wanted to play new promo songs with the old drummer,
• 30:31
  Speaker 2: it would also not work because there's so much feel
• 30:34
  Speaker 2: involved in both of those and texture that that was
• 30:38
  Speaker 2: just inherent in that style. So which then that sets
• 30:42
  Speaker 2: the pace for a lot of your music. So for
• 30:45
  Speaker 2: a hope, from Home, part of that was like when
• 30:47
  Speaker 2: we when we lost that drummer and found a new drummer,
• 30:51
  Speaker 2: there was a necessary like identity change because of the
• 30:55
  Speaker 2: style of our new drummer, which we wanted to embrace
• 30:59
  Speaker 2: at that point and go further. But I think that
• 31:03
  Speaker 2: was like so it's like kind of a pragmatic move
• 31:05
  Speaker 2: in one way, but it was also like it unlocked
• 31:08
  Speaker 2: a lot of stuff for us that like we were
• 31:11
  Speaker 2: wanting to kind of let happen anyways. And I don't
• 31:15
  Speaker 2: know that we necessarily had a whole lot of a
• 31:20
  Speaker 2: whole lot of let's say, like motivation to like honor
• 31:26
  Speaker 2: where we came from in a in that regard, like
• 31:30
  Speaker 2: I think if you over if you overproduce your own
• 31:36
  Speaker 2: creative output, you're gonna be lost because your identity is
• 31:41
  Speaker 2: your identity. And like I've made a lot of music
• 31:47
  Speaker 2: over over my years, and you know, with over Home,
• 31:51
  Speaker 2: with my epic, with other projects, with my own stuff
• 31:55
  Speaker 2: doing like you know, solo work. I've done music for
• 31:58
  Speaker 2: like film and stuff like that. From here and there
• 32:01
  Speaker 2: and even within that, like I can definitely, regardless of
• 32:05
  Speaker 2: how much I think that I can just like adopt
• 32:08
  Speaker 2: a new genre or adopt these identities. It doesn't work
• 32:13
  Speaker 2: because you're always working from your palette and you're always
• 32:15
  Speaker 2: working from your own framework, and you are always going
• 32:18
  Speaker 2: to be influencing what is the output of that, you know,
• 32:24
  Speaker 2: And so when Hope for Home changed its you know,
• 32:29
  Speaker 2: palette base with a new member, we our tone changed significantly.
• 32:37
  Speaker 2: But I don't think we had the idea to like
• 32:40
  Speaker 2: how much of one thing to keep and how much
• 32:44
  Speaker 2: of another thing to push. I think we were just like,
• 32:47
  Speaker 2: let's make output. Let's let's let's make what sounds right
• 32:54
  Speaker 2: for us being in a room together, and just keep
• 32:57
  Speaker 2: pushing it. And that's always going to change, it's always
• 32:59
  Speaker 2: gonna adapt, but it's at the same time, it's always
• 33:01
  Speaker 2: going to sound like you and your specific mixture. And
• 33:04
  Speaker 2: I think that's what's really special about being in a
• 33:07
  Speaker 2: band specifically, is because like you're balanced by each member
• 33:14
  Speaker 2: of the band, and that specific mixture will never be
• 33:20
  Speaker 2: replicated anywhere else, Like you can't you can't bottle that
• 33:24
  Speaker 2: up to anything. You can change out members and stuff
• 33:27
  Speaker 2: like that. But you know when when when a specific
• 33:32
  Speaker 2: piece is not there.
• 33:33
  Speaker 3: Yeah, I also loved I also love like the idea
• 33:38
  Speaker 3: of growth with time as an individual and as a
• 33:42
  Speaker 3: musician all that because if you listen to Years of Silicon,
• 33:46
  Speaker 3: it's it's evident that you guys matured significantly, you know,
• 33:51
  Speaker 3: as musicians, as intellectuals, and how you emotively express all
• 33:57
  Speaker 3: that through the music itself rics the presentation. And I
• 34:02
  Speaker 3: know Mason and I have listened to Years of Silicon
• 34:05
  Speaker 3: on repeat for a while now, and I don't know, Mason,
• 34:11
  Speaker 3: is would you say that Years of Silicon is your
• 34:13
  Speaker 3: favorite or is an Abstraction still your favorite?
• 34:15
  Speaker 1: I think nostalgia makes an Abstraction my favorite. But I
• 34:21
  Speaker 1: think I'm able to pretty definitively say Years of Silicon
• 34:24
  Speaker 1: is the best for home music. I agree, but I
• 34:28
  Speaker 1: but I do think an Abstraction just holds this special
• 34:31
  Speaker 1: spot simply because of nostalgia.
• 34:34
  Speaker 2: That's that's that's really cool. I know there was a
• 34:38
  Speaker 2: big I mean, we weren't making music for a long time,
• 34:42
  Speaker 2: so picking that that back up and writing music together again,
• 34:50
  Speaker 2: it was it was a big risk. You know, that
• 34:52
  Speaker 2: was a project that was born out of you know
• 34:55
  Speaker 2: COVID and twenty twenty and and yeah, you know that
• 34:58
  Speaker 2: it was an opportunity to look back and make connections,
• 35:01
  Speaker 2: even if they're like even if you can't really like
• 35:04
  Speaker 2: physically make those connections, but it was an opportunity. And
• 35:07
  Speaker 2: I think that album was really special from that standpoint
• 35:10
  Speaker 2: because I think we all got to rely on each
• 35:12
  Speaker 2: other through that like time create art in that time,
• 35:16
  Speaker 2: which I think for us, you know, particularly with not
• 35:20
  Speaker 2: just COVID and what was happening in the world, but
• 35:25
  Speaker 2: Trump coming into office, George Floyd, all these huge moments
• 35:30
  Speaker 2: that felt like the world is collapsing and we get
• 35:34
  Speaker 2: to come to we have no work, nobody is doing anything,
• 35:39
  Speaker 2: so we're stuck at home and we're finding ways to create,
• 35:42
  Speaker 2: like to find Hope, you know, not to be too
• 35:47
  Speaker 2: on the nose with our band name.
• 35:49
  Speaker 3: But like.
• 35:52
  Speaker 2: But it was really like true, yeah, yeah, Hope stuck
• 35:56
  Speaker 2: at home. Yeah, but I think that album was really
• 36:01
  Speaker 2: like special and important for all of us to like
• 36:03
  Speaker 2: reconnect and continue to make music again and address kind
• 36:09
  Speaker 2: of everything that we were all feeling over like basically
• 36:12
  Speaker 2: like the ten years it's been since we've written music
• 36:15
  Speaker 2: together again. Yeah, So yeah, that was such a song.
• 36:20
  Speaker 1: Yeah, well along those lines too, with that kind of
• 36:23
  Speaker 1: ten year gap or over ten years even I remember
• 36:27
  Speaker 1: asking Matthew this when we last chatted with him. And
• 36:31
  Speaker 1: maybe this question probably makes more sense to ask Matthew
• 36:36
  Speaker 1: than you just because obviously you have you know, even
• 36:39
  Speaker 1: after in Abstraction, you had been doing work with my Epic,
• 36:43
  Speaker 1: and so it's not as if you have been totally
• 36:46
  Speaker 1: out of the loop of recording music and whatnot. But
• 36:51
  Speaker 1: from two thousand and eleven or whenever you all recorded
• 36:54
  Speaker 1: in Abstraction to the time that you start recording years
• 36:59
  Speaker 1: of sil Like, I mean, it's almost a ten year gap,
• 37:03
  Speaker 1: and there's a lot just just from a recording standpoint
• 37:06
  Speaker 1: of so much that has changed. I mean, you guys
• 37:10
  Speaker 1: literally got to a point where, you know, in twenty eleven,
• 37:14
  Speaker 1: don't I don't think you all could have foresaw a
• 37:17
  Speaker 1: time where you all could have recorded your own instruments
• 37:20
  Speaker 1: in your own room thousands of miles away and make
• 37:23
  Speaker 1: an album together that sounds awesome, like, and here we
• 37:28
  Speaker 1: are ten years later and you all are able to
• 37:30
  Speaker 1: do that, And like there's just something from like a
• 37:32
  Speaker 1: technological standpoint that allows you to just from a recording part,
• 37:38
  Speaker 1: Like you're just able to make something so much different
• 37:41
  Speaker 1: than twenty.
• 37:42
  Speaker 4: Eleven would have allowed you to do.
• 37:44
  Speaker 1: So I'm just curious for you, like what do you
• 37:47
  Speaker 1: think over those like ten years that has allowed you
• 37:51
  Speaker 1: to just like do something that's way different in terms
• 37:54
  Speaker 1: of recording and writing music with people that yeah, could
• 37:58
  Speaker 1: be a long ways away from each other and you're
• 38:01
  Speaker 1: just all in your separate homes.
• 38:02
  Speaker 2: Yeah, yeah, I don't know. I mean, there's like ten
• 38:05
  Speaker 2: years of technology is like a big thing at play.
• 38:09
  Speaker 2: Like we're all here on like studio microphones plugged into
• 38:13
  Speaker 2: like you know interfaces and with like you know whatever
• 38:17
  Speaker 2: modeled preamps and stuff like that, and it's like crazy
• 38:20
  Speaker 2: that we can. We can. It's so accessible to make
• 38:22
  Speaker 2: stuff that sounds pretty good, and you know, convolution technology
• 38:28
  Speaker 2: and modeling and pre amp modeling and you know, analog
• 38:33
  Speaker 2: gear modeling and all this sort of stuff. Like it's
• 38:36
  Speaker 2: come so far, Like it's crazy what you can do now.
• 38:39
  Speaker 2: And it's you'd be surprised how much music film scores,
• 38:44
  Speaker 2: like you know, orchestral arrangements that you hear in you know,
• 38:48
  Speaker 2: big box office movies that are like it's it's all
• 38:52
  Speaker 2: made in a computer, you know, Yeah, because the technology
• 38:57
  Speaker 2: is that far and it's that much easier, and it's
• 39:00
  Speaker 2: like I don't have access to like, you know, you know,
• 39:05
  Speaker 2: every amp I could ever dream of at my fingertips,
• 39:08
  Speaker 2: but I do because of technology. So yeah, I can
• 39:12
  Speaker 2: just download a like, you know, Fender Tweed amp if
• 39:16
  Speaker 2: that's what it needs at the moment, or I'm gonna
• 39:18
  Speaker 2: download a you know, AC thirty amp and plug directly
• 39:22
  Speaker 2: in and stuff like that, and it sounds really good,
• 39:25
  Speaker 2: especially in a mix and stuff like that. Even without
• 39:27
  Speaker 2: a mix, I think they sound phenomenal.
• 39:29
  Speaker 1: You know.
• 39:29
  Speaker 2: There's something about being in a room with a live
• 39:32
  Speaker 2: amp and all these things and being able to tweak
• 39:35
  Speaker 2: knobs and push buttons and feel the air pressure kind
• 39:39
  Speaker 2: of coming at you. There's something that you can't replicate
• 39:42
  Speaker 2: in that regard. But how much of that is literally
• 39:47
  Speaker 2: the sound and how much of it is the the
• 39:51
  Speaker 2: energy of that, you know, And that's hard to replicate,
• 39:55
  Speaker 2: which I think is why you know, live shows and
• 39:59
  Speaker 2: experience art, you know, physically is really important because it's
• 40:05
  Speaker 2: so easy to stay stuck in a digital world. But
• 40:09
  Speaker 2: the the like technology is undeniable, Like this wouldn't happen
• 40:14
  Speaker 2: like without And we've gotten a lot of experience with
• 40:17
  Speaker 2: recording with Matt Goldman. Nate is an insane recorder like
• 40:23
  Speaker 2: producer and stuff like that. So I learned so much
• 40:25
  Speaker 2: just like being in a band with him and being
• 40:27
  Speaker 2: able to talk music and production and stuff like that,
• 40:30
  Speaker 2: and being able to record, you know, at these studios
• 40:35
  Speaker 2: where the Hope from Home recorded, like the Red Room
• 40:37
  Speaker 2: and stuff like that. You learn so much just like
• 40:41
  Speaker 2: being in the room and soaking it up for sure,
• 40:43
  Speaker 2: and you just kind of take that and now we
• 40:45
  Speaker 2: can like now it doesn't take you know, you know,
• 40:50
  Speaker 2: a huge freaking bank loan to actually buy all the
• 40:55
  Speaker 2: analog gear that you need to like do make the
• 40:58
  Speaker 2: sounds that you want to make. You can just do
• 41:00
  Speaker 2: it in the box and it's not that right crazy.
• 41:04
  Speaker 1: Your guitar work especially is really I think known for
• 41:10
  Speaker 1: almost creating soundscapes. You're just creating lots of different kinds
• 41:13
  Speaker 1: of noises with your instruments, especially guitar, and so knowing
• 41:20
  Speaker 1: that you just have like all of this availability in
• 41:23
  Speaker 1: front of you, all these different kind of amps that
• 41:25
  Speaker 1: you can just you just plug it in on your
• 41:28
  Speaker 1: software and now you've got that sound like does it
• 41:32
  Speaker 1: do you feel like does it make you either lazier
• 41:36
  Speaker 1: or does it give you even more of a challenge
• 41:38
  Speaker 1: to create the kind of like interesting soundscapes that might
• 41:41
  Speaker 1: be going on in your head that you're wanting to create,
• 41:44
  Speaker 1: And does it just like make that easier and challenge
• 41:47
  Speaker 1: you to, like I want to do even more or
• 41:48
  Speaker 1: does it feel like you're may be like, oh no,
• 41:50
  Speaker 1: I'm just like I've got like too much at my fingertips.
• 41:52
  Speaker 4: Now I can like like I can sort of maybe
• 41:55
  Speaker 4: like such a good question, like.
• 41:56
  Speaker 1: I can Yeah, I'm like, now it might it might
• 41:59
  Speaker 1: even feel like you can kind of skip corners totally.
• 42:01
  Speaker 2: And and I definitely feel like a lot more like
• 42:06
  Speaker 2: for the longest time, my like guitar rig and my
• 42:11
  Speaker 2: pedals and stuff like that, they were just they were
• 42:13
  Speaker 2: what they were. They're not the most like glamorous pedals,
• 42:18
  Speaker 2: like you know, I'm not like a worship band musician
• 42:20
  Speaker 2: that's making that worship band money and buying the like
• 42:23
  Speaker 2: Streyman Reaver pedals and and Elk caps and stuff like
• 42:27
  Speaker 2: that that like and just like adding pedals on. I've
• 42:30
  Speaker 2: been able, by the.
• 42:31
  Speaker 1: Way, I don't know if you've seen this before, but
• 42:33
  Speaker 1: one third of the new guitars bought in the United
• 42:35
  Speaker 1: States are bought for worship. It's it's crazy, it's a
• 42:40
  Speaker 1: nuts amount.
• 42:40
  Speaker 2: But but the especially like it's funny because there's a
• 42:43
  Speaker 2: lot of like worship musicians that are like so like
• 42:46
  Speaker 2: I make ambients and stuff like that, and these like
• 42:48
  Speaker 2: big soundscapes and stuff like that, and and to me,
• 42:51
  Speaker 2: it's like, I've just never worked that way I've done.
• 42:54
  Speaker 2: I've like I've never had like the ability to just
• 42:58
  Speaker 2: like get this new pedal that does all these like
• 43:00
  Speaker 2: crazy stuff. I think it's like I feel more limited
• 43:05
  Speaker 2: by that because you don't like whenever you're playing like
• 43:08
  Speaker 2: reverbs and delays and these really like these instruments that
• 43:14
  Speaker 2: I mean, I consider them instruments like they affect your sound.
• 43:17
  Speaker 2: They are your sound. And if you're not able to
• 43:21
  Speaker 2: play that, then you're not playing the instrument. And if
• 43:26
  Speaker 2: you can't get familiar with it, it's quirks. It's nuances
• 43:30
  Speaker 2: how to like build up sound into it, how to
• 43:32
  Speaker 2: like create what you want to create within that context.
• 43:36
  Speaker 2: Then you kind of like I mean, I with to
• 43:40
  Speaker 2: your point with all this like limitless new sounds available
• 43:44
  Speaker 2: through like in the box technology or plugins and these
• 43:47
  Speaker 2: like cool things that you can do with like digital
• 43:49
  Speaker 2: tech and granular delays and huge freaking reverbs and all
• 43:54
  Speaker 2: this sort of stuff, and you know feedback loops that
• 43:56
  Speaker 2: are just like auto generated lfos and stuff like that.
• 43:59
  Speaker 2: You can do crazy stuff, but if you can't play
• 44:02
  Speaker 2: into it and really feel like you're playing it as
• 44:05
  Speaker 2: an instrument, then like you're gonna be like, oh, I
• 44:09
  Speaker 2: can do some cool stuff, and it's then it's just
• 44:11
  Speaker 2: like a one trick pony and you move on to
• 44:14
  Speaker 2: find the next thing. But like I think the bands
• 44:19
  Speaker 2: that have really been impactful and made like huge kind
• 44:27
  Speaker 2: of genre and like sound shifts have been like we
• 44:32
  Speaker 2: have like we use these this rig and maybe Kevin
• 44:36
  Speaker 2: Deshields is not a great, like great person to put
• 44:40
  Speaker 2: at that, like you know, figurehead for that, because he's
• 44:43
  Speaker 2: also known for using all sorts of different gear and
• 44:45
  Speaker 2: stuff like that. So it's like kind of defeats its
• 44:47
  Speaker 2: own purpose. But generally, like these sounds are made because
• 44:52
  Speaker 2: of specifically being able to play into these pedals units guitars.
• 44:59
  Speaker 2: It's the whole thing. Your guitar is, like, not the
• 45:01
  Speaker 2: instrument the guitar. If you're playing a guitar with a
• 45:04
  Speaker 2: delay pedal that is your instrument, and you have to
• 45:06
  Speaker 2: play into that. So like you know, Mono, this will
• 45:11
  Speaker 2: destroy you. Kevin Deshields from My Bloody Valentine from Siegarros,
• 45:15
  Speaker 2: like these guys, all these bands and all these like
• 45:19
  Speaker 2: figures developed sounds based off of kind of limitation and
• 45:24
  Speaker 2: being stuck within that box and then exploring every fucking
• 45:28
  Speaker 2: corner of that box.
• 45:30
  Speaker 3: There's almost like a there's like a there's a level
• 45:33
  Speaker 3: where choice becomes crippling. Right, absolutely, We're like, you can
• 45:36
  Speaker 3: you're never gonna find the sound that you are searching
• 45:40
  Speaker 3: for because the sound is in a million different places.
• 45:44
  Speaker 3: But if you learn how to hit every single corner
• 45:49
  Speaker 3: of the soundscape that you're looking for or that you're
• 45:52
  Speaker 3: that you can play with like you're talking about, you're
• 45:55
  Speaker 3: gonna find I see this like with you know, me
• 46:00
  Speaker 3: guitarists versus high end guitarists that really really know their
• 46:05
  Speaker 3: instrument in and out, and the medium skilled guitarist will
• 46:09
  Speaker 3: play and it sounds cool, sounds great, right, and then
• 46:12
  Speaker 3: that guy who's just that next level plays the exact
• 46:15
  Speaker 3: same thing. You're like, that was a completely different thing
• 46:18
  Speaker 3: that wasn't even close to the same thing, And it's
• 46:20
  Speaker 3: just the mastery over it and just knowing exactly what
• 46:26
  Speaker 3: they're gonna get out of that guitar changes the whole
• 46:31
  Speaker 3: feeling altogether. That's such a weird thing to think about,
• 46:37
  Speaker 3: but I mean that happens all the time. Yeah, and thankfully,
• 46:42
  Speaker 3: thankfully you have people that are that good at that.
• 46:44
  Speaker 2: And it wasn't made because you downloaded a plug in
• 46:47
  Speaker 2: and you have five hundred presets to cycle through and
• 46:50
  Speaker 2: you can just like click through the next preset and
• 46:52
  Speaker 2: see what sounds cool.
• 46:53
  Speaker 3: Yeah, like, no one's no one's gonna sound as good
• 46:55
  Speaker 3: as David Gilmore playing David Gilmour.
• 46:57
  Speaker 2: Licks right, yeah, or the edge the edge sound. You know,
• 47:02
  Speaker 2: it became a thing because he explored every kind of
• 47:06
  Speaker 2: facet of what that sound is, you know exactly. It
• 47:09
  Speaker 2: changed society, changed worship leaders changed worship at the very least.
• 47:16
  Speaker 4: Yeah, Well, reminds me.
• 47:19
  Speaker 1: I forget who it was that we interviewed a while back, calling,
• 47:22
  Speaker 1: but I remember he was talking about actually you know what,
• 47:27
  Speaker 1: it was actually Aaron from my epic. So Aaron was
• 47:30
  Speaker 1: talking about this interview. You won't like him.
• 47:34
  Speaker 4: He's he's not any good.
• 47:36
  Speaker 1: But but Aaron was talking about how he was watching
• 47:39
  Speaker 1: this interview with the guitar tech for Cigaroes and the
• 47:44
  Speaker 1: like interviewer like made note of the fact that in
• 47:48
  Speaker 1: Jonesy's guitar rig like his his pedal board was tiny
• 47:52
  Speaker 1: in comparison to what you would assume his pedal board
• 47:54
  Speaker 1: would look like. And and the guitar tech who is
• 47:57
  Speaker 1: also this like super Icelandic guy. And I still remember
• 48:01
  Speaker 1: like hearing Aaron's like Icelandic impression, but he was like
• 48:05
  Speaker 1: the Icelandic guitar tech for Jonesy was like, it's just
• 48:08
  Speaker 1: in these fingos, It's just his fingos that makes the sound.
• 48:12
  Speaker 1: And and I'm probably butchering Aaron's impression of this.
• 48:16
  Speaker 2: I think that was every every Scanavian person I've ever
• 48:21
  Speaker 2: met sounds exactly great.
• 48:23
  Speaker 4: Glad I nailed it. Glad I nailed it.
• 48:26
  Speaker 3: Peter's gonna be so pissed.
• 48:29
  Speaker 1: So anyway, but that, like, I think it's to at
• 48:31
  Speaker 1: least like highlight the fact that even someone like Jonesy
• 48:36
  Speaker 1: is is like so perfect at like he has like
• 48:39
  Speaker 1: mastered his instrument and is able to create all of
• 48:43
  Speaker 1: this amazing sound without having to like like he he
• 48:47
  Speaker 1: sort of has figured out like what are the few
• 48:49
  Speaker 1: like pedals that are needed to create this sound as
• 48:53
  Speaker 1: I've like actually mastered the guitar with it, Like he
• 48:57
  Speaker 1: doesn't need all these plugins to create that sound.
• 49:00
  Speaker 3: Yeah, such a cool, such a cool thing.
• 49:04
  Speaker 4: Well, speaking of my Epic, Yeah, I was gonna talk
• 49:06
  Speaker 4: about My Epic.
• 49:08
  Speaker 3: My epic record, it feels like one of those records
• 49:11
  Speaker 3: that's like taking everything and then just turning it on
• 49:16
  Speaker 3: its head. It's it's very very experimental. I would almost
• 49:22
  Speaker 3: say it sounds like you guys had a ton of
• 49:25
  Speaker 3: fun definitely, I think, and just coming up with new stuff.
• 49:28
  Speaker 2: I think it's like it's it's funny because it's definitely
• 49:31
  Speaker 2: like it's a different form of experimentalism than Hope from
• 49:35
  Speaker 2: in a completely different realm. Yeah, Like where Hope for
• 49:39
  Speaker 2: Holmes like we can get in a room and we
• 49:41
  Speaker 2: can jam on something for you know, twenty minutes, and
• 49:45
  Speaker 2: to be like, oh, we're supposed to practice songs, you know.
• 49:49
  Speaker 1: And then you realize that that twenty minutes is actually
• 49:52
  Speaker 1: just one song right.
• 49:53
  Speaker 2: Exactly, And that's where a lot of our songs come from.
• 49:56
  Speaker 2: For the my Epic record, it was kind of like
• 49:59
  Speaker 2: an floriation into I don't know, just like like these
• 50:05
  Speaker 2: these feelings, you know, in a way less less, just
• 50:11
  Speaker 2: like let's let's make some songs or let's jam on
• 50:14
  Speaker 2: stuff and figure out what works. It was kind of
• 50:16
  Speaker 2: like how do we like kind of really refine and
• 50:21
  Speaker 2: capture a feeling. And I think those feelings were pretty
• 50:24
  Speaker 2: defined for us in the process, and we we did
• 50:29
  Speaker 2: a lot of work to like write the song that
• 50:31
  Speaker 2: we thought did it, and then we listened back to
• 50:34
  Speaker 2: it and go like, it's not hitting that feeling that
• 50:36
  Speaker 2: we wanted it too, Like it doesn't feel like you know,
• 50:40
  Speaker 2: it doesn't feel like growing up, you know, So we
• 50:44
  Speaker 2: gotta reread it, we gotta scrape it, and we got
• 50:46
  Speaker 2: to re record it, recontextualize the song. And there was
• 50:49
  Speaker 2: a lot of songs that were exactly that, whereas like,
• 50:53
  Speaker 2: this is a good song. And I definitely feel like
• 50:56
  Speaker 2: there's a almost for the whole album. There's alternates for
• 51:00
  Speaker 2: every song that was written on that album that is
• 51:03
  Speaker 2: like it's a completely different song. It's the same exact song,
• 51:06
  Speaker 2: but it's a completely different song because we wrote it.
• 51:08
  Speaker 2: And then we're like, it's not that thing though, it's
• 51:12
  Speaker 2: not hitting that that kind of moment or space in
• 51:15
  Speaker 2: time or just that like whatever sauce that we expected
• 51:20
  Speaker 2: that thing to hit.
• 51:21
  Speaker 3: You know what I did. I think it is so
• 51:23
  Speaker 3: funny about it. This sounds like the art department of
• 51:27
  Speaker 3: an ad agency. It's like, this doesn't feel quite like
• 51:32
  Speaker 3: childhood yet. This doesn't feel quite like the energetic first
• 51:36
  Speaker 3: kiss or something.
• 51:37
  Speaker 2: Like that, right that That was a lot of the
• 51:41
  Speaker 2: communication around the album. Honestly, like it was a lot
• 51:46
  Speaker 2: of that. So it makes sense.
• 51:51
  Speaker 3: You guys are just like in their drinking scotch in
• 51:53
  Speaker 3: the middle of the day, we're wearing suits from the
• 51:57
  Speaker 3: nineteen sixties. This doesn't feel like it should yet.
• 52:01
  Speaker 2: I think Nate's Nate's favorite show is mad Men, So
• 52:04
  Speaker 2: I think he was just pushing hard into that he
• 52:07
  Speaker 2: got his best his best suit on and smoking cigarettes
• 52:11
  Speaker 2: the whole time.
• 52:11
  Speaker 3: What's it? What's it like being in a band with
• 52:14
  Speaker 3: those guys, Because I feel like every single, every single
• 52:16
  Speaker 3: one of you have a very distinct personality that is very,
• 52:21
  Speaker 3: very creative in a completely different way than one another.
• 52:26
  Speaker 2: It's it's a it's a it's a hoot. Man.
• 52:29
  Speaker 3: It sounds like it would be Yeah, it.
• 52:32
  Speaker 2: Is great, Like, you know, those are my best friends,
• 52:34
  Speaker 2: and and it's being able to like kind of push
• 52:38
  Speaker 2: and pull on them and be like, you know, like
• 52:41
  Speaker 2: when you're when you're so close with somebody, you you
• 52:43
  Speaker 2: go like I know all that. Dude's like I know
• 52:47
  Speaker 2: where he's gonna go with everything, you know, Like I
• 52:50
  Speaker 2: know when like somebody says something that's going to spark
• 52:54
  Speaker 2: an Aaron story, you know, and he's got he's got
• 52:58
  Speaker 2: like you know, a couple in the queue and like, Okay,
• 53:00
  Speaker 2: he's gonna do the you know, he's gonna do the
• 53:02
  Speaker 2: tour story from this time or whatever, be like see cool,
• 53:08
  Speaker 2: zone out, come back in when I like something to
• 53:11
  Speaker 2: add to it or whatever. You know, these I don't know.
• 53:14
  Speaker 2: And then Nate's the the same way, Like I know,
• 53:17
  Speaker 2: like I know the things that like are gonna make
• 53:20
  Speaker 2: Nate like just kind of completely like zone out and
• 53:22
  Speaker 2: like Nate's lost in the ether now, and then the
• 53:27
  Speaker 2: things that are like gonna bring him down, and he's
• 53:29
  Speaker 2: gonna like you know, you can just k of you know,
• 53:32
  Speaker 2: kind of larp together. So how often do you.
• 53:34
  Speaker 3: Guys talk about K pop? Because I know I know Nate's.
• 53:39
  Speaker 2: Been Yeah, he's so deep in it. He's so deep
• 53:43
  Speaker 2: in it. I had one of Nate's my good buddies
• 53:48
  Speaker 2: as well, but Nate grew up and with with this
• 53:51
  Speaker 2: guy and good good friend of ours and also member
• 53:55
  Speaker 2: of author you guys know, author Trevor. Trevor. He came
• 53:59
  Speaker 2: through on a K pop tour just like was it
• 54:03
  Speaker 2: like a week ago, got a bunch of coffees from
• 54:06
  Speaker 2: the coffee shop for all the like K pop members
• 54:09
  Speaker 2: and stuff like that, and got to hang out and
• 54:11
  Speaker 2: chat and they're having a blast with the with the tours. Man,
• 54:15
  Speaker 2: it's it's great.
• 54:16
  Speaker 3: That is the wildest thing he is. He just looking
• 54:20
  Speaker 3: at Nate, He's the last person I would imagine being
• 54:23
  Speaker 3: involved in the world at all, you know.
• 54:26
  Speaker 2: I mean Nate is as a voyeur in in that regard,
• 54:30
  Speaker 2: like he's like there's no discrimination on any any singular genre,
• 54:36
  Speaker 2: and it's like, all right, you want to go there,
• 54:38
  Speaker 2: Let's go there, Let's go all the way in, and
• 54:40
  Speaker 2: let's like figure out what's cool about it, like what's
• 54:44
  Speaker 2: interesting about it, and we're we're gonna get there and
• 54:48
  Speaker 2: find all those things.
• 54:49
  Speaker 3: You know.
• 54:50
  Speaker 2: Yeah, he's just down down to clown.
• 54:55
  Speaker 1: The way you talk about your relationship with Nate and Aaron.
• 55:00
  Speaker 1: So when it comes to recording and writing, sounds a
• 55:03
  Speaker 1: lot like a married couple, Like you just sort of
• 55:05
  Speaker 1: know each other well enough to kind of either finish
• 55:08
  Speaker 1: each other's sentences or know where each other is gonna go.
• 55:10
  Speaker 4: With certain things.
• 55:11
  Speaker 1: So I do think that begs the question do you
• 55:14
  Speaker 1: fight like a married couple too? Like are you able
• 55:17
  Speaker 1: to have disagreement with each other as a married couple,
• 55:22
  Speaker 1: And if so, what does that look like?
• 55:23
  Speaker 3: This kind of feels like a polyamorous relationship, though I'm
• 55:26
  Speaker 3: not gonna lie more than one. There's more than one
• 55:28
  Speaker 3: person married here.
• 55:29
  Speaker 2: I think all of us are like super or conflict avoidant,
• 55:34
  Speaker 2: you know, so I think I actually I don't know
• 55:40
  Speaker 2: if Aaron's like the most conflict avoidant, but I know
• 55:43
  Speaker 2: that he knows that me and Nate both are, so
• 55:47
  Speaker 2: I think he does. You know, Aaron has his whole
• 55:51
  Speaker 2: like you know, type a like he takes his whole,
• 55:54
  Speaker 2: like he wants to get everybody involved in like kind
• 55:57
  Speaker 2: of camp counselor type kind of vibe or like bring
• 56:00
  Speaker 2: everybody together in the room and all hang out together.
• 56:03
  Speaker 2: He just wants to facility.
• 56:05
  Speaker 1: Does he like spin the chair around where he's like
• 56:07
  Speaker 1: sitting on the back of the chair, and it's like
• 56:10
  Speaker 1: that that really is totally has that.
• 56:14
  Speaker 4: Yeah, Aaron has that energy.
• 56:15
  Speaker 2: He definitely has that energy. But he knows that like
• 56:19
  Speaker 2: me and Nate are the hardest people for him to
• 56:22
  Speaker 2: ever deal with and rope in in that same way
• 56:26
  Speaker 2: because he knows we're both so like just we're gonna
• 56:29
  Speaker 2: be there if we're gonna if we're there, you know. Sure,
• 56:32
  Speaker 2: So I think it kind of infuriates Aaron because he
• 56:35
  Speaker 2: can't kind of go to his like go to his bag,
• 56:38
  Speaker 2: so to speak, so he just kind of like waits
• 56:40
  Speaker 2: for us and stuff like that. So yeah, we definitely,
• 56:45
  Speaker 2: like I think we we honestly don't really argue much.
• 56:51
  Speaker 2: And I think we just because I think we leave
• 56:54
  Speaker 2: so much space for each other. And I think it's
• 56:56
  Speaker 2: taken Aaron a little bit to learn how to give
• 56:59
  Speaker 2: us space when he knows like we need it, you know.
• 57:03
  Speaker 2: But he's he's done a really fantastic job as adapt
• 57:07
  Speaker 2: to our needs. Ye.
• 57:09
  Speaker 3: Yeah, he's it's almost like he's just gotta let you
• 57:11
  Speaker 3: guys go cook for a bit, and.
• 57:12
  Speaker 4: Then yeah, he knows when to fold them exactly.
• 57:16
  Speaker 3: Yeah, all right, well let's get let's get into your
• 57:19
  Speaker 3: top five most influential albums.
• 57:22
  Speaker 2: Okay, I was I was thinking about this a little
• 57:24
  Speaker 2: bit kind of as we were talking. It might not
• 57:26
  Speaker 2: be like fully fleshed out, might not be completely accurate, kind.
• 57:31
  Speaker 3: Of probably daily so yeah.
• 57:33
  Speaker 2: What's happening today, but kind of taking on I guess,
• 57:39
  Speaker 2: taking on most influential, and it kind of takes on
• 57:43
  Speaker 2: a I don't know, a journey, a narrative, so to speak.
• 57:48
  Speaker 2: So the first album that really like grabbed me that
• 57:52
  Speaker 2: was like this is like crazy and this is cool
• 57:58
  Speaker 2: because like these this is what my like my older
• 58:02
  Speaker 2: brother's friends were listening to and stuff like that. And
• 58:05
  Speaker 2: finding these CDs was super like eye opening to me,
• 58:10
  Speaker 2: especially when I like first got a guitar. It was
• 58:12
  Speaker 2: like kind of the main reason I got a guitar
• 58:14
  Speaker 2: was was a band called Rufio. The album is called
• 58:18
  Speaker 2: Perhaps I Suppose that was like their first album, and
• 58:21
  Speaker 2: it was, you know, a punk pop punk type album
• 58:26
  Speaker 2: kind of thing, and you know, insane guitar work and
• 58:31
  Speaker 2: it's like, dude, just freaking shreds and stuff like that.
• 58:34
  Speaker 2: And that was probably the first album that I ever
• 58:37
  Speaker 2: listened to that was like this is this is crazy
• 58:41
  Speaker 2: and that was like the that was when I like
• 58:44
  Speaker 2: opened the door to like rock music to me.
• 58:48
  Speaker 3: Sure, I think, how old would you say you were
• 58:50
  Speaker 3: around that time.
• 58:51
  Speaker 2: I don't know when that. I think that album came
• 58:53
  Speaker 2: out in two thousand and one or something like that,
• 58:57
  Speaker 2: so I was eleven dang nice. Uh yeah, I don't know.
• 59:03
  Speaker 2: I don't know exactly the age, but right around that time,
• 59:06
  Speaker 2: I would say. And then I think the next album
• 59:10
  Speaker 2: after that that took me deeper into that was Thrice's
• 59:14
  Speaker 2: Illusion of Safety. Oh yeah, so pre that was the
• 59:18
  Speaker 2: album just before Hardiest in the Ambulance, I believe, And
• 59:23
  Speaker 2: that was like where it came from Rufio's like kind
• 59:27
  Speaker 2: of like fun like pop punk type, you know, guitar
• 59:32
  Speaker 2: heavy music into Thrice's Like, well, there's there's yelling, there's screaming,
• 59:38
  Speaker 2: it's angry, and it's loud, and it's like messy and
• 59:43
  Speaker 2: dark in a lot of ways that I'd like never
• 59:46
  Speaker 2: really experienced in the past. And I think that pulled
• 59:49
  Speaker 2: me in really really deep, and that was a really
• 59:52
  Speaker 2: really important album for me.
• 59:54
  Speaker 1: Can we also just say about that album, well, maybe
• 59:57
  Speaker 1: just Thrice in general. You know, a few years ago
• 1:00:01
  Speaker 1: they re released or they actually even re recorded Artisan Ambulance,
• 1:00:06
  Speaker 1: and I know, with like their more newer releases, Dustin
• 1:00:10
  Speaker 1: isn't screaming as much, but his scream has gotten so
• 1:00:13
  Speaker 1: much better that I like as much as I'm really
• 1:00:17
  Speaker 1: glad that they actually re released Artists and Ambulance, and
• 1:00:20
  Speaker 1: I actually really like the re release way more than
• 1:00:23
  Speaker 1: the original album. I kind of wonder what that would
• 1:00:26
  Speaker 1: sound like for all of those early albums like Illusion
• 1:00:29
  Speaker 1: of Safety, because I just think his scream has gotten
• 1:00:33
  Speaker 1: so much better.
• 1:00:33
  Speaker 4: It's just so much more refined.
• 1:00:34
  Speaker 2: Yeah, yeah, I mean the whole band has, like I mean,
• 1:00:38
  Speaker 2: they have so much experience in just like kind of
• 1:00:40
  Speaker 2: refining their sound and figure out what they are and
• 1:00:43
  Speaker 2: also just being able to do it. I think there's
• 1:00:46
  Speaker 2: something to me that is, like I'm really endeared by
• 1:00:50
  Speaker 2: bad screams. You know, like these these like not refined,
• 1:00:58
  Speaker 2: like you know, shred your throat guttural screams that are
• 1:01:04
  Speaker 2: like this happened once and then this guy couldn't talk
• 1:01:08
  Speaker 2: for a week.
• 1:01:09
  Speaker 3: You know, have you ever listen to the tiny moving parts?
• 1:01:13
  Speaker 2: I know the band, but I never listened to them
• 1:01:15
  Speaker 2: He's got.
• 1:01:15
  Speaker 3: That vibe too, for sure, kind of like sort of like.
• 1:01:20
  Speaker 2: Yeah, yeah, like totally like it's it's not a good scream,
• 1:01:23
  Speaker 2: but it is like guttural and it's it's raw in
• 1:01:26
  Speaker 2: a way.
• 1:01:26
  Speaker 3: It's addicting to.
• 1:01:29
  Speaker 1: Aaron Weiss, I think on those early albums, yeah.
• 1:01:34
  Speaker 2: And then from there, I think the thing that started
• 1:01:37
  Speaker 2: pulling me out of uh like hardcore, post hardcore, this
• 1:01:43
  Speaker 2: whole like kind of genre. I think once Cigarros's I
• 1:01:49
  Speaker 2: was torn between Cigarros, Agati Spurgen or their untitled album.
• 1:01:55
  Speaker 2: I'm gonna say they're untitled album just because there's an
• 1:01:58
  Speaker 2: added layer to that of just experimentalism soundscape. Taking these instruments,
• 1:02:05
  Speaker 2: you know, guitar, drums, bass, and then making Sacarros is
• 1:02:12
  Speaker 2: just insanity, you know. And that was just like something
• 1:02:15
  Speaker 2: that was like so so different to me and super
• 1:02:22
  Speaker 2: hugely influential on my kind of guitar playing and just
• 1:02:26
  Speaker 2: how I thought about music and how to create songs
• 1:02:30
  Speaker 2: and how to create emotion. That was huge.
• 1:02:35
  Speaker 1: They're a band that, like I and maybe it's just
• 1:02:40
  Speaker 1: because like I don't know that many bands in comparison
• 1:02:44
  Speaker 1: to other people, but they're a band that when I think,
• 1:02:47
  Speaker 1: and again they're like one of my probably my third
• 1:02:49
  Speaker 1: favorite band of all time, second favorite band somewhere up there.
• 1:02:54
  Speaker 1: I genuinely like don't know if I've ever heard a
• 1:02:57
  Speaker 1: band that like existed before them that they could be like, oh, like,
• 1:03:01
  Speaker 1: we're just trying to do you know, the same way,
• 1:03:03
  Speaker 1: like inasmuch as I love for Hoole for Home, Like
• 1:03:05
  Speaker 1: if you guys said like, oh, yeah, we were just
• 1:03:07
  Speaker 1: trying to do like under Oath, or we were just
• 1:03:09
  Speaker 1: trying to do like Thrice in the early stuff, like
• 1:03:12
  Speaker 1: I would be like, Okay, that makes sense. I just
• 1:03:14
  Speaker 1: like I don't know what that would have been like
• 1:03:16
  Speaker 1: for Cigareroes, Like it truly seems like they literally created
• 1:03:19
  Speaker 1: an entire sound and genre that has never existed, Like.
• 1:03:22
  Speaker 2: How did you like get especially like if one guy
• 1:03:25
  Speaker 2: had and was like, oh, let's explore this thing. But
• 1:03:29
  Speaker 2: it's like four dudes, yeah, yeah, all on a fucking
• 1:03:32
  Speaker 2: Icelandic little island together being like we're just gonna do this,
• 1:03:39
  Speaker 2: and it's crazy.
• 1:03:41
  Speaker 1: I just I just don't know how they were able
• 1:03:43
  Speaker 1: to accomplish that without having like oh, we're gonna just
• 1:03:46
  Speaker 1: do that other band or whatever, and we're going to
• 1:03:50
  Speaker 1: just do it in our own way, like it's not
• 1:03:51
  Speaker 1: even that, it's just they're literally creating their own sound
• 1:03:54
  Speaker 1: as a brand new band, and that to me is
• 1:03:56
  Speaker 1: like it just blows my mind that was even I.
• 1:03:59
  Speaker 2: Would be really curious. I haven't done a deep dive
• 1:04:00
  Speaker 2: into it, but I would be really curious to see
• 1:04:02
  Speaker 2: if there's like interviews with them to talk about their influences,
• 1:04:06
  Speaker 2: because that would just be like it's probably I mean,
• 1:04:10
  Speaker 2: they're you know, they're Icelandic weirdos, so it's probably like.
• 1:04:15
  Speaker 3: It's like folk music and Icelandic chants something like that,
• 1:04:18
  Speaker 3: you know.
• 1:04:19
  Speaker 4: Meets electric, like it meets electric guitars or whatever.
• 1:04:23
  Speaker 3: Yeah.
• 1:04:23
  Speaker 2: Probably again, Yeah, it was like we just wanted to
• 1:04:26
  Speaker 2: play YouTube, and this is what we thought sounded like YouTube,
• 1:04:29
  Speaker 2: Like like no, you didn't, you didn't nail it, but
• 1:04:34
  Speaker 2: you did something.
• 1:04:35
  Speaker 3: Else, something else.
• 1:04:36
  Speaker 2: Yeah, and that worked so good on you. Yeah, okay.
• 1:04:40
  Speaker 2: Uh And then so that was three number four. I'm
• 1:04:44
  Speaker 2: gonna say uh after klang Uh Pirameda after clang is A.
• 1:04:50
  Speaker 2: They're pretty large for the region that they're from. They're
• 1:04:54
  Speaker 2: they're Swedish, very very cool band. One of my one
• 1:04:57
  Speaker 2: of my favorites of all time. They're Peyrameda album more
• 1:05:01
  Speaker 2: specifically is kind of Mary's kind of brings stuff back
• 1:05:04
  Speaker 2: into like you know, from this world of like post
• 1:05:10
  Speaker 2: rock soundscapy, ambient stuff, which and then brought it in
• 1:05:14
  Speaker 2: context in a way that kind of married some of
• 1:05:17
  Speaker 2: the stuff that I loved from the kind of more
• 1:05:19
  Speaker 2: traditional songwriting that I came from. But the Pyramid album
• 1:05:23
  Speaker 2: is more specifically kind of a project born from taking
• 1:05:29
  Speaker 2: these sounds. They traveled to this island and it was
• 1:05:34
  Speaker 2: like pretty much like a desolate island in Scandinavia, I believe,
• 1:05:39
  Speaker 2: and basically took recording equipment and then recorded everything that
• 1:05:44
  Speaker 2: they could find in on the like you know, ghost
• 1:05:48
  Speaker 2: town island. You know these old mind shafts and these
• 1:05:52
  Speaker 2: old oil drums and it's like empty town and knocking
• 1:05:56
  Speaker 2: on doors and stuff like that. And they basically made
• 1:05:59
  Speaker 2: this out infused with and built from the sounds of
• 1:06:04
  Speaker 2: this like dead island essentially, and it's amazing. It's a
• 1:06:09
  Speaker 2: phenomenal album, and you wouldn't it just like it brings
• 1:06:14
  Speaker 2: it in context, it feels it's very approachable, it's very listenable,
• 1:06:17
  Speaker 2: it's not esoteric in any regard, but the heart and
• 1:06:21
  Speaker 2: the motive and the process behind it is really special
• 1:06:24
  Speaker 2: and impactful and a beautiful moment in time and an
• 1:06:28
  Speaker 2: art piece, and it just also is really really great songs.
• 1:06:35
  Speaker 3: I have to take that out. That sounds fascinating.
• 1:06:38
  Speaker 2: Yeah, they came up with a film kind of talking
• 1:06:40
  Speaker 2: about like going through the process of making it as well,
• 1:06:43
  Speaker 2: which is really interesting. And then that would bring me
• 1:06:47
  Speaker 2: to my last one, which is Nils from his album
• 1:06:54
  Speaker 2: Felt Most Specific, where it kind of lands nicely into
• 1:06:59
  Speaker 2: this kind of bad of minimalism, neo classical. It's not
• 1:07:07
  Speaker 2: about the notes, it's about the mode and the feeling
• 1:07:12
  Speaker 2: and the space in between notes and the warmth of sound.
• 1:07:21
  Speaker 2: And I feel like it plays on color and tonality
• 1:07:27
  Speaker 2: and softness and subtlety and quietness in a really beautiful way.
• 1:07:33
  Speaker 2: I think influences a lot of kind of my motive
• 1:07:38
  Speaker 2: of operating musically.
• 1:07:40
  Speaker 3: Yeah, I like most problem as well. You have to
• 1:07:42
  Speaker 3: be kind of in the right mood to listen to
• 1:07:45
  Speaker 3: it in my in my experience.
• 1:07:46
  Speaker 2: Though, I mean, but with all these, you know, with all.
• 1:07:49
  Speaker 3: Of them, yeah, sure, sure, except for cigarettes, And you
• 1:07:52
  Speaker 3: can always listen to cigarettes in every.
• 1:07:54
  Speaker 4: Mood, that's true, right, I mean that's how I do it.
• 1:07:58
  Speaker 4: I'm actually a little surprised at there're know this will
• 1:08:00
  Speaker 4: destroy you.
• 1:08:01
  Speaker 2: Yeah, I feel like set like this will destroy you
• 1:08:04
  Speaker 2: would be there. But I feel like Sigar Roast also
• 1:08:08
  Speaker 2: capsule it, like encapsulates a similar tone and moment. Yeah,
• 1:08:13
  Speaker 2: you know for sure. And I think Sigar Roast got
• 1:08:15
  Speaker 2: to me first.
• 1:08:17
  Speaker 4: Yeah, that makes sense.
• 1:08:18
  Speaker 3: I can see that. Well, sweet love it, love the list.
• 1:08:21
  Speaker 3: I think that's uh. I think it's very telling of
• 1:08:23
  Speaker 3: who you are as an individual. But what would you
• 1:08:27
  Speaker 3: like to plug? Tannem Rita.
• 1:08:29
  Speaker 2: So, I mean we we we haven't been talking about
• 1:08:32
  Speaker 2: it a lot. I mean, if you notice, we haven't
• 1:08:35
  Speaker 2: been doing a ton, we haven't been touring on the
• 1:08:37
  Speaker 2: new album all that much. We're hoping to record a
• 1:08:41
  Speaker 2: little bit more, but the main reason is because we've
• 1:08:43
  Speaker 2: been working on kind of some of this side project
• 1:08:46
  Speaker 2: stuff and we're really excited about We kind of got
• 1:08:50
  Speaker 2: reached out to for this opportunity to kind of write
• 1:08:53
  Speaker 2: some songs, and I think kind of some of this
• 1:08:56
  Speaker 2: stuff from there are new tones for the next record
• 1:08:59
  Speaker 2: or for the record that we just came out with
• 1:09:02
  Speaker 2: kind of helped influence that. And I did not expect
• 1:09:05
  Speaker 2: it to kind of I definitely did not expect us
• 1:09:08
  Speaker 2: to come out of that and try to you know,
• 1:09:11
  Speaker 2: capturing our tone and all that sort of stuff. But
• 1:09:14
  Speaker 2: we're writing some songs and contributing some sounds to the
• 1:09:19
  Speaker 2: new Justin Bieber record. Oh yeah, I mean we didn't
• 1:09:25
  Speaker 2: expect us at all, you know. So we've been passing
• 1:09:29
  Speaker 2: stuff back and forth and kind of contributing tones and sounds,
• 1:09:32
  Speaker 2: and it's a whole weird thing because you have to
• 1:09:35
  Speaker 2: work through the operations of that most like that specific way.
• 1:09:40
  Speaker 2: This is like a whole thing that we've never really
• 1:09:42
  Speaker 2: dealt with in the past.
• 1:09:43
  Speaker 3: Is like bureaucratic, Is that what you're trying to get
• 1:09:45
  Speaker 3: at exactly?
• 1:09:46
  Speaker 2: Like like there's there's kind of like a politics at
• 1:09:48
  Speaker 2: play in that, and like how how we contribute is
• 1:09:54
  Speaker 2: very like unique in that, like you know, you have
• 1:09:58
  Speaker 2: to be really conscious about like contact and you know,
• 1:10:05
  Speaker 2: how can how much communication can him back and forth
• 1:10:08
  Speaker 2: and stuff. But you know, uh, it's it's a cool opportunity.
• 1:10:12
  Speaker 2: So we're excited for that and it Justin's really great
• 1:10:15
  Speaker 2: to work with. Like, honestly, when we've been able to
• 1:10:17
  Speaker 2: be in contact, it's been awesome to kind of hear
• 1:10:19
  Speaker 2: the feedback there.
• 1:10:20
  Speaker 3: Yeah, what's he like? I mean, is he is he
• 1:10:24
  Speaker 3: kind of like what the media portrays or is he like,
• 1:10:27
  Speaker 3: you know, is he still like that kind of like
• 1:10:29
  Speaker 3: disciple of the Hillsong world or what's going on with
• 1:10:33
  Speaker 3: Justin Bieber these days? Because I'm I've always I've always
• 1:10:36
  Speaker 3: feel like I felt like the media gives him a
• 1:10:39
  Speaker 3: bad portrayal, you know.
• 1:10:41
  Speaker 2: I honestly, he's like he's super collaborative. He's just like
• 1:10:45
  Speaker 2: really curious and wants to like kind of like be
• 1:10:48
  Speaker 2: additive to the process and be witnessing it in a
• 1:10:52
  Speaker 2: great way. So it's been really cool to kind of
• 1:10:55
  Speaker 2: see that. And obviously like the media has their own
• 1:10:58
  Speaker 2: kind of interpreting of like what they want to like
• 1:11:01
  Speaker 2: make him into. And the Hillsong thing, I think that
• 1:11:04
  Speaker 2: was from you know a number of years back, so
• 1:11:07
  Speaker 2: that's like kind of tainted, just just might murked up
• 1:11:11
  Speaker 2: the water and stuff like that. But he's really just
• 1:11:13
  Speaker 2: been trying to like get back to roots in a
• 1:11:16
  Speaker 2: way and get trying to like make music that is
• 1:11:21
  Speaker 2: like borrowing from these like tones and sounds and kind
• 1:11:26
  Speaker 2: of doing some like really really cool like progressive stuff
• 1:11:31
  Speaker 2: and yeah, really excited about it.
• 1:11:33
  Speaker 3: Do you know how he came upon you, like, like,
• 1:11:34
  Speaker 3: what what was it that he's like, Yeah, the guy's
• 1:11:38
  Speaker 3: from my epic? Or is this or is this the
• 1:11:40
  Speaker 3: whope from guys which which grew?
• 1:11:43
  Speaker 2: Oh, this is my epic? But I honestly don't know.
• 1:11:48
  Speaker 2: I I think I uh, I think he just like
• 1:11:55
  Speaker 2: his people, reached out to our people.
• 1:11:58
  Speaker 1: I mean, have you seen his tattoos these days? He
• 1:12:00
  Speaker 1: looks like somebody that listens to my ep.
• 1:12:03
  Speaker 2: Like, you know, like you see him like, you know,
• 1:12:07
  Speaker 2: he's depressed like the rest of us.
• 1:12:10
  Speaker 3: Yeah, and he probably went to a youth group up
• 1:12:12
  Speaker 3: in Saskatchewan.
• 1:12:13
  Speaker 2: You know, Like I think he's built. He's built the
• 1:12:16
  Speaker 2: same in a lot of ways, and you know, a
• 1:12:19
  Speaker 2: weird history of you know, his own like kind of
• 1:12:23
  Speaker 2: pathway to get here, you know, being you know, child
• 1:12:26
  Speaker 2: pop star and all that sort of stuff. But like,
• 1:12:29
  Speaker 2: you know, he listens to good music. You know, he's
• 1:12:32
  Speaker 2: always going to be in that like kind of pop
• 1:12:34
  Speaker 2: range just because that's the stratosphere that he like lives in.
• 1:12:38
  Speaker 2: But you know, he wants to he wants to put
• 1:12:41
  Speaker 2: out good music and we're stoked to do some sick
• 1:12:45
  Speaker 2: ship with it.
• 1:12:46
  Speaker 3: So you're you're saying you could be like a part
• 1:12:49
  Speaker 3: of like the next like Desposito level kind of song.
• 1:12:55
  Speaker 2: That's that's the goal, I guess, But I mean, we
• 1:12:59
  Speaker 2: have no idea what what it's actually.
• 1:13:01
  Speaker 3: Hopefully hopefully you guys signed a royalty deal of some sort.
• 1:13:06
  Speaker 2: I mean yeah, like there's like credits and stuff like that.
• 1:13:09
  Speaker 2: They'll go like that. It's like weird back end stuff,
• 1:13:12
  Speaker 2: you know, and it's it's it's kind of like a
• 1:13:14
  Speaker 2: sample like you know, Kanye's samples, Drakes samples like ye.
• 1:13:20
  Speaker 2: Like it's kind of a vein of that where it's
• 1:13:23
  Speaker 2: like you're not the artist necessarily like making the music,
• 1:13:29
  Speaker 2: but you're credited and sampled and then then royalty whatever.
• 1:13:32
  Speaker 2: I don't know, So we'll see what happens with it.
• 1:13:34
  Speaker 3: Sure, Sure, what an exciting thing. I can't believe that's
• 1:13:38
  Speaker 3: not like bigger news. I suppose you haven't like released
• 1:13:41
  Speaker 3: this yet or is it or is this like a premier.
• 1:13:43
  Speaker 2: Well, it's like it's all in process, okay, right.
• 1:13:47
  Speaker 3: Do we need to like wait to put this out
• 1:13:49
  Speaker 3: before we can?
• 1:13:50
  Speaker 2: I have no I honestly have no idea.
• 1:13:52
  Speaker 3: So we're just gonna let her black. I like it.
• 1:13:54
  Speaker 3: It's not about it.
• 1:13:55
  Speaker 2: You got your podcast isn't big enough to affect it.
• 1:14:00
  Speaker 4: Is true.
• 1:14:03
  Speaker 3: Put us on the map.
• 1:14:05
  Speaker 1: You know, there are a lot of people out there
• 1:14:07
  Speaker 1: that you know that they're like, oh, I can't, I
• 1:14:09
  Speaker 1: can't say that quite yet or whatever. I'm like, you're
• 1:14:11
  Speaker 1: really underestimating how big or overestimating how big are a podcasts.
• 1:14:18
  Speaker 2: I won't.
• 1:14:23
  Speaker 1: You know, You've been in a Hope for Home long
• 1:14:25
  Speaker 1: enough to know you don't have to be you have
• 1:14:28
  Speaker 1: to so well, Tanner, thank you so much for chatting again.
• 1:14:34
  Speaker 1: Both Hope for Home my Epics one of our favorite
• 1:14:36
  Speaker 1: two bands in Colonized Lives lives for the last fifteen years,
• 1:14:41
  Speaker 1: so thank you so much for chatting more about about them.
• 1:14:44
  Speaker 1: And uh, yeah, we're excited. I you know, I I
• 1:14:46
  Speaker 1: would imagine a Hope for Home. At some point there'll
• 1:14:48
  Speaker 1: be something new. Who knows how long that will take?
• 1:14:50
  Speaker 1: Maybe another ten years, yeah.
• 1:14:54
  Speaker 4: You never know.
• 1:14:54
  Speaker 1: But and then it sounds like, you know, my Epic
• 1:14:56
  Speaker 1: stuff is kind of chruggling along as well, So we're
• 1:15:00
  Speaker 1: excited for whatever will.
• 1:15:01
  Speaker 4: Come out in the next number of years. So thanks
• 1:15:03
  Speaker 4: so much for chatting yeah, of
• 1:15:04
  Speaker 2: Course yeah, thanks for having me on