Lowsunday | Matt Connarton Unleashed

0:00 Speaker 1: That is yours, so wired. The band is Low Sunday and that is from the Black EP. And we've got the guys Bobby and Shane. Let's see if they are on the phone with us. Hey, guys, welcome to the show.

0:12 Speaker 2: Matt.

0:12 Speaker 3: Hey, it's really nice to be with you.

0:14 Speaker 1: So, uh is this Shane?

0:16 Speaker 2: This is Bobby?

0:17 Speaker 1: Okay, so we got both of you guys.

0:20 Speaker 3: Yeah, yeah, yeah, I'm saying. And Bobby is right here.

0:22 Speaker 1: Wonderful. So Bobby Spell and Shane, how do you say your last name?

0:26 Speaker 3: My last name is Saheen, so a lot of people call it Shaneye.

0:33 Speaker 1: Okay, all right, very good, very good. So it's like, uh yeah, so I love the project and I'm excited to talk to you guys because you actually have you got some history here, You've been around for a while. But it's really but also too we should establish this so I refer to referred to you as a band. But is it really just the two of you in terms of the studio output? Is it Is it just the two of you who record and produce all of this?

0:59 Speaker 3: Well, yeah, in the last in the last two years, yeah, it's just been the two of us. We sort of reunited and started just just writing and writing and recording. Yeah, and we you know, it was just some of these last two EPs. Previous to that, it was full band stuff, and we're migrating back over to full band stuff again. You know, we're finishing an EP soon and we're getting back into a full band starting to play live stuff.

1:24 Speaker 1: Great, excellent, excellent. In terms of what you've done recently, was it just because obviously you did have and and I do want to get into that why you had had a long break with this project, But in terms of getting back into it, was it easier to just kind of start to wade back into it with only the two of you? Is that is that? Is that kind of why that that played out that way?

1:48 Speaker 3: Yeah, it just it was just pretty natural first off, the two of us. Like I'm repetitive because I say this all the time that the two of us we have such great conversations. And when you're younger, you know, you don't realize that you shouldn't be writing music with people. You can have a conversation with me. It could take four months. It could take four months to write one song, and everybody's burnt out and it doesn't turn out as well, but we're so communicative and yeah, so it was just easy. But really what sort of brought us in Our old label came back and he said, hey, you know, maybe we could start with a twenty fifth anniversary remaster with bonus tracks, and then maybe we'll do the thirtieth anniversary remaster of the other the debut album with bonus tracks.

2:36 Speaker 3: So those bonus tracks is what really got us writing and you know, curating our old material, and it kind of got the studio fired up and the software all updated and the learning curve is pretty crazy.

2:50 Speaker 1: Yeah, but yeah, but exciting though too, right. I mean I would imagine, you know, after a long break, I mean, did you guys have you each during that? Is it really twenty five years the low Sunday was was dormant? Is that is that true? Is that accurate?

3:09 Speaker 3: Yeah, it's it's it's kind of comical. I mean, we played in other bands and did other things, and we were musically active in different ways. But yeah, we just kind of like like Bobby had moved away. He was in Atlanta, and he was in Mississippi, and he was in Tupelow and where he last left off, he was in Memphis. But we've been talking and it was literally, you know, it was the It was within days of us saying, look you got to fly up here. We're just let's just start recording and writing a little bit, that the label got in touch with us, and the timing was just funny, like days after that, the label got in touch and said, hey, we need these bonus tracks.

3:45 Speaker 3: Maybe you could do bonus tracks and do this remaster. But yeah, it was it was that long. I mean, Bobby had been had left Pittsburgh for what twenty years?

3:53 Speaker 2: Twenty one years?

3:54 Speaker 3: Yeah? Wow, Yeah, it's so surreal and we start talking the numbers, it doesn't even make right. That's sort of so abstract.

4:03 Speaker 2: I have since relocated to Pittsburgh, so I'm ok here now, been back for about a year.

4:08 Speaker 1: Oh, excellent, excellent. So do you think so the label when they approached you about these bonus tracks and whatnot, do you think they had an ulterior motive? Like was there somebody at the label going, you know, if we can just get these guys to do these bonus tracks, maybe maybe this will lead to something more.

4:26 Speaker 3: You know, that's kind of funny. We don't really think that way. We always think like one dimensionally that we really don't think that. I mean, in this case, I think he was just saying, hey, look, you're really not representing your catalog. We're Bobby and are both sort of like flash and burn types, you know, where it's like, okay, we're doing that, and like now we're moving on, We're going to do this, and we just believe in the creative aspect of things, and we're saying, you know, whatever, wherever it goes, we can leave it in the dust because we have more songs than us and if no one ever hears that again, right, we have more music in our future.

5:03 Speaker 3: We believe in it, like the abundance of creative ideas. But we were never too connected to anything, you know.

5:09 Speaker 1: Yeah, I mean there's something well, there's something kind of liberating about Tattoo though, isn't there.

5:17 Speaker 3: Well, the fact that it's not a reality, you know, like it's sort of like a delusional reality.

5:25 Speaker 2: They seem to be much more streamline with the two of us.

5:30 Speaker 1: Oh yeah.

5:30 Speaker 3: Imagine from a writing standpoint, it's you if you're sensitive, you get into real delicate things. You're deep into ideas and you don't want to get into a tug of war over ideas and you know, you have a vision and it's really hard to compromise a vision. And yes, so we do work best that way. But you know we are coming out of the other side of that too, were we have a couple of people playing with us now that are just incredible musicians. They understand what we're doing. They're they're not fighters.

6:03 Speaker 3: There's somebody that understand and just want to make things better. Yeah, So it just takes the right people. It's like anything. The difference between things going great and going terribly is the people that are involved. Oh. Absolutely,

6:22 Speaker 3: Chemistry is everything. I mean, chemistry is everything.

6:25 Speaker 1: Well, and you guys have to be kind of picky too about who you bring into the project, right, because you obviously have such a bond. I mean it sounds like it's it's almost intuitive, right with the two of you. So anybody who you bring in has to be able to not necessarily match that energy, but at the very least not disrupt it either, right.

6:43 Speaker 3: Totally, Yeah, totally. It's very sensitive. It's kind of it's actually kind of scary because we both know we're like, wow, we're so sensitive and these things, you know, you take for granted like you like a momentum or the stability of ideas and direction that we're both so sensitive that you know, you get the wrong ingredient in the mix, and we're like, wow, what if something somebody would try, it could derail us. We're committed to not letting anything like that happen. Yeah, you know, we feel more stable at this point in our lives than probably when we were younger and more sensitive.

7:19 Speaker 2: Sure, we did already have a familiarity with both of these guys we brought in so well that help them for quite a while.

7:26 Speaker 3: Yeah, they're actually old friends and they totally get it. It's it's we've never experienced things opening up and just working, you know, like we're talking about like, oh, it's just the universe provides and all this stuff. It's been actually scary to us how it's just sort of this path keeps opening. We don't understand. I mean, from Shauna, it's shameless that that's been working with us for the last you know, it was last year, just opening these different roads and connections. And when we were younger, we tried so hard and we worked so hard and pushed so hard, and it's it's just different.

8:01 Speaker 3: It's like everything is just falling into place in a way that it feels sort of serendipitous.

8:05 Speaker 1: Yeah. Shout out to Shanna by the way, because she's sends us so many great guests. That's you know, that's how we met you guys through her obviously, and you know, anybody she sends us we automatically will book because she she only works with, you know, really high quality artists, like like you guys, so.

8:24 Speaker 3: Well, thank you. Yeah, she's been amazing, and we said her sis, what are we done to deserve her? You know, she's enriched our lives. I mean just on a personal level too, not just the business, but just connecting with someone who is sharp and who cares, and it's just you feel like you have people going the same direction together and it's kind of you know, you hope that Rising Tide lists all.

8:47 Speaker 1: Boats right right exactly. So, so we talked about how the reunion came about. What was it that caused the band's long absence to begin with. I mean you kind of alluded to it, like you guys are kind of flash and burn types anyway, so maybe you were never that connected to it in the beginning. I don't know, like what because again, that is a long that's a quarter century of no Low Sunday.

9:10 Speaker 3: I know, well, early on we're I mean we're deeply, deeply committed. Early on, I mean we worked very hard, We pushed hard, we tried everything. I mean, we were working and we were going through you know, we had a couple of really stable lineups and things go really well, and then something would fall apart, and then there was like a burnout with that. I think the last thing that kind of we did a record in ninety nine. That record we finished, we went to England and promoted it for like five months.

9:41 Speaker 3: Everything fell apart when we went there. Nothing went right.

9:44 Speaker 1: Oo.

9:45 Speaker 3: We came back from England right before Christmas and we started working. We had been distributing through Projects Darkway's catalog for years with other material, but we finally got signed a project. And project was to re release the same record that we had been promoting and pushing already, So we had to re It's like it would do a round two promoting the same record. Just all those things this led to us kind of just we just got cooked somehow. I don't know what happened. Yeah, in the self preservation, it's always been for the creative, like anything that and where like this now, anything that starts to threaten the creative, the love to do with the desire to do it, anything that does that will run to save the creative.

10:32 Speaker 3: It's like it's like protecting the egg.

10:35 Speaker 1: Yeah that makes sense.

10:36 Speaker 3: Yeah, but yeah, sometimes it's been very self sabotaging. We're trying not to do that. These days, we're more focused and definitely more aligned. Yeah.

10:45 Speaker 1: Well when you talk about thinks, you know, because I love these kind of music industry war stories. When when you talk about you went to England and just everything went wrong, Like like what do you mean, like what kinds of things went wrong? I know you don't want to relive that probably, but just just just give me it, Just give me a little bit.

11:01 Speaker 3: Well, roughly, you know, we got there in the in like the middle of summer after finishing a record in the spring.

11:06 Speaker 2: Yeah, we were.

11:07 Speaker 3: Having We're the record wasn't even pressed yet, it was we had a dat tape that we took to Olympic Olympic studios in London and we're having CDRs made that we were starting to pass out. We're pursuing a manager over there that ended up being in the Bahamas all summer. We thought, we're gonna we're just gonna go to him, We're gonna find him, We're just gonna go there. We're gonna give him our stock. He's going to love us. Yeah, and you know the rest is history. Well, we get there, we call him and yeah, like they said, oh, he's on holiday, Like he won't be back until So he was gone for two months.

11:44 Speaker 3: Then the rest of our lineup couldn't the other band members couldn't come over, and then we're trying to put a band together through the melody Maker. And then with melody Maker, the ad we played, they put the wrong contact information. Oh no, we lost like a month to a typo and melody Maker before we could get that corrected, and then we just it was just it was pure chaos. You know, we didn't have we were trying to find a place to live. And if you didn't, if you weren't there at eight thirty in the morning to see an apartment, it was gone by nine o'clock.

12:17 Speaker 3: And we're living an upside down life, you know, we're out all night so to go look for an apartment. So it was just everything just kind of went wrong. Yeah, and it cost of living was crazy. So yeah, we just it kind of fell. It was a great experience. We got to hang out with the late Nick Marsh from flush Fululu. That was probably the highlight of our whole trip. We were hanging out in Camden with some of the old old timers like that. Everything else went completely wrong.

12:49 Speaker 1: And you know, just for context too, for people who don't realize, this was at a time when I mean, it wasn't it wasn't pre internet, but it was certainly pre certainly pre social media, and so in terms of communicating with people and logistics and all of it, it still was much tougher than what we have today in that regard.

13:09 Speaker 3: So yeah, oh yeah, totally. Yeah, you're like you're dealing like cell phones were starting to come up a little bit, they're improving, Yeah, but you'd have being in another country you have a burner phone, even the burner phones, like I could talk about things going around the burner phones. It was like their advertised you would buy like an eighty dollars prepaid thing and it was supposed to be for one pence a minute, you know for international phone calls. They were so scammy that you would be on the phone for ten minutes and it would use up your eighty pounds yard that.

13:41 Speaker 2: You just bought.

13:41 Speaker 3: Oh yeah, like just all these things just kept getting. It was just kind of funny. It was all our fault for just being naive. You know.

13:49 Speaker 1: Well you were young and you know, yeah that a lot going on, you know, but but you guys so so after it stopped though, I mean you guys both went on to you you wouldn't play it in another band. So it's not like you guys left the music industry, right, I mean you both stayed there.

14:05 Speaker 2: Not at all.

14:06 Speaker 3: Yeah, not at all.

14:07 Speaker 1: That's good.

14:07 Speaker 3: Yeah, maybe at least for a good ten years After that, we were heavily active in different projects and you know, just just pushing in different directions, you know, creatively, when you do what you do naturally, you start to creatively you start saying, well, am I just doing? Am I being creatively lazy? Like? Can I can I write? Like we do all this atmosphere atmosphere crazy delay and echoing stuff, and it's it's dark and it's dreamy and it's all this stuff like pushing ourselves. Like for me, it was like getting back to more like the punk rock roots I grew up with like saying, you know, these songs are really straight?

14:45 Speaker 3: Can I write a straight song without hiding behind fog machines and effects and all this kind of stuff? You want to creatively challenge yourself, you know, right right now?

14:56 Speaker 1: I'm curious too, for both of you, when when you put Low Sunday aside, you know, after your terrible experience and all of that, was it was it kind of like at the time, did you think, Okay, so this is in the rear view mirror, now now we're just each going to go forward? Or was it? Was it always and you know, you both might have to completely different answers, so I'm curious, or or was it always kind of in the backs of your minds that you know, we will probably revisit this someday.

15:29 Speaker 3: Bobby, do you have a.

15:32 Speaker 2: Shane and I? Even after I moved away, Shane and I continued to discuss music and share ideas. Yeah, so I think there was always sort of a dream that maybe we would come back together at a point. Yeah, didn't really have an idea of the reality of that or not, but I think it on some level we viewed it as a possibility. As things lined up properly.

15:59 Speaker 3: And for me, I mean, like listen the ghost Machine that was that was sort of for me. That was like a coming of age man. That's where you know, you go through the teenage stuff. You go through like we go through the punk rock, you go through like the first heartbreak stuff, and then you know, I find myself in my early twenties and you know, like I'm hearing these songs, these heartbreak songs, like I remember my sister playing like all these new wave kind of classics, like she was always deep into all this other, this whole other side of things, and you kind of go through that dark period.

16:32 Speaker 3: And so when I came out and all that stuff, I sort of felt sort of forced with that sort of that background. And so this project is always felt like like my first like sort of a baby too, like where you say, this is who I am and this is what I do and this is where I'm comfortable. Yeah. I never wanted to abandon it so much, and we always were maybe thinking of an opportunity to get back. You know, I felt like it would never go away. It was just like when will our heads be in the right space to to elaborate on those ideas.

17:05 Speaker 3: More deeply.

17:07 Speaker 1: Okay, No, that makes sense. I feel like too, that the sound you guys have is sort of timeless that I don't know how you feel about these labels, and I'm curious to know, like shoegaze and dark wave, but I feel like I feel like the sound that you have is timeless and that you know it. We listen to something like You're So Wired. It sounds current, but it also sounds like it could have come out in the nineties, you know what I mean? Uh, And I feel like that, And I feel like these these genres like shoe gave dark, shoegaze, dark wave, they kind of lend themselves to that.

17:38 Speaker 1: There's a certain timelessness to that whole that whole sort of vibe and that production style and all of that. But I mean, how do you how do you guys feel about those labels? I mean, do you do you call yourselves shoegaze? Do you call yourselves dark wave? Do do you care about that? Or do you let other people just kind of decide what to call you or.

17:58 Speaker 3: Well It's it's funny because it's like, just as you're saying, like the Internet was kind of weak at that point. Yeah, So a lot of the genre genre banding stuff was also weak. So there's people that you know when early on, people didn't know how to what to call us, you know, we like we were like, what is it? Gloom pop? Is it? Is it synth wave? Is it? It was post punk, but there wasn't a real heavy label, even shoe gets. There wasn't a hardcore like hard term really for that. I mean it was maybe in a really small circles, but broadly there wasn't.

18:32 Speaker 3: Right, we don't mind all the labels. It's funny like now with all the sublet we've found ourselves, we're looking back, we're saying we were a gloom waves band from the beginning, and it was a genre that over the years it starts to come to life, and we're saying we're like archetypal gloom waves and didn't didn't know it, you know. And it's it's sort of like retroactively you're able to label things more easily. But we don't mind the labels. We like it well, I mean, the dark wave stuff we relate to.

19:04 Speaker 3: Even our first real good distribution in the mid nineties was through Project Project Has. It had a distribution catalog called the dark Wave catalog and we're distributing through dark Waves. So that was sort of our definition of that. We just thought it was, you know what it is exactly. I don't I still can't define, right, But no, we don't mind. We don't mind the labels. It's it's all good, Okay. We feel like we never fit exactly in the one yeah, which is challenging.

19:31 Speaker 1: Yeah, but that's yeah, it's funny because when you and the way the industry works, it's it's helpful in a marketing sense if you're if you can be categorized and sort of labeled and but but creatively, I think it's probably more fulfilling if it's hard to label you and categorizing you know what I mean, because then you feel yeah, yeah, you know you're doing something truly interesting. If it's hard for people to put a label on.

19:56 Speaker 3: It, well, what's funny. Early on, you know, like someone would someone would pin us to say, oh, you're a goss band, and we would do We did the same thing that we grew up watching The bow House and echoing the Bunnymen and the Cure. You watch all these other people they're like, no, we're not No, we're not like we you. I think the best thing we could do is anytime you just deny, you think you keep this den eyeing saying well, no, I don't think we're that. I don't think you know, we denied ourselves sort of into like obsolescence, right, We're not that, We're nothing.

20:29 Speaker 3: We're not.

20:32 Speaker 1: I'm curious who about the name? So originally, so when you formed in nineteen ninety four, it was Low Sunday Ghost Machine. Correct, yeah, yes, and then and then it became and eventually just low Sunday as one word. But but where does the name come from? What? What is the meaning of that? Uh?

20:50 Speaker 3: The Sunny Ghost Machine is Actually it was a combination. It was partly a rip off. At the time. One of my favorite bands in the world was The Bend Low Life. Low I thought were like it should rule the planet, and like I connected with them. It's like, oh, love is a great word, loads a great really good word, like a strong word. And then I went through a series of things. It's hard to describe it. I would maybe just say like emotional low points where it felt like this I was like, wow, there's like this almost like a systematic punishing sort of thing, and why it always feels like it's like Sundays and it's like Sunday night, and like could you end up in the clink?

21:35 Speaker 3: You know, like what is this whole oppressive force? And it was sort of out of that, you know that we just sort of spun this thing. And then what's funny is the music was sort of like almost an extension of that and that like we used a lot of fog machines. There was like this this big, swirly kind of message.

21:54 Speaker 2: Yeah, it was it was.

21:57 Speaker 3: Almost captured the emotion of the feeling that that was actually the origin of the whole project.

22:03 Speaker 1: Yeah, yeah, no, that uh, that makes sense. It's cool, dude to have a name that makes people curious. But when you so when you shortened it, when you shortened it to low Sunday, was that was that the label wanting that?

22:16 Speaker 3: Or it was in nineteen Uh, it was like nineteen ninety seven. We had we had just played with the band Klana's Imox. We had just done a show with them in Pittsburgh. It was like a highly publicized show. It was the best show we'd ever played.

22:32 Speaker 1: Yeah.

22:33 Speaker 3: They were on a record label at the time called Test. Test was like a dream pop label from Santa Barbara. The main guy in his band was this Ascension, and this Ascension was you know, they had already been to them really well in that world. They had signed Clana's Imox, who was killing it at the time, and so we had we had opened for Clana's Imox. You know, we get on their busts after the show and we got offered direct deal right there. We signed it. I don't know whatever happened. It completely fell through one years later.

23:06 Speaker 3: I thought, what happened. It was the biggest disappointment of our lives because we're like, oh, you know, Zyemox was working with the same producers as The Cure, and they're getting their records mixed by you know, John Rivers or you know all this David al and all these crazy people, and we were like just again naives. But at the same time, talking to the label, it was like, you know, it might be better to just to shorten the name would be much easier. I still regret it because I like the long name better.

23:34 Speaker 3: Oh really, which is why we keep tagging it into Yeah, I love the long name. And again talking about like pre Internet and all that stuff, I was tired of typing that name. Yeah, it was. It was like so many letters and words that I thought, yeah, if we can shorten it, let's shorten it, you know, like I'm sick of typing the word or all the word the name, you know.

23:53 Speaker 1: So yeah, I'm also curious to ask you about the video for your So Wired. It's pretty cool, like how did did you collaborate with somebody on this? Or was this diiy or I mean it really fits the vibe of the song. I like the black and white aesthetic of it. I like everything about this And I encourage people not right now, stay with us for now, but after the show, please everyone go to YouTube and look up low Sunday You're So Wired and check out this video. But yeah, thank you. What can you tell us about this video?

24:28 Speaker 3: Well, the video it's pretty interesting because we've done a whole series of videos over the last year. Yeah, he actually was a close friend originally from with Bobby and you might eat his name's Jar Herring and Jar Herring. Like he had a lot of music success too, Like he was in the Van Dink. If you remember the Van Dink Okay, nineteen nineties, they hosted like one hundred twenty minutes and they had done really well there on Capitol. They were doing all this crazy stuff and really talented. But Jared started getting into doing videos and him and Bobby had stayed in touch, but jar with each video that he does for us, we sort of let go a little bit more and just he kind of leads us into a direction.

25:09 Speaker 3: He wants the lyrics, he wants to know what's going, you know, with the songs roughly about and then he just sort of interprets it in a way and then we sort of collaborate a little bit just to tweak it. But he's just he's been nailing it for us and he captured something in the last one. But yeah, in the aesthetic, the black and white aesthetic is something that we really you know, we're really kind of clinging to a black and white aesthetic right now, and I think it goes for the timeless thing that you're talking about.

25:36 Speaker 3: Just it's something it's less uh, you know, let's you can't really read it. You don't know when, when or where it was.

25:43 Speaker 1: Right right, Yeah, No, it's it's very cool. Like I said, I encourage people to check it out. And the other thing too that you know, we haven't talked about that. I want to touch on is you know, the concept of the black EP and the White EP. Very curious about that obviously, that's you know, that's that's an interesting approach. Was that your idea was that the label like, like, who who came up with that? Because it's very interesting?

26:07 Speaker 3: Well, yeah, that was something we wanted to do. First off, we wanted to we like the more immediate gratification of the EPs, you know where you're because we had found you know, like even even with the remasters, you know, by the time you had a twelve song album and five remixes or old material that we had added in like bonus tracks, we felt like a lot of stuff was just getting kind of falling between the tracks. Yeah, more thing, you know, let's just put out five strong songs and they'll be out quickly, they'll be heard, you know, it's like paying attention to five things instead of seventeen things, right right.

26:46 Speaker 3: But yeah, but the White and the Black where it became. The first idea was like, Okay, these records, it's going to be the two covers are part of one bigger picture. It's going to be a vertical post. When you put the one on top of the other. It'll up and it's like this brutalist image, this artwork, and it starts lighter, the white ep is it's blown out a little more, and as it goes into the black epe that covers even darker. It just has a gradient that sort of captured the feel. So we knew there's gonna be two EPs.

27:17 Speaker 3: We also knew that we're sort of so excited getting in the studio that we knew that like sort of the manic aspect where you first get in and you're excited and you're you're pumping out this this stuff that shows all this enthusiasm and excitement, we knew that was going to settle down and you know, you come back to your real self, which might be not quite as peaked out. Sure, and so the lackupe we knew. We kind of thought it would kind of go that direction, and we kind of wanted to push it that way too, to get back to some of our darker roots and see how far we could go that direction.

27:51 Speaker 1: Also, yeah, yeah, no, I like it. It's a great content.

27:55 Speaker 3: Yeah, I say, yeah. It was just fun. It was like one of those things that it wasn't super planned out it's just all sort of made sense on a real it was probably a five minute discussion.

28:04 Speaker 1: Well, it's an interesting uh, you know, because it it kind of addresses an interesting conundrum that exists in twenty twenty six that did not exist in the late nineties or mid to late nineties, you know, in that how do you you know, what do you do? There's so many different ways to release music now. You could release an album, you could release EPs, you could release a series of singles. You know, a lot of artists now kind of do the inverse of what used to be the model where they release a series of singles that eventually coalesce into an EP or an album, you know.

28:38 Speaker 3: And that's totally Yeah.

28:39 Speaker 1: Yeah, it's an interesting conundrum because you know, you got to feed that machine, you know, in terms of algorithms, you have to think about that and social media and all of it. So yeah, so I think doing.

28:50 Speaker 3: The EPs makes attention. The attention thing has shifted, you know to even our own you know, where people are content with you know, ten second clips. You know, like I you could almost see a future where your whole album is ten seconds so right, and people just swipe it, swipe it swipe it and you're like, and you know forty seconds later like that was a great album.

29:14 Speaker 1: Absolutely absolutely, well, listen, guys, this has been wonderful. Shannon Bobby, I really appreciate you both joining us today on the show. In a couple of moments, sure, absolutely, In a couple of moments, we're gonna play We're going to end our conversation with another great track that I love, This is Not Heaven. Anything, anything you can tell us about this one, anything we should know before we play it.

29:40 Speaker 3: We've thoroughly enjoyed recording that song, just as it started to come started to come to life. It was very angular, like the conjecting, the like the sort of the grally kind of sense stuff and to the choruses. It was one of the and it was kind of fun to do it as an understatement, you know, like it's sort of understated. It's like a real calm sort of like like a subtle like this is not Heaven, you know, like in other words, like this is how right right? But it was fun just to creatively do something with like that's just a huge understatement of a situation.

30:18 Speaker 1: Yeah, yeah, no, I like it a lot. This is a really good track and before we do that too, and before we let you guys go, where's the best place to go online to keep up with everything that Low Sunday is doing.

30:30 Speaker 3: We tend Instagram. We're really focused. That seems to be our most comfortable outlet, you know, where we seem to be the most active. It does trickle off into Facebook and even on a lesteral level like TikTok.

30:46 Speaker 1: Sure.

30:47 Speaker 3: But yeah, but our main two hubs would be either of our band camp, like for instance, our label Project Project. They're really band camp centered. Like everything it's on Project as a Project's band camp. That's where you buy all our records or our t shirts. You can buy their whole catalog is there. It's been a really interesting platform. Yeah. Yeah, so band camp and Instagram, those are the two big ones for us.

31:14 Speaker 1: Yeah, I'm a big I'm glad you mentioned band camp. I'm a big fan of band camp. And if Shauna happens to me, if she happens to be listening, I'm sure she's heard me say this a thousand times. But what a lot of people don't realize about band camp too is if you get the music from there, you get a higher quality file. Then you do. If you're just say streaming it from YouTube or in some instances perhaps even Spotify. Like with band camp, you get a high quality file, which is important.

31:39 Speaker 3: It's such a nice platform. It's such a nice platform, and it's just it's like a dashboard that makes managing the whole deal like really really easy. And I say that as if I know what I'm talking about. That from what I hear, it's amazing.

31:53 Speaker 1: No, it's true, it's true. It's very artist friendly, and yeah, it's an incredible platform. So we're big. We're big, you know, and they don't they don't pay us. We're not they don't sponsor the show or anything. I just say that because I think band Camp is amazing, and I'm always I'm actually to be honest.

32:08 Speaker 3: Oh go ahead, I know, yeah, we say it the same way as you. It's like, what's amazing. It's such a such a strong platform, and there's no catch, right, It's not like, well, well here's where they get you. You know they're going to try to it's just it works so well, it's so tied together. I mean, it couldn't be a more perfect platform. You hope nobody comes along and ruins it.

32:27 Speaker 1: Oh, I know. Yeah, I was gonna say. I'm always surprised when I encounter artists who are not on band camp. It's like, you know, what are you doing? Like why aren't you? Yeah, encounter a surprising number of artists who are not, but but they should be.

32:41 Speaker 3: Well, you're a musician too, right, Yes, yes, I thought that was my understanding. You're a musician too.

32:47 Speaker 1: Yes, yeah, I'm a bass player. I don't I'm not currently active because, as you know, it's a it's a lot of work.

32:54 Speaker 3: But yeah, you have to really fit it into your space. That's cool too. Yeah, we love we're both huge bass fans.

33:01 Speaker 1: Oh nice, nice, outstanding, outstanding. Well, listen, we'll let you guys go. We're gonna hit this track this is not Heaven but again, thank you so much Shane and Bobby from Low Sunday, and we'll definitely do this again in the future. Sounds like you guys got a lot going on, so we look forward to more more music from you, and you know, we'll definitely have you back.

33:22 Speaker 3: Yeah, maybe we'll see you in Manchester nearby sometime. We're going to start playing some shows, so we'll see we ever get up that way we'll let.

33:28 Speaker 1: You know, keep us posted absolutely absolutely all right, sounds good, all right, thanks so much. All right, you got it, guys, you got it anytime. Thank you.

33:37 Speaker 3: Take care, great meeting, careful, bye bye bye.

33:41 Speaker 1: All right. That is Shane and Bobby from Low Sunday And let's go ahead and hit this track, another great track from the Black EP. I really like this a lot. This is called This Is Not Heaven