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Unsigned518 - Episode 170 - Curious Comet · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves punk rock music fighting the 13 cabin in the dazzle Jazz rock Now on the beats Guitar with a short wind radio bass his motherfucking envy scrolling look at motherfucker cuz here he comes Andy Sculling wearing his orange.
• 0:26
  Speaker B: Hat welcome to unsigned 518. I am here with Nikki and Bob of Curious Comets. How's it going?
• 0:34
  Speaker C: Far out. Excellent.
• 0:35
  Speaker D: It's awesome. How are you?
• 0:37
  Speaker B: It's going. Going very well and you know, you brought your guitars along and a little later on we're going to have you play a song. But you know, obviously we want to hear the story of Curious Comet and basically have you introduce yourself to the listeners. So I guess, Nikki, we'll start with you.
• 0:54
  Speaker D: Yeah, we are Curious Comet, the band and we met at Deb's Jam. And Bob, you were there through Deb as well?
• 1:05
  Speaker C: Yep. Yeah.
• 1:06
  Speaker B: When you say Deb, you mean Deb Kavanaugh.
• 1:10
  Speaker C: I do mean Deb Kavanaugh. We do, yeah, absolutely, yeah. Deb, this would have been about a decade ago, was hosting, excuse me, acoustic jams in a studio space we shared and. And so you end up with your circle of songwriters and acoustic guitars and maybe someone bring a dumbbeck or some drum or maybe a mandolin if you were lucky. And so we're at one of those and in walks Nikki Chaos with little Marshall amp and a Les Paul copy and a ton of amazing original songs. And at the time I was in a band looking for another instrumentalist who sang and. And so was saying, oh, I would like to see where this goes. And eventually approached Nikki about joining that band.
• 2:05
  Speaker D: Yeah, you were like, I need a guitar player who sings. And at the time the band was Bleak Little World which we were in for quite a while. And I was like, well, I'm a guitar player who sings. And I loved original music. Honestly, the draw for me was the fact that Bob could remember the arrangements of my songs because we both write songs that are, you know, arrangement focused and. And not just the three chord, four chord songs. And so we, I think we gelled around that. The fact that we have pop songs that are pop rock. Pop. Did I say pop?
• 2:42
  Speaker C: No, you did say pop.
• 2:43
  Speaker D: I did say pop, but I met alt rock. What is wrong with me anyway? Our songs are accessible was my point, which is like pop music. But at any rate, but they're arrangement heavy. So a lot of groups I've been with, they couldn't remember my arrangements and my songs and Bob could remember my arrangements and I was like I found the person I need to play music.
• 3:05
  Speaker C: With and in life. And as in music or in music as in life, the big enemy is boredom. And so that's why I like playing original music. And, you know, Nicky's songs are not boring, but they are a thing. You know, sometimes a song is complicated and can be hard to see. Is there actually a pattern there? But yep, there is. And it happens the same every time once you learn it. So it was a real pleasure there. And so we played with the drummer and bass player we were with at that time in Bleak Little World for a while and then started evolving more toward the duo and now we're getting back to the full band again.
• 3:47
  Speaker D: That's true. Right. Curious Comet. Actually, I insisted a little bit on a rebranding of the name because we lost our bass player and drummer and we were playing as a duo for a while and it was Covid. And I said, it's really hard to pitch Bleak Little World in Covid. I mean, it's bleak enough. So can we come up with a different band name now that we've changed our format? And so we. We actually worked with the producer from England, a pair of producers who helped us put our album out, and. And we did self produce that album at our home studio in Shushan. And then Curious Comet was kind of born in some ways through that process because that's what. When we decided to come up with a different band name.
• 4:44
  Speaker C: And Bleak Little World was the first band I had named since high school, so I was a little attached, but I did see how it was not supposed to be a fun name and it wasn't. So there we go. Curious comment. It is now.
• 4:57
  Speaker D: And yeah, I actually almost wanna go back to Bleak Little World now that Covid's over, because I feel like your name is more appropriate for current times than Curious Comet. Maybe we could rotate between the two. Like every other year will be one will be Curious Comet and then we'll switch to Bleak Little World.
• 5:16
  Speaker C: That does sound confusing.
• 5:18
  Speaker B: Or just release an album called Bleak.
• 5:20
  Speaker C: Little World the way he thinks.
• 5:24
  Speaker D: There you go. Yeah. So now we have two new band members. We have Fred Bulmer, who joined us on bass, who is absolutely re energized our sound through his interpretation of the songs and his learning of the arrangements. And we're lucky to be having Mark McKay playing with us on drums for some of our full band gigs. Sometimes we play out as a duo, sometimes a trio, sometimes full band. Kind of depends on the gig. But we're putting out a new Album hopefully this fall is the, the really hopeful thing. We're working. We have all the songs, we're playing them live, just getting in the studio.
• 6:04
  Speaker B: And getting them done and so doing the songs. You know, Nikki, you obviously have been on the show and. And I should have like remembered what episode number, but I don't remember. But just go, you know, how do you remember?
• 6:18
  Speaker D: I wouldn't.
• 6:18
  Speaker B: Because that's what a good host would have done. Not like I would have remembered it. I smoke way too much weed for that. But like, but I should have like looked it up and written it down and had a fucking like a little three three by five index.
• 6:30
  Speaker D: You're a very good host. I'm not faulting you at all for not remembering. It was with Chris Peterson.
• 6:36
  Speaker B: Yes, yes. You recorded the same day and I released them one week and then the next week. But like I do remember the songs how they were like you said, very arrangement heavy. It's not like three, three chords repeats.
• 6:50
  Speaker D: And there's nothing wrong with that.
• 6:52
  Speaker B: No, no, no. Then there's absolutely.
• 6:53
  Speaker D: I don't mean to throw shade on those three chord songwriters.
• 6:56
  Speaker B: It's just, it's a different style which is what makes me music so beautiful is that you don't have to on one thing to like another thing. You know, you could just be like, I like, I like everything. And some songs, like, when they get too complicated, you almost like I. I've heard on a podcast about how like you like lose an audience, but it becomes more refined. Like, and that's what makes pop music pop music is that everybody likes it. And then the more you whittle it down to make it your own, maybe less people like it, but those people that do like it like it for the complexity of it. So like when you're writing your songs, are you just writing them 100% for you?
• 7:44
  Speaker D: So that is very interesting. When I write my songs, I actually write them in response to, to an emotional thing that's happening. And they often are written very quickly, which would be surprising because of their arrangements. But that's in part they're built by my emotions. So I have this thought. I write the words, I'll write the music and it all just kind of blobs out of me and then I'll like tune it up a little bit and if something wasn't exactly to my ear, then I'll adjust it. But it's, it's for me it's almost an instantaneous process. So. So then it's teaching the songs to other people. That becomes the hard part.
• 8:39
  Speaker B: But, like. But when you do it, it's. You know, you're not necessarily thinking about the other people that are gonna have to learn this.
• 8:46
  Speaker D: You know what I mean?
• 8:47
  Speaker B: You're doing it for yourself.
• 8:48
  Speaker D: I'm so angry about this thing. I'm so sad. I'm so happy. Those come last, unfortunately. But the angry and the sad songs are really. Really what motivates me to write. And even, like, there's a song I do that people really love. Complaint Department.
• 9:05
  Speaker B: You did that one live. I do remember that. That you did do that one live in this room on unsigned 5.
• 9:12
  Speaker D: And it's like, you know, it just. I was so upset, and I just pick up my guitar and I'm like, let me introduce you to the new department. Like, I hear it all head, and it just pops out. And that's. That's how I write.
• 9:26
  Speaker B: I love that because. And, you know, like you said, there's. There's room for. For everything. So I like the. The, like, narrative songs, you know what I mean? That take you on a. On a journey. You know, it's. It's. There's some songs that you just get, like, kind of lost in the rhythm, and you're like, whatever. It's the same thing happening over and over. And then there's other songs that you have to pay attention to because they're taking you somewhere. And I feel like that's more your style of songwriting.
• 9:54
  Speaker D: There's definitely that. And even with Bob's songwriting, he has a very narrative storytelling, I think. What do you think about your songwriting?
• 10:06
  Speaker C: I wanted to comment that among the many contrasts between Nikki and myself are the songwriting process. I am way less prolific. Like, we maybe do 10 songs I've written, and probably 20 or 30 that we know that Nikki has written among the many more she has written. So I tend to more burst out some kind of musical side, usually on keyboard, because there's a lot more. Easier to find some weird voicing or whatever when you're playing piano. And something will generate a new progression, a new beat. A couple of. Oh, wait, I have an old one that goes with this. Now I have a bridge. And then the lyric side, which, as Frank Zappa once said, you must have lyrics if you expect to play rock and roll in America. They come a little slower. And I will gather, almost like David Byrne a little bit. Gather lines. Somebody will say something. I'll hear something on the radio. I'll think of something brilliant. One line that's, you know, so great. Put them all in a folder. And then maybe an idea comes that, oh, I like this. This what I want to write about, whatever the idea is. And I'll often go and look and see, okay, this fits with it. Here's some new stuff. And kind of develop a song there. So I'm much slower at it than.
• 11:23
  Speaker B: It's like, like, both sides of the scale of, like, creative processes then, because, like, Neil Rooney, you know, what was it? Who wrote Hallelujah? Leonard Cohen. Yeah. And it was. He had something like 80 some odd verses written for it that he just, like, kept whittling down and whittling, you know, but he had so much and, like, couldn't decide. And then there's some people, you know, like, I just read that Dolly Parton wrote I will always love you and Jolene in one day. Yeah, on the same day. Like, so it's like that, you know, some people toil over something, and that's all. Okay. And some people just put it out and there it is. And that's. So you have both of that right here.
• 12:09
  Speaker D: Well, and that's kind of the fun of working together with Bob, is that we balance each other out. He's got massive technical skills in the studio and with the gear. And I would have anxiety often playing live and being vulnerable in the music scene around even, you know, as a woman, like, not feeling confident. And when we first started playing together, he helped me through a lot of that in a really practical way that strengthened what I did. And, you know, I'm kind of strong on the networking, social media side, and I'm out networking a bunch, and so I balanced that out. So we're very lucky in finding this partnership where we can create the music that, you know, we both get to get our music out in a collaborative way. And the balance between our styles really complements each other, I think.
• 13:09
  Speaker B: So we should probably hear a song since you brought your guitars. Right. What was the first one that you were gonna play for us?
• 13:17
  Speaker D: So the first one is from our album Authentic Earth, which I mentioned. We self produced in our home studio, and you can find it on all the streaming channels and on our website and on Bandcamp especially, is a great place to check out for songs. But Authentic Earth is the next song.
• 13:36
  Speaker C: No, no, again.
• 13:38
  Speaker D: Oh, my gosh. Can we.
• 13:41
  Speaker B: Yeah, we can re edit that.
• 13:43
  Speaker D: Let me start it over and edit it out 100%. The song we have coming up is Again and Again, which you can find on our album Authentic Earth on all of your streaming sites.
• 13:54
  Speaker B: All right, cool. So let's Hear again and again Curious Comets. Then we'll be right back to talk some more with Nikki and Bob.
• 14:03
  Speaker A: Is your life good? Is it free from pain? Can it maybe someday Again and again Is there light after dark Spark of the truth you soothed for a little while longer Again and again I keep saying I won't repeat my same mistakes But I can't seem to help it from beginning to end and beginning again.
• 14:47
  Speaker B: I see.
• 15:37
  Speaker A: Sat exactly how to feel I get spelled bound by the lights and the sounds soothing to a summer I lumber around my heart on the ground dragging along because I can't find my song from beginning to end and beginning again I see each cry Come oh now Again, again Pick it up, dust it off I'm ready for the battle Because I can't seem to help.
• 17:00
  Speaker E: It.
• 17:12
  Speaker A: From beginning to end and beginning again.
• 17:27
  Speaker B: That was Again and again Curious Comet here live in the Dazzle Den. And you know, you're playing here today and it's just the. The two of you acoustic duo. But there is more to Curious Comet than just the two of you. So I guess. Tell me about the. The full band.
• 17:44
  Speaker C: Absolutely. As I mentioned earlier, when I met Nikki, she was rocking an electric. And I, you know, my heart is really with electric playing. So we are lucky enough now to be back to a full electric band for a lot of gigs where that's appropriate. And we have Fred Bulmer on bass and he's quite a monster. Yeah, really, really good player and just very steady. And as a lead guitarist, I really appreciate not having to think about the band. And then we also are joined currently on our full gigs by the drummer Mark McKay, who I've known for 25 years, at least here in the Capital District, if not longer. And just a really versatile drummer. Works with a lot of people and very widely knowledgeable. So it's a great core and everybody gets their leads. And I also play keyboards, so I've reintroduced that to the band.
• 18:53
  Speaker D: Yeah, actually one of my favorite new songs. We're working on a new album that we hope to have out this fall and Bob wrote an instrumental. We're trying to, now that we have a full band, expand into more of our jam side. In fact, when we played the Dorn Space recently, we had someone from the audience give us a $40 tip because they loved Bob's guitar solo so much like leapt up and was dancing. And I don't think they normally have full bands at door and we squeezed ourselves in there. But when we bring into that element, it's just. It expands what we can do with our music so much and the guitar solos are amazing. But then this song in particular, Bob switches from keyboard to guitar in the middle of the song. It's a little fancy because he can do both.
• 19:45
  Speaker B: And like having, you know, the, the full band and like you just said like at playing at dawn, how you had to. To squeeze into places, like I'm in a five piece band and we've squeeze in at some very, very small spaces. But like you have the adaptability to, you know, if they were like, hey listen, we can't fit a full band at all. You could be like, well, you know, we could do an acoustic duo. Is that something that you do as gigs or do you. Are you kind of focusing on the electric?
• 20:15
  Speaker D: We customize the sets to the gigs actually.
• 20:18
  Speaker B: Nice.
• 20:18
  Speaker C: Yeah, but definitely, I think as you probably would know as much, the more versatile you can be, the more chance, especially playing originals, you kind of have to be willing to work with where you have to play. And no, we're lucky. Everybody can play with dynamics. Everybody can just play an acoustic if necessary. In the past, Nicky and I have done some completely un amplified acoustic gigs in spaces that will support because we can both sing relatively loud and strum relatively hard. So it's not ideal, but it can be done.
• 20:55
  Speaker D: And Mark can shift between the kit and percussion, which we're very grateful for. And Fred is also attuned to dynamics. I think that's another hallmark of our music is we're sensitive to the dynamics of the room. You know, the best performing bands in the area understand their sound and understand how to play the room and make their sound match the room. And that's what we strive for at our gigs.
• 21:22
  Speaker C: And in terms of room, like we brought everything to the dorm space and just there was no room for a keyboard. So that just stayed in the case and stayed in the side room. And you got to be realistic. Oh no, I have to play my keyboard or I'm going to be sad. Can't do that.
• 21:36
  Speaker D: That's true. We did scratch the keyboard at the moment.
• 21:39
  Speaker C: But there's nothing as you know, there's nothing more. Or maybe you. For me, very few things are as fun as being in a band that's playing tight live. And the, the good thing about or the hardest thing about a good band is I have to remember to keep playing because somebody will do something so good that I'll be, oh, I just want to listen to that. And I forget that I have a job at the moment, you know, but yeah, which Is. That's heavy.
• 22:05
  Speaker B: I like to use the. The. Because I play bass. And we're like a, you know, a punk band, I guess that some people call us. But we. We vary. We do all different styles. But, like, I like to do the, like, cut out, you know, drop the bass for, like, a couple. And it's always for that same reason where I'm like, no, I just want to kind of check shit out for a little bit.
• 22:24
  Speaker D: Well, that's fair. And then when you come back.
• 22:26
  Speaker B: I know.
• 22:27
  Speaker D: I don't do that.
• 22:28
  Speaker B: I know.
• 22:29
  Speaker D: And neither do the guitarist playing guitar. In fact, Fred, our bass player, has a joke. Because when we're learning the chords for songs, he only has to play, like, one note of the chord. And we're playing a certain. He's like, you know, the sharp or the. The minor or the seventh. And he's like, not for me. And it's like his little taunt to me now because I'm like, bob will say, we're playing the A7. And he's like, not for me.
• 22:56
  Speaker B: I do that all the time. Like when I'll be like, what? You know, what chord is it? And they'll be like, well, it goes from the A here to the A minor. And I'm like, I don't fucking care.
• 23:05
  Speaker D: Well, you and Fred will get along famously because that is his.
• 23:09
  Speaker B: Like you nerds in your seventh and fifths. Well, actually, sevenths and fifths would translate to bass, but, you know, minors and majors and suspended things and.
• 23:18
  Speaker D: Well, I can confess, as a rhythm guitar player, there's often times when I only play the top two or three strings, because if I don't know the chord and I hit the 1 and the 5, then I'm in the zone and you all can just worry about it after that.
• 23:33
  Speaker B: But, I mean, that's a. Also like a very cool sat, you know, because when I play acoustic guitar, I tend to hang on that.
• 23:40
  Speaker D: Because you're a bass player, you know.
• 23:43
  Speaker B: So, like, yeah, that's a great way of playing.
• 23:45
  Speaker D: I would be a bass player. I want to get a bass. But that's another longer conversation. Send me your bass player suggestions or not. Bass player. Send me your bass suggestions. People listening, all you bass players out there, put in the comments, what's your favorite bass and why?
• 24:01
  Speaker B: I'm gonna say something about a bass. That it will be controversial. No, not really. But, like, my band gives me about it all the time. But, like, I have a bass that's. It's called a short stock.
• 24:15
  Speaker D: I want a short Stock.
• 24:16
  Speaker B: You know how basses are normally. Well, this one's the same size as, like, your standard electric guitar. So, like, it's shorter.
• 24:23
  Speaker D: That's what I need.
• 24:24
  Speaker B: And it's a game change. Like, it's the first one I'd ever gotten. And it's so nice because you don't, you know, you don't have to play. I do know.
• 24:32
  Speaker D: I've tried bass. I've played the big, long ones.
• 24:35
  Speaker B: It's called a short stock. And it's just a. Just a little. Little. And it's only about that much. You know, I think it's like an inch and a half or two inches, maybe shorter on guitars.
• 24:45
  Speaker D: It makes it.
• 24:46
  Speaker B: That's my suggestion.
• 24:47
  Speaker D: I'm gonna. All right, yeah, I'll take that one to the guitar store and try them out.
• 24:52
  Speaker B: Be like, I don't want to play that big guitar.
• 24:55
  Speaker D: Give me this.
• 24:57
  Speaker B: Abby in my band always gives me. She's like, look at. Look how big guitar look so big compared to yours.
• 25:04
  Speaker D: Oh, that's not a good look. That must be intimidating for you.
• 25:10
  Speaker B: It's all a good fun, really.
• 25:12
  Speaker C: It's two words, though, right? Paul McCartney, I'm pretty sure.
• 25:17
  Speaker D: There you go. We have a precedent, folks. Paul McCartney. Say no more. Say no more.
• 25:24
  Speaker B: So, you know, you're back playing electric gigs and having the adaptability to play acoustic gigs. But we were talking a little something that's. By the time this one airs, the current one, I guess won't be there, but it's something that reoccurs. You were talking about an open mic that has a little twist, a little twist to it. So tell me a little bit about that that you're gonna go play.
• 25:50
  Speaker D: We have a great scene at 344 Second street in Troy, New York. It's called the Storefront, and it's a gallery, art space, community music space. Gene and Matt are the owners and the operators, and Matt has this. You know, it's all set up for music, and we're hosting in May, but it's the first Sunday of every month, and we do a potluck. So people can bring food to contribute, or they can donate money. Like throw $5 into the kitty if you can. Or if you don't have money or food, you can still come. You can pre sign up. And it's original music. So that main thing is, it's. You are not supposed to play anything that isn't original music you wrote. I mean, if it's somebody that passed away who was in your band, like, no one's Going to police you on that stuff. Every once in a while someone has slipped in a cover because they didn't know. And like, you're not being pulled off the stage with a hook. But the intent is for you to bring original music. And it's a listening room, so people really sit and listen. It's meant to be a listening room. And that's the other amazing thing correlate.
• 27:07
  Speaker C: On that, that people come to play expecting the people there to listen. People will do spoken word of various kinds and audience is very respectful. The hosts are making sure that if you're there to socialize, there's outdoor space that is not gonna disturb the. And it's real welcoming to. If you're a person who hasn't played out much or hasn't, you know, been open mics, anything at all, you know, very helpful technically. They're going to make sure that, you know, everything is working as good, good as it can for you. And just a very accepting, you know, the fact that you're trying to put something out there that you did yourself and you'd like other people to hear it, that goes a long way in this particular space. So it is a great, a great venue for that.
• 27:56
  Speaker D: And the other thing is it's full backline so you can bring a drummer. There's drums and bass amp there. And also a lot of people meet up and jam together after. Like, it's a great way for musicians to network and meet people who are doing creative music and trying to build a band. So it's awesome. I love Gene and Matt for giving us the space.
• 28:21
  Speaker B: And one of the things like, about like open mics is what caught me is how you were like, oh, it's a listening room. Like people are paying attention is. And not to, you know, any place that's putting on an open mic, like, great, that's awesome. Like, keep, keep doing. But sometimes it's misplaced enough where like the majority of people there did not know it was going to be happening or weren't aware, you know, are just out for like a drink or out for something to eat. And as someone who's played a fucking thousand open mics like that, like, as an art, it can really be intimidating to be like, these people not only, like, don't care that I'm here. Like, some of them, like actively don't want me to be here. So, like, to have a listening room situation, add an open mic is huge. Like, huge.
• 29:13
  Speaker C: Yeah, it really is nice. Plus excellent, you know, again, excellent technical support. You throw that in and because, you know, it's kind of a. No one's bringing in a PA for one night and takes it out. It's there. It's been elaborated to make to work very nicely in the space. So, yeah, it's pretty cool.
• 29:33
  Speaker D: They do have a great setup. And, you know, it's funny because in the range of open mics, as a performer, people sometimes ask me, why do you play open mics? You know, you're established and I'm like, I love to get out there and try out material, keep in touch with the scene, all these things. And, you know, one of the benefits of playing that other kind of open mic you described is you cut your teeth and you learn how to keep playing your song when no one else cares about what you're doing because they're just wanting to eat. And they're like, why are you screaming in my ear? And the guy's running sound and he doesn't know your voice and you're like, oh, my gosh, I just have to keep playing because I can't stop. And so there's a lot of valid reasons why that's also beneficial as a musician at any stage in their career. All different kinds of open mics, I love because of the fact that it's just the networking and the chance to play your songs and practice in different environments with different equipment. But I can say 344holds a special place in my heart because they treat musicians exceptionally well. Like Bob pointed out all the things they do. It makes it very welcoming.
• 30:44
  Speaker C: And you wanted to mention another gig.
• 30:46
  Speaker D: Of ours we have. Yeah. Quarters does open mics. Quarters is this really cute bar in Saratoga Springs, which you wouldn't expect. It's like in a shopping plaza next to a Price Chopper. So you're like, wow, is this a cool bar with music in it is amazing. True music lovers in that place. And we're again, this will be before it airs in April, we're doing an open mic there, but then after in May 17, we're on Saturday as a feature band. On Saturday, May 17, 7 to 10.
• 31:26
  Speaker C: Yes, Saturday, May 17, at Quarters in Saratoga.
• 31:31
  Speaker D: Exactly. But they do their open mics on Wednesdays, every Wednesday also from 7 to 10. So I was on the open mic theme. I'm very free association mind, so you never know what's going to come out of this mouth at any given time.
• 31:48
  Speaker B: Well, so I think we should play another song. So what was the one we were going to play?
• 31:54
  Speaker C: Now this one we're going to play is Knoxville don't care. And the phrase came to me before we were headed to Knoxville for a music festival, and I was kind of recuperating from leg injury and thinking to myself, you know, nobody there is going to care that you have an injury and blah, blah, blah. So I said, knoxville, don't care, and that stuck with me, and here we are.
• 32:23
  Speaker B: All right, cool. Well, let's check out Knoxville Don't Care, Curious Comets, and then we'll be right back to wrap it up.
• 32:38
  Speaker E: Knoxville don't care about your mishaps or your sorrows? You don't get paid like you think you should? Your mother doesn't know how you went so wrong? No matter what you can hide? Not even when you touch the sky?
• 33:27
  Speaker A: Sa.
• 33:54
  Speaker E: You can't go home again? And there's no way of telling all.
• 34:03
  Speaker B: That you left behind?
• 34:07
  Speaker E: Father doesn't know why you had to lie? No matter what you might say? No one thinks words matter any way.
• 34:29
  Speaker A: Hey, hey.
• 34:35
  Speaker E: It'S your turn.
• 34:41
  Speaker A: To turn the Spitzer.
• 34:50
  Speaker E: That yard bird should be done by now. Better than this, it doesn't get? No one could have known that you would get so high? Or that you'd so completely lose your mind? Nobody has a clue why you get so angry? No matter how loud you shout? No matter what you do with Knoxville don't care?
• 35:49
  Speaker A: Knoxville don't care?
• 35:51
  Speaker D: No.
• 35:55
  Speaker E: Your mother, she don't know?
• 35:57
  Speaker A: Your mama, she don't know? Nobody has the clue.
• 36:18
  Speaker B: All right, that was Knoxville don't care. Curious Comet and I want to thank you so much for coming out and before we go, want to give you a chance to individually say what I refer to as your gratitude. So, Nikki, we'll start with you.
• 36:31
  Speaker D: Well, Andy, we really are appreciative that you had us on in. This opportunity to share what we're doing has been wonderful. And then also, I just have to give a huge shout out to Matt and Gene for supporting original live music and Troy and supporting me in my music career.
• 36:48
  Speaker C: And I definitely want to thank Andy also. This is such a cool space. Anybody who wonders whether you should come be interviewed here, the answer is yes. Want to thank Fred Bulmer, our ridiculous bass player, and Mark McKay for coming out and doing these electric gigs with us. And quick shout out to the folks Nikki mentioned who helped produce our first album, Pete and Indy. Pete and Indy Mills of, I believe, Leeds, England, so you can find them easy enough.
• 37:25
  Speaker D: They do scale your music as their brand.
• 37:28
  Speaker C: They're really good, really good people, and.
• 37:30
  Speaker D: They helped us a lot in producing our album, for sure. And also, a shout out to Wham. I do a women are making music group. It's called Wham. And if you want to find me, DM me PM me. We're recruiting women musicians because we want to make sure that women feel safe and empowered in our seat and we're creating that in the 518 with Wham. So shout out to Wham.
• 37:57
  Speaker B: Awesome. All right, so they are Nicky and Bob of Curious Comets. I am Andy scullin. This is unsigned 518. I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullin. New episodes are available every week wherever you stream podcasts. If you'd like to help support the show, please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com UN unsigned 518. If you would like to advertise on the show, send me an email at unsigned518mail.com and to be a guest on the show, reach out to me through Instagram at unsigned518. Take care of one another and I'll see you next week.