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Transcript

Unsigned518 - Episode 153 - N.T.T. Fxcks · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73. He loves far cry music. The 19th, jabbing in the dazzle jazz. It's motherfucking Andy Sc. Here he comes.
• 0:22
  Speaker B: Andy Scott, welcome to unsigned 518. I am actually remotely speaking with Zephyr and Aaron of NTT Fox. And Aaron, you're like, on the fucking other side of the country right now, right? Where are you at?
• 0:41
  Speaker A: Total opposite side. I'm in the. On the west coast of Washington.
• 0:46
  Speaker B: Nice.
• 0:47
  Speaker A: Oh, and then I'm about 25 minutes away from Seattle right now.
• 0:50
  Speaker B: And Zephyr, you're just down in Albany, but, you know.
• 0:53
  Speaker C: Yeah, I'm. I'm down in Albany. I'm at my store.
• 0:57
  Speaker B: And you want to throw a quick plug for the store before we get rolling?
• 1:02
  Speaker C: Oh, yeah. It's 327 Central Avenue. Zefs on Central. Come see for yourself and get in touch with our products.
• 1:10
  Speaker B: Sweet. So I actually, you know, came across, or you guys came across my radar. I did the album review and Zeph, I can't remember if you. If we had spoken before then or not.
• 1:26
  Speaker C: Well, yeah, I mean, like, I reached out because, like, I had just gotten back on social media and I was like, giving you a shout, like, hey, like, how you doing? Yada, yada, yada. And I. I had been plugging the album for maybe, like, a couple of days maybe, and then I threw it over to you, I think.
• 1:45
  Speaker B: Yeah, I think that's so many people. I can never remember, like, how a relationship started, you know, but we've been in contact and touch and having conversations over the last, like, several weeks. And, you know, the album came across my desk to review for Metroland, and it not only introduced me to you, but it introduced me to shoegaze in general. Like, I had no idea what to expect, and I was blown away by it. I really, really like what you two were putting together. So I'm excited to have this conversation.
• 2:21
  Speaker A: Thank you.
• 2:21
  Speaker C: Yeah.
• 2:22
  Speaker A: What an honor it is to be someone's intro to such a. Such a niche genre.
• 2:27
  Speaker B: Yeah, I had no. And, you know, and I had heard, like, the term, but for some reason, I just had it in my head that it was, like, really heavy, you know, heavy music. And I was like, oh, you know, this is.
• 2:40
  Speaker A: Yeah, there's Maybe if you branch out into shoe gaze a bit, there are some genuinely, like, sort of heavier shoe gaze bands. They take that whole sort of dreamy feel and they inject it into, like, metal and stuff. It's great. It's a great blanket genre.
• 3:00
  Speaker B: Yeah. I mean, you know, nightmares are dreamy too, you know?
• 3:04
  Speaker A: Yeah, exactly.
• 3:06
  Speaker B: So I guess what we want to do is kind of go back. I don't know who. Who wants to take the lead, but kind of go back and I guess tell the story of how you two came to make music on opposite sides of the country and how NTT fucks got rolling, I guess, to use that fucking term.
• 3:28
  Speaker C: Well, no, no, that's great. I think I'll take part of this question. I'll let Aaron handle. I'll let him interject when possible. But we have been friends, Aaron, like, since like, what, 2006, if not earlier, maybe.05.
• 3:48
  Speaker A: Yeah, it's been a long time.
• 3:51
  Speaker C: Yeah. He and I have been friends for a very long time. We used to be a part of a Japanese rock message board called jrock nyc. And that was ran by a guy named Gordon Britanne. Right? Did I say that right? Did I say it right? I think so.
• 4:13
  Speaker A: I don't know what the last thing you said was, but his first name is definitely Gordon. His last name is Wells. And he's still. He's. He's active on Instagram, but he's no longer like, a J Rock guy. So he's still in New York. You could spot him at, like, any of the metal bars that are hanging around. But yeah, we found each other essentially on a. A J Rock message board, which is. J Rock is Japanese rock. It's just an abbreviation. And we were really into, like, music from Japan and stuff, and this guy had a blog where he kind of did reviews and stuff for albums, and he kind of had an in. Inside look at it because he was in Japan for a long time. And so we kind of found each other through a mutual interest.
• 5:02
  Speaker B: And then so this was. You said you met or, you know, you've been friends since 2005. When did, like. Yeah, when did it go from, you know, being friends to bonding over this music to creating your own music? I guess, like.
• 5:15
  Speaker C: Well, that. That actually, that's a really cool. That's right where we were headed to, like, I think it was like, 2009 is when I really started getting a grip on what I wanted to do musically. I remember I was playing music with this guy named Don Joker for like, a brief Bart in fucking time. And I was, you know, like. Like, you know, kind of like sampling stuff out. And I was really into this one band that Aaron got me into. They were called the Day Sleepers. And Aaron had brought up the fact that a couple of the bands that he had got me into like, like Plastic Tree to name like, like one really specific one, you know, like they were genre called shoe gazing. And so like, he kind of got me down that really deep rabbit hole because, like, I was coming from like a metal and blues background mostly, and it just kind of opened up my eyes to this whole, like, world of like, like sonic overtures. Like, oh my God, this is exactly what I wanted musically, you know. So it actually, it was really funny how this started. We started a joke Japanese rock band. Aaron, you want to lay this one out?
• 6:39
  Speaker A: Oh, sure. Yeah. So we formed a band on this message board with another friend of mine whose name is Ken. He lives in Japan. And it was meant to sort of parody indie Japanese, what are called visual Kei bands, which are sort of like their version of glamrock. So like hair metal and stuff like that. So it was a parody band of Japanese hair metal, essentially. And the only reason we got together is because Ken was like, I play guitar and bass. Zephyr was like, I play guitar and bass. And I was like, I can make noises with my voice. And we just kind of grouped up and started making sounds. And it was so much fun that I think that was sort of the impetus for me and Zephyr to get together and do something actually serious. And we segued that into the first NTT Fox recordings, which was essentially us trying to make something that was more shoe gazey. And that was actually the. I would say that was the start of my ever touching music in general. Before that, I was more just an appreciator of music. And up to that point, I had never tried to do anything creative in that. In that way. So NTTF and that parody band were sort of my intro to songwriting and creating music and stuff like that.
• 8:16
  Speaker C: And from. From my perspective, coming from, you know, college and all that, and then moving back from Maryland back to New York and like, not really having much of anything to do except, you know, like work in a clothing shop and you know, basically like ingest and live music. I think that was like the best thing for me at that point in time because, like, I actually got my feet wet. And Aaron was like around for a lot of like. Like the me, like I would message him be like, oh my God, you should hear these samples. I just did because I had like this giant drum kit in my garage and that's what I did. To sample like the drum K in our first releases was just like, I would just go out to my garage and just like bang around and be like, okay, I want this sound, I even used a dryer. I used a dryer as a sample for that. I think I tracked the guitars with a laptop microphone because I didn't have a proper USB cable to hook up to my PC at the time. So, yes, all those sounds were like all organic in the room, reverb y type sandbox stuff.
• 9:34
  Speaker A: I didn't even know that. That's news to me. That's. That's really. Yeah. Oh, it's funny.
• 9:39
  Speaker C: Yeah.
• 9:39
  Speaker A: There's a big. A big running joke with Shoe Gaze. Is that it's. It's like. It's like drier core or like vacuum cleaner music essentially, because it's just like a buzzing drone in all the music that kind of unifies it, you know. So that's great. I like that you used the organic source of Shoe Gaze to create new Shoe Gaze.
• 10:02
  Speaker C: Well, this was back Aaron, if you remember, this is back in 2009. And like, I think it was a running joke between you and I. Like when we were listening to the tracks, you were like, is that a dryer back there? And I was like, yeah, I think you thought I was joking. Be 100% serious. That was a fucking dryer.
• 10:22
  Speaker B: But I love that. And that's a reoccurring theme that I get, like, with a lot of guests. Is that the beginnings? You know, that's why I always say I want to know, like, the beginning, because it always seems to start, like the really creative shit always starts from out of necessity and it just working with what you have in you in front of you at the time and like how that, you know, evolves into what you got going on now.
• 10:47
  Speaker C: It's.
• 10:48
  Speaker B: It's interesting as fuck to me.
• 10:49
  Speaker C: Oh, yeah.
• 10:50
  Speaker B: So, you know, at this point, you've got. You're together making music, you've done. The Japanese parody band NT Fox is coming together. How does the songwriting process go? Like, you know, who comes basically? How does it start? You know, each idea.
• 11:13
  Speaker C: Oh, no. I mean, like a lot of the songwriting that, that he and I do is really in the box. But I'll formulate an idea or two and that idea or two will like become like a whole thing. And then I will send it over to him and he'll work out the vocals or like on his perspective, he'll do like a whole, like MIDI layout and then he'll send me the whole song as is. And then I'll put it through like, whatever daw I'm using and then it'll play back for me using, like, you know, my Samples and stuff like that. So we'll get a general feel and it works out pretty well. I mean, we're working on a, like, another six track ep and, like, there's a song on there that I really, really like, and I just. I can't. I can't wait to, like, like, share that with everybody because, like, Aaron's songwriting is incredible. I say that a lot, but I think Aaron's songwriting is incredible. Like, his stuff, like, after, like, we. After our first album, is incredible too. Like, his stuff with Ayers, like, is some really, really, really solid stuff.
• 12:29
  Speaker A: Oh, thank you. Thank you. Yeah. Early on the songwriting process, I would say starting out with NTT Fucks is a little different from it is now. I think now we both are a little bit more directly collaborative. I think in that first release we had, since we were sort of experimenting, a lot of it was Zephyr would send me essentially an entire instrumental track. I'd add vocals on top and then maybe do some mixing adjustments, and then I would send Zephyr an entire rendered instrumental with vocals on it. And that was usually an interesting thing about that first album is that we had songs that were like synth pop. And that's because that was all I knew how to make myself, because I can't play. I couldn't play anything. So I'd make songs that sounded like Depeche Mode and I'd send them over to Zephyr, and Zephyr would add guitar. Or we also had a friend of mine who was supporting us and was really into our music and was like, hey, if you need any backup guitars, let me know. And so he. He dropped some guitars in there, too. And so it was sort of a little more like. Sort of like, here's the whole thing. Do what you want. And here's the whole thing, do what you want. Now it's a little more, like, interwoven.
• 13:41
  Speaker B: Okay, so. So no, go ahead.
• 13:45
  Speaker C: Oh, yeah. No more to add to that. Yeah, I like. I like our creative flow a lot more now that we're like, you know, that know we know what we want, you know? Yeah, I really. I love that. And, like, Aaron will be very vocal with me. Like, especially, like, be like, hey, can we do this here? It's like, yeah. So I think that that's a really good segue. Aaron, did you want to pick the first song?
• 14:11
  Speaker A: All right, cool. Yeah. So my favorite song on the album is a song called Film. It doesn't really represent the bulk of the album because it's sort of the ballad, but I feel like it's a beautiful song that the back. The instrumental track, just like, I remember pulling that up when Zephyr sent it over to me and listening to it over and over without actually singing or writing any lyrics for it, because I was just, like, off in a dream world listening to it, and it was just gorgeous, and it really kind of stuck with me. And so when I did the vocals, I did a lot of sort of improvisational harmonizing to sort of like some dummy lyrics, which is usually what I do. But in this case, it was more of a. I went over the song over and over and over and over, and then I cut entire takes out until it felt like it did the song justice. Usually I do take by take, but that song, it felt like such an experience that I wanted to get it beginning to end every single time. And so that's why it's my choice for the. My favorite song on the album. So I would say let's. Let's go with that as a first pick.
• 15:21
  Speaker B: All right, cool. So let's listen to Film NTT Fucks and then we'll be right. All right. That was Film ntt. And I guess what I want to ask you, you know, again, as someone kind of new to Shoe Gaze in general, but what are some of the. The other bands that influence the sound that you create?
• 20:28
  Speaker C: Well, all right.
• 20:31
  Speaker A: With Zephyr being sort of the mastermind behind the instrumental, particularly on that song, I'm gonna defer to Zephyr on that one because I could state my influences all over the place, but it's gonna be mostly kind of generalized.
• 20:47
  Speaker C: Yeah, well, I mean, like, I listen to a lot of. I wouldn't say a lot of Shoe Gaze. I would say I listen to a lot of Japanese rock music, and I think. I think that's all one of my main influences. There is like. Like. Like the real, like, dissonance or, like. I don't know, like, there's like, a certain composure that those. Those songs have that, like, American songs, I guess, just don't have. I. Once again, I'm going to go back to the band I mentioned earlier, Plastic Tree, Huge influence. Wouldn't you say so, Aaron?
• 21:26
  Speaker A: Yeah, yeah. Same. Same for me. Even to this day. I mean, they're still putting out some good stuff, but they have sort of a discography. I would say 80% of it is just absolute bangers. And it's clearly influenced by other music, especially music from the uk, like the Cure and, you know, the Sundaes and My Buddy or my. Yeah, My Bloody Valentine. But they have a sound all their own and they're a huge influence on me, especially with NTT Fox types.
• 22:00
  Speaker C: Yeah. And that being the case, they were a huge sounding board for me, like, as far as, like, getting into the waters of shoe gazing, you know, I remember, like, back in like 1994, 1995, my sister Fatsume gave me a Sunday's blind LP tape and I still have it. It's actually, it's over at home right now, just in my little bin, my little area. And like, I was always mystified by that type of music and I had no idea what the to call it until Aaron bestowed me that knowledge. So, like, they were a huge influence. The Sundays are awesome.
• 22:45
  Speaker A: Really good if, if you want something that's got the dreamy aspect of shoe gaze and dream pop, but is something that you can listen to, like when you're cleaning the house or you're, I don't know, like, just meditating on the, the great things in life. The Sundays are a great band for that. You just kind of put it on and listen. Beautiful voice, amazing instrumentals, jangly guitars.
• 23:15
  Speaker C: Yeah. Reading, Writing and Arithmetic is one of those albums that you should just listen to from, like, start to finish, hands down. What would you say some other. I would definitely say Caligari is a huge influence on our sound.
• 23:32
  Speaker A: Like Caligari. See, it's. I wouldn't recommend our music to people as a. These are similar to Caligari kind of thing, but I feel like spiritually. Caligari. Yeah.
• 23:45
  Speaker C: Oh, yeah.
• 23:46
  Speaker A: Instrumental for me because that's a huge. That's a thing. That's a band I'm very much inspired by just because of their creative.
• 23:56
  Speaker C: I would, I would say it only because, like, you have like a vocal style a lot. Like, you know, Ishi Huji. Ishi. Yeah.
• 24:05
  Speaker A: Yeah, yeah, yeah. I guess I could see that. I could see that for sure.
• 24:09
  Speaker C: Yeah.
• 24:10
  Speaker A: Yeah. I love their music. If we ever end up going down that route, that'd be a lot of fun.
• 24:16
  Speaker C: Yeah. Like that. Well, the majority of the demos that you had sent me are a lot in that vein and I really want to explore. Oh, yeah, that's exactly what I was talking about exploring.
• 24:29
  Speaker A: So excited about it.
• 24:31
  Speaker C: Yeah. Yeah.
• 24:32
  Speaker A: Those are some good influences. Everyone wants to mention My Bloody Valentine when you say Shoe Games because they're sort of the, the big founders, but I remember you not being a huge fan.
• 24:43
  Speaker C: I am not. I, I, I am. I have such a dislike for My Bloody Valentine. I believe that they are absolutely overrated. And that Kevin Shields, while he is a decent musician and you know, composer for film, like, I just don't. I. I can't, you know, I'm good. That's fine.
• 25:09
  Speaker A: All right, we got a hot take for the interview. That's good.
• 25:11
  Speaker C: Hot take, exceptionally hot take. So I expect to get some heat on that one.
• 25:15
  Speaker A: Yeah, that's an extremely hot take.
• 25:17
  Speaker B: And you know, with the album like myself like not knowing much about it, I almost like the techniques behind it were a mystery to me I guess like that wall of sound and like you described it as a drone, but there is that ethereal. And where does that come from? I guess like is that guitars? Is that keys?
• 25:43
  Speaker C: Oh, buddy. Oh man. On the, on the website, on the Band Camp website, it says right there that the. The record was recorded with a Schecter Damien 8 multi scale, a Zoom G5 and a shitty Dell Inspiron and bobby pins. So many bobby pins. So on I. I own an 8 string guitar and my 8 string guitar is like my favorite thing in the world because it has opened up so many tonal possibilities that I could, I could literally just geek out about it all day. But the point is that I can either have like that single coil sound so I get that really like nice rich, you know, like almost strat like tones really glassy. And then I can have like those like humbucking tones and have that really deep rich, you know, like almost like low gain heavy sounds, you know. So like I feel like that's a real, real big part of it is the tones shaped by the guitar that I play. Currently a lot of it consists of just using like whatever impulse responses that I have on my G5. I'm actually, actually I'm actually improving my rig currently. I've got a nano cortex in the mail and I've got another smaller zoom box coming in for gain staging. So I'm really looking forward to that with the sound.
• 27:24
  Speaker B: Like is it a lot of layers or is it like done kind of analog with pedals? Like, because it just sounds like so fucking much. You know, it's like it just sounds like so much. And I've played guitar for a long time and I'm like, huh, how does that happen?
• 27:43
  Speaker C: You're actually going to be surprised because it really surprised Aaron too. Like I'm only like what you hear is literally one channel left and one channel on the right. So like even though there are a lot of guitar tracks, the guitar tracks are split up between segments of the song. So I. And once again like Aaron Back me up on this because you've seen, you've seen these, these tracks. Like it'll literally be only one guitar track left and one guitar track right. And then for the bass parts, I'm literally just, you know, sucking out like the, the high end on my eight string and then playing that, you know.
• 28:27
  Speaker A: Yeah, I've seen his, his, his. Sorry. I've seen Zephyr's tracks that are basically just maybe like one or two left and right. Like you said, it's going to be heavily reverbed and distorted. So I think that's where you're getting that wall effect. Shoe gaze is that it's.
• 28:52
  Speaker C: It.
• 28:53
  Speaker A: It sounds like heavy layering, but it's oftentimes just heavy effects laden. And when you get that and you combine it with the right sort of dynamics and the right mixing, you get that feeling that sort of makes it sound really dense. And I think are a lot of your effects on physical or are they vst? I always wonder that because you send me them pre rendered and yes, I do almost all VST because I'm cheap.
• 29:27
  Speaker C: Yeah, no, none of my effects are vst. Like anything I do I did with like post production would just be a simple like tune up on the compression and that would be it. Like everything, everything else I. I live eq. Everything. That's it.
• 29:46
  Speaker A: That explains it. Yeah, that explains a lot of it because it's got that really sort of analog density to it. So that's another factor for sure. Yeah, yeah.
• 29:56
  Speaker C: Even though I do everything like in the box, I use analog equipment. I refuse to do anything less.
• 30:05
  Speaker B: That's crazy because it does sound like it's so layered, you know, it sounds like there's so much like. To hear that it's really not. And it's, it's analog. You know, analog stuff is, is kind of a little mind blowing. I'm gonna have to go back and listen to it all again and be like, wait, I. I think that the.
• 30:24
  Speaker C: The best track for that to like really get a feel for that, like it would be Don't.
• 30:31
  Speaker B: Okay.
• 30:32
  Speaker C: I feel like don't is the best example of that on the album. And because like there's like that one middle part where the, the guitar just starts creeping back in like. And you'll hear it, you'll hear it. There's like, it's like almost like a little noticeable, but like that punch in when it just comes in, it's just like, wow, that really is only one, one guitar track. Oh, shit.
• 30:57
  Speaker B: Yeah. I'll have to check that out. That's. It's really.
• 31:00
  Speaker C: It's something I'm so very proud of.
• 31:02
  Speaker A: It's magic. It's audio magic is what it is.
• 31:05
  Speaker B: I think we should hear another song. So is that for you? We're going to pick this one.
• 31:11
  Speaker C: Yeah, let's do Don't. I would love to hear Don't.
• 31:14
  Speaker B: Right? We were just talking about it.
• 31:15
  Speaker C: Yeah, we'll just talk about it.
• 31:17
  Speaker B: All right, well, let's. Let's check out Don't NTT Fucks, and then we'll be right back to wrap it up with Zephyr and Aaron of NTT Fucks.
• 31:58
  Speaker A: Sa. Sa. Sa.
• 36:03
  Speaker B: All right, so that was don't and TT Fucks and Zephyr, Aaron. I want to thank you both so much for taking time out of your day to Trans Continent. Would it be transcontinental on both or. No? Both sides of the continent. Does that mean to go to a different continent?
• 36:19
  Speaker A: Yeah, we're trans American.
• 36:21
  Speaker B: Yes, we're Trans American. My first Trans American podcast, it's. This could open up new doors. I'll be like, fuck it. Let's just have people from all over the. All over the world.
• 36:31
  Speaker C: Well, I guess that helps that I am a trans American, so.
• 36:35
  Speaker B: Oh, good one. See? Too bad it's not a video podcast. You can see the look of triumph on your face with that zinger. That was nice. But before we go, I just want to give you both a chance to say what I refer to as your gratitudes. So I don't know. Who wants to start?
• 36:56
  Speaker C: I'll let Aaron. I want Aaron to start first, because I've got. I've got a couple.
• 37:02
  Speaker A: Oh, yeah, for sure. Well, let's see. First off, of course, I'd like to thank my wife, who was supporting me through the entire thing. And every time I'd come home from work, and instead of hopping on a video game or watching a movie with her, I'd be like, I gotta record some vocals for NTT Fucks. Do you mind? And she was totally fine with it. I think that deserves a big thanks because I, you know, it kind of.
• 37:35
  Speaker C: It's.
• 37:36
  Speaker A: It's important to support the people who let you indulge in your. Your. Your little artistic hobbies. I'd also, of course, like to thank Zephyr for keeping the momentum going and keeping the creative energy just blooming all the time. And a fun little fact that we didn't get to mention earlier is that between that first album and this ep, there was a huge gap time where Zephyr And I weren't super in contact because every now and then she'd be off social media, and then she'd come back on social media, and then we'd talk about music, and then she'd be gone again. And so kind of elusive. Zephyr's an elusive figure that we gotta sort of pin to the earth every now and then to make sure that she. That she's here to.
• 38:27
  Speaker C: I'm literally tethered to my star.
• 38:29
  Speaker A: There you go. That could have took. You had to be tethered to a business, and now you can't escape us. But I'm very thankful for that, definitely. I think that's where I'll end it right there.
• 38:45
  Speaker B: All right, Zephyr.
• 38:47
  Speaker C: I am. I'm very grateful for, you know, not just my partner, Faye, but for, like. Because for a long while, like, I. I was just, like, out, like, as he put it, like, elusive, away from everything. And then, like, that's a lot to do with, like, where I was from, like, a mental and emotional health state. So I feel like I've actually kind of succeeded. So I'm really, really, once again, grateful for Aaron and Faye for sticking behind me in, like, in that regard and, you know, being a part of that journey with me and continuing to not just make music with me, but, like, really, like, rekindling, like, a lifelong friendship, you know, I'm not grateful for, you know, a lot of things, but the one thing, I guess. I guess the one thing I am grateful for is stability. And I gotta thank my boss for that one, who literally gave me this store. And if not for this store, I wouldn't continue creating. If I don't create, then I'm bored. And then what happens? Then bad things happen. Bad things happen.
• 40:14
  Speaker A: Yeah, I guess. I mean, as little as I wish to thank employment in general, the job that I have right now does allow for a lot of flexibility. So that is very helpful. I agree. So I think we're in good. We're in a good spot right now.
• 40:32
  Speaker C: I think because of that financial stability, I'm getting ready to go over there and maybe, like, a month or. Yeah, I think we're. Aaron and I are planning for, like, either a month or two away from now. We're gonna play a show out that way, and then we're gonna bring the show here to the east coast because we've already got a couple of offers from a couple of different bands from the EQ exposure thing.
• 40:55
  Speaker B: Nice.
• 40:56
  Speaker C: So that's.
• 40:58
  Speaker B: Keep me posted with the show out there, you know, like, Check in. Check in when you're out there.
• 41:03
  Speaker A: Will do.
• 41:03
  Speaker C: Yeah, absolutely.
• 41:05
  Speaker B: Pop in on the show. All right.
• 41:06
  Speaker A: Cool.
• 41:06
  Speaker B: Yeah. They are Aaron and Zephyr of NTT Fox. I am Andy Scullen. This is unsigned 518. I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullen. New episodes are available every week week wherever you stream podcasts. If you'd like to 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 at unsigned518gmail.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.
• 41:54
  Speaker A: Andy Scullen.