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The Sands Of Time With KYLE BRANDT And JEFF IRVINE From A LIGHT WITHIN · HEAVY Music Interviews

• 0:00
  Speaker 1: Yeah.
• 0:00
  Speaker 2: Hi, I'm Jeff Ivan from A Light Zanna play guitar,
• 0:04
  Speaker 2: make Things Seem Pretty.
• 0:08
  Speaker 1: I'm Kyle Brandt.
• 0:09
  Speaker 3: I'm mainly the vocalist and keys for A Light Within,
• 0:12
  Speaker 3: as well as doing the production and stuff.
• 0:17
  Speaker 4: Fantastic guys, thanks for joining us today, thanks for having us.
• 0:23
  Speaker 2: So a lot.
• 0:24
  Speaker 4: Within released your latest single, Dying Clock, late last year.
• 0:27
  Speaker 4: So how's the early reception been for it?
• 0:31
  Speaker 1: Great? Guy, I'm gonna say pretty good so far.
• 0:34
  Speaker 3: I mean, we've been doing interviews left and right and
• 0:38
  Speaker 3: finding our finding ourselves mentioned in some articles on some
• 0:44
  Speaker 3: sites we wouldn't even expect to be mentioned on. So
• 0:48
  Speaker 3: it's been well received so far, and I'm glad to
• 0:51
  Speaker 3: hear that. That keeps the motivation strong and healthy, even
• 0:55
  Speaker 3: though mainly, you know, we make music for ourselves, but
• 0:58
  Speaker 3: when anybody else enjoys it, it's like icing on the cake,
• 1:01
  Speaker 3: so to speak.
• 1:04
  Speaker 4: And can you tell us a bit more about the
• 1:06
  Speaker 4: song from a musical point of view and what you
• 1:08
  Speaker 4: were gone.
• 1:08
  Speaker 1: For with it? Yeah? Sure, so go ahead. But yeah, actually, Jeff,
• 1:15
  Speaker 1: take this one. Want to hear. I'm interested to what
• 1:17
  Speaker 1: you have to say.
• 1:20
  Speaker 2: Well, it kind of started as a jam in the
• 1:22
  Speaker 2: room and then it got to not very far and
• 1:27
  Speaker 2: Kyle took that room recording and then made a really
• 1:31
  Speaker 2: kind of kill our demo out of it, like fully
• 1:33
  Speaker 2: structured it out, and we kind of had an idea
• 1:36
  Speaker 2: of wanting it to be two songs in one song
• 1:40
  Speaker 2: type of thing, a song of two parts, if you will,
• 1:43
  Speaker 2: and he did that and it was really cool, and
• 1:46
  Speaker 2: I came over and did some demo guitar recordings on
• 1:48
  Speaker 2: it fully digital, which I've never done. He had me
• 1:52
  Speaker 2: kicking and screaming, pulled me into that direction, but I
• 1:55
  Speaker 2: did it, and you know, some of those guitar tracks
• 1:58
  Speaker 2: are still on the on the demo or on the
• 2:00
  Speaker 2: song now. And then unfortunately it sat in light box
• 2:03
  Speaker 2: or dropbox for a while without any action from the
• 2:07
  Speaker 2: other guys. And after we did Identity, then we went
• 2:14
  Speaker 2: back to our first EP and redid that one and
• 2:17
  Speaker 2: put it out again, just to kind of bring it
• 2:18
  Speaker 2: up to the modern standards that we've gotten. We were like, okay,
• 2:22
  Speaker 2: let's work on this one. And we started working on it,
• 2:25
  Speaker 2: and I saw a post from Kelly Scott a failure
• 2:29
  Speaker 2: that he recorded drums for your songs, So like, okay,
• 2:33
  Speaker 2: let's reach out to Kelly and see what he says,
• 2:35
  Speaker 2: and he was down for it, and he did it,
• 2:37
  Speaker 2: and we got the drums back and it kind of
• 2:40
  Speaker 2: just reugnited our flame to get this thing going and
• 2:44
  Speaker 2: finished up.
• 2:47
  Speaker 4: Now you mentioned Kelly, They like, what did he actually
• 2:49
  Speaker 4: bring to the to the sound of the song.
• 2:54
  Speaker 1: I will say that he.
• 2:56
  Speaker 2: Because all of our parts are kind of stagnant as
• 2:59
  Speaker 2: far as they don't involve a whole lot for each section.
• 3:03
  Speaker 2: But he did, like the first verse, he has one
• 3:06
  Speaker 2: drum beat. The next time that section of music comes back,
• 3:09
  Speaker 2: he changes his how he's playing it, so it kind
• 3:12
  Speaker 2: of gradually evolves into another part, as it were, just
• 3:18
  Speaker 2: because of how change the field of what he was playing.
• 3:22
  Speaker 1: Yeah, I'll speak to that as well. So originally, so.
• 3:25
  Speaker 3: When I'm demoing out songs, I'm using superior drummer some
• 3:28
  Speaker 3: kind of other drumming.
• 3:29
  Speaker 1: Tool to help with the creative process.
• 3:32
  Speaker 3: And I had created a drum beat to the entire
• 3:35
  Speaker 3: song as I was writing it, and it was really
• 3:37
  Speaker 3: with the mentality of the way Nick Sloan or you know,
• 3:42
  Speaker 3: fonding member and drummer plays drums. So they were a
• 3:47
  Speaker 3: lot of marching beats, real snare, heavy snare wire heavy
• 3:51
  Speaker 3: and not a lot of tomwork, and that's how the
• 3:54
  Speaker 3: original demo was. So I was really interested to hear
• 3:57
  Speaker 3: how Kelly was going to put his spin on the thing.
• 4:00
  Speaker 3: And really the mood of the entire song really changed
• 4:04
  Speaker 3: and he brought like this swing drum feel to it.
• 4:07
  Speaker 3: It was very interesting. At first when I heard it,
• 4:10
  Speaker 3: I was like, man, I don't know if this is
• 4:11
  Speaker 3: gonna work. But I was like, all right, we're gonna
• 4:14
  Speaker 3: make it work because the quality of the drum recordings
• 4:17
  Speaker 3: were so well done. And really what I figured out
• 4:20
  Speaker 3: after playing around in the session for a while was
• 4:22
  Speaker 3: it just it didn't fully mesh well with the bass.
• 4:26
  Speaker 3: So I was like, great, we were going to scrap
• 4:28
  Speaker 3: bass anyway and redo it. So I cut the bass
• 4:31
  Speaker 3: out and just let it sing with guitar, drums and vocals,
• 4:34
  Speaker 3: and I was like, yes, this works. So then at
• 4:36
  Speaker 3: that point I was like, all right, we need to
• 4:38
  Speaker 3: get fined. We need to find someone to throw down
• 4:40
  Speaker 3: some bass. And I had a friend that I work
• 4:42
  Speaker 3: with on my other project, and she was like, hell, yeah,
• 4:45
  Speaker 3: I'll throw down on that. So she sent us over
• 4:48
  Speaker 3: the bass track and it flowed really nice in it
• 4:50
  Speaker 3: and then I just made some other minor adjustments and
• 4:53
  Speaker 3: then it all came together from.
• 4:54
  Speaker 1: What you hear now.
• 4:56
  Speaker 3: And you know, we're really proud of it, really thankful
• 5:00
  Speaker 3: that Kelly was willing to put his name on it
• 5:02
  Speaker 3: and saw the potential of it when we sent it
• 5:06
  Speaker 3: to him. And I'm really glad that he hasn't yelled
• 5:09
  Speaker 3: at me for the way I mixed his drums, because
• 5:11
  Speaker 3: I was really nervous about that, somebody with that iconic
• 5:14
  Speaker 3: and influential I was kind of I was honestly really nervous.
• 5:18
  Speaker 3: I was like, oh, man, like I could mess with
• 5:20
  Speaker 3: a snare tone and he could hate it or like
• 5:22
  Speaker 3: hate what I did with his kick, and like, maybe
• 5:24
  Speaker 3: he does. But he said that he loved the song
• 5:27
  Speaker 3: and the way it turned out, and that he'd be
• 5:29
  Speaker 3: willing to work with work with us more in the future.
• 5:31
  Speaker 3: So I'll take that as he didn't hate the way
• 5:34
  Speaker 3: I produced his drums, and you know, I'm very happy
• 5:38
  Speaker 3: about that.
• 5:39
  Speaker 4: Yeah, I'll take you that. Take that as a success.
• 5:42
  Speaker 1: Yeah, exactly, big time.
• 5:45
  Speaker 4: The press really said that with Dying Clock a light
• 5:48
  Speaker 4: with enophens a new chapter, can you elaborate on that?
• 5:53
  Speaker 1: Yeah?
• 5:53
  Speaker 2: So that one, this is the first song. I guess
• 5:57
  Speaker 2: second song really, but the first song that we've kind
• 5:59
  Speaker 2: of written or finished without input from the other two members.
• 6:04
  Speaker 3: And really i'd say Identity. I'd say Identity was more
• 6:07
  Speaker 3: of that. But yeah, that's why I said the second one.
• 6:11
  Speaker 3: I mean, yeah, you're good, Identity started with you. This
• 6:15
  Speaker 3: one started in the room, but then it got finished
• 6:18
  Speaker 3: outside of the room and just kind of continued that way.
• 6:21
  Speaker 2: And I think moving forward, Kyle and I are going
• 6:24
  Speaker 2: to work on We've already we already are working on
• 6:27
  Speaker 2: another song right now. It's just the two of us
• 6:30
  Speaker 2: at the moment, so it's mainly mainly going to be
• 6:33
  Speaker 2: us moving forward with writing the songs and presenting them
• 6:36
  Speaker 2: to the guys. And if you know, they have busy
• 6:38
  Speaker 2: lives with their kids, so if they have time for it, great,
• 6:41
  Speaker 2: If they don't have time for it, you know, we'll
• 6:44
  Speaker 2: figure out the next way forward with that.
• 6:48
  Speaker 4: Yeah, your music can be classified as progressive rock, but
• 6:52
  Speaker 4: there's so many other layers in there, like can you
• 6:55
  Speaker 4: deconstruct your sound for us and then tell us how
• 6:57
  Speaker 4: you put it together?
• 7:01
  Speaker 1: I love this question.
• 7:02
  Speaker 3: In fact, I want to interview you for this question
• 7:04
  Speaker 3: because a light with a light within this music throughout
• 7:09
  Speaker 3: its lifespan has been so I want to say unique,
• 7:13
  Speaker 3: but maybe to people that listen to a lot more
• 7:15
  Speaker 3: music than myself wouldn't say it is unique. But we've
• 7:18
  Speaker 3: always had when we read articles that are written about us,
• 7:23
  Speaker 3: it seems like that's the commonality problem is where do
• 7:26
  Speaker 3: where do these guys fit? What kind of genre do
• 7:28
  Speaker 3: we place on the on what they're doing? And I
• 7:31
  Speaker 3: always thought that was kind of cool with this project
• 7:33
  Speaker 3: because our influences are, you know, pretty vast and different collective,
• 7:39
  Speaker 3: but then collectively, this is what you get. So at
• 7:42
  Speaker 3: first it was a lot of post rock influence. Obviously,
• 7:46
  Speaker 3: me being a singer, I want I want some vocals,
• 7:48
  Speaker 3: and I'm very influenced by prog rock, especially melodic prog rock.
• 7:54
  Speaker 3: I like, you know, eate the like an eighty twenty
• 7:58
  Speaker 3: clean singing to are Singing Split or something like that.
• 8:01
  Speaker 3: I like mostly clean and melodic vocals versus the harsh stuff.
• 8:06
  Speaker 3: Don't get me wrong, I like harsh too. I went
• 8:08
  Speaker 3: through my harsh I went through some scream o phase
• 8:10
  Speaker 3: and some heavy metal phases in my life. But I'm
• 8:14
  Speaker 3: an old man now with not much to be angry about.
• 8:17
  Speaker 3: So I find myself singing more melodically as of late.
• 8:21
  Speaker 3: But yeah, I'm very interested in seeing what people think
• 8:24
  Speaker 3: I would consider us as far as like a vocally
• 8:29
  Speaker 3: and synth related more of progressive and I try and
• 8:33
  Speaker 3: you know, avoid the typical verse chorus, verse chorus type
• 8:38
  Speaker 3: structures that like the pop elements would bring in. However,
• 8:41
  Speaker 3: I also try and bring in the catchiness or the
• 8:44
  Speaker 3: hook of a pop style into a chorus of our songs.
• 8:48
  Speaker 3: And then but yeah, it's kind of just like a
• 8:52
  Speaker 3: mesh of all different kinds of genres. It's kind of
• 8:54
  Speaker 3: awkward to figure out where the placement is. I can
• 8:57
  Speaker 3: think of some other bands that we I think would
• 8:59
  Speaker 3: do well kind of fitting on the same playlist with,
• 9:03
  Speaker 3: but other than that, I couldn't say that. I'm proud
• 9:06
  Speaker 3: to say that we're not one of those bands that
• 9:09
  Speaker 3: everybody's a running around saying, oh they're a tool ripoff,
• 9:12
  Speaker 3: or oh they're this ripoff, or oh there are that
• 9:14
  Speaker 3: I think if people really gave our music the chance,
• 9:17
  Speaker 3: especially through our whole discography, they'd be like, Wow, these
• 9:19
  Speaker 3: guys really just put out a pretty unique style.
• 9:24
  Speaker 4: Heah, A nice answer, very nice answer. You've got like
• 9:28
  Speaker 4: the cinematic soundscapes that play a large role in your
• 9:31
  Speaker 4: music as well. So how difficult is it to get
• 9:33
  Speaker 4: that emotion through music.
• 9:38
  Speaker 2: I think it's just how how you approach it and
• 9:41
  Speaker 2: how you feel it. Like, you know, I know theory
• 9:44
  Speaker 2: and all that, and I think about that stuff, but
• 9:47
  Speaker 2: when I think about it, I lose some of the
• 9:52
  Speaker 2: feeling of what I'm playing. So a lot of times
• 9:54
  Speaker 2: I just let it go and just think about it,
• 9:57
  Speaker 2: and I think that kind of helps bring some of
• 9:59
  Speaker 2: that that realness and some of that honesty into it.
• 10:03
  Speaker 2: And how I posted things is kind of more in
• 10:07
  Speaker 2: that I think this would be cool in a movie,
• 10:09
  Speaker 2: you know, not really, but that's kind of where my
• 10:12
  Speaker 2: brain kind of goes to. I like, I can just
• 10:14
  Speaker 2: hear some things and just just kind of move that
• 10:18
  Speaker 2: moving that way or something like that. You know, hard
• 10:21
  Speaker 2: to say, but I just kind of feel like it's
• 10:24
  Speaker 2: a sound that I've grown to like since the first
• 10:28
  Speaker 2: time I heard Magwai in nineteen ninety six, and that
• 10:33
  Speaker 2: just struck me and I kind of just wanted to
• 10:34
  Speaker 2: go that direction a long time ago.
• 10:38
  Speaker 1: It was a great question.
• 10:39
  Speaker 3: It was a great follow up to the previous question
• 10:41
  Speaker 3: that you asked, So I kind of told you about
• 10:44
  Speaker 3: the things that we are, but this dives to me
• 10:46
  Speaker 3: into one of the things that we aren't. And we're
• 10:48
  Speaker 3: not a very technical band. You're not going to be
• 10:51
  Speaker 3: seeing Jeff shred all over the guitar with all kinds
• 10:54
  Speaker 3: of noodling, and you're not going to see, you know,
• 10:57
  Speaker 3: a lot of technical aspects that you would see in
• 10:59
  Speaker 3: like the ProGMA scene or different things like that, or
• 11:03
  Speaker 3: like jazz or or different things like that, and that
• 11:06
  Speaker 3: stuff's amazing, that's just not what we are. So to
• 11:09
  Speaker 3: kind of like make up for that. And on the
• 11:12
  Speaker 3: production side, I try and add in a lot of
• 11:15
  Speaker 3: synth layer, just a lot of layering, different different guitar riffs,
• 11:20
  Speaker 3: whether they may be simple to play or not, or
• 11:23
  Speaker 3: different synth rifts and different little effects and sounds within
• 11:26
  Speaker 3: the production to make it more cinematic. That's the way
• 11:29
  Speaker 3: I feel to try and make up and make it
• 11:32
  Speaker 3: more full to make up for our lack of technical
• 11:37
  Speaker 3: playing abilities.
• 11:39
  Speaker 4: So your last full Buddy of what came in two
• 11:41
  Speaker 4: thousand and eight with a concluding chapter of a conceptual
• 11:44
  Speaker 4: trilogy epilogue, which is built from transcribed Dari entries. I
• 11:48
  Speaker 4: know that I was eight years ago now, Goudust, but
• 11:50
  Speaker 4: I've got to ask you about that concept. It's brilliant
• 11:53
  Speaker 4: so far outside of the box.
• 11:56
  Speaker 3: That's all kind of yeah, So I think, uh, okay,
• 12:01
  Speaker 3: I want to give some credit here. I don't know
• 12:04
  Speaker 3: if the idea was completely unique. There was an album
• 12:08
  Speaker 3: called post Tumous Silence by a band called Sylvan that
• 12:12
  Speaker 3: did something very similar. So I want to say that
• 12:17
  Speaker 3: I probably at the point of time of the light
• 12:19
  Speaker 3: bulb going off of, oh, I want to do this
• 12:21
  Speaker 3: conceptual idea, I probably took a little influence from that album.
• 12:26
  Speaker 1: However, I think we kind of made it our own.
• 12:29
  Speaker 3: The like the titles had all page numbers, The story
• 12:33
  Speaker 3: and the lyrics all follow like a third person perspective
• 12:38
  Speaker 3: from this person's life and like they're traveling through the timeline.
• 12:44
  Speaker 3: So as I was writing the lyrics from this other
• 12:46
  Speaker 3: person's perspective, I was thinking of stories that I wanted
• 12:50
  Speaker 3: to create, and I the page numbers. Actually I should
• 12:54
  Speaker 3: relate in chronological order to the experiences in this person's life.
• 12:59
  Speaker 3: So the later on in the diary that something was
• 13:02
  Speaker 3: written as the later on in the life time of
• 13:05
  Speaker 3: the of the person. The person being whoever you want
• 13:09
  Speaker 3: it to be, right, it's never really a he or
• 13:11
  Speaker 3: a she or a you know, I try and write
• 13:14
  Speaker 3: it try, and I tried to write it metaphorically enough
• 13:17
  Speaker 3: to where if someone studied the concept or listen to
• 13:20
  Speaker 3: the lyrics, they could you know, relate to it. So traditionally,
• 13:24
  Speaker 3: that's the way I've tried to work as a writer,
• 13:28
  Speaker 3: and that's that's kind of the story behind the concept
• 13:30
  Speaker 3: of that. So yeah, we wanted to say, hey, you know,
• 13:34
  Speaker 3: we found this diary we transcribed into the musical format,
• 13:37
  Speaker 3: and this was our collective experience on what we would think.
• 13:40
  Speaker 3: You know, this would sound like trying to portray this
• 13:44
  Speaker 3: person's experiences in life.
• 13:47
  Speaker 1: So and me as a.
• 13:48
  Speaker 3: Writer, you know, like I said, I have a great life,
• 13:51
  Speaker 3: not much to complain about. So I have to try
• 13:53
  Speaker 3: and find a third person perspective and put myself in
• 13:56
  Speaker 3: other people's shoes, but really come up with lyrical content.
• 14:00
  Speaker 3: And I still do that to this day. Most of
• 14:04
  Speaker 3: my lyrics are or third person written of or you know,
• 14:07
  Speaker 3: I will admit, you know, some songs are first person
• 14:09
  Speaker 3: really you know, experiences by me. I do have one
• 14:13
  Speaker 3: love song I think I've written in my entire life,
• 14:15
  Speaker 3: and I told my wife, hey, I wrote a song
• 14:17
  Speaker 3: about you. You know what was that it was? It
• 14:22
  Speaker 3: was actually on epilogue, it was what was something gentleman?
• 14:28
  Speaker 3: What was our song title?
• 14:29
  Speaker 2: Jeff educated gentlemen?
• 14:34
  Speaker 1: Educated gentlemen.
• 14:35
  Speaker 3: Yeah, so fun fact for a light within fans that
• 14:38
  Speaker 3: are actually listening to this, that one was written about
• 14:41
  Speaker 3: my wife so well, somewhat somewhat because at the end
• 14:45
  Speaker 3: of that song it talks about losing your partner due
• 14:49
  Speaker 3: to some kind of cancer or something and like losing
• 14:52
  Speaker 3: them later on in life. So but the love, the
• 14:58
  Speaker 3: love and the happiness aspect was written kind of influenced,
• 15:01
  Speaker 3: you know, first person, but to follow the storyline of
• 15:05
  Speaker 3: that concept, it was, you know, written about someone else
• 15:08
  Speaker 3: but you noice.
• 15:12
  Speaker 4: But besides revisiting your tooth twousand and thirty debut EP preface,
• 15:16
  Speaker 4: a lot of the designly released a stree of singles
• 15:18
  Speaker 4: over the last few years. So is an EP or
• 15:20
  Speaker 4: an album in future planning? Sorry, happy to just sit
• 15:22
  Speaker 4: you going with singles through all.
• 15:25
  Speaker 2: So these singles were going to be our full length
• 15:30
  Speaker 2: that we were working on pre pandemic. Then the pandemic
• 15:33
  Speaker 2: hit and kind of put a squash on everything that
• 15:37
  Speaker 2: we were doing. We had probably three or four pretty
• 15:42
  Speaker 2: solid ideas and then five or so that were kind
• 15:48
  Speaker 2: of just in some sort of form of being worked on.
• 15:53
  Speaker 2: So the singles at this point in time are hopefully
• 15:56
  Speaker 2: going to be part of a bigger thing, a full
• 15:59
  Speaker 2: length album. So we have two or three more that
• 16:01
  Speaker 2: we're gonna probably finish up and put all those together
• 16:04
  Speaker 2: for this album. Right now, we're calling it reconstruction at
• 16:07
  Speaker 2: that stage. We don't, I'm not sure, but it makes
• 16:10
  Speaker 2: sense because of especially all the stuff that we're going
• 16:12
  Speaker 2: through right now. So I'll let Kyle finish that if
• 16:17
  Speaker 2: he wants to.
• 16:18
  Speaker 3: Yeah, sure so so yeah, Like production wise too, we
• 16:23
  Speaker 3: when COVID hit, we had to take a different approach.
• 16:25
  Speaker 3: We weren't allowed to really get in the room together
• 16:28
  Speaker 3: all that much. You know, things came to a halt.
• 16:30
  Speaker 3: We couldn't play live anymore, you know, with the lockdowns
• 16:34
  Speaker 3: and all that. We had to kind of adapt and
• 16:36
  Speaker 3: come up with a new way to do music. And
• 16:40
  Speaker 3: like Jeff mentioned earlier in the interview, it was there
• 16:43
  Speaker 3: was a time there where I had to convert him
• 16:45
  Speaker 3: into playing analog guitar amps and recording the old fashioned way,
• 16:49
  Speaker 3: and we had to we needed to start moving more
• 16:52
  Speaker 3: towards the modern digital technology and stuff like that. So
• 16:57
  Speaker 3: some of these demos on reconstruction, and I kind of
• 16:59
  Speaker 3: revert to them as demos because I think nowadays, if
• 17:02
  Speaker 3: I were to tackle them again, I could produce them
• 17:04
  Speaker 3: a lot with in a lot higher quality. But that
• 17:08
  Speaker 3: was kind of like the learning process of hey, we're
• 17:11
  Speaker 3: micing this analog amp with you know, traditional microphones into Okay,
• 17:18
  Speaker 3: now we're writing music and recording direct into an amp
• 17:21
  Speaker 3: simulator and at that point we can change the tones
• 17:24
  Speaker 3: forever if we want to so, and then also writing
• 17:28
  Speaker 3: demos using superior drummer and all the modern techniques that
• 17:31
  Speaker 3: all the bands are using, and so that it's been
• 17:35
  Speaker 3: a learning process over the last few years trying to
• 17:38
  Speaker 3: adapt to that technology. But I think we're kind of
• 17:42
  Speaker 3: trying to, you know, we're we've got it kind of
• 17:45
  Speaker 3: figured out and tweaked to where, you know, we're happy
• 17:48
  Speaker 3: coming up with a blend too write. So we've saw
• 17:51
  Speaker 3: we've seen this trend now in the music industry where
• 17:53
  Speaker 3: everybody's doing digital, everybody's using the same amp modelers, everybody's
• 17:57
  Speaker 3: using the same superior drummer kits and music, uh is
• 18:01
  Speaker 3: sounding the same a lot. You know, all the tones
• 18:04
  Speaker 3: are the same. So we're really trying to take our
• 18:07
  Speaker 3: analog experience and our digital now digital experience and trying
• 18:10
  Speaker 3: to blend them in to create like a hybrid approach
• 18:14
  Speaker 3: to where we can get really good quality without paying
• 18:17
  Speaker 3: a lot of money for a professional studio time and
• 18:21
  Speaker 3: still not being like too digital, to where everything just
• 18:25
  Speaker 3: sounds like everybody else.
• 18:27
  Speaker 1: Yeah, and it's.
• 18:30
  Speaker 3: Yeah, yeah, it's a process and and and like I said,
• 18:33
  Speaker 3: you know, we learned to I think, you know, a
• 18:35
  Speaker 3: couple of those early demos on Reconstruction, I look back
• 18:38
  Speaker 3: and I'm thinking, you know, these are a little bit
• 18:40
  Speaker 3: too digital. I don't like them, you know, I would.
• 18:43
  Speaker 3: I would much rather take this hybrid approach. And even
• 18:47
  Speaker 3: on Dying Clock, you know, those are those are real
• 18:49
  Speaker 3: recorded drums by Kelly in a nice studio. If we can,
• 18:54
  Speaker 3: you know, maintain doing something like that, it's definitely preferred, uh,
• 18:58
  Speaker 3: you know, budget of course, but you know, all those things.
• 19:02
  Speaker 3: So that's kind of what we're shifting to.
• 19:06
  Speaker 4: Very nice guys, Well, thanks very much for your time.
• 19:08
  Speaker 4: It's been a pleasure chatting with you. Dying.
• 19:10
  Speaker 3: It's like is out now.
• 19:11
  Speaker 4: I'm sure there's more to come from a light within,
• 19:12
  Speaker 4: so stay tuned.
• 19:15
  Speaker 2: Cheers, thank you for having us