Latest / HEAVY Music Interviews / Sonic Destruction With KELLY SHAEFER From TILL THE DIRT

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Sonic Destruction With KELLY SHAEFER From TILL THE DIRT · HEAVY Music Interviews

• 0:22
  Hey, Uh, this is Kelly Shaffer from Until the Dirt and the album
• 0:26
  is Outside the Spiral, out August twenty fifth on Nuclear Blast. You everful,
• 0:30
  Kelly, Thanks for joining us today. Rather, how are you very
• 0:35
  well and yourself doing great? I'm down sweating out in Florida. It's about
• 0:40
  one hundred degrees every every single day. It's it's brutally hot. For the
• 0:45
  climate and the and the fun. It's always been good for metal, you
• 0:50
  know, he is always notoriously good for metal. As you say about,
• 0:56
  you're not far off for unleashing your your latest slab of metal in the well
• 1:00
  the new album Outside the Spiral, which is also the debut and from the
• 1:03
  freshly assembled outfit to the debt mate, So are you any more nervous or
• 1:07
  anxious with this one? Like saying it's the start of a new chapter?
• 1:12
  Yeah, I mean I think I'm anxious more than nervous. I think I've
• 1:17
  been around for long enough now to you know, to uh. But but
• 1:21
  even as long as I've been around, I still feel that that you know,
• 1:23
  that anxiousness, that excitement that uh, you know, it's even it's
• 1:27
  been thirteen years since I've done a new record. So twenty ten I did
• 1:33
  tupid over with Atheist. So, you know, just being back in the
• 1:36
  in this cycle of things, and you know, I feel very fortunate and
• 1:38
  lucky to have tripped upon this, you know, this prolific period of songwriting
• 1:45
  that happened, you know, because I definitely never intended on having a new
• 1:48
  band or new music at all. It just just kind of naturally came out
• 1:52
  of thin air. And uh so here I am right back in the uh
• 1:56
  you know, in an album cycle again. And it's hyah. It's fun,
• 1:57
  it's exciting, and it's different. And but I mean, I think,
• 2:01
  you know, it's a lot like sending your kids to school, you
• 2:04
  know, like you hope all the other kids like the you know this kid
• 2:07
  and uh and you hope the teacher's nice to them, and you know what
• 2:09
  I mean. And you know, so there's those uh, nervous feelings,
• 2:14
  you know. But I'm super proud of it and and I can't wait for
• 2:17
  people to hear it. You know, I've been sitting on it for two
• 2:20
  and a half years. Wow, that's tell us a bit more about it
• 2:23
  from a musical point of view than what you've gone forward with it. Well,
• 2:28
  I mean, you know, it's it's it's fusing all of the things
• 2:30
  that I've loved about I've had choose sort of I've had dual careers. I've
• 2:34
  had a you know, a career with Neurotica and career with The Atheist,
• 2:38
  and both bands, you know, did well in their own and there you
• 2:40
  know, in terms of you know, making a mark in their own right.
• 2:44
  And when Neurotica was much more of a was singing, there was a
• 2:46
  lot of harmony vocals. It was it was heavy rock, slash metal with
• 2:52
  atheists obviously crazy technical metal. So I never had an outlet like this where
• 2:55
  I was able to combine the two and and really kind of pay homage to
• 3:00
  all of my nineties grunge influences, my my stoner rock, desert rock,
• 3:06
  Caius Hermano, fucking you know, all the Atomic bitch Wax, you know,
• 3:09
  all that kind of stuff that I really really love, Black Sabbath and
• 3:13
  seventies sort of thick, groovy shit along with blast beats and and chaotic screams
• 3:19
  and the harmony vocals. So it's it's a it's a plethora of shit that
• 3:23
  really just came out of, you know, isolation from COVID and and frustration
• 3:30
  and anger and in the unknowingness, and so it came from a really natural
• 3:36
  place where art should come from there, you know, should come from a
• 3:38
  place of you know, not just happiness, you know, I mean some
• 3:43
  of the best art in the world comes from altered minds and and uh,
• 3:46
  disarray and and confusion, you know. And uh so that's kind of where
• 3:52
  it came from. And you know, initially it wrote like twenty five songs
• 3:57
  in six weeks and you know, to try to for everything I could while
• 4:00
  I was feeling the way that I felt during that time period. Because I
• 4:03
  don't think we'll ever be able to recreate how that felt for anybody in the
• 4:08
  world. It's something we all shared, you know, for a couple of
• 4:11
  years with COVID, and uh, it was really bad here in America.
• 4:14
  I mean, just between the politics of it and the the you know,
• 4:17
  the virus itself. You know, I lost a lot of friends and from
• 4:21
  the virus and from the feelings about the virus. So I created a lot
• 4:27
  of tension, which is good for music, you know, it's good for
• 4:30
  art. You know, talk is cheap, you know, I can be
• 4:33
  like, oh, it's this it's that, you know. But but I
• 4:35
  I you know, if you know anything about me and my career with the
• 4:38
  Atheists, you know that I never I'm always a bit left of center.
• 4:42
  And and so this is something that I really feel like is uh, you
• 4:47
  know, has the capabilities of moving the needle a little bit. It's it's
• 4:50
  doing it's you know, there's things happening on this record that have never happened,
• 4:54
  you know, blending of styles and and and sort of a blending of
• 4:58
  genres that that you know, hasn't really been tapped into for better for worse,
• 5:01
  you know. But I feel like there's a there's a group, a
• 5:04
  constituency of young extreme metal fans that haven't really had the proper introductions to really
• 5:11
  good nineties music, you know, because there was a lot of good ship
• 5:15
  there. There was a lot of stuff on the surface that it's easy for
• 5:17
  a young twenty year old to go fuck the nineties. Fuck Pearl Jam,
• 5:20
  you know, yeah, okay, fuck Pearl Jam, but don't fuck Alice
• 5:24
  some Chains, you know, don't fuck old sound Guard. You know what
• 5:27
  you're missing out if you're not listening to bad motor Finger and you know what
• 5:30
  I mean, you're twenty years old and you've never listened to Bad motor Finger.
• 5:31
  You're fucking your life is way lower than mine. You know, you
• 5:35
  need that in your life, you know, like that that is those are
• 5:39
  vitamins that every metal heads body needs, you know. And so uh so
• 5:43
  I was just really combined those you know, the love of that that,
• 5:46
  you know, that sort of grindy feeling, that groovy feeling with extreme speed
• 5:53
  and anger and and that's still the dirt man. Yeah. Now, I
• 5:59
  hope I paste all this together right from the person release. I had otherwise
• 6:01
  ex questions. Kenna sound a big stupid but I got the impression that we
• 6:04
  went three periods of self doubt about the new music reality in the writing stage.
• 6:09
  Is that right? Well, I wouldn't call it self doubt. I
• 6:12
  was just confused. I didn't really I knew it wasn't atheist material, and
• 6:15
  because it was tuned, I wrote everything on guitar tuned down to B and
• 6:20
  typically atheist is always in the key of E four forty, So I knew
• 6:25
  it wasn't going to be atheist materialville and I and I knew once I put
• 6:27
  vocals on a couple of songs that it was also not atheist because of the
• 6:31
  clean vocals, and I'm using there's probably four or five different voices on this
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  album that I was able to tap into that I would never be able to
• 6:40
  tap into in any other project that I've ever been a part of. So
• 6:43
  that was an exciting part of it, but not a self doubt. But
• 6:47
  I definitely wanted to send it around to people that would be honest with me
• 6:50
  and tell me whether it was shit or not, you know. And so
• 6:54
  I sent it to like Geene Hoglan and Steve to Georgio and and Jeff Loomis
• 6:57
  guides that ended up playing you know on the record in the early stages of
• 7:01
  it, and uh it got a lot of really great feedback from those guys
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  in inspiration. Then obviously inevitably Scott Burns came out of retirement to help me,
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  to help me produce the record and finished the you know, the final
• 7:13
  product of it, and so guys like that are just brutally honest and and
• 7:16
  I really it's in this industry it's hard to get that kind of honesty,
• 7:20
  and uh so I was really looking for it, and so so it wasn't
• 7:25
  really a self doubt. I was excited about it. But you know,
• 7:27
  I've been excited about music before that everybody hated So I was like, fucking,
• 7:30
  you know, maybe I'm just pissing up a tree. I don't know,
• 7:33
  you know, so I so that's kind of how it happened. Then
• 7:36
  they were early stages, and I was inspired by their encouragement and uh yeah,
• 7:42
  And it really happened in a real short period of times, sixty eight
• 7:45
  weeks total for twenty five songs. And then that little burst was over,
• 7:49
  and then it was just a matter of trying to figure out, well,
• 7:51
  is this a band or is it a solo record? Is it you know,
• 7:55
  what is it? And then it just felt better to bring in musicians
• 7:59
  to play because I played guitar on the record as well, for the first
• 8:01
  time since ninety three, and I played guitar on a record, so I
• 8:05
  wanted to bring another other artist to play, you know, play what I've
• 8:09
  written, but to play it and you know, with their tones and their
• 8:13
  sounds. And so I ended up just getting lucky and having a wealth of
• 8:18
  talent to be able to play on the record, to play and you know,
• 8:22
  my vision. So it was it was nice. So I mean,
• 8:24
  if you're a songwriter yourself. Then you know that it's sometimes hard to write
• 8:26
  with a lot of people because you have to please everybody, and it's it's
• 8:30
  super hard to you kind of have to make concessions along the way because you
• 8:35
  know, three of the three of the four other guys you play with might
• 8:37
  have great riffs, but that fourth guy might have a bunch of stinkers,
• 8:41
  and you know, and and he doesn't want to be left out of the
• 8:43
  writing process, so you kind of got to, you know, concede,
• 8:46
  like, all right, man, we'll do that riff, but let's let's
• 8:50
  do it like this. You know, this process for me was like I
• 8:52
  didn't have to ask anybody. You know, I can ask my three year
• 8:54
  old little boy, what do you think, buddy? You know, and
• 8:58
  perfect, you know. So that's how I went then, and I just
• 9:03
  I found that liberating and fun and a process that I had never been a
• 9:07
  part of it before. So it was nice. Now you mentioned that in
• 9:11
  the process, what you knew that it was gone away from the ips sort
• 9:15
  of the sound. But when we knew that was happening, did you put
• 9:18
  any like any imitations or any any benchmarks or stopping points on yourself or did
• 9:24
  you just let the creative period go. No. I honestly, it happened
• 9:28
  so fast that I didn't have time to really second guess it or plan on
• 9:33
  what was going to happen with it, or you know, a lot of
• 9:35
  the cool stuff happened after the songs were sort of demoed and written, and
• 9:39
  so I was able to I don't know, just it really happened so fast,
• 9:46
  and it was just really short period of time where I just bursted full
• 9:48
  of all these songs and then I knew really what to do with them.
• 9:52
  And so it was other people that really kind of helped me shape it into
• 9:56
  till the Dirt and then you know, inevitably putting the band together with uh
• 10:00
  you know, Dylan Marks, Jerry with Tunsky, Yoav reallys Fine Gold and
• 10:03
  and Ian Way. Uh. So, I you know, having having a
• 10:09
  you know a great group of guys who go out and play this stuff,
• 10:11
  it's gonna be it's gonna be a lot of fun, you know. So
• 10:13
  it's just you know, not a lot of opportunities at this stage of my
• 10:16
  career where you get to kind of start over, you know, I mean,
• 10:18
  it makes something that's relevant and new and modern and uh, and that's
• 10:20
  what it is. It's definitely not an old guy record, you know,
• 10:24
  it's uh, you know it's and it's not an atheist record in anyway,
• 10:28
  So atheist fans out there, I mean, you know this is this is
• 10:33
  a different animal altogether. So but you know it's it's ferocious and fast and
• 10:39
  brutal, but it's it's it touches on some moments that really haven't been heard
• 10:43
  and I don't think in modern metals. So better for better for worse,
• 10:48
  we'll see what happens. You know. Oh, now, we brought this
• 10:50
  up before and you sort of brushed ryverr like it wasn't really that big a
• 10:54
  deal mate, But you actually had Scott Burns coming out of over Chime it
• 10:58
  all selfie probably sakes to produce the album. That's a pretty big deal,
• 11:01
  right, Like what sort of a what effect did that have on the on
• 11:05
  the finished result? Oh man, I mean listen, Scott Burns to me
• 11:09
  is like I can't tell you how important he is to the to what we
• 11:13
  all know and love today is classic death metal, you know what I mean?
• 11:18
  Like he is, you know, he's the he's the for lack of
• 11:22
  a better of comparison the Bob Rock of of that, you know. I
• 11:26
  mean, he's just really such an important None of the old records would have
• 11:31
  gotten made from you know, morbid obituary, atheist, cnic, Pestlings,
• 11:33
  all the bands that he worked to death, none of those records getting made
• 11:37
  without his undying dedication to come in and early, staying late. None of
• 11:41
  us had budgets that were of any substance at all. So really those records
• 11:46
  Gott made purely out of his love and appreciation and respect for what we were
• 11:50
  doing, because he was really he loved the Tampa scene, because every single
• 11:54
  band in the Tampa scene was different, you know. I mean, if
• 11:56
  you look back on Tampa Bay death metal and all the ends that came out
• 12:00
  of there, you know, everybody had success. Everybody's stuck around pretty good,
• 12:03
  but everybody's different. You know, atheist is atheist, O, bitch
• 12:05
  waries a bitch wory more. But it's more with decide is d side.
• 12:09
  I mean, it really is pretty interesting when you look back on it,
• 12:11
  and it doesn't typically happen. Typically you get one band and then a whole
• 12:13
  bunch of bands of sound like that, you know, And so he was
• 12:16
  always seeking that, you know, trying to find something new and different that
• 12:20
  he could work on to sort of ride off into the sunset with his career.
• 12:24
  And uh so when I sent him the demos for this, you know,
• 12:28
  his words were, you know, listen this this shit is really really
• 12:31
  good, and you know, let's work on it together. And he,
• 12:35
  you know, he really, I mean, you know, he bought me
• 12:37
  a left handed bass so I could continue, so I could play bait on
• 12:39
  the tracks. He sent me bottles of the eggameisters. So because he was
• 12:43
  asking, He's like, how are you writing these songs? And I was
• 12:45
  like, I'm I'm stuck at home like everybody, and I'm I've never drank
• 12:48
  at home in my life, you know, I've never. I've always been
• 12:52
  a social drinker or I go out to a bar and drink or if I'm
• 12:54
  gonna show, but never at home ever, ever, And so now I'm
• 12:58
  drinking at home and so I check my doorstep and there's a big bottle of
• 13:01
  the egg and myister air. And that's literally how I wrote this music,
• 13:03
  though, I mean, and that's why another reason why it sounds very different.
• 13:07
  You know, I've told the stories through this press junk and then I'm
• 13:11
  doing for this record, and I hate to keep telling the same story,
• 13:13
  but I mean it really is important because you know, art is is depicted
• 13:18
  by your surroundings and your condition, you know. I mean, so all
• 13:22
  the atheist material I wrote was all pot related. You know, we smoked
• 13:26
  a lot of pot and play and so that's a different headspace when you drink,
• 13:31
  you know, when you do shots of eggameister, uh, you know,
• 13:33
  in your in your three shots of viagra, and you have a lot
• 13:35
  of courage when you drink alcohol that you don't typically have when you're when you're
• 13:41
  not drinking. And that courage translated musically to till the dirt where I just
• 13:46
  did things. I didn't give a shit whether I was supposed to do that
• 13:48
  or not, or whether anybody's gonna care or anybody's gonna hate it. Like,
• 13:52
  you know, you feel a lot more brave when you're drinking. And
• 13:54
  uh, and I you know, I know it sounds cheap and you know,
• 14:00
  not a great influence on young musicians, but that's the real shit.
• 14:03
  I mean, that's that's that's how this all came together. So this is
• 14:05
  the this is the you know, not drunk, but just you know,
• 14:09
  a couple of drinks, you know, a couple of a couple of shots,
• 14:13
  and and you really kind of come up with different things. You try
• 14:16
  different things vocally, you try different things with your arrangements that you wouldn't normally
• 14:20
  do if you were just in your nine to five mode, you know,
• 14:22
  in your daytime, like you know me and you were, Dad's like dad
• 14:26
  mode. Dad mode is a whole different mode. I can't write songs in
• 14:30
  Dad mode, you know. I have to get in I have to get
• 14:33
  it into Kelly mode, you know. And uh, and so this particular
• 14:35
  mode, didn't you know, it was a whole different headspace. And so
• 14:39
  I would wake up the next day after writing a song, like each one
• 14:43
  of these songs were written basically in one night, and uh, and the
• 14:46
  vocals that you hear on the album are, with the exception of a couple
• 14:50
  of changes, are all vocals that I did that night after I wrote that
• 14:54
  song. So they were like literally two or three hours old. And I
• 14:58
  really wanted to capture that spontan, his combustion of of you know, this
• 15:01
  is how it is. It's flawed, it's it's it's not pretty and pristine,
• 15:07
  it's uh, it's it's nasty. It's like it's like a punk rock
• 15:11
  what I'm doing shit in a digital age, you know. And uh and
• 15:15
  and I'm happy that it came out that way. I'm happy that it didn't
• 15:16
  happen in a big, fancy studio. I'm happy that, uh, you
• 15:20
  know, that didn't come together with a you know, a team of people.
• 15:24
  It was just this really honest, organic explosion of ideas. And so
• 15:30
  excited that I can leave that behind, you know. I mean, as
• 15:31
  you get older, you start worrying about the things that you're leaving behind really,
• 15:35
  you know, musically, And I think I'm really super proud of this
• 15:39
  one, you know. And I hope that my little six year old when
• 15:41
  he grows up, well, you know, we'll check this record out and
• 15:43
  be like, yeah, I was fucking there. You know, the really
• 15:48
  like decayed that you write them all off, the short or any of them.
• 15:52
  You wake up the next day without you yager and juice honesty, and
• 15:56
  you sort of read it and when maybe I should change that, Oh yeah,
• 16:00
  well those songs didn't make the album, alright, So that's what Well,
• 16:06
  that's where Scott Burns really played a big role as well. You know
• 16:08
  he he you know, he didn't mix this record. Ryan Vincent mixed this
• 16:11
  record at Apollo Audio, Alt and Missouri, and he's a great guy and
• 16:18
  did a good job. Scott really just played the producer on this on on
• 16:22
  this album. The true role of a producer is somebody who doesn't necessarily sit
• 16:26
  at the at the console. He kind of Rick Rubin did it. You
• 16:29
  know, he just offered his Dali Lama fucking metal ears, you know,
• 16:34
  and uh and just you know what, would you know, give me advice
• 16:38
  on which you know, if you know, there's a couple of songs I
• 16:41
  wrote where he called me the next day and said, that's not until the
• 16:44
  dirt, buddy, that's that that doesn't sound like any of the other songs
• 16:47
  you sent me. And I would be like fin you know. And and
• 16:49
  even if I felt that way, you know, even if I felt they
• 16:52
  were I knew he was going to be right. And he's just always right.
• 16:56
  He has a really great sense of what's good and it's not. And
• 17:00
  that was invaluable to me. And uh, you know, so I just
• 17:04
  felt like if I could make him happy, I'm on the right track,
• 17:07
  you know. And and and make myself happy too, you know what I
• 17:11
  mean. You know, there's some of the songs that didn't make the record
• 17:15
  didn't make the record because there's only so many songs you can put on a
• 17:19
  record. But that definitely did happen. On a couple of mornings, I
• 17:22
  woke up and said, I don't know. I mean, I I can't
• 17:26
  tell you how many hours of music I've written right now. I mean,
• 17:29
  I don't know. As soon as I got a recording capability at my house,
• 17:33
  like and that was a great thing about COVID, is it, you
• 17:36
  know, kind of pushed that on me something I don't think every would have
• 17:38
  happened in any other way. And a friend gifted me at daw with,
• 17:44
  you know, the ability to be able to record at home, and uh,
• 17:47
  I started using the STL Guitar STL Tone Hub has the has these all
• 17:53
  these different producer packs where there the best metal producers around me and all of
• 17:57
  their guitar sounds, so you get like fifty sounds per producer. And my
• 18:00
  friend Mark Lewis turned me onto his pack and that was inspiring to me because
• 18:06
  I mean, do you play at all? Do you play guitar? Not
• 18:08
  at all? So to play guitar. I mean, like, you know,
• 18:11
  to get to be able to tap into a hundred different amp combinations,
• 18:15
  a mace up boogie and orange, a Marshal, a sixties Marshal, a
• 18:19
  seventies marshal, you know, you got to have tens of thousands of dollars.
• 18:23
  Well, now you know, you have the capability of sitting at home
• 18:26
  on your laptop and just literally clicking and these perfect sounds have been created by
• 18:30
  the producers that you know that recorded them will pot me, Mark Lewis,
• 18:36
  everybody, Howard Benson. And that's the great thing about being being older in
• 18:41
  a modern age. You know, I'm able to tap into all those sounds,
• 18:45
  and those particular sounds guitar wise, were inspiring to me. They sound
• 18:48
  better than any amp I've ever had, you know, because they were masterfully
• 18:52
  done in a studio and all I gotta do is click on it, and
• 18:55
  my guitar sounds like that, you know what I mean, Like it is
• 18:57
  amazing. So that was a big deal. That was also a uh and
• 19:03
  something that really fed the idea process. You know, the sound of the
• 19:07
  drums that I could write the sound of my guitar is the fact that I
• 19:11
  could do a complete song with you know, multi track guitars and have a
• 19:15
  really listenable product at the end of the night. It was mind blowing to
• 19:18
  me. And it was almost like an addiction, you know, I mean,
• 19:22
  because I was just like, oh, man, sit down and set
• 19:26
  up. You know, anything can happen. I don't know what kind of
• 19:27
  song I'm gonna write, you know what I mean. That excitement was was
• 19:30
  feed me like a junkie, you know it was. And that was a
• 19:33
  really cool experience. And the only thing that allowed me to not feel guilty
• 19:37
  about it was the fact that there's nothing else that I could have done was
• 19:41
  COVID. I couldn't go anywhere. I couldn't drive anywhere, couldn't be with
• 19:45
  band practice, I couldn't do anything like that. So so it all lent
• 19:49
  itself to that, you know, that isolation and put me in a room
• 19:55
  by myself, and I figured, and this is what came about. Yeah,
• 19:57
  we want to do what you often, Mike, you go to it
• 20:00
  crazy eventually, but it worked this time. Well, I'm glad I wrote
• 20:07
  a bunch of songs, you know, so I have another album right behind
• 20:08
  this one, you know what I mean, With the same from the same
• 20:11
  vibe, you know. So at minimum I'll be able to put out two
• 20:15
  solid records of stuff that feels like this, you know, before we let
• 20:21
  you go. I've started a new thing up with Heavy. Now I'm creating
• 20:23
  three different Spotify lists from artists that we speak to you, so using your
• 20:27
  own songs. That could be atheist or it can be from Chill the Dirt.
• 20:30
  But I want to give me a song for okay. The categories are
• 20:33
  a song to get you up and ready to party, the next one is
• 20:37
  a song to save your marriage, and the third one is to potentially end
• 20:41
  your marriage. Oh shit, god, that's hard, man. I'm terrible
• 20:47
  with song titles too. Let's see a song to endless marriage. Oh my
• 20:56
  god, I shit, I don't even know why I would I man,
• 21:02
  that's really hard, buddy. Or no, definitely it could potentially. What
• 21:07
  was the first one? What was the first one? Getting ready to party?
• 21:11
  Give me a party, opening practice of the child, the direct start
• 21:15
  in roll, let's go, it's a ripper, it gets gets a party
• 21:19
  started right away. And the second one was that someone to save your marriage,
• 21:27
  Let's save my marriage. Grace from Jeff Buckley. They gotta be your
• 21:32
  songs, mate, Oh my songs. Oh Jesus uh. A song called
• 21:42
  easy Speak that I wrote with Neurotica. It was it was a it was
• 21:45
  a on the first Neurotica album. Yeah. And then and then the next
• 21:49
  question to end my marriage, not not necessarily yours, you know, but
• 21:53
  one marriage in general. Shit, I don't know. I just don't write
• 21:59
  songs like that lyrically. So I I got you, shit got it.
• 22:07
  There's no like sexual content, hardly at all in any as songs. There
• 22:12
  is an erotica song called up in the Hay, which is about you know,
• 22:15
  it was about somebody who had cheated on their their partner, like a
• 22:18
  lot of times, and like serial cheating, and so I would say that
• 22:22
  up in the Hay from Neurotica. That's on the It's on on the Blue
• 22:26
  album. I'm sorry to put you on the spotlight. Sorry, atheist is
• 22:32
  so particularly different. I can't think on the spile like that. I can't.
• 22:36
  I'm sorry, but you did well, my friends. Thanks very much
• 22:38
  for your sorry, Kelly. The album Outside the Spiral is out August fifth,
• 22:45
  and I promise I'll listen to it before it comes out, mate,
• 22:47
  But in the meantime, you take care and I'd be seeing out in the
• 22:49
  try one day. Thank you, my friends. You know all night I'll
• 23:11
  stand for he say casting starry, rosy hours storry or why shout say child?
• 23:29
  Sleep myselfselfs I ride well where you say it, so it sleep till
• 23:49
  the rubble full? Sorry rod, Why my friends see less? That's no
• 24:17
  way, no way, you say, and so it sleeps now The rather,
• 24:33
  I know for as time way way, and we always says listens sleeps
• 25:49
  the rather rose a star. Well let's see, you know, he hes
• 26:19
  me. I'll stand for her because sorry roving owers sing over with her as
• 26:41
  sorry our ass