Latest / Unsigned518 / Unsigned518 - Episode 220 - Pearson of WEQX's EQXsposure

Transcript

Unsigned518 - Episode 220 - Pearson of WEQX's EQXsposure · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves punk rock music fighting the 13 cabin. Radio bat his motherfucking envy scrolling look at motherfucker Cuz here he comes Andy
• 0:23
  Speaker B: Sculling wearing his orange welcome to unsigned 518. I am back again with Pearson Constantino. How's it going, man?
• 0:32
  Speaker C: It's going, it's going.
• 0:34
  Speaker B: Yeah. I'm excited to have you back. And we decided like this time. Well, the first time you were on, I believe we talked a lot about like, your music and we played some of your music. Yeah. But this time we're with. This time we're doing a. Got to do it a little differently. And since you are the local music guy doing EQ exposure on eqx, I figured we'd just talk local music and talk about maybe some bands that are on the radar, things about the scene, really, just kind of things like that. And then we'll have you pick a couple of local bands that you've been digging and we'll, we'll play those on the show. But I think to start, like just before we hit record, we were talking about how drummers seem to be the people that are more active in reaching out, trying to promote their music. And I thought that was interesting. Is that that's really like a thing or. It's mostly the, hey, I'm the drummer of so and so. Would you check this out? Is that a.
• 1:34
  Speaker C: Well, I mean, it's definitely split. I just feel like the drummer of the band, you know, is also the heartbeat. Well, yeah, and you know, it kind of. It's kind of like the center of the band. Right.
• 1:52
  Speaker B: I've heard it said that if you have a bad drummer, no matter what, you have a bad band.
• 1:59
  Speaker C: Agreed.
• 2:00
  Speaker B: You could have a fantastic guitarist, fantastic bass, everything. If you have a terrible drummer, everything's shit.
• 2:05
  Speaker C: It's boring.
• 2:06
  Speaker B: Yeah. So, yeah, the drummer is absolutely the heartbeat.
• 2:08
  Speaker C: I have to say I was really impressed. We take a break from the local thing, which is critical, but with Rush choosing Annika Nils as their drummer and how, like, there has just been an outpouring of the drumming community in support of that, that, that just makes me feel really proud to have, you know, made the decision to go to college and leave the classical music world to go play jazz drums in college and spend like the first, you know, 14 years of my post grad world just playing drums and being, you know, whether the music I made could make any money or anyone listened, but it was just like being so focused on the instrument, you know, was cool. And like, I just. It just. So I say that because a lot of drummers who. You know, a lot of people can play and a lot of people get gigs, but there's like a different sense of community and connection between. And I can only say this about drummers because I am one. Yes, I play other in service, but not, you know, I'm not really, like, aligned with other guitar players as much. You know what I mean? So, like, the drummers, it's just a sense of like, somebody who took a gig from me actually wrote a book about the brotherhood of the drum. Right. And. But it's true. And, like, you're rooting for each other and you're like, want to check out the gear? And like, dude, I got this new pedal. You sort of, like, share.
• 3:57
  Speaker B: Right.
• 3:57
  Speaker C: And so I think that that's. I'm getting around to it by saying that there's a lot of sharing going on.
• 4:01
  Speaker B: Yeah. You know, it's funny because Chad Flewling from the band Eerie, he's the drummer for Erie.
• 4:08
  Speaker C: Great drummer.
• 4:09
  Speaker B: Yeah, absolutely. And he's a friend of mine, and I was over at his house a couple weeks ago, and I mean, I'm not a drummer, you know, I'm.
• 4:15
  Speaker C: Shame on you.
• 4:16
  Speaker B: Well, I mean, I have a drum set right behind me, Pearson. And I do try, but, you know, we'll play after and you'll be like, yeah, you're not a drummer. But like, I was in high school, I played in the marching band.
• 4:25
  Speaker C: Oh, cool.
• 4:26
  Speaker B: So, like, I was a snare drummer, and it just didn't translate quite as well to. Now you got to do shit with your feet. Like, you got to do different things with your hand. But I do play. I mean, I play on that kit every week. Like, you know, I'm fucking terrible, but it. It helps. It helps me, like, understand what I'm doing, you know, I wouldn't be a bass player without the background of the drums. Sure. Like, I play acoustic guitar, and I get joy from the acoustic guitar, but not anywhere near as much as I do from playing the bass.
• 5:03
  Speaker C: Yeah.
• 5:04
  Speaker B: And when I'm playing in the band, I'm basically an extension of the drums. Like, I don't use. I don't use really any effects or pedals or, you know, delay things or chorus effects. You know, I'm just low end in lock with the drums. And that's what, like, I feel like that's where my role is, to be an extension of the drums. Give everything more fucking punch and let the guitar nerds would do their fancy Little things with their doo, doo, doo, doo, doo, doo, doo. You know, I make fun of them all the time because I'm like, why do you guys have so many fucking pedals? You know? Like, I just. When I show up at a gig, I just have my bass on a. In a gig bag, and that's it.
• 5:47
  Speaker C: So my brother is a musician, and I once in a while play with him. And he was like, hey, man, can you play guitar on this gig coming up? And he's like, listen. And I'm gonna say a word that I probably shouldn't. But don't get a gear boner, okay? Just bring the fucking acoustic guitar. No.
• 6:05
  Speaker B: That's funny. Cause our Abby, our trumpet player, like, if we're, like, messing around and, like, we, you know, we start, quote, unquote, jamming. Yeah, She'll. She'll basically call it. She calls it a jam boner and makes us stop. She's like, basically, if you're. If you're doing a guitar solo that's more than 90 seconds long, she'll be like, jam boner. Fucking stop. Get it out of there.
• 6:26
  Speaker C: I was. I was trying to get a gig with this guy, and he's like, well, let me hear you play. So I, like, sent him tunes from. This was like, right out of college, back to that world. And he sent him, you know, the music, and he's like, okay, cool. Yeah, I don't really dig jazz. And then, like, maybe three months later, he reached out again. He's like, I just re. Listened to your work, and it just sounds like a bunch of noodling. I was like, I don't know. I just need the gig. Like, are we doing it or not?
• 6:54
  Speaker B: Right?
• 6:54
  Speaker C: A bunch of noodling. It took a lot, so I'll say this. So it took many, many years for me to get away from music that I thought was really important, but no one enjoyed listening to it. Like, I. Not saying it was bad or poorly done. It was just music for music nerds and. Really.
• 7:17
  Speaker B: Absolutely. Which there's a lot of stuff that I don't get. You know what I mean? Like, there's some bands that everybody says are like, these real super important bands. And I'm like, I. I get that they're important, but it doesn't do anything for me personally.
• 7:30
  Speaker C: Right? So that's the coolest thing that we can now discuss it, right? And say that there is sounds for every ear, right? And every audience. I think right now you're seeing this just surge of interest in Angie de Poenterine.
• 7:49
  Speaker B: Right, Right. I mean, fucking a week and a half ago, no one had ever heard of them.
• 7:53
  Speaker C: Sure.
• 7:54
  Speaker B: You know?
• 7:54
  Speaker C: Sure. Which is. And they've been playing for, like, 20 years.
• 7:57
  Speaker B: Yeah.
• 7:57
  Speaker C: And they was by accident. They were. They were booked at the same venue for twice in one week. So they were like, well, let's just disguise us and we'll just play.
• 8:07
  Speaker B: Really?
• 8:07
  Speaker C: Yeah.
• 8:07
  Speaker B: Does that have.
• 8:08
  Speaker C: That's what I read.
• 8:10
  Speaker B: Okay.
• 8:11
  Speaker C: You know, if I.
• 8:12
  Speaker B: For those that don't know, they're like the mono. What do they do? They call it monotone? Like, what's the. You know how it doesn't. Micro tone. Microtone.
• 8:21
  Speaker C: Yeah, yeah, yeah. So it's their notes in between notes. Right. So there'd be like F quarter sharp. Right. So microtonal music was. It's always been there. And you want to go back to, like, Shostakovich in the turn of the 20th century and Stockhausen and Vaebern and really esoteric sounds. But. Yeah. So it's. It's very cool what they're doing. They've created a really fun thing, and I'm so glad that it's caught on. And I think you see a lot of people now adding those elements.
• 9:01
  Speaker B: Right.
• 9:01
  Speaker C: To, you know, popular music. And I think that that's really great. And that's. That's. I'm curious to see where it goes. For sure. And I'm grateful they exist, and I'm grateful they got so much attention.
• 9:14
  Speaker B: And I think, like, the. The word pop, you know, or pop music or popular music, like, it evolves so much.
• 9:20
  Speaker C: Yeah.
• 9:21
  Speaker B: That it's. Whenever anybody's like, oh, you know, I don't like pop shit, you know, or
• 9:25
  Speaker C: whatever, I'm like, it's no fun not to like pop. To quote Wayne Grant's. Right.
• 9:28
  Speaker B: Right. Like, I love pop music. Like, I like. You know, I mean, if a Sabrina Carpenter song came on, I'm not changing it. Like, I'm like, it's good song. Like, it's called pop for a reason. Like, it's that formula that is pleasing to many people. So to be like, it's not pleasing to me. Like, why would you want to do that? Just be like, yeah, that's pleasing to me. But this is as well, you know, like, you can like the m. Microtonal and the weird stuff. But I. I don't know. I'm just someone that's like, I take it all in. Like, I like. I like almost everything.
• 10:00
  Speaker C: God forbid you make somebody dancing happy.
• 10:02
  Speaker B: Right. Right.
• 10:03
  Speaker C: Shame on you.
• 10:03
  Speaker B: Yeah. Or like, I remember, like, this is going off on a big fucking tangent. But just to give you an insight of what some people are like, there was a guy that worked for me. I ran a retail store. This is going back, you know, probably 10 years or whatever, but guy that. That worked for me. He had just started. And I was just like, you know, initiating kind of small talk as we're going through the day. And I was like, oh, you know, what kind of music do you listen to? And he says, oh, I don't listen to music. And I was like, what do you mean you don't listen to music? And he was like a religious dude. And he said, you know, other than, you know, maybe like a couple hymnals or whatever, he's like, I don't listen to music. And I was like, why? And he goes, because it's really obnoxious when you hear a song and then you still hear it in your head when it's over. And I'm like, that's obnoxious to you? I'm like, to me, that's fucking beautiful. You know, like, to have a song stuck in my head means that it has gone. That has gone through all the clutter and bullshit in my brain and found the center and made its home there. And that's huge. Like, I. Not a lot gets through my thick skull, you know what I mean? So, like, for me, getting a song stuck in my head is beautiful. And this guy was like, no, it's the worst.
• 11:26
  Speaker C: That guy sucks.
• 11:27
  Speaker B: That guy did suck. He really, really fucking did suck. But for many, many other reasons. But, yeah, so weird.
• 11:33
  Speaker C: What a boring, bland, low tone.
• 11:37
  Speaker B: Yeah. And his just straight answer was, I do not listen to music.
• 11:41
  Speaker C: At least he was honest.
• 11:43
  Speaker B: Yeah, I guess. Well, Jesus probably would have struck him down if he wasn't, you know, he wouldn't think so.
• 11:47
  Speaker C: I don't. I don't think so.
• 11:49
  Speaker B: Yeah, I don't.
• 11:50
  Speaker C: I think, you know, what was like, the first notes were the Lydian mode, right. Ever written. So I'm like, that's probably as musically as close to God as you could.
• 12:00
  Speaker B: Right.
• 12:01
  Speaker C: Imagine if either two, you know, aligned. Right, right. I'm not a religious person.
• 12:06
  Speaker B: No, nor am I. I mean, clearly my joke about Jesus striking him down, like, would not be.
• 12:11
  Speaker C: I will tell you, though, I grew up Cathol. I was playing guitar and I was an altar. They called them altar boys. Catholic, of course, I'm sure. But there was no weird shit. I have to, like, qualify this nowadays because there probably was weird shit, right? And. But there was a Neil Young songbook backstage in The. And the priest is like, you can have it. And he opened the book to needle and the damage done and said, you should really learn that one.
• 12:50
  Speaker B: Wow. And the song about heroin use. Yeah.
• 12:56
  Speaker C: So, yeah, I didn't learn it, but I went back and, you know, I've always remember remarked on that. That's. That story. Like, that was, like, the only good thing, I think.
• 13:12
  Speaker B: And I mean, again, not being religious, but, like, churches are fucking centered around music. Yeah.
• 13:18
  Speaker C: That's why this guy is so weird. I didn't mean to just write him off, but. No, I feel like maybe we should.
• 13:24
  Speaker B: Yeah, we. Oh, we absolutely should. He didn't last long at the.
• 13:27
  Speaker C: He's not listening to unsigned 518 or. No. Does not read Metroland. No. No. Did not go to any in the water last night.
• 13:35
  Speaker B: No. Definitely not. I don't even know, like, a Jesus publication, but whatever it is, he's probably reading that. Yeah.
• 13:42
  Speaker C: If he can read.
• 13:43
  Speaker B: Yeah. That's true. Maybe not, but. Yeah, I. I just think that all music hat, like you said, there's an ear for everything.
• 13:52
  Speaker C: Yeah.
• 13:53
  Speaker B: And good. And if you don't like something, that is fine. But I. I kind of want to get everybody away from saying that music sucks or that music is terrible, like, because it's not. Because somebody.
• 14:08
  Speaker C: Florida Georgia Line might be okay.
• 14:10
  Speaker B: Sure, sure, sure, sure, sure. No. Yeah. Well, I mean, it's terrible to me.
• 14:14
  Speaker C: Yeah. But there is an audience for those.
• 14:16
  Speaker B: There is absolutely an audience for them. And they suck, too. But they, you know, they exist. All right.
• 14:25
  Speaker C: They drive bigger cars than we do.
• 14:27
  Speaker B: Yeah. But that doesn't mean anything.
• 14:30
  Speaker C: How do you go to sleep at night, Right. Knowing you're just a chode. Love that word.
• 14:38
  Speaker B: I do, too. Got it. So it's so. So multifaceted word. Chode. But anyway, let's. We won't go down that. That road and start talking about the Florida Georgia Line fans, but let's talk, like, some music stuff because we're. We're at the point where I want to kind of get into playing a song. And we had kind of discussed a little bit.
• 15:00
  Speaker C: Yeah.
• 15:01
  Speaker B: Some bands that were on your radar. And the first one we were going back and forth with how to pronounce, and we both decided it was Otobo.
• 15:09
  Speaker C: Yep.
• 15:10
  Speaker B: O, T, O, B, O. All capitals. And that was one of the bands that was kind of on your radar.
• 15:17
  Speaker C: Yeah. So I love what's going on there. So maybe I got. I'm gonna pinpoint it. I got the Jason Keller from eqx. Awesome musical mind and all around solid, solid human being sent me an email like, hey, I ran into this person at. I don't know if it was Collar City Guitars or Love of Fuzz or something. And he's got this band and I'm gonna go see him at no Fun. And then made a connection, right. And then I got the record and I went to thank God for Band Camp. And I was able to listen to so just their back catalog. When I was walking, I had a little bit of a break in the day, and I was walking around the capital because I had to go to Distillers Convention. And I just fell in love with the thing. And it just reminded me of music that I wanted to be a part of, you know, going back to why I got into playing music. And very, very cool. So I was really excited to be able to play. They sent two songs off their latest release. So I was like, you know what? I'm just gonna play these two songs, and I'm always gonna play these two songs as these two songs.
• 16:41
  Speaker B: Nice.
• 16:41
  Speaker C: Because you only get to, you know, when you program EQ Exposure. You know, I want to make sure everybody gets covered, but at the same time, I want people to who do listen, hear stuff consistently and kind of catch a vibe with it.
• 17:01
  Speaker B: That's. I mean, that is something that I've noticed, you know, because I do listen to the show.
• 17:06
  Speaker C: Thank you.
• 17:07
  Speaker B: It's a great, great show. And it's a. And. And going full circle. I used to host EQ exposure 20 fucking 3 years ago or something. Like a literal lifetime ago. But, yeah, that was one thing that I would do too, is try to play, you know, I would keep new stuff in. Yeah. But again, like, you do, there's songs that you hear consistently, and that's how you, you know, like, if you hear a song once, it goes away. Right. And if you hear a song once and you're like, I like it, it might still go away. But if you hear a song and you're like, I like it. And then the next week you're like, oh, that's that song I like again that once that fucking pattern starts, you're a fan, you're going to seek that music out. It's going to be in your conscience. So that's a really, really cool way to go about programming. I love that. So with. With Otobo, I actually have, you know, and ironically, I got their new album emailed to me last night, like, so I actually have the album. Do you remember what songs they were that you were playing?
• 18:09
  Speaker C: Yeah, Omen is one of them, and it's the one that follows up. It's like something.
• 18:15
  Speaker B: Echo.
• 18:15
  Speaker C: Yeah. Echo. Present.
• 18:17
  Speaker B: All right, well, why don't we do those two songs and. Yeah, so we're going to do a double feature from a tobo, and then we'll be right back to talk some more with Pearson.
• 18:46
  Speaker A: Omen o man omen o
• 18:55
  Speaker C: spit.
• 18:56
  Speaker A: O between text and thought. He loves spitting in my face. Sam. Sa. Wait.
• 22:25
  Speaker C: You never taught us how to surround.
• 22:38
  Speaker A: We're treading around we're peering out we're asking questions we're holding doubt we're treading around we're peering out. You. Inside the. Just when I thought I was out, it comes around again. Hey, you're hollering for the throne Makes me yawn. It's tired and it's boring. Great. Our lady of all the drums and cluster bones. No, there's nothing to say.
• 24:47
  Speaker C: Too light.
• 24:48
  Speaker A: Almost echo the press. It.
• 26:47
  Speaker B: All right, that was a tobo. And I'm back here with Pearson, and we were. We were talking. Like, I. I literally had to stop us from talking and hit record because we were going off on some of the great other local bands.
• 26:57
  Speaker C: Don't miss the gems, man.
• 26:59
  Speaker B: Right. And so you had mentioned Katie Gallagher.
• 27:03
  Speaker C: Yeah.
• 27:04
  Speaker B: And then who else?
• 27:06
  Speaker C: Yeah. So Katie Gallagher's thing has been consistent with putting out just outstanding recordings and surrounds herself with excellent musicians. She plays a lot, which is always a good sign you're out playing and, you know, just consistently working the craft. Same. I could say the same for Rob Fleming Roseway.
• 27:34
  Speaker B: Yeah.
• 27:35
  Speaker C: I don't think there's a thing that guy's done that hasn't been like, it for me.
• 27:40
  Speaker B: You know what was funny is I saw him the other day drumming to a deftone song on his Instagram, and I was like, wow. I. You know, I know. Like, I know he, like, does all these instruments, but I'm like, you're really good at all of them.
• 27:55
  Speaker C: Yeah.
• 27:57
  Speaker B: God damn it.
• 27:59
  Speaker C: And he can sing.
• 28:00
  Speaker B: Yeah. Oh, yeah, dude, he can sing. We were at the Jive Hive for their Christmas special.
• 28:06
  Speaker C: Oh, my God. Who does not love A couple years ago, Sugar Hole.
• 28:10
  Speaker B: Yeah. And Rob and Rhea of Hold On Honeys did a duet, and it was like. I think it was like a Willie Nelson. Like, Rob was doing, like, the Willie Nelson part. He sounded exactly like a young Willie Nelson. Like, it was uncanny. Like, we were all just like, what the is going on? Like, yeah. So we could sing really good and play every instrument really, really good. So, yeah.
• 28:36
  Speaker C: Must be nice.
• 28:37
  Speaker B: It really must Be nice. Yeah. Instead of me sitting in here banging away on drums that I can only do when no one's home, so I don't embarrass myself, but, you know, so who else?
• 28:52
  Speaker C: Beargrass has been back to the scene and Katie Hammond, that's her musical outlet. So this. There's been three singles sent my way from this new collection of work. Progressively more personal and charged, and I love it. I can't get enough, man. It's like every time I get one of those tunes, it's outstanding.
• 29:21
  Speaker B: And when you do, like, when you receive music, like, you know, I mean, I know how, like, my. My process was, but, like, what's your process like? Do you collect a little bit of music and then sit down and listen to it all? Do you kind of listen to every song as it comes in? Do you?
• 29:37
  Speaker C: I wish I had a better answer, you know, in pro. In my process, there is. It's like whenever I can really listen to it. And I think, you know, as you mentioned, how you do your album reviews and stuff, I think maybe my context sometimes, you know, where I am, what I'm doing doesn't serve that band, that artist well. So I'll stop and be like, yeah, I need to come back to that. I would tell you on New Year's Day, I clicked open the EQX email before the kids were up. And the first piece of music I listened to this year was by Meg Lee Chin, who is. Goes back to the late 90s, an industrial noise artist. She was in Pig Face.
• 30:35
  Speaker B: Oh, wow.
• 30:36
  Speaker C: And her tune, I was like, you know, I recognize the name. And I was like, wow, she's part of the scene, you know, And I. That piece of music was. It's called Lucy and it's just so heavy. So I emailed her right away and it was cool. That was. That was an interesting way I say that. Like, I wish I could listen to everybody's music. And, you know, like, at the one time, right, I'm not super particular anymore about the quality of the recording. I just want the playing to. To show through so that the song can be experienced.
• 31:18
  Speaker B: Right.
• 31:18
  Speaker C: You know, because sometimes I get recordings and I'm not. I'm not gonna mention anybody, but like
• 31:26
  Speaker B: a little lo fi.
• 31:27
  Speaker C: I'm cool with the lo fi thing. It's the lack of care put into the execution of the song. So you're just like, pushing record and then like, okay, it's done, right? I'm okay. Like, I play with musicians who, you know, will speed up in the middle of A sentence in, like, a phrase, and I can, like, go with you, you know, and I'm okay with that, but. But sometimes I get really. It's just the. The. Maybe it's just how much time I spent in the woodshed that sometimes I can get really turned off quickly. You know, the. You know that big hit, that Pharrell hit that was happy?
• 32:12
  Speaker B: Yep.
• 32:13
  Speaker C: The fucking hi hats. Too Loud. I love that song, but it bugs me so. It's like every time I hear it, you know, and I'm like, so. Like that. That could be a thing. And I don't think that's necessarily fair. I'm just telling you honestly. And so then I go back and I listen to and I try and work my way through that. And it's really fun at eqx, where the speakers are just so well tuned and it can just listen super loud. And you're talking in this.
• 32:40
  Speaker B: In the studio. Yeah, not the air studio, but the. The one across the hall there. Yeah, like that. And even when I was there 20 some odd years ago, I used to. I wouldn't even be. You know, I'd be done with work and I'd just be like, oh, I got this new album. I'm just gonna go in this studio and listen to it on the best fucking sound system that I've ever heard in my life.
• 32:59
  Speaker C: No, totally. And that's how I listened to the new Tool record. And I was like, oh, it was like the Memorex tape commercial, you know,
• 33:08
  Speaker B: like back when the songs. The new songs and new singles used to come in through satellite. I don't know if they still do anymore, but, like, they sent it in via satellite.
• 33:18
  Speaker C: So cool.
• 33:19
  Speaker B: And we would have to download it and master it and put it into the Enco system. And it was weak and powerless by a perfect circle. And so I got it, like, literally before it had even been on the air anywhere. And I was so excited. And I remember it's a vivid memory. I went outside, smoked a little bit of a joint, went back inside and played that song at full blast in that studio. And it still, like, gives me chills just thinking about it.
• 33:49
  Speaker C: So much power in that. Yeah, the groove is so hard to just do consistently.
• 33:55
  Speaker B: Love it.
• 33:56
  Speaker C: Glad they're glad. There's going to be another APC record this year, right?
• 34:00
  Speaker B: Yeah.
• 34:00
  Speaker C: And Josh Freeze is back in the band full time.
• 34:03
  Speaker B: I didn't know that. Oh, I did not know that. I got to. I got to meet a perfect circle. Everybody except for Maynard.
• 34:13
  Speaker C: No.
• 34:14
  Speaker B: Yeah. It was when they played it was when I worked at eqx. We did an event at the Glens Falls Civic Center. A Perfect circle was playing and I took the van over and, you know, was doing like T shirt giveaways and. And what? And we got to go backstage and meet the band and I was so fucking excited. Like, so excited. And Maynard wasn't there.
• 34:33
  Speaker C: Who is it? Like the Taekwondo gym?
• 34:36
  Speaker B: Yeah, Right. Yeah, probably. No, but I did meet James IHA and Twiggy Ramirez and Billy Howard. I actually interviewed Billy Howard twice on eqx.
• 34:47
  Speaker C: Wow. Yeah, I liked his solo record too.
• 34:50
  Speaker B: Yeah, he's. He's great. Like, I really like his stuff. Yeah, I'm excited for a Perfect circle.
• 34:56
  Speaker C: So thinking of musicians that I really like in the. In the scene. Joseph Beatty comes up a lot. His latest track, lore, that I get to play, and I've been playing consistently because it's just really deep. And he puts so much, so many layers into his thing. I just have been into everything he's put out. And his other band, A Cave In Bloom features Paul Coleman of Architrave and Sync Charmer. Sync Charmer. That was cool. That the latest Sync Charmer cut I dug. Of course I like Architrave for a variety of reasons. Yeah. So keeping it 51 8, but there's a couple of artists out of Vermont that are really interesting now. This kid named Owen Doherty was cool. He's trying to break in to the music business world, which is fraught and I wish him well. And then there was a guy, lived in the Hudson Valley, has moved out. He lives in a school in Montana, so we can't play his work anymore. But Paul. Shoot, I'm forgetting his name. Sorry. Forgive me.
• 36:20
  Speaker B: Shit. We can't play his stuff anymore.
• 36:23
  Speaker C: Yeah, fuck it.
• 36:25
  Speaker B: It's like that scene of Back to the Future. Like the picture's fading, you know?
• 36:28
  Speaker C: Yes. Yeah. I think about that Back to the Future thing a lot, you know, with Huey Lewis. Right.
• 36:36
  Speaker B: So what with Huey Lewis and Back to the Future, it was like.
• 36:39
  Speaker C: It was like Huey Lewis was like. Like he was one of the school counselors declaring whether or not you were talented enough in the show.
• 36:47
  Speaker B: Oh, right, right, right. Yeah, you're right. And then the power of Love was the.
• 36:52
  Speaker C: Holy shit. Yeah, it was. So there's Reckless, Barb, Bruiser and Bicycle. Eastbound. Jesus just sent a new song, which was very cool.
• 37:09
  Speaker B: They have a new. A whole new album coming out, right?
• 37:11
  Speaker C: I believe. Yeah. And I think that if I read it correctly, it was recorded in their. Their space out around here.
• 37:20
  Speaker B: They're like out in Greenwich.
• 37:22
  Speaker C: Yeah.
• 37:22
  Speaker B: I used to be next door neighbors with Carl, who's the drummer.
• 37:28
  Speaker C: See, it was Carl who sent the song.
• 37:30
  Speaker B: Okay. Yeah, we literally were next door neighbors. We were split only by a small fence. Our dogs used to fucking hate each other. Oh, well, not hate each other, but, like, anytime they'd see each other, so.
• 37:45
  Speaker C: Oh, man.
• 37:46
  Speaker B: Great, Great guys.
• 37:47
  Speaker C: Yeah. Solid dudes. Yeah. You're putting me on the spot here. I'm just trying to think of Tonight show because there's some newer artists so Ian Morgan shows up with.
• 38:06
  Speaker B: When he went. It went a different route with his music there.
• 38:09
  Speaker C: Yes. And I. I. Right.
• 38:12
  Speaker B: Really fucking talented dude. And it like. Hey. Went from alternative rock.
• 38:16
  Speaker C: Yeah.
• 38:17
  Speaker B: Like, I mean, literally sounded like Alice in Chains. Yes. You know, like that Seattle sound. Really, like heavy original rock. And now he's, you know, picking and going a little more bluegrass and un. Fucking believable talent on that kid.
• 38:34
  Speaker C: Like.
• 38:35
  Speaker B: Right. I mean, kid. You know, he's 24 or whatever, but,
• 38:38
  Speaker C: like, that's a kid.
• 38:39
  Speaker B: Yeah, I guess you're right. I'll be 53 in like a couple weeks. But yeah, to go from like, you know, that. And there was one time he. It was Peach Misfits was what he went. They opened up for us for shortwave radio band at Unihog. And at the time, Ian didn't have a band, so Lonnie and Ryan and did John Trump. Yeah, I think John did. So, like, he basically borrowed the, you know, Short Wave radio band to be his band.
• 39:09
  Speaker C: That's awesome.
• 39:10
  Speaker B: And like, they played those songs live and it was fucking awesome. It was really co. And, yeah. Stoked for that guy.
• 39:17
  Speaker C: Yeah, I do. I like this direction and it's. It's feels true.
• 39:24
  Speaker B: It's absolutely. I mean, if you see. You know.
• 39:26
  Speaker C: You know what I mean?
• 39:27
  Speaker B: Yeah, he's. He's a. Lives on a farm.
• 39:29
  Speaker C: Yeah.
• 39:29
  Speaker B: You know, works the farm and works the land and. Yeah, you're right. It's really authentic.
• 39:37
  Speaker C: And there's. Speaking of that kind of panel, Bennington thing starting again. Has this tune called before the Internet that I've been really enjoying. To me, it kind of has a Death Cab vibe, which Nothing wrong with that. Not easy to pull off if you're not them. And so, yeah, that was cool. Sarah Davo came out with this record maybe half a year ago that I think is perfect.
• 40:09
  Speaker B: Yeah. She's been getting, you know, the other show, Weekend Spotlight that my buddy BJ hosts and I. I produce or whatever. He's been playing a lot of Sarah Demo.
• 40:19
  Speaker C: He's really.
• 40:20
  Speaker B: Yeah, yeah. Really great music.
• 40:22
  Speaker C: Like so good. Yeah, it's a very, very verdant scene and we're really lucky that we get to do what we do right. And so we get to curate, you know, in 120 minutes in my case, each and every week and kind of like take this journey through this music scene. And I think, I think that's our culture, right? So, you know, we have great beer here. We have Four Seasons. It's rural. There are some metropolitan areas, you know, with Saratoga, Glens Falls, Albany, Troy and spots in between. And you know, so when you think of like who we are, this is our music, you know, you know, favorites regardless, right? That's our cultural identity of this 518 general area. Che Guevara T shirt. One of my favorite bands from this scene. Just. I love loudness, I love rock and roll. And yeah, I was so excited to be able to share some of that. You'd mentioned the Jive Hive, so. The Sugar Hold. Who doesn't love those guys?
• 42:01
  Speaker B: Yeah, and they're actually. They're doing the. What is it? What's wrong with your whip? Wednesday's theme song on. On the station there.
• 42:10
  Speaker C: They're the best, man. They're hustling and they're playing. And who doesn't love it? But you think of bands that are also unique. The Jagaloons love them. Haven't played them in a while, so if they listen to this, the truth's out. I'm sorry, I'll get back to it.
• 42:26
  Speaker B: You haven't played I Touch Myself? Have you heard their cover of I Touch Myself? Dude, we'll play it before you leave. That's the last single they put out. They put it out in February.
• 42:36
  Speaker C: They didn't. They missed my email on that.
• 42:38
  Speaker B: They must have. And I have it somewhere. They have. They put out a heart shaped flexi 45.
• 42:44
  Speaker C: Oh, awesome.
• 42:45
  Speaker B: I have one. I have one here. But yeah, they do an instrumental cover of the Divinyls. I Touch Myself and it's fucking amazing.
• 42:54
  Speaker C: They are amazing.
• 42:55
  Speaker B: Yeah. Really good dudes too. And they're also like supportive of other band. You know, like you'll see them at shows which. And that's, you know, another thing about our scene is I love going to shows and being like, oh, that's so and so from that band. That's so and so from that band. You know, like people come out and support other bands which. Which you may not see in every scene. Like, I feel like probably not.
• 43:20
  Speaker C: I can't Speak to that, you know, I don't know. The only scenes I've been a part of are obviously, what. Whatever I do here. But I played growing up in Syracuse and really, a little bit of, like, going to each other's shows. I played in Ithaca. A lot felt similar there. And then when I went to school in a bigger city and I don't remember going to other band shows very frequently.
• 43:47
  Speaker B: Yeah, I just remember, like, when I was younger, like, first in radio. I mean, I got in radio when I was 18. Oh, wow. But, like, hearing, like, these stories of, like, music scenes, and it was all competitive, you know, it was all, like, it's very competitive. We need. You know, if we don't get this gig, someone else will, so we need to do whatever we can. And it was like, camaraderie and everybody helping. It was like other bands were almost seen as, like, the Enemy, you know, like, there's very limited stuff to go around, and we need to get it first. And I've. I never, like. It never sat well with me. I was always like, there's plenty to go. You know, there's plenty to go around. There's plenty for everybody. And a lot of those bands from, like, when I'm talking about in, like, the early 90s that were part of this kind of cutthroat, they're not still here. You know what I mean? They're not here. And I think that's probably why, because if you're looking at everything like a fucking competition, like, you need to make all these enemies, then you're not gonna last.
• 44:54
  Speaker C: It's not like these bands are like mini Coke companies trying to unseat Coca Cola, you know what I mean?
• 45:00
  Speaker B: But, I mean, even if they were like Coca Cola and Pepsi Cola, you think they're enemies. They're not. They're not. They're pushing each other to both rise to the top. And I think that's, you know, like in Mark. I took a marketing class in college, and I just always remember the very first thing the teacher said. He was like, you know, if you have it or if someone has a good idea, steal it and make it your own. And, you know, it was kind of like, caught me off guard. She's like, why do you think when a burger king opens, McDonald's opens directly across the street or a Stewart's opens here, and then there's a Cumberland Farms right across the street? Because they drive each other's business. And it seems very competitive, but neither of them are doing poorly, you know what I mean? So, like, how competitive is it, you know? And that's kind of the same, you know, with music, I guess. So let's, you know, I'll put you on the spot again. Try to think of a. Think of a band that you want to play to close the show out.
• 46:10
  Speaker C: Like, just among those that I mentioned, Girth Control. I didn't bring them up.
• 46:15
  Speaker B: Oh, you didn't?
• 46:16
  Speaker C: I love them.
• 46:16
  Speaker B: I fucking love girth control, too. I have. I have my. They do. They did my theme song. Have you heard my theme song?
• 46:23
  Speaker C: I believe I've heard your theme song.
• 46:25
  Speaker B: Yeah. Fucking girth control are amazing. What?
• 46:27
  Speaker C: What?
• 46:27
  Speaker B: Girth control song, you want to do Work shirt? All right. Yeah. And I don't even have to ask those dudes. I know they would say yeah. So, yeah, let's listen to Work shirt. Oh, wait.
• 46:36
  Speaker C: Give me a beer. Give me a beer. Okay, I want that one.
• 46:38
  Speaker B: All right, well, let's listen to Beer Me. You know what? Actually, let's listen to Beer Me and Work Shirts, and then we'll be right back to wrap it up.
• 46:53
  Speaker A: Hear me song Send me a bat or other fat fix the flick it's the flock shutter box let's fly and rock Beer me Be me I don't care if it's weak or strong Be me yeah, be me from this beer bar you're feeling fine with no Must die from the mini brains Take the cold gang inside this has been mine Keep it wide Cuz I always stay true to what's inside. Give me a b give me an e give me an e give me an r give me a b give me an e give me an e give me an r give me a b give me an e give me an e give me r give me, Give me a voice Give me a crowd Give me a PBR Fear me, fear me Be me Fear me Be me Fear me Fear me one more time. I don't care if it's weak strong Hear me, hear me I hear it from this. Hear me song How I ever seem to wear it. I don't know who I am anymore Whoa whoa Get home after working I'm so tired and defeated get high enough I can pretend that life has got to mean it Sit around in pajamas watching TV for six hours to stop I never leave the house so I'm never making laundry Might as well bring all my cool ventures to the salvation all day Got too fat to fit into all my favorite jeans anyway Careless gather to house the bird hey babe, do you think you can pass me the clicker Gotta turn the subtitles out to hear them about you at all I ever seem to wear it oh, my Lord I don't know who I am anymore. All I ever seem to wear it Guess I'm not as cool as I was before.
• 49:36
  Speaker B: All right, that was. That was the second double feature of the show from my favorite Tim. Yours, Ghost Control. So, Pearson, thank you so much for doing, like, I was really looking forward to this all week. I was saying how. How busy I am with things, and I was like, this is going to be the most relaxing hour of my weekend. Just like sit down and chill and talk with people. Pearson. About some music and.
• 49:57
  Speaker C: Good.
• 49:57
  Speaker B: It was exactly that. And then as soon as you leave, you're back, right back to the computer and, you know, gotta. Gotta earn my keep. But anyway, before we go, just like with everybody, I want to give you the chance to say your gratitudes or your shout outs.
• 50:12
  Speaker C: Just, I'm. Yeah. So I'm beyond grateful that I get to do what I do.
• 50:18
  Speaker B: I,
• 50:22
  Speaker C: you know, I do it because of all of you. Right. And this show still in the air because of all of you, you know, and I'm touched and honored. I get to talk about music and listen to, you know, these great bands, you know, that we mentioned and everybody else that even wasn't mentioned that I get to hear their contributions and listen directly into their hearts and souls and then be able tasked with putting that on the last independent radio station in the United States of America. And then you can think that that's a bad thing or you can just be a part of it and really kind of own. Own that this is your station, this is your show, and we're really lucky that we just get to share in that.
• 51:31
  Speaker B: Yeah, I mean, that's a fucking amazing philosophy because I say the same, literally the same thing about this show. I'm like, this is your show. Like, I'm just the host of it, but this is your show. Like, it's important to you. It's. It's your work, it's your creativity, it's your peers, it's your, you know.
• 51:48
  Speaker C: Yeah, it's.
• 51:49
  Speaker B: And you know, like it or not, me and you are definitely helping build the community.
• 51:54
  Speaker C: Yeah, I feel like the community's helping build. Build the show. But. But yeah, I'm really. I. I feel good that I get to do it and thanks.
• 52:10
  Speaker B: Awesome. All right, so make sure you tune in to EQ exposure every single Sunday. And Pearson, thank you so much. So he is Pearson Constantino. I am Andy scullin. This is unsigned 518. I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullin. New episodes are available every week wherever you stream podcasts. If you'd like to help help support the show, please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com unsigned 518 if you would like to advertise on the show, send me an email@unsigned518mail.com and to be a guest on the show, reach out to me through Instagram at unsigned518. Take care of one another and I'll see you next week.