Latest / Ghost Cult Magazine Podcast / PODCAST: Episode 793 - Core Atoms of Arcadea (ft. Brann Dailor of Mastodon) Talks "Exodus Of Gravity"

Transcript

PODCAST: Episode 793 - Core Atoms of Arcadea (ft. Brann Dailor of Mastodon) Talks "Exodus Of Gravity" · Ghost Cult Magazine Podcast

• 0:00
  But the merging of like the technology with just keeping a
• 0:04
  human voice, a groove, a heart, you know, I love fluid beats.
• 0:09
  I don't like, you know, I mean, I enjoy dance music too, and
• 0:12
  electronic is fine. But for me, like, I just love
• 0:16
  drums so much that I have to hear some kind of living human
• 0:19
  thing to it. And so, yeah, I, I, I think the
• 0:23
  story just lends itself to like machine and man combining.
• 0:33
  What's up everybody, it's Kefi and I am back with another Ghost
• 0:37
  cultman.com interview and I am super stoked today to be joined
• 0:41
  by Core Adams. You might know him best from his
• 0:45
  current band with Bron Dollar of Mastodon Arcadia.
• 0:50
  New album coming out soon, but a long time in the making.
• 0:53
  I'm I'm really excited to chat with you today.
• 0:55
  Awesome likewise likewise thanks for having me on.
• 0:58
  Yeah, of course, man. So we have to talk about this,
• 1:01
  this new album. I've been jamming it out and it.
• 1:04
  Is really. An understatement, but it's mind
• 1:07
  blowing. It's it's wild.
• 1:09
  And I know that like, you know, you basically birth this story.
• 1:13
  This is a continuation of the first album.
• 1:16
  The Exodus of Gravity is coming out soon as we record this a few
• 1:20
  weeks ahead. And just everything about it,
• 1:23
  the story, the lyrics, the musicianship, the artwork by
• 1:26
  Skinner on the album cover, it's just a delight.
• 1:30
  We don't, you know, like music heavy music.
• 1:32
  We tend to take ourselves so seriously.
• 1:35
  And so anything that is just fun and outlandish for the sake of
• 1:39
  it and, you know, just wild and trying, just throwing out stuff
• 1:44
  to the universe creatively to see what sticks is stuff that
• 1:47
  really, you know, warms my little black heart.
• 1:49
  So thank you so much. Oh.
• 1:51
  You're welcome, you're welcome. We did, just for your little
• 1:53
  black heart. Hardly.
• 1:56
  So let's let's dial it back for a second.
• 1:58
  This is our first time meeting and talking.
• 2:00
  How did this project form? I know you go way back with Bron
• 2:04
  to his pre Mastodon pre. Today is the day Atlanta band
• 2:08
  Gaylord and we'll talk about JAL and how he came in.
• 2:11
  Also, how did you guys kind of come together?
• 2:13
  You know each other a long time, but what is the genesis of this
• 2:16
  of Arcadia? Well, to be honest, I am going
• 2:19
  to take us back just for a second because I do think the
• 2:22
  genesis for this current album goes back to pretty much when we
• 2:27
  first met. We were 18 and we kind of bonded
• 2:30
  over, well, all genres, but we just had a crazy curiosity and
• 2:36
  love of like the weirder, the better or the more, you know, we
• 2:40
  loved funk. We loved, you know, classical
• 2:42
  Stevie Wonder. I was, you know, the gamut.
• 2:44
  And at 18 we're just like great, let's jam.
• 2:47
  And we formed Gaylord, a Prague funk band.
• 2:49
  And I think whenever we get together, that's where our pre
• 2:52
  like to get. I was like, so I recorded his
• 2:55
  first singing he's ever done. So he was in an awesome metal
• 2:58
  band back then too. But I got him.
• 3:00
  I was like, you've got a great voice.
• 3:01
  You know, when we're just singing together, you've got a
• 3:03
  great voice. You need to sing on this.
• 3:05
  So we did this song called Whoopi at Night with a love
• 3:07
  song. Definitely not serious.
• 3:09
  Yeah. Yeah.
• 3:10
  So I think this this album was like a chance for us to get back
• 3:13
  to our roots. You know, we we had a bit of
• 3:17
  time to actually just get together and jam.
• 3:19
  So I would bike over to Bronze House and we had the whole setup
• 3:23
  and we would just jam songs out. And I go, Oh my God, I woke up
• 3:26
  with this song this morning. You gotta hear it and play it.
• 3:28
  And sometimes I'd already know what vocals were going to
• 3:31
  happen. I already knew where it was in
• 3:32
  this story. Sometimes not.
• 3:34
  He had a dream one morning when I showed up and he's like, oh, I
• 3:37
  had this, you know, Milky Way. I was pouring through my hands
• 3:39
  on Oh, perfect. I got it.
• 3:41
  And I know where it fits in the story.
• 3:42
  I got this and I went home, wrote the lyrics, you know,
• 3:45
  wrote a few more parts to it. It was great.
• 3:47
  It was a really fun process, but it reminded me of the first time
• 3:51
  we were we were jamming back at 18.
• 3:52
  I bought a guitar at 17. I wasn't in a band before then
• 3:55
  and my first band was with Bronze.
• 3:57
  So he, I literally formed my musical language with him.
• 4:00
  I think both of us to some degree formed our certain
• 4:04
  aspects of how we play, our humor.
• 4:06
  We had samples all over our first album from Shaft to
• 4:09
  whatever, you know, don't sue us.
• 4:11
  I don't think that album is even available.
• 4:13
  I think it would be very hard to find.
• 4:15
  There was like 50 cassette tapes made.
• 4:17
  But anyway, so this gave us the just the two of us a chance to
• 4:22
  really get into some grooves and it was just fun.
• 4:25
  We had a lot more time than the first album.
• 4:27
  I loved the first album, but that was more Raheem, me, Braun,
• 4:32
  sort of the three of us at moments, You know, we he's
• 4:35
  constantly on tour, You know, Raheem would be on 2.
• 4:38
  So, so this was just me, Brian and I had, you know, almost all
• 4:42
  the time in the world, or at least a little bit to just do
• 4:46
  some music and it was really fun.
• 4:48
  And towards the end of the recording process is when we
• 4:51
  brought Joelman, who's an amazing keyboardist, lives in
• 4:56
  Brazil. So he flew in lines, you know,
• 4:59
  the digital age. We were able to record within
• 5:02
  long distance, which was great. And he did some wicked work that
• 5:06
  I'm just totally pleased. And he's the heat tours with
• 5:09
  Mastodon as their keyboard player.
• 5:11
  So, you know, it all worked out really well.
• 5:13
  But I look at this as like really my chance to kind of do
• 5:18
  the music I always do, which is like heavy, funky, proggy,
• 5:21
  psychedelic, you know, I just, I love that, you know, it's hard
• 5:25
  to pick 11 lane. Right on.
• 5:28
  It's it's thank you for unpacking that.
• 5:30
  It's it's such a master work and I love all the synth stuff and I
• 5:33
  know you have theremin baked into this and move Taurus
• 5:37
  pedals, which I grew up loving, you know, Emerson, Lincoln
• 5:40
  Palmer and Rusher, the most famous in Genesis use those a
• 5:44
  ton. I hear like it's probably not
• 5:45
  the authentic stuff, but it's like I hear things that remind
• 5:48
  me of like the Stevie Wonder, AARP, early 70s classic stuff
• 5:52
  and even Parliament, which I'm a huge fan of Clinton and
• 5:55
  Parliament and their use of sense and Bernie Worrell and
• 5:58
  stuff like that. So there's so much goodness
• 6:00
  baked into this. It's not ear candy.
• 6:02
  It's the bedrock of the album, which I really love because a
• 6:05
  lot of, you know, a lot of nerds that we spend time looking at
• 6:09
  our navels and looking down at our hands.
• 6:11
  But this is like a real like on repeat.
• 6:13
  This is so good and so much fun. Thank you, thank you.
• 6:18
  It was honestly was really fun to make.
• 6:20
  I I enjoy too. I actually haven't listened to
• 6:23
  it in a while. Like I finished doing it and I
• 6:25
  was like, I'm going to take a break and I'm going to wait like
• 6:28
  everyone till the record comes out and I'm holding in my hands
• 6:31
  and I'll put it on and hear fresh again.
• 6:33
  But yeah, I mean, I, I had so much fun doing it and and I will
• 6:38
  just add writing songs for your friend who is also one of your
• 6:43
  favorite living drummers, who's also great singer and writing
• 6:47
  with his voice in mind. And you know, I've always
• 6:50
  actually for for decades, I've played with the best drummers I
• 6:53
  know. It's the one instrument.
• 6:55
  While I've played some drums, I've played drums in the hip hop
• 6:57
  band years ago. I and I love drums.
• 7:01
  I can admit I'm not a great drummer.
• 7:02
  It's not my thing. I love hand percussion, but I'm
• 7:05
  not a great drummer. Braun's a great drummer and
• 7:07
  having and writing for that, it's just, you know, it's a
• 7:10
  thrill. It's a thrill.
• 7:13
  Damn, with great, great artists. Right, you and it's it's so
• 7:16
  grooving, like obviously people who are going to be attracted to
• 7:19
  this because you know of his, you know, name and and and his
• 7:24
  reputation as a drummer is so groovy.
• 7:26
  So many swinging beats, you know, and I and what I like
• 7:30
  about this is it's not it's it shows another side of him, the
• 7:33
  vocals and the drumming is a whole nother side of him because
• 7:37
  I think he's he's I think, a a guy who's very creative in the
• 7:40
  studio and he's laying down stuff and writing And it
• 7:44
  doesn't, it doesn't have like the Mastodon E, I'll call it the
• 7:47
  Fred Flintstone Phil from the beginning of the Flintstones
• 7:50
  when he starts up the car. That's the Phil that he's like
• 7:53
  known As for from his earliest days.
• 7:55
  And I think that's not really evident on here.
• 7:58
  It's just great drumming, real interesting stuff with tempo and
• 8:02
  and push and pull and and vocally also like he's become
• 8:05
  such a dominant singer in Mastodon.
• 8:07
  It's so good to hear him out of that context.
• 8:10
  Just, you know, himself doubling his own vocals.
• 8:14
  A lot of really fun. Things.
• 8:16
  Thank you. Yeah, I agree.
• 8:17
  Yeah, it's great to bring out the best in your friends.
• 8:21
  I'm not saying, you know, he hasn't done great work before,
• 8:24
  but for me, like it's just, yeah, it's wonderful.
• 8:27
  I've worked with a few of my friends over the years and
• 8:30
  anytime I can add even like 30 seconds to the record, you can
• 8:33
  go, oh, maybe if you just turn this or move this here or old
• 8:37
  piano so, you know, 2 notes here and it's goes like that, you
• 8:41
  know, for someone's work, it's like, oh man, that's so
• 8:44
  wonderful. That's the way I feel about
• 8:46
  Skinner's art with this record. I think Essie Man, the last
• 8:49
  record, did the album cover and I loved her perspective.
• 8:53
  You know, it was based on all these ideas that we had.
• 8:56
  But to see someone else interpret your ideas, it's just
• 9:00
  a joy. Especially they don't, you know,
• 9:02
  piss all over it, you know, which they haven't.
• 9:05
  So. Right on, I'm a long time
• 9:07
  Skinner fan and fanboy. So I have some Skinner stuff
• 9:11
  here and you know, any chance I have to pick up something,
• 9:14
  whether it's a well known album cover or something else by by
• 9:18
  them, I'm always in it. So yeah, what a what a wonderful
• 9:22
  thing. And and I'll I'm I don't know if
• 9:24
  you can tell what a huge nerd I am, but I grew up a real
• 9:26
  progressive rock little kid. So a lot of knitting needles as
• 9:30
  wands and a lot of towels as capes in my underoos days.
• 9:34
  And this just tickles all my funny bones for for nerddom in
• 9:40
  terms of a concept. Did the concept come because
• 9:43
  it's a follow up from the previous record, which is, you
• 9:46
  know, again, unheralded. My hope is that this does so
• 9:49
  well that the other record gets reissued, maybe on a vinyl or
• 9:51
  something. Because I would love for people
• 9:53
  if you can get, you know, get a hold of that and get it
• 9:55
  repressed or put out for the first time again, you know,
• 9:59
  that's my hope with this record. And.
• 10:02
  But in terms of this concept, did you have this story just
• 10:05
  come, you know, the music predated the story or did the
• 10:08
  story come first? And then it's like, oh, I need
• 10:09
  some music for this idea. Yeah.
• 10:13
  I think they they came together at kind of the same time, the
• 10:18
  right time, but I think it's because I put myself in
• 10:21
  different modes. Like I primarily kind of think
• 10:23
  of myself as like an artist, not necessarily a musician.
• 10:28
  So like I do a lot of visual art colleges.
• 10:31
  I do scenes, you know, like I curate a movie festival.
• 10:35
  I love film. Sometimes I do animated videos,
• 10:38
  you know, Arcadia, but I so it it really was like pretty much
• 10:45
  like most of my projects, I always write an album that's
• 10:48
  more or less a story. So like the Gaylord albums were
• 10:51
  stories. Tsunami was around the time of
• 10:54
  that big Asian tsunami that killed thousands.
• 10:57
  And that was on my brain. And I kind of wrote things, you
• 11:00
  know, around that whole theme, like, you know, whatever year
• 11:04
  happens that I record as kind of what.
• 11:07
  But I like to take things into a more metaphor than just like,
• 11:11
  you know, we went to war and we did it this time.
• 11:13
  And this is what you know, because I think it's more fun,
• 11:16
  right? And you can digest it a little
• 11:17
  better. So when like this is kind of to
• 11:21
  me, it's very obviously post COVID story to some degree.
• 11:25
  There's silence force, there's life.
• 11:28
  I always think about the future, especially when the the present
• 11:32
  seems tenuous. I think about the future a lot.
• 11:35
  I think that there are some things in nature that will
• 11:39
  always continue, some forces that are just undeniable so far,
• 11:43
  you know, gravity being one of them, you know, some typical
• 11:47
  force. And, you know, I, I don't know,
• 11:49
  there's these things that we, we pretty much are aware of.
• 11:52
  And I like to envision what will this space, this local space in
• 11:58
  the future be like, you know, and I try to go to like
• 12:02
  astrophysics and whatever will tell me what the near distant
• 12:06
  future will be. And then I think, you know, life
• 12:09
  will persist. It won't be us, but it will.
• 12:11
  And I think what a great topic. So there's, you know, that's
• 12:14
  kind of the first album in its world.
• 12:16
  I actually, if I get too deep, please feel free to interrupt
• 12:19
  me. Feel free to no you're.
• 12:21
  Great, this is what I was hoping for and.
• 12:24
  Yeah, tons of back story. I mean, yeah, we.
• 12:27
  Love it. I'd love to see this as a
• 12:28
  graphic novel or a comic book or a short.
• 12:30
  You know, the the music video for Fuzzy Planet was so visually
• 12:34
  creative and fun. Like, I want, I want all of it.
• 12:37
  I'm that guy. I'm this, I'm the audience for
• 12:40
  this Pink Floyd, King Crimson, Arcadia.
• 12:43
  Like that's where I live and I want to keep staying here.
• 12:47
  Don't beam me up yet, right? Yeah, it sounds like a good tour
• 12:50
  too. Wouldn't.
• 12:52
  It King Crimson's were randomly making a new record.
• 12:54
  I always thought they were gone and done, but no, they're in the
• 12:57
  studio writing a new record so and recording so.
• 13:00
  Wow. You know, we need bands to pick
• 13:03
  up the mantle and it can't again.
• 13:04
  It can't just be these nerd. You know, I can play a million
• 13:08
  cool things. It's I love a story.
• 13:10
  I think the story and and the the way to convey a story with
• 13:14
  with music and vocals is is is eternal.
• 13:17
  It's not going to die out thanks to people like y'all.
• 13:20
  So like, thank you. Thank you, man.
• 13:21
  Well. Thank you I you know, we're
• 13:25
  we're fans 1st and then we're, you know, players.
• 13:28
  I think we all have to be right. So I got to love the music I'm
• 13:32
  doing to do it. But this story for me with the
• 13:35
  margin of organic and synthetic, it's very much like it's kind of
• 13:40
  right down the nose. Like I loved like the modern
• 13:44
  technology of being able to mobile record and travel and,
• 13:49
  you know, be in my kitchen and do some wine or something.
• 13:51
  You know, I recorded Theremin and the Adirondack Mountains in
• 13:54
  New York State, you know, and I just got to travel and do this
• 13:57
  album at pieces like simp samples.
• 14:00
  And it was really fun. Aside from the initial 12 songs,
• 14:04
  we that we did all in one room for two days, which was awesome.
• 14:07
  Then I got to spend time with the touches, the textures, you
• 14:10
  know, on the record. But the merging of, like, the
• 14:14
  technology with just keeping a human voice, a groove, a heart,
• 14:18
  you know, I love fluid beats. I don't like, you know, I mean,
• 14:23
  I enjoy dance music, too, and electronic is fine.
• 14:25
  But for me, like, dry just love drums so much that I have to
• 14:29
  hear some kind of living human thing to it.
• 14:32
  And so, yeah, I think the story just lends itself to, like,
• 14:37
  machine and man combining. I'm an optimist, so I always
• 14:40
  have to think of things, you know, when I talk about the
• 14:44
  future of my brother. I have a twin and I'll tell him
• 14:47
  things. And he's like Corey, that
• 14:48
  doesn't sound positive at all. It sounds horrible.
• 14:51
  And I go, no, no, to me, it's no.
• 14:52
  It's great. You don't understand.
• 14:54
  Oh, it's one. It's beautiful, you know.
• 14:56
  Yeah, whatever, whatever life it is, you know, if it carries on
• 14:59
  some semblance of it's just wonderful.
• 15:01
  And then we're all in the universe and, you know, but, you
• 15:04
  know, he's a little more like today and tomorrow and what's,
• 15:08
  you know, which I understand. But yeah.
• 15:11
  So I guess those the, those things kind of played into the
• 15:14
  themes, right? On I love that you talked about
• 15:16
  optimism because it does feel like an optimistic story.
• 15:20
  A lot of futurism is, you know, baked in some, you know, we are
• 15:26
  in very dire times and I love that it's a hopeful feeling
• 15:30
  album. We've been talking a lot about
• 15:31
  Ozzy on our other podcasters and, and his passing and sort of
• 15:35
  like how he kind of went from Black Sabbath, the most dirty,
• 15:39
  dark, evil, scary music and conceived to this like, very
• 15:43
  80s, still kind of same lyrical bent, but a little more hopeful
• 15:48
  because of major keys and, you know, happier riffs, basically.
• 15:52
  So I love that this album's full of happy riffs and optimistic
• 15:56
  storytelling. Yeah.
• 15:57
  Fable, yeah. Awesome.
• 15:59
  I I also think it's like a great way to deal with the Blues
• 16:04
  sometimes, you know? And so, yeah, yeah, we we both
• 16:09
  had Bron and I had a pretty wild couple years in our lives, ups
• 16:15
  and downs. But I guess everyone has, right?
• 16:17
  Everyone goes through things. But I always feel like some of
• 16:20
  the greatest, like metal and classical and jazz, whatever it
• 16:24
  is, it leaves me feeling happy or like really elated, right?
• 16:29
  Like there's some stuff that's great to listen to that brings
• 16:32
  out like, you know, breaking up with someone and you're just
• 16:34
  like, oh, I got to listen to the song 26 times over and over
• 16:37
  again because they feel my pain. But for like, you know, for a
• 16:43
  for a pick me up, you know, just to pump me up, like get me ready
• 16:46
  to go. Those songs leave me feeling
• 16:48
  like, yeah, it is possible that I can fly, you know, and I will
• 16:51
  fly over there and kick your ass, you know, or whatever it
• 16:54
  is, you know, like those are those are my faves.
• 16:57
  Beethoven has a bunch or handful anyway.
• 16:59
  Real. I think they're heavy and they
• 17:02
  sound a little like, oh, I don't know, it's a menacing storm
• 17:05
  clouds. But he has this like happiness
• 17:08
  to it as well I think because his life was probably getting
• 17:10
  dark. Yeah, yeah, definitely kill me
• 17:14
  now if I lose my hearing and go insane because I can't hear
• 17:17
  music or talking anymore. Let's nerd out on some theremin.
• 17:21
  So you talked about recording the Theremin parts in the
• 17:24
  Adirondacks. Do you personally, do you use
• 17:27
  like a classic old school theremin?
• 17:29
  Do you have more of like a build your own more modern kit?
• 17:32
  I remember getting like one of the first RadioShack build, the
• 17:35
  theremin, and my mom was like, why do you want this?
• 17:37
  I was like, why wouldn't I? Of course I'd want this.
• 17:41
  So like what kind of theremin rig do you have and do you have
• 17:44
  a preference? Well.
• 17:45
  So honestly, nothing. Nothing incredible, but I but
• 17:50
  kind of cool. So like I have a couple now.
• 17:53
  Oh man, I'm terrible with brand names and so I'm sorry.
• 17:58
  Like I get gear. I as much as I love using
• 18:01
  things, gear heads hate me because they'll say what what
• 18:05
  guitar do you have? And I go, I, I think it's, I
• 18:08
  think it's a Gibson, maybe it's a Fender.
• 18:11
  The come on, how do you not, you've had it for 10 years.
• 18:13
  How do you not know? And I know I'm going off on a
• 18:17
  tangent here, but for instance, my, my guitar was given to me
• 18:22
  one that I played on this record by a friend who was getting
• 18:26
  custom guitars made for him. So he had like extras, you know,
• 18:29
  hey, try out this, try out that. So I got this rare weird Gibson
• 18:33
  that I don't think went anywhere but I love it.
• 18:37
  So when people ask me like I just don't know.
• 18:39
  The theremins I'm guessing are like newer Korg maybe?
• 18:44
  Or does that? Do they make moves?
• 18:47
  They might. They might, you know, or they
• 18:50
  have something that emulates right, like something close,
• 18:53
  but. They're cool, I love them and
• 18:55
  but you know, it's funny. So I have this like, fear of
• 18:59
  getting into new technology too much because I know I look at it
• 19:03
  and go, oh, there goes six months of my life, you know,
• 19:06
  when I learned how to like video edit, you know, or like any new
• 19:10
  skill or, you know, certain animations or whatever it is,
• 19:13
  it's like, oh, nuts. You know, like I I just don't
• 19:17
  have enough time. I don't have enough time.
• 19:18
  Yeah, I need to hire a little team workers, but you need a.
• 19:22
  Personal archivist to track. I do too.
• 19:26
  I had. Someone insane.
• 19:27
  Yeah, but yeah, I there was a lot of really cool instruments I
• 19:32
  got Oh, so like I I flew out to I went to this island off the
• 19:37
  coast of Maine last fall and when I got I I met my brother in
• 19:42
  Rochester, NY, and he had in a box for me a theremin.
• 19:45
  I never owned one before, never saw one before up close, you
• 19:48
  know, love the sound for years, of course, Beach Boys, you know,
• 19:51
  and before then loved it, but I went Oh wow, damn it, Damn, a
• 19:57
  new instrument to learn, you know, and so I spent the next
• 20:00
  few weeks and that's why I took it throughout my vacation and
• 20:03
  went into the mountains and it was beautiful.
• 20:05
  I got to kind of be out in a lake under stars and or a starry
• 20:10
  messenger. I put some theremin in there.
• 20:12
  I just I really try to get into the moods of places or.
• 20:15
  You know, that setting when I was, you know, getting into it,
• 20:19
  music is very visual to me. Like I, I just really see, I
• 20:22
  even drew pictures of each song before I really wrote out lyrics
• 20:28
  and stuff. You know, just one picture of
• 20:30
  like what it meant to me, what I thought, you know, in this world
• 20:33
  of New Arcadia, kind of like a storyboard.
• 20:36
  Right on. Also I I'm not sure but I
• 20:39
  thought I heard some vocal order on here or something like it
• 20:42
  where it was like a little effective vocals.
• 20:46
  So on the first record I do a bunch of singing, but really,
• 20:49
  you know, throw effects and this one I just saw the vocor is
• 20:53
  just. That's the only singing I do
• 20:54
  some I'm singing through the keyboard, but yeah, my own will
• 20:58
  keep it. Braun's voice, I really, I
• 21:00
  really like it. Go Hey Braun, how about we stack
• 21:03
  one more? Yeah, you know, let's try.
• 21:05
  How about another voice on that which is really fun, so.
• 21:11
  More and more, more and more and more, he has a voice that's like
• 21:14
  a trumpet. It's very powerful right out of
• 21:16
  the gate. At least it feels that way
• 21:18
  having seen him in concert and heard a lot of his records as
• 21:21
  he's become a more prominent lead singer and and a drumming
• 21:25
  lead singer, which is also insane because I can't walk and
• 21:28
  chew gum. But he can play drums,
• 21:31
  complicated drums and time signatures and sing lead.
• 21:34
  But yeah, his voice is like very like a powerful, you know, it's
• 21:37
  like Coltrane, you know, it's like very powerful right out of
• 21:41
  the gate. It's not like a lot of singers
• 21:42
  have to like Yelp to a note or slowly crescendo up to a a key
• 21:47
  or a note and he's just hits it, which is phenomenal.
• 21:51
  And there's a lot of that on here.
• 21:52
  Really strong stuff. I agree.
• 21:54
  I agree. Yeah, great focus.
• 21:57
  Right on as we as we wind this down, I do want to ask you a
• 22:00
  little bit of because you have such a fascinating story and I'm
• 22:03
  always interested in Atlanta as a city.
• 22:06
  I've spent some time there. I loved it so much and there's
• 22:09
  so much, you know, drastic, you know, disparate types of art
• 22:14
  that come from there. And it seems like I don't know
• 22:16
  if you originally from there, but it really, you know, it
• 22:19
  seems to spawn all the, you know, every different type of
• 22:22
  creativity, artistic film makers, different types of
• 22:27
  musical artists and and all under a melting pot.
• 22:29
  And they all seem to influence each other.
• 22:31
  Everybody I've ever talked to. And even, you know, like maybe
• 22:34
  the wider, you know, Savannah also has like just such a great
• 22:38
  art scene because of the college there and a lot of bands have
• 22:40
  come from there. So you know what, what is your
• 22:43
  take on on Atlanta in general and and like such a melting pot
• 22:47
  of of talents. Oh, interesting.
• 22:50
  Do you mind if I tell you a little bit about my hometown,
• 22:52
  which isn't in Atlanta? Sure.
• 22:53
  Thing please do so. I was born and raised in
• 22:56
  Rochester, NY, right on the Great Lake Ontario there, and I
• 23:00
  was born a week after Braun was in the same city.
• 23:04
  But we never, you know, so we never met till we were about 18.
• 23:06
  And he came to my practice space and said, I want a drum for you.
• 23:09
  I said, oh, wow, we got a drummer already.
• 23:11
  He's like, I'm better than that guy.
• 23:12
  OK, OK, OK. And he was.
• 23:14
  And there everyone was cool about it.
• 23:15
  But so flash forward like a few years, he moves to Atlanta.
• 23:21
  And when my band Gaylord was kind of getting out and touring
• 23:25
  more this the North and the snow was just keeping us from getting
• 23:28
  to gigs. It was tough.
• 23:29
  It was tough for at least six months, you know.
• 23:32
  So we thought we looked up some places and I wanted to move to a
• 23:35
  place that was equally diverse is Rochester that I would I
• 23:38
  didn't feel like the only stick out, you know, Hey, everyone
• 23:43
  target me or whatever. I just don't.
• 23:45
  I'd rather just be, you know, left alone more or less.
• 23:48
  You know, I like to blend in even though I don't, you know,
• 23:51
  so I looked up economically diverse, culturally, racially.
• 23:57
  I'm kind of I'm an E coaster. I just I'm more familiar with
• 24:00
  that. But my people are New
• 24:02
  Englanders, you know, from the upper New York, Vermont, the
• 24:06
  French Canadian and my mom's side, my dad I never met.
• 24:10
  So I moved to Atlanta because it looks the best, right?
• 24:15
  And it was awesome. I, I loved the culture.
• 24:18
  Everyone felt like me. I would run into all my
• 24:20
  neighbors and they're all saying hello and welcome and they want
• 24:23
  to talk. And it's like, well, actually I
• 24:25
  am social and people are nice. I'm very social.
• 24:27
  And I felt like, wow, people say thank you.
• 24:30
  And, and it just blew me away seeing brown faces, quite
• 24:33
  honestly, that we're eating healthy, healthy and living
• 24:35
  healthy lifestyles and just doing cool stuff.
• 24:38
  Where I'm from is like most of America, where there's the city
• 24:41
  and there's people are forced into these, you know, lifestyles
• 24:45
  and then the suburbs and there's more money outside.
• 24:48
  You know, it's just America. But Atlanta felt very different
• 24:52
  when I moved here. I moved here with a bike.
• 24:54
  I bike everywhere. I've biked for 16 years.
• 24:57
  I haven't driven a car. They built a beltline since I
• 25:00
  moved here, which is pretty awesome.
• 25:02
  So I bike around at night. I quite honestly, I write all my
• 25:05
  lyrics, most of my lyrics on bike rides.
• 25:09
  So I think of like songs I have. Pisces reminds me of a bridge I
• 25:12
  was on. I think of all these places
• 25:14
  around Atlanta, Lake of Ruston, a new record I wrote up on a big
• 25:20
  metal structure, just a piece of artwork.
• 25:22
  They had all these big girdered rusty things.
• 25:26
  And I thought, oh, you know, and I just kind of envisioned like a
• 25:29
  lake of these things. And then I played on them, boom,
• 25:33
  boom, boom, you know, And I kind of came up with the riff, and I
• 25:38
  was like, like, rusty. Anyway, so Atlanta factors a lot
• 25:42
  into my art, like the blend of city and nature.
• 25:45
  I love the cemeteries here. I love the Civil War history.
• 25:49
  I live near the Carter Center. It's like a mile from here.
• 25:52
  The presidential library. I go there all the time.
• 25:54
  I have a hammock. I listen to bird sounds.
• 25:57
  I mean, I, I love the emergent, the nature mixed with culture.
• 26:02
  If I want to get away, I can. I'm like New York City or
• 26:05
  somewhere else. I can find pockets of silence
• 26:07
  and I love that. So and, and Braun lives here and
• 26:11
  I mentioned my dad never knowing him, but I've since got to meet
• 26:15
  my dad, which is amazing. Never knew my whole life, never
• 26:18
  knew what he looked like or anything.
• 26:20
  I've met him in the last five years.
• 26:21
  He lived in Atlanta. He lived one block off of the
• 26:24
  street that I live on now, which is wild, right?
• 26:28
  So, so actually I, I, half my people come from here.
• 26:31
  I just didn't know it, which is awesome.
• 26:34
  So yeah, it's been great. I'm kind of a Northerner and a
• 26:37
  Southerner, I guess, right? On That's probably why it felt
• 26:39
  like home. Nice work.
• 26:42
  Yeah, man. So thank you for sharing all
• 26:43
  that with us. Sorry.
• 26:45
  About my long winded answers, no.
• 26:47
  All Goodman, I'm usually the long winded question guys, so
• 26:50
  it's all good. Just as we wind this down,
• 26:53
  where's the best place to follow you for all your other non
• 26:56
  Arcadia stuff? Is there a website?
• 26:58
  Where can we buy your zenes? Where can we support you well?
• 27:01
  My zenes are sold at a store called The Junk Man's Daughter
• 27:04
  and Little 5 Points and there's some merchandise there, some
• 27:08
  Arcadia stuff and Little Five Points will probably have some
• 27:11
  albums things. But yeah, I, I'm not a big
• 27:14
  social guy, Net social network stuff.
• 27:17
  I, I love watching things on YouTube and everything all the
• 27:20
  time. But maybe my Instagram.
• 27:22
  I'm trying to get better at it, you know?
• 27:25
  Yeah, I'd say, you know, meet me in real life.
• 27:27
  Unless you're psycho and please don't.
• 27:30
  If you're crazy, please don't bother me.
• 27:32
  Yeah, it's all good. Yeah.
• 27:34
  You know what? We will.
• 27:35
  We will. We'll pay close attention.
• 27:37
  And I've been to Little Five Points in Atlanta, and I know
• 27:40
  the junkman's daughter. So, like, we will, We'll find my
• 27:43
  way back down there someday. Or when I have somebody passing
• 27:46
  through to get it for me. Oh.
• 27:47
  Awesome. And Keith, sorry I was
• 27:49
  interrupting you. I was curious, what does your
• 27:51
  shirt say? MTV Headbender's Ball shirt just
• 27:55
  just picked up the next black shirt on the pile of black
• 27:58
  shirts or hangers or whatever and occasionally some color gets
• 28:02
  in but I try not I try not to so like a black shirts and and they
• 28:07
  just form and function. You know, black music shirts.
• 28:10
  Yeah, yeah, it's. No, black is.
• 28:12
  It's easy, yeah. When there's a better color than
• 28:15
  black, we'll go there. I like to end all of these with
• 28:18
  a wild card question. And I know you said you also do
• 28:21
  some film and some animation. Do you have a favorite movie of
• 28:25
  all time? Oh.
• 28:27
  Too many, actually. My next scene is called Movie
• 28:31
  Bangers because and I'm doing A-Z and then even then I'm like,
• 28:35
  oh, there's like 12 per page. You know, it really is for me.
• 28:38
  I'll tell you, back in the day I used to have like top three if
• 28:44
  or if you gave me a director. But I would say like for
• 28:47
  Hitchcock, it's Vertigo, though my list is kind of long with
• 28:51
  that. For Kubrick, yeah.
• 28:54
  I don't know. It's too.
• 28:55
  Anyway. Yeah.
• 28:56
  I don't know, favorite movie of all time.
• 28:58
  For war films, it's Thin Red Line, you know, maybe Brazilian
• 29:04
  film, maybe City Got now. It's a tough one.
• 29:06
  Too many. Yeah.
• 29:07
  I don't know. I can go like De Niro films.
• 29:08
  I don't know what's your. Favorite De Niro film?
• 29:11
  De Niro's my guy and so. Oh well.
• 29:13
  So this isn't my favorite De Niro film but I was wild by it.
• 29:17
  Not surprised how many people I know didn't watch it.
• 29:20
  The flowers. Oh yeah, Killers of the Flower
• 29:23
  Moon, Yeah. Killers.
• 29:24
  The following real life story, you know, tragic.
• 29:30
  And the fact that De Niro learned the language and he
• 29:34
  wanted to do most of the movie in that language.
• 29:36
  But there's this scene where he's going off and he's saying
• 29:40
  this. He's like, I think praying over
• 29:42
  someone or, you know, and he's doing it and they pull back and
• 29:45
  you're pulling slowly through this town and we see all the
• 29:48
  people. I'm like, oh, man, Scorsese.
• 29:50
  Only Scorsese. You're a great filmmaker can
• 29:52
  start a scene on a great actor like that in in the illness.
• 29:55
  Oh, man. Yeah.
• 29:56
  Shivers. Yeah.
• 29:57
  De Niro. Because, you know, even now, I
• 29:59
  think he's amazing. But get doesn't get the same,
• 30:02
  you know, justice or something. I don't know, but people get
• 30:05
  old. That's.
• 30:06
  True. Yeah.
• 30:06
  Killers are the flower. When it's long, you got to be
• 30:09
  patient. But I think it's very rewarding.
• 30:11
  I really would like to go back and read the book now because
• 30:13
  that's the book that, like, Marty, like, became obsessed
• 30:16
  with that book. That's why he wanted to make the
• 30:17
  movie OK. Yeah, yeah, you know, But what's
• 30:20
  your favorite De Niro? Oh.
• 30:22
  God, it usually goes back and forth between Goodfellas and
• 30:26
  Raging Bull. Raging Bull kind of takes place
• 30:28
  in the Bronx, NY, where I'm from.
• 30:31
  I have passed through Rochester. It's cold and it's and it's far,
• 30:36
  but I'm from New York City originally and and a lot of my
• 30:39
  people are also New Englander. So I relate.
• 30:41
  I relate. Very relatable.
• 30:42
  But yeah, probably, you know, girl blanket over a Raging Bull
• 30:47
  Goodfellas casino. You know, those are my, my, my.
• 30:50
  I love the probably not probably scaring scary to people.
• 30:54
  I loved I was like obsessed about taxi driver the whole
• 30:57
  1990s. Like like it would get it was
• 31:00
  repressed and I went to like the Angelica Film Festival to watch
• 31:03
  it multiple days in a row after work.
• 31:06
  Like I went I watched it over and over.
• 31:07
  I'm sure people were like, what's going on with this guy?
• 31:10
  Why is he here? Again?
• 31:11
  Thank you. Bernard Herman's last
• 31:14
  soundtrack, so. Good.
• 31:16
  Yeah. Bernard.
• 31:17
  Herman Vertigo's Twilight Zone. Yeah.
• 31:25
  Goodfellas. Honestly, if I were to just look
• 31:27
  at his character, Jimmy Conway, Jimmy the.
• 31:32
  Yeah, he's unbelievable. His physicality and facial
• 31:36
  expressions. Every good impersonation of De
• 31:39
  Niro should start with Goodfellas.
• 31:41
  And just the face. The faces core Adams man what a
• 31:45
  delight to talk to you thank you so much man for everything good
• 31:48
  luck with this record Arcadia's new record the exodus of gravity
• 31:53
  is coming out soon congratulations and thank you so
• 31:56
  much for hanging out with ghost cold man thank you so.
• 31:58
  Much for having me, man, it's been great.