Latest / Unsigned518 / Unsigned518 - Episode 120 - TJ Foster of E.R.I.E.

Transcript

Unsigned518 - Episode 120 - TJ Foster of E.R.I.E. · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves park rock music on the bench guitar with a short wing radio back his motherfucking Andy scolding look at motherfucker. Cause here he comes Andy.
• 0:27
  Speaker B: Welcome to untimed 518. I am here with TJ Foster. How's it going, man?
• 0:32
  Speaker C: It's going great, man. How about you?
• 0:34
  Speaker B: Yeah, it's, you know, going, going well. We had a. We had a party in the dazzle den last night.
• 0:40
  Speaker C: As you do. As you do.
• 0:41
  Speaker B: And I actually, it was funny. I turned the hallway into what we refer to as the upstate dazzle hall, and we had. We put, like, the fucking lights in it and hung happy birthday signs for my buddy BJ, who was celebrating a birthday. We had a little. Little party last night. So if the den looks a little bit in shambles, that is why it was an epic karaoke throw down. It was wonderful.
• 1:07
  Speaker C: Oh, man, karaoke. What was the highlight?
• 1:10
  Speaker B: I don't know. I think maybe islands in the stream. Okay, there was an island in the stream, and there was. There was tossing up between who was gonna be Kenny, who was gonna be Dolly, and it was a lot of confusion, but, yeah, that's. That's my world. But you have a lot of stuff. Stuff to talk about. And we were talking before we got rolling what we want to focus on, and there's really not anything to focus on because there's so many things to focus on, if that makes sense.
• 1:37
  Speaker C: Yeah, it's weird. We've kind of been quiet for the first few months of the year, purposely, so. And now April's kind of hit, and it's like, oh, we got a lot going on in a good way. So, yeah.
• 1:48
  Speaker B: And I think maybe the first thing I want to talk about is the EP suburban tranquility, which, you know, and I say, like, all the time, like, I'm so honored that I'm the first one that gets to hear a lot of stuff because I get to hear a lot of 518 music long before anybody else does. And this one was very hard for me because you were like, you can't tell anybody about it yet. And I had so many people here that my first instinct was to be like, dude, I want you to hear something. Check this out. And I was like, I told TJ I wouldn't. I told them I wouldn't. So thank you for letting me hear it, but I'm very excited that other people get to hear it now, too, so that I don't have to hold the secret in. So I guess, tell me a little or tell the folks, because we will play a track or two of suburban tranquility. But I want to, I guess, where the idea came from and how. Cause there's a lot of collaborations, there are clearly different versions of these songs, the reworking. So I guess just kind of tell me how that came about.
• 2:56
  Speaker C: Yeah, the idea kind of came about, God, six months or so ago, and I think I was just kind of messing around with world is on fire, a track off of our record, suburban mayhem, specifically, just kind of. It was almost like a studio exercise for me, where I was stripping out most of the elements of the song and trying to almost rebuild it up in, like, an acoustic fashion. And it started coming together in a really interesting way that kind of prompted the idea, oh, what if we did this with other songs as well? And so we tossed around the idea of doing an ep, and the idea was always to call it suburban tranquility. It's just a companion piece to the mayhem, so to speak. And it was just kind of one of those things we casually talked about every now and then. And it got to a point where we were coming up on the one year anniversary of suburban mayhem. It just felt like the right time to almost close that chapter with something like this, where we're working on a new record now. We're going to be going into the studio shortly. This is kind of the perfect time to say, okay, here's the end of this chapter. Here's this companion piece. And that's kind of where the idea came from.
• 4:05
  Speaker B: And, I mean, we will talk about the new album, the progress of it or where it's at.
• 4:10
  Speaker C: Yeah, for sure.
• 4:11
  Speaker B: And we could even. I wouldn't mind touching on, you know, you were saying kind of like this is closing the chapter on it, because it isn't just suburban mayhem, it's suburban tranquility. But you also have the poison noises pedal, which is, you know, the suburban and mayhem pedal. So it was. It really was like an era, you know, like that's coming to a close with this nice little ep. So world is on fire is obviously in there. Sydney sings on it. Was that the first one? You know, obviously that was one that kind of sparked the idea. Was that the first one that you started working on and recording?
• 4:45
  Speaker C: And that was the first one I started working on. It wasn't the first one we finished. Oddly enough. That's the only one that actually started within the same world as the original song. So it's the same tempo, same key. There's even elements in the song. That are in the original recording, and.
• 5:00
  Speaker B: Sydney sings on the original recording.
• 5:02
  Speaker C: She does, yeah. So she actually, we both retract our vocals in kind of a more, you know, suitable setting for the. For the reworked version. But, yeah, all the other songs were kind of like, we almost went one step further where I kind of, in some cases, I can't stop running. For example, how would you completely turn this song on its head and make it like this almost like iron and wine type song? Right. And it was almost like. It was a really nice challenge to just rethink about these loud, for lack of a better word, songs in a completely different way.
• 5:35
  Speaker B: And so those were started, like, you know, when you said that world is on fire, that's the same beats per minute and.
• 5:44
  Speaker C: Yeah, yeah. Same thing that the main. There's a. There's an acoustic track in there that's. That's the exact same. That's the track from the original.
• 5:51
  Speaker B: I wouldn't. You know, I mean, I know. I know that song very well, and I've listened to the tranquility version several times. I would have said that it was definitely the same speed, but the other ones were started right from, I mean, obviously, different beats per minute, different instrumentation. How did you approach? And was it a full, like, was it mostly a TJ at the helm, or was everybody kind of in on it as well?
• 6:17
  Speaker C: It was mostly me. Levi joined me for a bunch of, like, the production stuff, sort of, like, you know, halfway through the process, and it was just something that I kind of started doing again as, like, this studio exercise, just kind of stretching my legs a little bit, trying different things. And it really started developing in a really cool way to where I started thinking, okay, what if we got other people on these songs as well? Then as we started approaching, like, okay, let's actually do this. We were thinking, okay, we have this. We have a new record. We have other things to prepare for. Let's not. Let's not clutter up everyone's plates with things that are unnecessary. Right. So I kind of was talking to the guys, was like, hey, do you guys mind if I take the lead on this? They're like, yeah, fine. Levi was interested in kind of doing something different himself, so he did some programming, some production, laid down some bass, obviously, as well. But we were just swapping files back and forth near the end there and having a go at it.
• 7:08
  Speaker B: And then other than Sidney, who is appearing on it.
• 7:13
  Speaker C: Yeah. So our friend Julia Osarof sings on a song called picture of you, which is a song that's that's really near and dear to my heart. It's for a friend of mine from college who passed away a few years ago, and it's probably the. It's probably the most somber song on suburban mayhem, but it's also a very upbeat, in your face, dare I say, punk adjacent song. So reimagining it in a very somber, piano focused version was an interesting challenge to me, and I just knew right away that Julia's voice on that song would be perfect. My wife Lauren, who sang on can't stop running on the record, also sings on the version of that on tranquility, and Katie Gallagher sings on little heartbreak. This was an idea she posed to me almost two years ago now when she first heard a demo of it, and she was like, I have some awesome harmonies in mind for it. And I always knew I wanted to do a version like this. It came out beautifully.
• 8:16
  Speaker B: Yeah. And it's such a cool thing to have, like, a talent pool, you know, of people in the scene that, you know, not only that you could reach out to and ask, but that would ask you be like, hey, I have ideas for your song, you know, like, yeah.
• 8:31
  Speaker C: Or that would say yes.
• 8:33
  Speaker B: Yeah.
• 8:33
  Speaker C: Like, because who am I? You know? Like, who are we? It's just like, it was. It was really cool that, you know, ask these people. And they all were like, yes, absolutely. And eager to do it. And some of them came and, you know, did their tracks in my studio. Some of them took the time on their own and did it in their own studios. And it was just. It was very, very fulfilling to me, to just. It was always, like, a nice, pleasant surprise when I got something new from. From one of the guest vocalists. Cause I never knew what it was gonna sound like.
• 8:57
  Speaker B: Right.
• 8:58
  Speaker C: And it was always just perfect. Yeah.
• 9:00
  Speaker B: I always feel like that with the, like, who am I? Or, like, how lucky I am, like, even just doing the show.
• 9:05
  Speaker C: Yeah.
• 9:05
  Speaker B: Just the people that have been here, you know, in my garage.
• 9:11
  Speaker C: Right, right.
• 9:12
  Speaker B: And have, like, you know, played live in here and have been enthusiastic about coming on the show. Like, it's such a. Huh.
• 9:19
  Speaker C: I think we. I think feeling. We've talked about this before where it's like we have very similar moments of imposter syndrome. Yeah.
• 9:26
  Speaker B: Oh, yeah.
• 9:26
  Speaker C: In respective ways.
• 9:27
  Speaker B: Right. Every day.
• 9:28
  Speaker C: Well, yes, exactly.
• 9:29
  Speaker B: Every day. Like, you know, totally. But, yeah, but it's. It's nice. It's nice to have the support and the talent, and I love the 518. What can I say?
• 9:41
  Speaker C: 100%. No. Same. And it's really cool to. These are four of my favorite vocalists in the area. And just to have them all appear on something that we're putting out is, I think, a really cool showing of just not only talent, but camaraderie, definitely.
• 9:58
  Speaker B: And I just love the idea of taking a song that exists and putting it in a, you know, rearranging it in a, like, completely different style when it's done by the original artist. You know, I mean, obviously there's cover songs that have been, you know, I mean, I was. I was just gonna say, like, every movie trailer for the past ten years has, like, some semblance of that, some semblance of that, some heavy song that they've made very slow and, like. And, I mean, you know, whatever. I appreciate that, too, but I appreciate it when the artists themselves can look at it and take it apart and rebuild it in a different way and be like, yeah, that is going to stand up against the original.
• 10:42
  Speaker C: It's funny. Anyone who knows me knows I am not a cover song kind of guy. I don't like to do them very much, but when I do, I like to do just that, where if it's a harder song, I'd like to kind of see, okay, what if this is really gentle or the other way around, like a really gentle folk song? What if I made that more punk, like, right. And so, like, that sort of thought process in my head. Like, I've never thought about my own stuff like that. And this felt like a really cool experiment just to be like, okay, here's these songs that we wrote and recorded this way. What would they sound like? Like this. And how could we make them kind of interesting?
• 11:15
  Speaker B: Yeah, it's such a cool idea. And I'm, again, so psyched for other people to hear it.
• 11:21
  Speaker C: Thank you.
• 11:21
  Speaker B: I've listened to it a bunch. I've listened to it in my car, I've listened to it at work, I've listened to it in here. And I. I don't know, there's just something about being like, I know this song, but I don't. You know what I mean? It's almost like a. Not like a remake of a movie, but if they, like, if they, like, remade, like, a comedy into a serious drama or vice versa, you know what I mean?
• 11:46
  Speaker C: You're like, like 40 year old virgin.
• 11:49
  Speaker B: Super fucking serious drama. And, like, you'll be like, yeah, I know this movie, but it's different. And, like, I get to, like, find things out about it again and, like, remead it. So it's a.
• 12:02
  Speaker C: It's kind of, kind of the same for me. Orangey's like, some of the lyrics kind of, kind of hit different. You know, as you're. As I'm singing them, kind of more. More gentle and the focus is more on them. I feel like it's. It's a totally. And I hope people experience it the same way you do. Right. As people who've heard these songs and may or may or may not be kind of familiar with them and hear this be like, oh, yeah, this. That's really cool.
• 12:22
  Speaker B: So it is really cool. Well, do we want to put. Put a song from the ep on?
• 12:28
  Speaker C: Sure would love to do that.
• 12:30
  Speaker B: Which one do you want to do?
• 12:32
  Speaker C: Why don't you start with. Let me start with World is on fire. We were just talking about that.
• 12:36
  Speaker B: Yeah, the world is on fire. And this one has Sidney Worthley in there. And obviously she is on the original recording as well. And you know what I suggest, like, after this episode, people listen to the songs back to back because that's a. You know, just go to go to go and set up a playlist where you have the songs back to back and check out the differences and similarities and, like, I think you'll get a feel why it's so fucking cool. But anyway, this is World is on fire, the tranquility version from eerie featuring Sidney Worthley. And then we'll be right back to talk some more with TJ Foster.
• 13:17
  Speaker A: Takes a lot of heart to speak up when there ain't nowhere to begin if you find it in your heart to do yourself, friend you'll never want for nothing again in the world is on fire the world is on fire the world is on fire again and you don't know where we ought to begin can we find a little time to make a men's hell? What have we got to lose? We could find another planet for our kids but we probably fuck that one up to you here. The world is on fire the world is on fire the world is on fire again and you don't know where we are to begin should have done more should have done more shoulda, coulda, coulda done more with my life shoulda done more shoulda done more shoulda, coulda, coulda done more with my life only some kind of sadist would want to be remembered there are monsters out here among us and they're all wearing human skin here the world is on fire the world is on fire the world is on fire again and you don't know if we ought to begin should have done more shoulda done more, shoulda, coulda, coulda done more with my life shoulda done more, shoulda done more, shoulda, coulda, coulda done more than got the radio the world is on fire the world is on fire the world is on fire again, yeah the world is on fire the world is on fire the world is on fire again, yeah the world is on fire the world is on fire the world is on fire again, yeah the world is on fire the world is on fire the world is on fire again should have done more, should have done more, shoulda, coulda, coulda done more with my life shoulda done more, shoulda done more, shoulda, coulda, coulda done more with my life I got the radio in the bumps driving right outside it's the beat of my hide it'll stop.
• 16:37
  Speaker B: All right, so that was world is on fire tranquility version on suburban tranquility, featuring Sidney Worthley. And you have suburban tranquility, and you've kind of been hibernating as far as the public assumes. But what they don't know is that you've been very, very busy working on another album. So where are we at with that?
• 17:02
  Speaker C: Yeah, we have been busy, man. This always surprises people when I tell them, but we've never actually, as a band, gotten into a room together and written a song.
• 17:13
  Speaker B: Right.
• 17:14
  Speaker C: It's always been, you know, the first record was really all me. There was no band really involved at that point. And then suburban mayhem, a lot of it was either pandemic related or otherwise. It was just kind of. Again, here's a demo. Everyone write their own individual parts to it, and we came together in the studio. Our drummer, Chad and I, we did a little bit of stuff kind of together, but it was never the four of us. So this year we made a conscious effort to say, okay, let's take the first few months of the year. Let's get in a room together. We've got some ideas for songs, but let's all kind of collaborate. And it's been really cool. We went in with 14 songs kind of on the table, and for, yeah, I guess, seven weeks. Every Wednesday we meet and we have two songs that we work on. So everyone comes prepared the week ahead with ideas or suggestions or whatever for those two songs. And everyone knows what two songs they are ahead of time. And it's been a really cool experiment. It keeps us focused. Everyone kind of knows what they have to work on. So we're at the point now where we are in pre production mode with our friend Alec Lewis. From the hive and his own project, obviously, the Alec Lewis group, but he's kind of acting as a honorary fifth member producer, whatever other hat he wants to wear. So he's been great at kind of keeping us tight, keeping us focused, like, okay, let's, you know, back off here, put something else here, blah, blah, blah. All those things. Right? And so, yeah, 14 songs. First week of first weekend of May, we are hitting the studio to do some drum and bass tracking, and then we're off to the races, man.
• 18:56
  Speaker B: Nice.
• 18:57
  Speaker C: Yeah.
• 18:57
  Speaker B: And, you know, it just dawned on me that Alec Lewis group and Erie and shortwave at Andy Palooza, May 18.
• 19:09
  Speaker C: Absolutely.
• 19:10
  Speaker B: With our friends black tongue Redmond will be there.
• 19:12
  Speaker C: Hell, yeah.
• 19:12
  Speaker B: So you can get to see Alec in his group crushing it. So you haven't tracked stuff yet. You've basically just got it mapped out, or it's got to go to, like.
• 19:28
  Speaker C: Yeah, we're sort of. This is weird because I've never. I shouldn't say never, but usually don't approach the process like this. And I'm very happy we are, but we're actually doing purposeful demoing right now. Okay, so Chad just spent a Saturday tracking drones at the Hive.
• 19:46
  Speaker A: Yeah.
• 19:46
  Speaker C: The hive, yeah. So. As if. As if he would be tracking them in the studio, so.
• 19:51
  Speaker B: Gotcha. See, I was under the impression that when he was doing that, that that was for the album. That's why I was competing. Yeah, we're doing drum and bass. I'm like, I don't know what's going on.
• 20:03
  Speaker C: No, he did his pre production tracks. It's basically, okay, here's. Here's everything as tight as it is. And now we're kind of building up around it all of our ideas. So it's. It's really helped Honus in again, great way to approach it, rather than everything I've done has always just been, I don't want to demo it and then redo it. I just want to track it, figure it out from there, and it's just how I work for the most part. But to Alex credit, he's kind of got us on a great schedule and regimen.
• 20:31
  Speaker B: The demo is really good. Working with Dave Tayo.
• 20:35
  Speaker C: Yeah.
• 20:35
  Speaker B: Just before you got here, I was noticing that Murthy did an interview with Dave, and I haven't gotten a chance to read it. Cause I literally just saw it. But I love that. But the way he would do it is he would take, like, the stuff that, you know, we would give him a demo, and he would kind of tighten up the demo with, you know, like, sometimes it was, like, midi instruments or whatever, but he would send us back his, like, cleaned up version of a demo with every. Everybody would get their own separate mix, so I would get a mix where the bass guitar is very loud and everything else is very quiet. So, like, any little nuances or changes that he made in there, and there would always be notes and, like, so, like, I never thought of the demo in that kind of way.
• 21:21
  Speaker C: Yeah, yeah.
• 21:22
  Speaker B: And also just listening to it over and over, like, when I went in to track my part, I was like, I'm ready to slay this.
• 21:31
  Speaker C: Yeah.
• 21:31
  Speaker B: You know what I mean? Do it for weeks. You know what I mean? I know it, like, yeah, so prepared because I had something to play along with.
• 21:40
  Speaker C: And, like, well, I'm noticing, like, I think something I'm noticing, too, is, like, in the band, my role is mainly, you know, rhythm guitar. Right. I do a little bit of lead stuff here and there, but that's mostly in Matt Delgado's hands. And I'm noticing more and more just, like, how. How much room for improvement I have in terms of keeping my rhythmic guitar tight, you know what I mean? And I'm just paying more attention to that has been very, very helpful for me and Alex. Big thing going into this was, you know, treating. Treating songs differently for live than for the studio. And I feel like we've never done a great job of that because we're always. When we rehearse, we're always rehearsing just in a room, the four of us, and the intention is, okay, we're gonna be playing a show. Here's just. Here's how we sound live. Right? Whereas now in rehearsal, I'm actually like, okay. Focusing on the little nuances, like, okay, hey, is my strumming as it should be? And I feel like it's all helping tighten the band in general. Yeah.
• 22:39
  Speaker B: Like, I was. You know, when we were. Our first couple songs, like. Like, came out, like, I was. I was like, you know, it's very important that, like, everything that's on, like, the record is, like, how we. We play it live. And, you know, it was actually, again, it was Tayo that was like, well, you know, the record, like, he's like, think of it as a. A presentation that you have time to construct and build and make sure everything's good and fill in these spaces, and, you know, and then you. It's this presentation, whereas playing it live is something different that's more dynamic that you can add, you know, like, you can change. And I was like, that was just like a game changer. Because my whole time I was like, how am I gonna make it sound exactly like this?
• 23:24
  Speaker C: Yeah.
• 23:24
  Speaker B: Oh, I can't. That's how, you know, I just gotta have fun with it.
• 23:29
  Speaker C: 100%. 100%. Yeah. It's. It's. It's a totally. It is a game changing kind of approach where you want to just. You want it to sound the same, but it's never going to.
• 23:40
  Speaker B: And there's.
• 23:40
  Speaker C: There's beauty in that.
• 23:41
  Speaker B: Yeah. Because, like, on even, like, our simplest song, like, don't care. You know, it's a very simple song, but if you listen to there's, you know, tambourines and hand claps and, you know, all these, like. Like, little Dave calls them the salt and pepper. You know, all these little.
• 23:55
  Speaker C: Oh, all these little stuff that makes. That makes records. Yeah.
• 23:58
  Speaker B: And I like, literally, like, even, like, on the new blue blink record, like, listening to the. All the new blink 182 songs, like, listening to it, like, kind of with that ear. They have so much shit in their songs. Like, it is unreal. Like, you know, you think it's just three dudes playing. You're like, no, there's like. If they were to emulate that everything that you hear on the record live, they would have to have, like, 19 people on stage with them and, like.
• 24:26
  Speaker C: And they can afford, you know, a nice backing track suite, for certain. It's like, you know, we roll into, what. Whatever. No fun. With a giant backing track sort of system. That would be just ridiculous.
• 24:37
  Speaker B: Yeah, it's for fans, man.
• 24:40
  Speaker A: Yeah.
• 24:43
  Speaker B: So new album is 14 songs. Like, that's all 14, or we're planning on twelve.
• 24:50
  Speaker C: Yeah, we usually like to go in with a couple extra because there's always a couple that are at the bottom of the pack, you know, that are like, okay, are these gonna make it? I often find that throughout the process, one of those ends up taking on a completely different light and we're like, oh, shit, I love that song now. So we don't like to go in with, okay, here are the twelve songs. Because along the way, conversely, one of those twelve might be like, yeah, this isn't really. This isn't really going anywhere. It's not really fitting the vibe or. It's just not. Feels like we're phoning it in, whatever. But, yeah, in general, I mean, so far, throughout the writing process, everything has been coming together great. We are. I think we're really staying true to what eerie is while also taking it to a completely different sort of realm where it's still kind of living in that indie rock, pop, punk adjacent sort of realm, but we're also throwing in some really, really cool elements, some weird time signature shit, even that'll surprise people. Some new kind of sounds, and I think it'll be really interesting.
• 25:56
  Speaker B: And when is the, like, ballpark target that you're looking at to release this?
• 26:01
  Speaker C: Yeah, so we actually were lucky enough to get a Saratoga arts grant to help fund the record, which we found out a few weeks ago. So really, really stoked about that. The caveat to that is that you got to have your project done by the end of the year. The record's coming out before the end of the year whether we wanted to or not. But I think that's really good because typically, and I'm speaking mainly for myself here, I'm sure the other guys would agree. But, like, I tend to start obsessing over the small details in recordings, and that can go down many rabbit holes and delay things tenfold. So having that deadline of this has to be out then and working backwards from it in terms of, okay, we got to get it mixed, we got to get it mastered, we got to set up the release, et cetera, et cetera. We have a date now, and we have to hit it. And so I think, for better or worse, it's going to make us really focus on all of our parts and making sure the songs are the best they can be without obsessing over them to the point of no return.
• 27:04
  Speaker B: Right?
• 27:05
  Speaker C: Yeah.
• 27:05
  Speaker B: Well, so new, new eerie album in 2024.
• 27:09
  Speaker C: That's surprise.
• 27:11
  Speaker B: That's exciting news. And so suburban tranquility is. I can't remember when we said we were going to release this episode, but it's out on the 26th, so.
• 27:21
  Speaker C: Correct.
• 27:22
  Speaker B: It might already be out now if I. Like I said, I had a party in the den last night. I'm not thinking straight. So. April 26, suburban tranquility. Sometime this year, we'll have a new album, I guess. Should we play another song off?
• 27:39
  Speaker C: Sure, man. Yeah, that sounds great. I'm gonna go for the wild card here, and let's play long way around. And this is a song that forever. I thought it would be really cool just to imagine it. Lone piano, lone vocal. And as we kind of got near the end of the process of curating, this ep felt really just. Just felt like a drag. Didn't do much. And this was one that Levi really contributed a lot to, and we kind of reimagined things, and it became this very, like, digital focused song as opposed to, like, all the others are very like, acoustic instrument based. This is very much. It almost sounds like it would belong on like Thrice's the alchemy index or something. But it just sort of developed that way. And I mean, literally finished it with probably hours to spare before we had to turn in the record, honestly. And so we didn't have a lot of time to really, you know, try out decisions. It was really make decisions and adjust really quickly. Really stoked with how it came out. So let's listen to that one.
• 28:41
  Speaker B: Cool. All right, so let's listen to a long way around tranquility version from Erie and then we'll be right back to wrap it up with TJ Foster.
• 29:07
  Speaker A: The talents are in the row. They're making deals with the undertaker her wings came away too soon we're living proof. So don't in the way of protest, we won't asphyxiate on you. I spent my life in amber waves I ain't going out in the woods yet. God gave you the means to kill, that doesn't mean that you should. It's okay, it's okay, it's okay, my friend. Shelter on the open ground, yeah, we'll take a long way around he ran through the holes on high class is still in session oh, what a delicate kid he's got no pavement so don't, don't, don't forget your thoughts and present we won't want spend my life in every ways I ain't going out in the woods gave you the means to kill, that doesn't mean that you should it's okay, it's okay, it's okay, my friend. The shelter on the open ground, yeah, we'll see all the way around. You say that it makes sense that doesn't make it so we're flying half masks, we are, we are alone. You say that it's alright fellas are disagree what if it paid you to make it so? Make it so I spent my life in amberways, I ain't going out in the woods God gave you the means to kill, that doesn't mean that you should it's okay, it's okay, it's okay, my friend. Shelter on the open ground yeah we'll take the long way around. Yeah we'll take long way around.
• 33:19
  Speaker B: All right, so that was long way around. Eerie, off suburban tranquility available everywhere April 26 so TJ, thank you so much for taking time out of your day to come out here and hang out with me and tell me about all the cool shit you got coming up yeah.
• 33:36
  Speaker C: Thank you for having me, as always.
• 33:38
  Speaker B: Absolutely. Likewise. Anytime, anytime. But before we go, just like with everybody, I want to give you a chance to say what I refer to as your gratitudes.
• 33:47
  Speaker C: Of course. Well, first, thanks to you for being the awesome human being that you are having me here. Yeah. Thanks to everyone who's really supported our band, especially in the last year since the record came out. It's been an insanely eventful year in a good way. Again, this tranquility EP is very much a companion piece to that record and a kind of closing of that suburban mayhem chapter. So, you know, thanks to everyone who was involved with that record. Thank you to Sydney and Jonna and Julia and Katie and my wife Lauren for their collaborations on the EP. And just everyone who's listening to this podcast, thanks for supporting something like this and local music in general. It's fucking awesome.
• 34:38
  Speaker B: Hell, yeah. So that is TJ Foster. I am Andy Scullen. This is unsigned 518. I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullen. 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. Unsigned 518 if you would like to advertise on on the show, send me an email at Unsigned five one eight@gmail.com. And to be a guest on the show, reach out to me through Instagram at unsigned five one eight. Take care of one another, and I'll see you next week.