Latest / You Call That Radio? / 'Funeral For A Dream' w/ Bronze Nazareth & Apollo Brown

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'Funeral For A Dream' w/ Bronze Nazareth & Apollo Brown · You Call That Radio?

• 0:03
  Speaker A: As you call that Radio tv live from Glasgow and we're about to go live to Detroit to speak to Bronze Nazareth and Apollo Brown have got an incredible new album called Funeral for a Dream. Just before we start I want. I was just announced today that my project Jackal Trees will be supporting Obi Trace at Slay Glasgow on Saturday 11th October. So I. We shout to that there be, there will be we ticket link in the comments. Come along. It should be a good night. Shouts to Hip Hop Scotland for making things happen. And. And here we go. We got the. The album artwork here. We want to send you to escapism recordings.com to check out this incredible album. Bronze Nazareth and Apollo Brown started off in the Grand Rapids of Michigan. They lived in the same neighborhood. They went their own paths and had amazing success individually. And now finally they've got together to create a masterpiece that is Funeral for a Dream. And I'm just going to bring them on just now. We got Apollo Brown in the house. We got Bronze Nazareth in the house as well.
• 1:20
  Speaker B: What's the word, man?
• 1:21
  Speaker C: Thank you, man. Appreciate you for having us, man.
• 1:23
  Speaker A: Yeah, it's an honor. It's an honor. And also I've listened to the album three times now, so I'm still, I'm still getting right into it and in fact shout outs to my Uber driver, Wes. Wes. I just came here in an Uber and Wes said what you up to? And, and he was. He's heard of you before so he's got to be listening interview he put on the album and he was loving. He was vibing with it. So shout outs to where's the Uber driver who's probably listening to this in the car right now. And the first thing that. Yeah, shout out. First thing that struck me is as you can see, I've got a T shirt on just now. Dreams Are Mental, which is one of my projects, Gyro Babies. It's got an album out and there's a bit of serendipity to the, the concept, the. Because, you know, it's a completely different album. It's a, it's more a post punk or guitar music sort of thing. But we started with the, the piano and this. The sample, the. The. The spoken word sample. And it's just then we go completely different directions of course. But yeah, you just want to talk about the, the concept of the album and how it all came together.
• 2:39
  Speaker C: I mean just like the, just like the intro says, man, a Death of a Dream is the best funeral, man. You, you know, just like that title, you know, the title of the album, Funeral for a Dream, man, it's. It's really accomplishing something and. And something that you've always dreamed of, something that you've always wanted to get done, man, and. And it come into fruition finally, and you getting it done, and then now you can lay it to rest, man. Now you can put it six feet deep, man. So this is the Funeral for a Dream, man. Me and Bronze, we came up together. We've known each other our whole lives, man, and it's just a long time coming for us to get together and make an album and, you know, made it happen and. And made this. This quick classic.
• 3:21
  Speaker B: Yes, sir. Yes, sir. Like, just. Just. We always been big on chasing our dreams, so, like, we started this music very, very young, and so it had always been a dream. And of course, once we evolved into making our own stuff, the dream became, yo, let's make something together. We always had, like, different groups and like that coming up. So, you know, finally, you know, it's. It's the one on one right here. You know what I mean?
• 3:47
  Speaker A: So what, did you ever work together at all in the early days, or is this literally the first time?
• 3:55
  Speaker C: We've definitely worked together. We've done different things under different names, like you said, different group stuff. You know, we've always. We've done stuff together, you know, early on, man, and. But nothing that was like, you know, solidified in this hip hop industry, man, like it is now. So we wanted to just be able to get together, man, and. And really, you know, carve out an album, you know, carve out a body of work, man, that. That's going to stand the test of time.
• 4:25
  Speaker A: Yes. And I say this is just a case of the. The. The stars aligned. And these were both available.
• 4:34
  Speaker C: Absolutely, man.
• 4:35
  Speaker B: Absolutely perfect.
• 4:37
  Speaker C: Bronze is a busy guy. I'm a busy guy, man. For us to kind of find that window of opportunity to come together and make an album, man, that's, you know, that's a dream within itself.
• 4:47
  Speaker B: Right, right. Both being independent and all, too, so, like, you know, we got the freedom to do whatever we want at this point, so.
• 4:55
  Speaker C: Absolutely, why not?
• 4:58
  Speaker A: So who was the. Who was first? Can you remember the first song that you both listened to together or you both worked on together, or was it. Did you start at the exact same time or did one of you start chasing your dream first or.
• 5:13
  Speaker C: Oh, man, no. Bronze got off the porch first before I did, man. You know, we were both obviously making music and, and producing and making beats and you know, I wasn't really rapping much, man. I rapped a little bit, but, you know, no. Bronze was the first person to. Out of our whole group, out of our whole kind of, you know, posse, to. To jump off the porch, man, and. And, you know, do his thing, man. I'll let him tell you about that.
• 5:44
  Speaker B: Yeah, I. You know, we, like. Like I said, we started really getting serious making beats and doing songs and hitting studios in high school, and so, you know, everybody knows the story, man. I ended up running into Silver Rings online. He liked my beats. At some point, he was like, yo, I got to get you to RZA. And so that was around 2002 when I signed with RZA. And then, you know, just. I've been family from that point. So, yeah, I was the first one to go on and, you know, get my name out there and, you know, put. Put work out officially, you know what I'm saying? So, you know, at that point, it was. Everybody come on, too, you know.
• 6:27
  Speaker A: What age were you when you. You met Reza and the rest of the Wu Tang and stuff like that?
• 6:33
  Speaker B: Say that again.
• 6:35
  Speaker A: What age. What age were you when you. When you signed with Riz and Wu Tang and started meeting the Wu Tang and stuff like that?
• 6:42
  Speaker B: Probably 99. So I was. I was 20.
• 6:49
  Speaker A: That's crazy, man.
• 6:50
  Speaker B: I was 20. Yeah. Yeah.
• 6:53
  Speaker A: So. And could you believe that? Must have been really bizarre. Just been that young and then just sort of connecting with. Because Obviously we're talking 1999, Wu Tang were already internationally successful.
• 7:07
  Speaker B: Yeah, it was crazy, man. It was. It was like, yo, I made it. But like, at the same time, after, you know, after the. The celebration, the hypeness and all that, it's like, okay, now what? I'm doing a song here, doing a song there, until I realized, you know, it really don't matter who co sign you, what, What. What. What pub you got or whatever. You got to do the work. And so, you know, I knew that. That. That my work ethic would be the. The. The thing to push me further besides just getting the cosign, you know what I mean? So, yeah, it was beautiful. I learned a lot. But the most thing I learned was, yo, you got to do the work. Walk your dogs on your own, man.
• 7:50
  Speaker A: Yeah, absolutely. And. And obviously, Apollo Brown, you know, internationally renowned beat maker, everyone knows your beats. Everyone loves your beats in Scotland. What was the turning point for yourself? When was. When did you start really feeling like you were. You were getting somewhere?
• 8:09
  Speaker C: Yeah, I didn't really. I didn't really jump off the porch until probably about five years later, man. So 2007 is real when I really kind of started doing things and, and letting people and letting the world know that I make music. So, you know, 10 years prior to that, man, I was just really a bedroom beat maker is, you know, what you would call it. You know, somebody who just sits in the bedroom or sits in the basement, makes beats, man, and, and, you know, just kind of for self and, and, you know, doing that for so long, man, you, You. You kind of hone your craft and, you know, you know, you sharpen your sword, man. And by the time I was ready to kind of come out, I was. I was somewhat decent, man. And, you know, that was about 2007 is. Is when I kind of let the world know that, you know, I do what I do. So. But yeah, man, it was, you know, those were good times, man, and, and those were times where, you know, they were. They were. Didn't have to worry about as much, man. You can have fun making beats, man. You can, you know, really, really enjoy the process, man. And it was a lot less business back then and a lot less behind the scenes, man. So it was almost like being a kid and, and not having to worry about. Worry about the. The responsibilities of life, man. But, you know, things are a lot different these days.
• 9:29
  Speaker A: Well, I say, I heard that you said in another interview that you. Yeah, it's. It's. It's effortless. It sounds effortless, the beat making you that you're doing. On a previous interview, you said that you kept some of the joints from back in the day to bring, to bring to life on this album. Obviously you said that you had to put some extra work in. Is that true? Is that. Is that correct? There's some beats on this that started years ago.
• 10:00
  Speaker C: Yeah, yeah, there's. There's. There's one beat in particular on this album that, you know, I started probably 25 years ago, man, and, you know, it had to be on this album because, you know, chances are 99, you know, bronze was in the room with me when I'm. When I started making the album, so I started making the beat. So it just made sense to. To put that beat on this album especially, you know, it's been updated and, you know, it's. Obviously, you know, it's not something that was, you know, completely made back in the day, but, you know, it started back then and I probably made the beat 12 times over the years, man, and it just was never right.
• 10:36
  Speaker B: We heard it. I definitely heard it. In the room.
• 10:39
  Speaker C: Yeah, you know, it was that.
• 10:40
  Speaker B: It was, it was.
• 10:40
  Speaker C: It was never right, man, until now. Like now it's just. Is how it's supposed to be. It's how it's supposed to sound. And now it's come alive even further, man, with Bronze over it, you know, splashing the lyrics over it. And, and you know, now it's a song and it's beautiful, man. The quiet years.
• 10:57
  Speaker A: The quiet years. It's almost actually going to say that that's a standout track for me. So does that, does that when you listen to a track from back then Bronze, as you're putting the pen to pad, do you. Are you going in nostalgia mode? Are you remembering what it smells like? It sounds like it looks like back. Back in those days.
• 11:14
  Speaker B: Yeah, yeah, definitely, man. Like music to me. It, you know, it touches me and so it's kind of like watching a scene flash before your eyes. So yeah, I remember the melody from before. I had new drums, new chops and, and so that was the first joint I wrote on the album. Like it was, it was familiar, you know what I mean? So, yeah, that. That's the first joint I wrote when, when we got to cooking. So yeah, man, definitely took me on a little trip, man. You could feel it in the beat.
• 11:43
  Speaker A: You know, Know, it just. Just going back to what you said about the process when you're young and you're just having fun with the beats. So like when I listen to this album, it just sounds so effortless, but obviously I'm aware how much hard work goes into making something sound so effortless. What, how, how. How much is it of this album was just the, the skills that he's have mastered and honed over the years and, and how much was it sort of just. You had to get your hands dirty. You had to put in that graft to make it happen.
• 12:20
  Speaker C: Making this album was easy, man. It was one of the one. It's one of my. One of my most important albums of my career, man. But it was the. One of my easiest albums, probably the easiest album to make in my career just because of who we are to each other, you know what I'm saying? We started this together. We. I know him, he knows me, you know what I'm saying? It's not, you know, it's not hard to get in the studio when both of the artists have. Are like minded and we have the same goal in mind, man. So, you know, it was super easy to make this album. We could have made this album. I. I mean it wasn't even. We should have did it a long time ago, but it's just. It's something. It just comes. Comes natural, comes easy for us, especially together.
• 13:03
  Speaker B: Definitely. You know, he gave me the beats and it was just like. Just knocking them out one by one, man. And when. When you got beat, you feel that makes your pen work. So, you know, I. I always run my rhymes and I look through them the next day or so. One might take me two hours, one might take me two weeks, just because I want to get it right. But, you know, the. It was just. It was just really flowing because, like, like I say, we got a chemistry, man. I know. I know what he. I damn near know what the beat sequence is going to be when he gives it to me. And he knows what rhymes. He knows the writing style I got. And like you said, man, it was easy, man. It was. It was kind of like coasting, you know what I'm saying?
• 13:47
  Speaker A: These. Do you have any friendly arguments overtunes.
• 13:53
  Speaker C: Man? Now all we do is laugh, man. Yeah, we don't. We don't, we don't. There's no reason to argue, man. We too old for that. And, you know, life is good, man. There's no reason to argue.
• 14:05
  Speaker A: Yeah, exactly.
• 14:06
  Speaker B: Manure Brothers, man. And we. We've been through this, that and the other together. Yes, it's. It's no argument. The man is just talking, you know.
• 14:15
  Speaker C: No, I mean, even if we, you know, the thing was, this album was so easy to make. There was no disputes over what beat or what. What rhymes or anything like that. I mean, everything just flowed perfectly, man. It wasn't. It was. It was. That was it, man. There's no argument or. It wasn't. No disagreements or anything, man.
• 14:37
  Speaker A: And so these are both in Detroit just now. We're just talking about that before it. So obviously I'm in Glasgow. Another win for the information superhighway that's mad in it from Glasgow to Detroit and I think from people that I know that have been to both cities, there's a similarity. Both cities are very creative and very cold and also just a little bit not as our equivalent would be London and your equivalent would be LA or New York or anything like that. So it. So is it the. The birth of the Internet and the information superhighway, as we used to call it in the 90s? What, the world wide Web, as we used to call it? So it's not made things a lot easier for to. To have a successful career in Detroit without having to leave your Your home, Your home patch.
• 15:33
  Speaker C: Absolutely, man, absolutely. Like there, there's no need to go to New York or LA anymore. Back in the day, you had to. Back in the day, you. I mean, bronze definitely used to.
• 15:45
  Speaker A: But.
• 15:45
  Speaker C: Now with the Internet, man, I mean, everything's virtual. You know, the Internet is New York and la. You know what I'm saying? Like, you don't, you know, right. You can get discovered in the smallest village, you know, in Pennsylvania or, or Montana, man. It doesn't really matter. You know, you can reach out to just about anybody these days, man. So that's definitely a pro when it comes to, when it comes to the Internet, you know. And yeah, no need to travel if you don't want to.
• 16:18
  Speaker A: And, and we're talking about the obviously escape escapism recordings.com rather than Spotify or Band Camp, we're wanting to send people there to get the physical copy. Can you, can we talk a little bit about what the physical looks like and. Yeah, what people can expect if they.
• 16:39
  Speaker C: If they gotta have physicals, man? Gotta have physicals these days, man, Especially, especially for our supporters. You know, I came up in an era where physicals, you know, vinyl especially was very important, man, and you know, obviously having CDs and, and cassette tapes as well, but you gotta have physical for the supporters, man. It's. I don't come from a digital world. I don't come from, you know, itunes and, and streaming and stuff like that. All that stuff's new to us. You know, our supporters definitely got to have that physical, man. And yeah, you know, a couple different variants and, and you know, just to have every medium so, you know, that, that's, that's super important, man.
• 17:19
  Speaker B: Yeah, man, the physical, physical world is here, man. And, and you know, fans, they know that, you know, supporting the artists, you give them that physical purchase. It's, it's, it's, it's more than, I don't know how many streams. So always, man, if you can support the artist direct, that's, that's the way to go. So.
• 17:36
  Speaker C: Absolutely.
• 17:36
  Speaker B: We got, we got the gold, we got the white and we got the black joint for, for the vinyl. Got the set. You know what I mean? So, man, jump on those, man.
• 17:46
  Speaker A: Yeah, we just got 250 vinyl arrived yesterday. And it just, it. There's something really cathartic about seeing your album arrive in the fiscal from an artist point of view and from a, a fan's point of view as well, when I, when I, when I purchase a vinyl, because when you just release something on The Internet. It's gone. Yeah, it just feels like it's. It's out there. It's gone.
• 18:12
  Speaker C: No, we come from the era where we used to crack Plastic man, and look at the. The liner notes, man, and. And who produced what and who did the artwork. And, you know what I'm saying? Like, it was just, you know, who are the feature MCs, and who's this and who did what? And, you know, you're. You're reading through it while you're listening to the album, man. I miss those days. I think a lot of us miss those days, man. And you sort of get that with, you know, with today's physicals, man, still. You kind of. You can relive that.
• 18:38
  Speaker B: And I. I used to love the. Just the covers, man, when somebody had a dope cover, like, if your cover could be as iconic or as classic as the actual music, too, that's. That's, you know, that's. You know, that's like Pink Floyd. That's like. That's big time, man. That's. That's where you. You. I think you separate yourself from just. Just a musician. When everything in your package, including the artwork, is. Is beautiful. It's classic. That. That draws you into. To the. To the physicals. And I know Apollo, I could probably speak for as well as myself. We're big on dope covers, man. Gotta have, gotta have, gotta have a fire cover, man.
• 19:15
  Speaker C: You know, it's. It's. It's part of. It's part of. Yeah, it's real critical to. I want you to kind of know what the feeling of the album, feeling of the music by looking at the COVID without even having to hear the single, man. You could look at the COVID and be like, yeah, this shit's gonna be. Yeah, this is it right here.
• 19:33
  Speaker A: No, so can we talk about the COVID a little bit? Can we talk about that?
• 19:38
  Speaker C: It's a. It's a. It's a. It's a funeral procession.
• 19:42
  Speaker B: Actual oil painting.
• 19:43
  Speaker C: Actual oil painting, you know, by my man Kip the Fog, you know, it's an oil painting front and back. And it was specifically for this album, man. So, you know, it was commissioned and I had him do it specifically for this album. And it's a. It's a funeral procession, man. That's what this album is, man. And, you know, Funeral for a Dream. There you go.
• 20:05
  Speaker B: Indeed.
• 20:07
  Speaker A: It's a powerful album. And. And I wonder what's something that I'm always quite interested to talk about is perfectionism? At what point? I mean, I Think it's the famous phrase, a song is never finished, is only abandoned. What. What. How do you get the balance right between making something really good but also not getting stuck on small little details? And then. Because obviously there's a. You probably know millions of producers who have some fire, they'll play it to you, and then they never release it. So how do. How do you get the balance right between making good music but not being a perfectionate, not just wait, just holding onto it for too long?
• 20:53
  Speaker C: I think. I think both of us would consider ourselves perfectionists, man. But, you know, there's a point where you got to release the music, man. You can't. Because if you. If I harp on every little detail, man, I would never release the music. I'd still be working on my first album. You know what I'm saying? And, yeah, that's just. You got to get it to a point where you love it. Not necessarily.
• 21:15
  Speaker B: And.
• 21:15
  Speaker C: And, you know, art. Art isn't.
• 21:20
  Speaker B: Objectable. Yeah.
• 21:21
  Speaker C: Yeah, man. I mean, you know, the details and. And, you know, nothing. Nothing is perfect, man. You know, I. I listen to albums that I made over the years, man, and I'm like, damn, wish I would have did something different with that or that snare or, you know, if I would have chopped this differently, whatever. But you can't really harp on that, man. You can't dwell on that. So you got to make the album. You got to love it. You know, that's definitely, you know, something that you need to do. You got to love it, and then you got to put it out to the people, man, and hopefully they love it. But, yeah, you can't sit there and be, you know, a super perfectionist, man. You'll never release the music.
• 21:56
  Speaker B: Right, right. I. I agree. Like, I think along with being a perfectionist as producer, I think there is. There's. I think it's a skill to know where. When the song is there. You know what I mean? I think that's a. Another skill that you got to have to be able to discern. Like, I could like Wheel of Misfortune, bro. I could have wrote six verses on that joint. I was only supposed to do two, but I wrote three because I, like, I. I couldn't. I. I couldn't stop and you know what I'm saying? So. But having. Having the skill to know when it's okay, it's there. That's enough. That's also a skill, man. As a producer, you should have. You should know. You know what I mean? So. And that's. That's I think that's the struggle of the perfectionist right there. You know what I mean?
• 22:40
  Speaker A: Yeah, yeah. Or you end up working on a song and you make it worse. I've seen that happen before.
• 22:47
  Speaker C: They definitely have. Over producing, man, is the same, bro, all day.
• 22:53
  Speaker A: And with regards to going back to the lyric writing side of things, did, did you write fresh to the beats for this one or did you have some, some in your, some lyrics already in your top pocket ready to go?
• 23:13
  Speaker B: You say, do you have a beats ready or.
• 23:15
  Speaker A: Sorry, I'm just saying. Sorry, sorry, I'm Scottish. Sometimes I talk too fast. I'll try again. You might have noticed. So I'm just saying that when you're obviously you're talking about writing to the beats that. Did you write fresh to all the beats or did you have some lyrics already stole the way and your top pocket ready to go?
• 23:42
  Speaker B: No, man. No, it was all fresh. Yeah, I got the beats. I don't really have like old rhymes that I fit to beats. I got mad old rhymes, but I don't like to fit them to beats, you know, I mean, I'd rather. Yeah, right to the beat. So, yeah, no, all fresh, all new rhymes. Yeah, yeah. Probably took me about a month and a half to write them all.
• 24:02
  Speaker A: So all the be. So all the beats were ready. You, all the beats. So you made the album, sent it over, and then you just send them the beats.
• 24:11
  Speaker C: I sent him the beats first, man. That's always the better way to do it, man. Man, you know, especially when you're independent, man. Time is money and we can't spend all that time in the studio, man, when we praying for that, those blocks of, of time, man, and, you know, it's always better. I feel as though when you're, you know, as an mc, you know, get, get them the beats ahead of time so they can write to them. You know, at least write to most of them and, you know, kind of formulate what they want, you know, on their own and then we can get in the studio and record it, you know, that, that way we don't waste a lot of time in the studio, man. We can get in there, get it, you know, get, get the work done and get out of there.
• 24:49
  Speaker A: Yeah, and it was quite an instant. You just started that you said that your pain was strong to those beats. You just. The lyrics were flown.
• 24:58
  Speaker B: Oh, yeah. Oh, yeah, man. You know, I, I, the beast made my pen glide, man. Like, I mostly here tell you too. It's mostly about feeling for us, for the for the beats. So every beat had had a feeling I knew where to go with it. So no, it really wasn't a struggle to. To figure out what to write to them. And you know, once kind of with me, once I know what I'm writing about, once I know kind of the subject I'm going for the verses come. So no, it was. It was real smooth, man. Easy gliding and right to the studio. Transfer it to the mic and I think like, I think we did three days in the lab just to record it. That's it, man. You know, it was. It was like maxed out both two days and then had time left at the end. So it was. It was super smooth, man. Ready to roll.
• 25:47
  Speaker A: Where did you record that?
• 25:51
  Speaker C: We recorded at Mix Factory One.
• 25:53
  Speaker B: Yeah.
• 25:53
  Speaker A: Mix Factory, Yep.
• 25:54
  Speaker C: Mix Factory One. Dj, ddt.
• 25:58
  Speaker A: Amazing. And have you. Have you performed any of this album live yet?
• 26:04
  Speaker C: Not yet, man. We got. We actually got a show with Baldy James November 29th, man, in Brooklyn. That's coming up, man. That'll be the first one, man. And then, you know, we're gonna try to put together some. Some runs, sir.
• 26:21
  Speaker A: And I said, what's going on in the United States of America just now?
• 26:27
  Speaker B: What's not going on?
• 26:34
  Speaker A: I heard Donald Trump's actually like a James Bond or something. And he was like. They say they're trying to say that he was like. He was working for the FBI all along.
• 26:47
  Speaker C: Man.
• 26:47
  Speaker B: Yeah, yeah, I don't really. I can't really call it, man. It's. It's wild out here. It's kind of like never seen this type of before, so. Yeah, I really don't know what to make of it, man.
• 27:01
  Speaker C: A lot of. A lot of clown activity going on right now, man.
• 27:04
  Speaker B: It's real wild, man. It's wild. It's getting. It's getting Jim Crowy a little bit out here, man. And I don't. Yeah, I don't know, man. I don't know where we have.
• 27:13
  Speaker A: Yeah, well, the UK is certainly not doing. Feeling much better just now anyway, but just now saying than. Thanks, Mark. Great to see Paolo Brown and Bronze Nazareth listen a lot. They're working mellow music for a number of years, so. Yeah, it shows. So this is a totally independent release though, just now. So is it. Is it on your own. Is this your own record label? Sorry for.
• 27:41
  Speaker C: Yeah, man, I, you know, I. I kind of. I went out on my own, man, and, you know, started Escapism Recordings, man. So that coupled with Black Day in July, man, that's. That's the, you know, 5050 with this, with this album right now. But yeah, I'm on. I'm. I have my own private label called Escapism. You know, that'll. That'll house, you know, all, you know, Paula Brown produced works, you know, from here on out.
• 28:07
  Speaker A: Amazing. And as. So there we go. So I'm just having a look at the vinyl for anyone you may be listen. If you listen to the audio podcast, we'll just look at it. You got the, you got the white, the, the. The gold, the black look amazing. Then the cassette. The cassettes are back as well.
• 28:23
  Speaker C: That's man. Yeah, man.
• 28:25
  Speaker A: And then there's elevator music as well on there. So have you got. Is there anyone else on the label just now? Are you, Are you. You got anybody?
• 28:32
  Speaker C: No, man, just. Just me, man. I'm not, I'm not. I'm not signing anybody or anything like that, man. It's really just a vehicle, man, to get my, my music from. From point A to point B, man. It's not. Not really for anybody else. It's just a private label.
• 28:45
  Speaker A: So just in case anyone was about to send you the demo. Stop.
• 28:50
  Speaker C: No, send it to bronze, man. Send it to Bronze, man. You know, Black Day in July. Get on that, man. Absolutely.
• 28:56
  Speaker B: Yeah, we'll take the demo, man.
• 28:58
  Speaker A: Yeah, yeah. Tell me about what you're working on just now. Bronze.
• 29:04
  Speaker B: I just. We just put out one of my artists for my label Salute the kid albums called Time Heals All Wounds. So you know, the label's working that Black Day in July. We've been in. In motion since, you know, 2006. So we just kind of been building our roster. A lot of the wise men are on there that, that were part of that group. And so, you know, just. It's kind of the same with Apollo as far own releases and you know, in collab projects. So. But yeah, we'll. We'll take a few demos, man, and I'll run them by Apollo's here as well.
• 29:37
  Speaker A: Well, yeah, and who, who would you. Is there any. What are you listening to just now? Is there any music. But whether it's. Whether it's underground or. Or, or more mainstream, is there. Who's. What's been. The. The songs or the albums of this year that. That's. You've just got you fired up and inspired.
• 29:58
  Speaker B: Man.
• 29:58
  Speaker C: I've been listening to that new exhibit a lot. Yeah, you know. You know, it's been in my. For a little while.
• 30:04
  Speaker B: I like the. The Alchemist, Freddie Gibbs joint a lot. Like I like the first one. That's. That's my. I'm big fan of Alchemist. Yeah, man. Bodie James.
• 30:15
  Speaker C: I've been listening to a lot, a lot of Flea Lord, a lot of Ito. Yeah, man.
• 30:20
  Speaker B: You know that vein, you know the vein we in?
• 30:22
  Speaker A: Yeah, yeah, absolutely. Alchemist is playing Glasgow, in fact. When is that. That's coming? He's gonna. Soon. Hold on. Alchemist, Glasgow? I. I've got that in my diary somewhere. Yep. So yeah. Oh. Oh no, it's coming up with a. There's also a cocktail bar in Glasgow called the Alchemist. So I'll just, I'll put that, the details in the comments. So. Yeah, man. So what's coming up next then? What. What is. What's happening and what can people expect from you after? Hopefully, hopefully we'll get some live gigs in, in the UK. That'd be. That'd be amazing. 29th.
• 31:02
  Speaker C: Yeah, yeah. November 29th, man. In Brooklyn, you know. And as far as what's coming up, man, I don't. I mean. You mean like projects or, or.
• 31:09
  Speaker A: Yeah, just projects. Just in general. What's next?
• 31:12
  Speaker C: Oh, man, you know, I never, I never disclosed my projects. I'm definitely working though. I'm always working, man. I'm. I'm in the middle of mixing a new project right now, so. But yeah, I always got to stay working, man. Especially if you're independent, man. You gotta. How we put food on the table, man. That's how we put clothes on our kids backs, man. So can you disclose?
• 31:32
  Speaker A: Sorry? Can I ask if you disclose? I don't. I'm drinking a cup of tea. I don't normally drink tea, but I'm drinking a cup of tea and it's reminded me of someone saying that people in the United States don't have kettles. Can you confirm or deny these rumors for a K2 tomatoes.
• 31:51
  Speaker B: Yeah, we got tea cattle.
• 31:55
  Speaker A: I have to just make the tea.
• 31:57
  Speaker B: I don't think it's really a standard thing no more, but. Do you people got them shits here?
• 32:01
  Speaker C: No, I'm pretty sure there's a kettle in my house somewhere, man. I don't think we use it, but there's probably one. I think everyone gets one when they get married or some like that, man. Everybody has one.
• 32:11
  Speaker B: There's somewhere in the crib, but nobody.
• 32:13
  Speaker C: I don't think anybody really uses it. You know what I'm saying?
• 32:16
  Speaker A: Are you. Does no one drink tea or do you just microwave the tea?
• 32:19
  Speaker C: Yeah, I mean, I think in, in the States, man. I think probably.
• 32:23
  Speaker B: It's probably Coffee.
• 32:25
  Speaker C: In the States, I'm assuming the majority drink coffee over tea. But, you know, those who drink tea, I think they, they probably use packets and, you know, dip it in the hot water. Nobody really.
• 32:41
  Speaker A: It's microwave and tea. It's outrageous. Okay, Eddie. What? Bronze Nazareth, what you got? What you get coming up next?
• 32:47
  Speaker B: Hey, you know, I got, I'm gonna keep rolling, man. I got. I got a solo coming up that produced by my, my brother, Kevlar 7 RIP.
• 32:57
  Speaker C: Rest in peace, Kurt.
• 32:58
  Speaker B: Salad coming off Black Day in July again, working on the album with Baldy James. So, you know, we, we cooking over here, man. But, you know, that's. That's all I'm gonna let out the bag right now, man.
• 33:10
  Speaker A: Next one. Well, thank you very much, man. Just if anyone is listening to this, an audio podcast or watching on YouTube or whatever, I just want to recommend that 100%. It took me, took me back. I could feel the nostalgia. You were the words and the beats paint very clear pictures and yeah, it took me on a nice trip and I'm looking forward to listening to it again later on tonight and tomorrow and next week. I think it's going to be one of those ones. This is going to be played a lot over the. The year and the years to come. So congratulations on making a classic, guys. A pleasure to have you back on the show and yeah, hopefully speak to you soon.
• 33:52
  Speaker C: Absolutely, man. We appreciate you having us. Definitely.
• 33:54
  Speaker B: ICT Radio, man.
• 33:56
  Speaker A: Well, yeah, thank you. Take easy. Apollo Brown Bronze Nazareth. Thank you. Take easy, guys. Yeah, incredible stuff. Go and check out the album escapism recordings dot com. Get yourself some vinyl, get yourself some CDs, get yourself a cassette. It's a brilliant album. And Also Jackal trades OB RICE on the 11th of October, actually. Thank you to everyone who's tuned in. This has been. You call that radio? If you're on YouTube, hit the subscribe button. If you're listening to it as an audio podcast, then just go and listen to another one. That is all. Bye.