Latest / Ghost Cult Magazine Podcast / PODCAST: Episode 964 - Cryptic Shift Talk Sci-Fi, Technical Death Metal, and Their New Album

Transcript

PODCAST: Episode 964 - Cryptic Shift Talk Sci-Fi, Technical Death Metal, and Their New Album · Ghost Cult Magazine Podcast

• 0:00
  After being like into jazz fusion for the last few years
• 0:03
  with the guys like preparing for this record and like listening
• 0:06
  to Cynic on Focus, you can hear the, Oh yeah, they're they are
• 0:09
  literally trying to be a jazz fusion band on that record.
• 0:12
  It's a similar thing with like Pestilence Fears.
• 0:15
  I know that album, like I know a lot of people like that, a lot
• 0:18
  of people like that. But like, I think when you
• 0:20
  understand that, what they're trying to accomplish and what
• 0:22
  they were influenced by, it's pretty cool.
• 0:24
  You know, it's like one of our favorite albums.
• 0:32
  What's up everybody? It's Kefi at ghostcalledmag.com.
• 0:35
  I am super stoked to be joined by Xander and Ryan of Cryptic
• 0:39
  Chef. They have a new album coming out
• 0:41
  on Metal Blade Records, Over Space and Super Time after I
• 0:46
  just joked about it. Had a brain fart for a
• 0:48
  microsecond. How are you all doing today?
• 0:50
  Yeah, we're going, man. We're keeping it cool.
• 0:52
  Yeah. Looking forward to the new album
• 0:54
  coming out. So yeah, we're just gearing up
• 0:56
  for that. Yeah, I'll go bro.
• 0:57
  Looking forward to it. Right on.
• 0:59
  So fun, so much stuff to unpack and talk about and I really
• 1:03
  delve deep into this record. I really dig the band, but let's
• 1:06
  dial it back. I always like to start my first
• 1:08
  interview with any band and just talk about kind of the building
• 1:11
  blocks. How do we get here?
• 1:13
  So, you know, how did you guys meet?
• 1:15
  What's the story of the band? A little bit like, you know, a
• 1:18
  short bio if you will, for our new fans we're going to help
• 1:21
  make today. Just to speed you up to times.
• 1:25
  So yeah, like Leeds, the city we're from is not necessarily
• 1:28
  too big, at least the metal scenes not too big.
• 1:31
  And at the time Zander and I were playing in different bands,
• 1:35
  so we must have crossed paths that way.
• 1:36
  And then, you know, eventually an opening came up and I started
• 1:40
  jamming with Cryptic, I started jamming with Zander and we
• 1:45
  spent, you know, just like a year or two in his infancy.
• 1:48
  We don't really count it as an official year of the band
• 1:51
  because we haven't necessarily figured out what we were trying
• 1:53
  to accomplish yet or anything like that.
• 1:56
  But whilst performing under the same name, yeah, we we figured
• 2:00
  out who we wanted to be in a bandwidth and all that kind of
• 2:04
  stuff. And after a couple of lineup
• 2:07
  changes, we, since John Riley joined the band on bass, who was
• 2:11
  playing in another band at the time in Liverpool.
• 2:14
  And yeah, once John joined, we basically just set out on what
• 2:18
  we were doing. You know, we released I mean
• 2:20
  2016 Beyond the Celestial Realms, which was our first EP
• 2:25
  and that kind of set the stone and the blueprint for the
• 2:27
  cryptic shift sound of just the overall like a mix of like
• 2:31
  technical death rush and in the sci-fi theme and world.
• 2:35
  And then from there we just started crafting our own kind of
• 2:38
  cosmic sci-fi saga with cosmic dreams, the first single and I
• 2:43
  introduced the concept, which then grew to visitations from
• 2:47
  Enceladus, our first album, which came on blood harvest in
• 2:50
  the May May the 4th 2020. And that takes us to Now Over
• 2:55
  Space and Super Time, our new record, and it's the 2nd chapter
• 3:00
  in the same saga from visitations from Enceladus.
• 3:03
  So yeah, we're pretty stoked to get it out there.
• 3:05
  You know, this is our greatest work today.
• 3:08
  And me and Zander have been playing together with this band
• 3:11
  for over 10 years now. So yeah, we're, we're like I
• 3:14
  say, we're super stoked to finally get out there, you know?
• 3:16
  Right on, right on Leeds no strangers, the ghost cult I know
• 3:20
  better. Known for Reading and Leeds
• 3:23
  right? But also former home of
• 3:25
  Damnation festival, home of one of ghost cults best writers
• 3:29
  don't get heavens who used to be in a forest of stars and has his
• 3:32
  own solo musical project now. So we love, you know, we love
• 3:35
  the UK. We're we're still kind of
• 3:37
  heavily centric to to Europe and the UK from our founding,
• 3:41
  despite you know how shitty and American I am sometimes I'm not
• 3:45
  shitty, but you know the country anyway.
• 3:47
  We're a shithole, not anyone else.
• 3:49
  I wasn't surprised when you guys signed with metal blade.
• 3:51
  Just I felt like a natural progression.
• 3:53
  But let's and no shade, you know Blood Harvest did a nice job
• 3:56
  with you guys. How did you guys get connected
• 3:57
  with them because they have been kind of signing up a lot of
• 4:01
  newer bands that are very heavy and extreme as you do in your
• 4:06
  metal blade. Being they're just, it's kind of
• 4:09
  funny. We sent we sent visitations over
• 4:11
  to them probably when it was like a demo and they were like,
• 4:15
  oh, you know, we're not interested right now, but maybe
• 4:18
  in the future. And that was cool.
• 4:19
  And then visitations came out and then around like, I think it
• 4:22
  was like January of the following year.
• 4:24
  So fresh off the bat. Yeah, we got an e-mail and they
• 4:26
  wanted to work with us on the next album.
• 4:29
  So that's basically how we got started.
• 4:31
  You know, just one day. There it goes.
• 4:32
  It's just sat there in the e-mail inbox and yeah, you just
• 4:35
  faced there with like teenage dreams.
• 4:38
  You know, it's just like kind of like, oh, shit.
• 4:40
  And it was a it was a fun day. I remember being in the snow and
• 4:44
  I was like, like calling everyone, trying to get
• 4:46
  everyone. They're like, yo, what you
• 4:47
  doing? Yo, we got to have a meeting
• 4:49
  like this shit's real. And like, my hands were freezing
• 4:52
  up and I was like swapping hands all the time.
• 4:53
  Put my pocket, my other hand in the pocket being like, oh, shit,
• 4:56
  man. But yeah, it was, it was cool.
• 4:57
  But yeah, that's how it was. And Mel Blade have been great.
• 5:00
  They've been very supportive and very patient, you know, like
• 5:03
  they signed us, what, five years ago now?
• 5:05
  So, you know, it's been, it's been great to work with them,
• 5:08
  you know, So, yeah, awesome. Yeah, right on.
• 5:10
  Yeah, so good. You know, it's kind of funny if
• 5:12
  you go back and read Brian's, one of Brian's books, his first
• 5:16
  book talks about how he felt like, you know what, obviously
• 5:19
  Metal Massacre, you know, the transition of Metal Blade from
• 5:22
  not just a label but to a label with distro internationally and
• 5:25
  like England is when he felt he made it so very fitting to sign
• 5:29
  like one of the best. You know, it's hard to say up
• 5:32
  and coming after over a decade, but up and coming extreme metal
• 5:36
  bands and they happen to be in the UK.
• 5:38
  So like a nice little tie around there.
• 5:40
  But what a crazy record, you know, personally, again, I love,
• 5:45
  you know, progressive metal and technical death metal and the
• 5:47
  blend of the and I love thrash. Everybody knows because I don't
• 5:51
  ever shut up talking about this music.
• 5:52
  But so fun, such a fun record. And really, I'm sure you, you
• 5:58
  know, this took me back. You know, I feel like fans are
• 6:01
  catching up, you know, I know that, you know, Blood
• 6:03
  Incantation has been having a moment, but Origin has been
• 6:06
  doing this for years and Cynic has been doing similar music and
• 6:10
  some similar topics for many years.
• 6:12
  And I feel like those are bands that probably count as
• 6:15
  influences for you too. Oh absolutely man.
• 6:18
  I mean that even takes me back to like high school and stuff,
• 6:21
  you know, especially like finding bands like Cynic and
• 6:23
  Origin for the first time and stuff and it's kind of cool.
• 6:26
  Like especially with Origin, it's like discovering them back
• 6:29
  then and then not really listening to them much in like
• 6:31
  my early 20s and then going back to them now and stuff like that.
• 6:34
  That's kind of awesome. And like, you know, even bands
• 6:38
  like Fear Factory and stuff, like it's kind of funny.
• 6:41
  I used to listen to them when I was like really young, like 1213
• 6:45
  years old. And then I got listening to him
• 6:47
  again, like last summer with Zander, and I was like, dude,
• 6:50
  why are we not into this ship? Or like how?
• 6:52
  Are we not into this ship? When we were driving, when we
• 6:54
  were driving back and forth between the studio like Fear
• 6:57
  Factory was on like most of the time for the drives to the
• 7:00
  studio, so. Like especially like do
• 7:02
  manufacturer. I remember here I was like, I
• 7:03
  was like, I randomly went back to it like this year.
• 7:06
  And then I was like, Oh yeah, of course.
• 7:08
  Like, yeah, this makes sense why I like what I like now.
• 7:10
  If I was listening to this shit when I was 13 and I was like,
• 7:12
  yo, Zander, have you heard this album?
• 7:14
  He's like, no. And I'm like, how the fuck have
• 7:16
  you not heard this album? And then we're listening to it
• 7:17
  and he's like, how the fuck have I not heard this album?
• 7:19
  Yeah, it's, it's, it's fucking, it's crazy.
• 7:21
  It was like a, it's like a sci-fi advancement of Pantera or
• 7:24
  something, you know, without the sound effects and the riffs are
• 7:26
  fucking killer. And then they've got like the
• 7:28
  like the dreamy Taurus vocals. It's really, really, really
• 7:32
  cool, man. And plus this, it's from like
• 7:34
  that Numel era. So it kind of reminds me of and
• 7:36
  watching films like like Doom or something, you know?
• 7:39
  Risk is called that. But yeah, like you say Origin
• 7:41
  Cynic, like definitely like, like cynic especially like
• 7:45
  influence and stuff like that. And like Atheist, you know,
• 7:48
  that's another band that they've been doing this for many years,
• 7:52
  you know, and like. Yeah, I think Cynic especially
• 7:55
  though they're they're only the only band out of that like early
• 7:58
  technical death metal style that will actually influenced by like
• 8:02
  jazz and I know the word jazzy gets thrown around a lot.
• 8:04
  Oh, these band are so jazzy and it's like you don't know what
• 8:07
  you're on about, mate. But Cynic, Cynic genuinely like,
• 8:10
  after being like into jazz fusion for the last few years
• 8:13
  with the guys, like preparing for this record and like
• 8:16
  listening to Cynic on Focus, you can hear the, Oh yeah, they're,
• 8:19
  they are literally trying to be a jazz fusion band on that
• 8:22
  record. It's a similar thing with like
• 8:24
  Pestilence Fears. I know that album, like I know a
• 8:27
  lot of people like that, a lot of people like that.
• 8:29
  But like, I think when you understand what they're trying
• 8:32
  to accomplish and what they were influenced by, it's pretty
• 8:34
  fucking cool. You know?
• 8:35
  It's like one of our favorite albums.
• 8:36
  Right on, the only other jazz nerds that I get to meet doing
• 8:39
  this are musician like guitar and musician nerds.
• 8:43
  But I also grew up with a lot of jazz in my home and I was a huge
• 8:46
  jazz fusion and progressive rock kid.
• 8:49
  I wore a lot of towels as capes and stole my mom's knitting
• 8:52
  needles as magic wands. A lot of weird shit as a little
• 8:55
  kid. Ergo why I'm 50.
• 8:57
  Something in this light right here.
• 9:00
  But you know, super fun. I don't know if you guys are
• 9:02
  familiar also with the little side project that Mass Vidal and
• 9:06
  Sean Malone rest in power did called Portal, not the portal
• 9:10
  the. Dude, I'm a huge fan of that,
• 9:12
  Yeah. I love that Basically it's
• 9:15
  basically cynic. It's almost like dream pop and
• 9:17
  shoe games but with like a really like musician centric
• 9:20
  approach. It's really cool.
• 9:21
  Right on, right on. And I love the jazz fusion stuff
• 9:23
  and you guys have some facility to actually play jazz in the
• 9:27
  music. Like it's blended and
• 9:28
  beautifully, I have to say. Especially the guitar work.
• 9:31
  And I know the bio throws around Alan Holdsworth.
• 9:34
  I feel like except for guitar people, people don't really
• 9:38
  appreciate him anymore because he's not been as active anymore.
• 9:42
  But like, you know, there's this generation of guys, John
• 9:44
  McLaughlin and people like that are getting, you know, getting
• 9:47
  older and just slowing down. But hope it's.
• 9:49
  Probably the greatest to ever do it real.
• 9:51
  And since like he was from Bradford, which is like this,
• 9:54
  the next town over it we feel like a little bit of connection.
• 9:57
  Well, that's killer. I forgot that also.
• 9:59
  Yeah, of course. You know, Yeah, man, what a you
• 10:03
  know, what a Titan. But you guys have kind of
• 10:05
  synthesized this whole sound. And I love the Fear Factory nod.
• 10:07
  I'm a huge Fear Factory fan. We've interviewed Dino a bunch
• 10:10
  of times. He's great.
• 10:11
  And they were very cutting edge at the time, like they were, you
• 10:15
  know, as great as they are. And you always drop Fear Factory
• 10:18
  with the knowledge of like that classic Roadrunner 90s metal.
• 10:21
  They don't sound like Pantera. They don't sound like Biohazard.
• 10:24
  They don't sound like simple tura.
• 10:26
  They don't sound like those bands.
• 10:27
  So it's fun that they were apart.
• 10:29
  Heavier and more extreme, and even a closer step to death
• 10:32
  metal mostly. And also innovative too.
• 10:36
  Yeah, that's it, man. But yeah, that was that that but
• 10:39
  that those were like the big influences on record, you know,
• 10:41
  like the especially like some of the fusion stuff in the queen
• 10:44
  sections, you know? Like even like from the sugar as
• 10:47
  well. Yeah, like so much sugar stuff
• 10:48
  like again, like similar Fear Factory, you know like direct
• 10:51
  influences at all. Like the actual direct
• 10:53
  influences for Cryptic Shifts, like some sort of weird
• 10:56
  amalgamation of like the deaf human individual fault pattern
• 11:01
  sound with like Teutonic thrash, like, you know, create a kind of
• 11:05
  like terrible certainty, extreme aggression or say like release
• 11:09
  from agony destruction. And then we've like the Canadian
• 11:13
  weird vivod oblivion sound. You know, I think that's like
• 11:17
  the ultimate amalgamation of to summarize cryptic shift.
• 11:20
  But yeah, there's been some some weird, subtle influences along
• 11:24
  the way, you know? I feel like if I moved to Leeds,
• 11:27
  the three of us would be best friends because you just, you're
• 11:30
  right here and you've been hanging.
• 11:32
  Out with us in this very room, man.
• 11:34
  Yeah, man, I'm into it. We just put on Holdsworth and
• 11:36
  and talk nerd stuff. So without giving away the whole
• 11:41
  sauce, because I tried to digest this biography for this album
• 11:44
  and I was like, Oh no, I I need like a lot of time to prepare
• 11:48
  for this, but over space and super time is a concept record.
• 11:51
  Clearly you guys work in, you know, these fantastical realms.
• 11:55
  Do you what? Can you summarize the record
• 11:58
  succinctly or is it just impossible?
• 12:00
  And so this time we've got a different character to focus on
• 12:03
  at the end of the the single we had in 2017, cosmic dreams that
• 12:07
  that person kind of like split into two like personalities to
• 12:11
  like entities. So visitations went through the
• 12:14
  amnesiacs journey. He remembers nothing.
• 12:16
  But this time we're following the recaller and she's she's on
• 12:20
  like a new adventure, but she goes to like a lot of the same
• 12:23
  places Visitations visa because she remembers everything from
• 12:26
  cosmic dreams. She's she has like a purpose and
• 12:29
  she's trying to find out what was going on.
• 12:31
  And she meets like a lot of characters along the way trying
• 12:33
  to find out what the the consequences of cosmic dreams
• 12:36
  meant. So yeah, she wakes up in cryo
• 12:38
  freeze and then makes her way to find the alien sorceress, which
• 12:42
  you see on the album cover. And she gives her like the next
• 12:45
  location, the next quest. And it's it's about like going
• 12:47
  through a bunch of like cool sci-fi landscapes and
• 12:50
  environments, finding like items to advance the quest.
• 12:53
  And yeah, like, like you said, it was like it's about it's
• 12:56
  meant to be a fun record exploring different worlds and
• 12:59
  aliens. I'm into it.
• 13:00
  I'm into it. And being that you guys work in,
• 13:03
  you know, conceptually themed songs and albums, do you have
• 13:06
  favorite concept records in your life that you return to or that
• 13:10
  you find comfort? And I know I have mine.
• 13:12
  Concert records are really one of our main influences actually.
• 13:15
  Like like like we write really long songs, but we don't really
• 13:18
  listen to much of that. I think maybe like that idea
• 13:21
  comes more from like movies for us.
• 13:23
  But I will say that Edge of Sanity is Crimson.
• 13:27
  I I got for the first time, like on physical like CD during like
• 13:31
  writing this. And that was like a particular
• 13:33
  inspiration, just learning how they how their approach was it
• 13:37
  having like done it ourselves already.
• 13:39
  And like I went back and thought, Oh, that's like one of
• 13:41
  the big long like concepts albums.
• 13:44
  So like studying that a bit was like really cool.
• 13:47
  Yeah, Alexander said. I mean, like there isn't too
• 13:50
  many direct musical influences for concept albums.
• 13:53
  I mean like one that springs to mind like Blood Mountain
• 13:57
  Mastodon, that's like a great concept record.
• 14:01
  And but yeah, like even then, like that's not even necessarily
• 14:04
  like considered the big concept record because it's it's not a
• 14:08
  huge one. But yeah, there you go.
• 14:10
  Like, I don't know too many big concept records.
• 14:13
  You know, obviously like there's the the classic rush stuff, but
• 14:16
  that's not even the classic rush stuff that I'm into.
• 14:19
  I'm in a more like the moving pictures kind of era.
• 14:21
  So, you know, like there's not too direct more more movies and
• 14:25
  video games, I'd say for cryptic shifts influence when it comes
• 14:29
  to creating a sci-fi concept like world, you know.
• 14:33
  Right on, and you have to almost conjure your own vision and not
• 14:37
  get too influenced by other stuff.
• 14:39
  Especially on this album, like we really just delved into our
• 14:42
  own minds and like use that influence more than outside
• 14:45
  ones. This.
• 14:45
  Time right on moving into the music a little more I love that
• 14:50
  you guys will have longer songs 910 minutes, 29 minutes, but
• 14:54
  they don't feel long they feel natural.
• 14:57
  I think it's really important you can play Lights Out, which
• 15:00
  you you guys absolutely are peak talents, the whole band, but
• 15:04
  it's important to not lose the song, lose the concept, lose,
• 15:08
  you know, you can go into another realm, jazz fusion,
• 15:11
  different motifs, different types of heaviness.
• 15:13
  But I love that the songs don't feel like I'm not.
• 15:16
  I'm waiting for it to keep going, not for it to stop.
• 15:20
  And that's a huge thing when I listen through the record.
• 15:22
  So I cheers to you guys for that.
• 15:24
  Very nice one man. That's definitely part of like
• 15:27
  the intention behind the whole floor of the composition.
• 15:29
  So yes, but the picked up on that.
• 15:32
  And I feel that especially a lot of music that's out there which
• 15:35
  has that length, say like bands that have like 10 minute long
• 15:39
  songs, perhaps a lot of those are perhaps more doom metal or
• 15:43
  slower, you know, or more dramatic pieces.
• 15:47
  Whereas we've always, it's kind of especially like say
• 15:49
  hexagonalize, for example, that's just 10 minutes of just
• 15:53
  non-stop, let's go, let's keep the ball rolling, you know.
• 15:56
  So like you say, maybe maybe that's what keeps people
• 15:59
  interested, you know, it keeps the song, it keeps the energy
• 16:01
  high. So, you know, it's, it doesn't
• 16:03
  feel like it's a 10 minute long song, you know?
• 16:06
  Right on. Yeah, I also.
• 16:07
  Yeah, these song titles are unbelievable, but they obviously
• 16:10
  help lend to the story. I can't even pronounce, Yeah,
• 16:14
  the hexagonalize. I can't even pronounce the
• 16:16
  second part of that. I won't even try.
• 16:18
  Diverity Tripath emphasis of. Whoa, very clever.
• 16:24
  I I dig it, man. You know, these are tremendous
• 16:27
  songs. And you know, what I really
• 16:30
  appreciate also is again, I don't know for you, when you're
• 16:33
  writing it, it does it does the music say like, we're done here,
• 16:37
  this is a good stopping point. Or do you work on it until it
• 16:40
  kind of sort of naturally works itself out?
• 16:42
  I know you know any, any hand I've ever had in songwriting.
• 16:46
  Sometimes a song will tell you that's quite enough, and then
• 16:48
  other times like, no, no, that part's great, keep it up.
• 16:51
  I don't know if that's a thing for you guys.
• 16:52
  I guess for the most part it's like you kind of like chip away
• 16:55
  a song until it's like 80% done and then at that point it is
• 16:59
  kind of finished more or less. And in the final 20% always kind
• 17:03
  of feels like the little bits of refinement that you just like
• 17:07
  chip away at, you know? Yeah.
• 17:08
  I mean, the song Hyperspace Topography, we were playing that
• 17:11
  in 2021 and the structure was basically there.
• 17:15
  But like coming up with it so quick, it was like, right.
• 17:18
  This is going to have to take, you know, we're going to have to
• 17:19
  look a bit deeper into it, you know, make sure all the songs
• 17:22
  like as tight a composition it can be.
• 17:24
  And, and, and yeah, like just making sure all the avenues are
• 17:27
  explored with like all the cards and that.
• 17:29
  But yeah, like I've space topography came together pretty
• 17:31
  easily and it just took a lot of like refinement, like over space
• 17:35
  of super time. The title track was like the
• 17:37
  latest one we wrote and that was that was like one of the final
• 17:40
  tracks we were focusing on. And that maybe because, like,
• 17:43
  the momentum of completing the rest of the record, that track
• 17:45
  came together fairly quickly and it was like pretty exciting,
• 17:49
  like writing all these like brand new stuff for it.
• 17:51
  And a lot of times like, because we're following kind of like a
• 17:54
  structural road map from this, the narrative, the song probably
• 17:57
  already has an intro and an outro.
• 17:59
  So it's all about like connecting them.
• 18:03
  Just the last few questions for you love we were talking about
• 18:06
  the concept that I love this album artwork and shout out to
• 18:10
  metal blade for always doing a great job.
• 18:12
  I'm super pumped about these different vinyl variants.
• 18:14
  I must feel really exciting. I'm have my eye on that purple
• 18:17
  and blue merge. But yeah, this artworks
• 18:20
  tremendous and just it's it's nice to see a band with that has
• 18:24
  a visual sense that it's important that the artwork is
• 18:27
  original and creative. And you know, I don't have I
• 18:30
  don't have time to go into my soapbox about AI right now, but
• 18:34
  I don't want to see artists and musician jobs taken away by AI
• 18:38
  tools. So I really love how organic the
• 18:40
  record feels artistically. Oh yeah, man, thanks for that
• 18:43
  dude. It takes a lot to the arts, very
• 18:45
  important as well, because it's like all about invoking that
• 18:48
  imagination, you know? Killer man, killer.
• 18:50
  I always end these with a wild card question, so I have a quick
• 18:53
  one for the two of you. Last good movie you saw, whether
• 18:56
  it's home, in the theater, on your phone, whatever.
• 18:58
  Last good movie each one. I saw Ben Affleck and Matt
• 19:02
  Damon's new movie, the riff on Netflix come out like like this
• 19:06
  month. I think that was really, really
• 19:08
  cool. It's like them like DEA agents,
• 19:10
  like figuring out who's like the mall during like a drug bust.
• 19:13
  But like it was really tight, like all that.
• 19:16
  The performance is really sick and it looked incredible.
• 19:18
  Like the colour grading on it at this, like it was really
• 19:20
  colourful but really dark and like the shootout scenes were
• 19:23
  like really powerful. So that's the most recent like 5
• 19:26
  star movie I think. For me, I've been collecting
• 19:30
  DVDs and for a while I was looking for The Big Lebowski and
• 19:33
  I finally got it. So I'm just been watching The
• 19:36
  Big Lebowski, bro, and that's a classic, you know?
• 19:38
  So sick the RIP is on my list. Lebowski's a classic and yeah,
• 19:42
  just great chatting with you guys today.
• 19:44
  Congratulations on the new album.
• 19:46
  Cryptic Shift will be continuing to follow you on stages and
• 19:50
  screens in the near future. We're going to link everything
• 19:52
  in the description where everybody can get your new
• 19:54
  record out on February 27th on Metal Blade.
• 19:58
  Thanks for hanging out with Ghost Skull today fellas.
• 20:00
  I appreciate you. Thank you for having us bro.
• 20:03
  Yep, cheers. Take care.