Matt Connarton Unleashed 5-11-24 hour 1

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nine o'clock black out. You've been using your minds out answer number four before

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ninety four and forty three Command God, don't get supprilea Maxill coming, Good

morning, everybody, Welcome, Here we go. It is that time again,

Matt Connorton Unleashed and we are live from the studios of w m n

H ninety five point three FM in Glorious Manchester, New Hampshire. Of course,

you can also stream the show from anywhere. I go to Matt connorton

dot com slash live for all of your live streaming options, social media links,

contact and fosh archives, et cetera, et cetera. I'm going to

tell you about the song we just heard in just a moment, and then

we'll tell you what we've got coming up today. But today is Saturday May

eleven, twenty twenty four, and I am not alone, Jenny, Jenny

is here at the news table. I am present. Yes, Yes,

awesome, yeng I love that. Yeah. So that's that's our friend Dylan

Reynolds. That is called Reactor number four and he's actually in the chat room.

Ye, the full EP's going to be available. Oh no, he's

not. I thought I'm sorry, I thought he was. Yeah, that's

me. Oh that's you. He told me he was going to be in

there, So all right, Oh, full his full EP, the Full

Radiation Sickness EP, is going to be available on June fourth, and definitely

follow him on the utube. Yes, and I dropped a link to his

YouTube channel into the chat room if you'd like to follow along with Dylan's work.

He is an incredible artist, let me tell you us absolutely. I'll

just share something with you too from the ePK that he sent me that explains

a little bit about the track and about the project. It says, the

first multi track release from Dylan Reynolds since twenty eighteen, and the first EP

since twenty sixteen's The Living Dead. Dylan comes back hard and fast with a

five track released titled Radiation Sickness, depicting an alternate timeline of the post apocalyptic

anguish of Chernobyl's nuclear disaster, A concept DP given an account of the disaster

and the subsequent failed containment procedures in true sequence of events. Each track proceeds

uh the last to build a story of loss, anguish, and the ultimate

horrors befallen the people of the uh Pripiat exclusion Zone. I'm not sure Pripepiat.

I'm not sure if I'm saying that correctly. I know what the exclusion

zone is, but that's where you're not allowed to go because there's still radiation.

There's there's you're you're still not allowed to go in there to this day.

Oh, I'm sure. Radiation Sickness is slated to release on Tuesday,

June fourth, worldwide on all major digital distributors. So, but Dylan was

kind enough to give us the world radio premiere, So we got that.

UH got that a few weeks in advance, So very excited about that coming

up in just a few minutes. We have and I'm not sure how to

speak of not being sure how to pronounce things. I'm not sure how to

say the band's name if it's Haitian. We'll get the correct pronunciation from them

when they when they call us in a few minutes. I'm really looking forward

to talking to these guys. Fantastic sound, and we're going to in just

a moment, we're gonna play one of their tracks and then we'll get them

on the phone. And then second hour we have the return of Bees Deluxe.

Yeah, Conrad War was on with us maybe a year ago, really

really fascinating conversation. Looking forward to that. And then in the third hour

we have Casey Darren of the band Soda s O T A H. I

always like to spell it for people so they don't think I'm saying soda.

Yeah, like like like the beverage. But he's gonna be back another world

radio premiere, the new single Division Line. Yeah, it's a fol day

of brand new music. Absolutely love it. Absolutely, We've got uh,

We've got plenty coming up. So I think what we'll do is let's go

ahead and play something from and again, I don't know if I'm saying it

correctly. Heishen Haitian. We'll we'll find out from these guys. But a

great band from Rochester, New York, and they're going to be playing a

big show tonight at Terminus in Nashua. So I think we'll play this song.

I think we should give Crimson Sun a spin. I like all of

these, but the album is called Awaken the Endless Deep, and this is

really good stuff. This is the kind of thing you can kind of get

lost in. So yeah, we'll start with this. We'll play a bunch

of these today. But this is called Crimson Sun. The bandit Haitian from

the album Awaken the Endless Deep. Check it out, gone ways over the

short spreading its like the class medi ancient lands. Substans for to see the

easton search of last last testa define free circuits time, don't wake up with

fine set so far from We're all alone, Steal your whissongs of course for

the yonder way down, keep so the soundway down to the charny corners of

the sail along fund away sound like we carry out the will, but we

have we're less like for it. See the time as ever stayed to their

restaurant all about or the browns up a bike shap, cutting a bad shot.

It's like for a Parson song they thought of that. Why oh who

s oh? That is so good? That is Crimson Sun is the name

of the track. The band is Haitian or Heishen. We'll see what the

correct pronunciation is when they join us. And that is from the album Awake

in the Endless Steep. These guys are going to be playing a show tonight

at Terminus in Nashua, and they're going to be joining us by phone at

any moment. So by the way, Hans Smith from the band Sepsis is

in the Facebook live chat liking what he's hearing. He said, I'm really

digging those beats. Yeah, the drums are are pretty sophisticated on that,

and they've got a big sound. You know, it's only three of them.

It's a trio. You might even use the term power trio. But

yeah, there's only three of them, but they sound like a full band.

And let's see who's on the line here. Hi, welcome to Matt

Connorton Unleashed. Who we have? Oh you got Randy and Justin here?

Randy and Justin Okay, Hey, shn that's how you say it. Hi

Hi shen, yeh hi shen. Gotcha, gotcha. Okay, I've been

saying it wrong. I thought I might be welcome guys. Welcome guys.

So tell us what each of you does in the band. Please. I'm

the drum This is Randy. I'm the drummer and the primary backup singer,

and I also do some symps and samples. Okay, I'm justin. I

played bass and do a bit of backing vocals, and I do kind of

a lot of our our technical and kind of managing and booking work. And

then Chris is I think he's still kind of packing some gear upstairs. I'm

hoping he'll be down momentarily. But he is our lead guitarist, lead vocalist,

and like main songwriter. There he is here. I'll scoot over for

you here, Chris, you want to if you want to do your own

introduction, because I started to do years I've gone I'm sure. I play

guitar and I sing. Okay, well, welcome guys. It's nice to

have you all with us. And I was listening, you know, I

listened to the full album, and I made the comment coming out from coming

out of the song Crimson Sun that it's the kind of music you can kind

of get lost in. You know, some of your songs are very long

and they seem to be story driven, and you know, it's the type

of thing you can just put on the headphones and just sort of just sort

of go with it, just get lost in what you're doing. And I

think that's really cool. It kind of takes you on a journey and really

sophisticated stuff. How long have you guys been around? How long has haishen't

been a band? So in this configuration about August of twenty nineteen. Ris

and Justin had a few configurations before that, different music styles, but this

current configuration about five years. Yeah, okay, has it always been a

trio? Not precisely in the current iteration that is known as Hyshen. Yes.

Chris and I are initially started this project attempting to write more of like

atmospheric post rap kind of stuff. We peaked at six members and quickly quickly

realized that trying to coordinate that many people for one band practice and trying to

write with that many people was a huge pain. Yeah, and then a

few people quit to go play in a different band and that was the chance

that we got to kind of retool. And actually one of the guitar players

from that original iteration of the project is the one who recommended Randy to us,

and he's kind of the drummer that unlocked the ability for us to write

progressive music instead of like simpler stuff, because we hadn't had a drummer that

could play that before, right, right, Yeah, I was mentioning,

you know, Randy hans Smith from Sepsis in the chat room was was commenting

how much he likes the drums and yeah, very some pretty sophisticated drum patterns

there, and yeah, yeah, absolutely, really really good. Yeah,

I tend to and you know, when somebody plays like you do. For

example, I was thinking about this last night. If I hear a song

by Rush, I tend to be very drawn to the drums, even though

I'm a bass player, and you know, obviously Getty Lee's an amazing bass

player, but when it's a when it's a band like Rush, you know,

the drums are the thing that I'm drawn to the most, just because

Neil Peart's drumming was so sophisticated, or are some of the early Black Sabbath

stuff too, like War Pigs. You know, I tend to focus in

on the drums because the drumming that bill Ward did was was so interesting and

really kind of different than anything else you would hear from that period. But

uh, absolutely yeah. I mean for me, that version would be Mike

Portnoy from Dream Theater. Yeah, you know, hear me indirectly be compared

to Neil Peart. That's a real honor. But I also you know,

nobody comes close to him, right right right? Well, I mean you've

got, like I said, this is very sophisticated the music that you're making.

Is it a challenge to do this live? Because like I said,

it's it's three of you? But I mean, or maybe I don't know,

do you have anyone additionally with you live who's not an official member,

who contributes live? Or do you actually pull this off just as a trio?

No, we do everything to the three piece wow. And one of

the goals that was on this album that we tried to stick with for the

most part was that we would write things and do things. If we couldn't

do them live, we wouldn't it wouldn't wind up on the record. Okay,

for the most part, that's true in terms of the arrangements. So

everybody in this band pulls what I like to call double triple duty on things

like not only your primary Instagram guitar, vis, drums, but also you

have vocals. Everyone sings has vocal parts in this band, whether it be

harmonies or like background vocals or things like that. Lead vocals. I specifically

do a lot of looping with a loop with a loop pedal. I was

going to say, our fourth band member is Chris's loop pedal. Yeah,

so just like the loop pedal. A lot of that is is live guitars,

is me playing, playing guitar and then trying to loop something over it.

Brandy also does synths and keyboards, which we started to use a trigger

pad for and we kind of along the way we use the trigger pad.

You could just activate it by hitting a paddle with the drums, and then

now very recently we've gone to the professionals, with the professionals using in your

monitor or i e. M. Rec and we have kind of like,

uh, we use we use click tracks, and some people think it's lame,

but for our degree, for our degree of complexity in this music,

it's necessary we have click tracks, and then I also like to use we

actually have everything synced out now, so uh my my pedal board with the

loop pedal, and everything takes uh takes MIDI MIDI commands, so I can

actually it can actually switch uh switch things like channels or pedals or the loop

pedal on and off for certain sections of the song. So it's actually made

things a lot more. We've automated a little bit of it, but at

the core, it's still three guys, same same big films. And the

obvious answer to all how do we do it live? Is we practice a

lot. Yeah. Well, yeah, you know, it's interesting because as

you're describing that and how it all works, I was, you know,

I don't currently play, but I've played in a lot of bands, and

I've never played in a band that's doing anything on the level that you're doing,

you know, with the added technology and whatnot. And I was thinking,

you know, it's it's so far beyond anything I ever did, because

any of the bands I was in, you know, we would show up,

we would play you know usually you know, drums, bass, guitar,

vocals, you know, and it's just you almost take it for granted

when you think about what goes into what you guys are doing. And again

I was thinking too. I was reflecting on for example, Rush, not

to go back to Rush, but a great example of you know, Geddy

Lee live. He would be playing bass, but he also had to figure

out a way to work some keyboard in there, you know, especially with

some of the stuff they did in the eighties. And and it's it's interesting

to me that, I mean, is it stressful to have sort of,

I don't know how else to put it, sort of an additional responsibility on

top of playing your instrument. You're not just playing your instrument, but you've

got a few other things you got to work in there. Is that Is

that difficult? Or is it just something that you know, you get it

down during rehearsal and then it just becomes second nature and it's no different than

if you were just you know, playing normal relax. I think it depends

on the member. I would say the main stressor for us is just making

sure all this newly added technology is working, you know, within the confines

of you have fifteen minutes to set up before your show, and that's of

course stressful because technology sometimes doesn't work. Yeah, it was expected and yeah,

yeah, I was gonna say, for me, I'm effectively playing bass

player and monitor tech, right, and that can be a bit of a

hassle, especially as like I've done my fair share of live sound, I've

done my fair share of as a musician. I have done maybe four shows

now where I'm doing both at the same time, and so that's definitely like

that added technology is definitely a bit of a stressor. And I know,

like making sure that the media is working to Chris's board has been a whole

process. At our release show last night, we actually had an issue where

the USB was not seeing our audio or the USB from the computer to the

audio device was not picking up, so our click track wasn't working. And

we have some like synth pads on like backing tracks and stuff now yeah,

and so none of that was working, and it took rebooting things a bunch

of times, and actually updated all of our equipment last night so that hopefully

we will have no issues for the next couple of days. And then I'm

sure, like you know, Chris can probably speak a bit more to the

mental load of like being the lead singer and playing the lead guitar over some

of the music that we work on. But that's kind of the technology aspect,

and I will say it definitely it's great when it works, and when

it doesn't, it is certainly stressful. The technology. The technology is certainly

the way Justin describes, it gives us a lot with new headaches and things,

but at the end of the day, it does streamline what it does

work. It does streamline a lot of things. We tend to with all

these things, adding like another layer or something like that. A lot of

it is a muscle memory thing and as we say as Renny, so we

practice a lot and it's one of those things that you just get better over

time at doing it. And to us now these things are second nature.

We've had sony songs for a long time, and if something breaks down,

it's not I mean, it's like, I know, we've made it sound

like we're so heavily dependent on the stuff, but it's not the end of

the world, because we can still at the heart of it, a lobby

songs the way they were written were the kind of these extra switches and things

were like kind of baked in. They're necessitated. Sure, so we've all

you can trust that we've all had practice doing this kind of stuff manually,

and so it's and so that's very it's no problem to go back to go

back to it. Yeah, we had to show about a month ago where

we were having an issue where the vibration of the stage kept triggering the stop

command on our click tracks. Like, yeah, we can still play a

perfectly tight set without them. Yeah, we just don't have some like specific

like we're missing the sub drop in this song, we're missing the pretty synthpad,

but like is it great to have the click? Yes? Are we

still the same band we were before we started playing to a click live?

Absolutely? Yeah. Yeah, Well that's interesting. So the vibration of the

stage was causing that. This was when we're using a trigger pad to trigger

the click instead of just pressing the space bar and a laptop. So yeah,

it's a process that there's a lot of trial and error when you're kind

of you're a band and you're three people figuring this out. A lot of

these things we like kind of had to grow into. Basically, we had

to grow into this band, grow into our roles, like the down to

like the pedal board I was making, like I soldered every single cable by

hand, I didn't know how to solder before that. Yeah, you know,

and then so stuff would break on stage. We have footage and it's

it's it's it's rough. You know, We've had footage, like earlier footage

of you know, we'll rush through a loop section, something will break on

stage. These are problems that were in the past. Uh. And do

you to lots of practice and or automation. We've actually streamlined a lot of

stuff into so where the you know, the great live act you've seen here

today. Yeah, no, I I really admire that your your level of

commitment to to this and and all that goes into it with the technology and

uh, Chris, I think it was someone had made reference earlier to to

you know, your your role is unusual and that you're both the lead singer

and the guitar player have Is that a lot of uh? Is that a

lot of pressure? You don't see that in most bands. I mean I've

you know, I've seen a few along the way, but usually usually the

guitar player, the lead guitar player, and the singer are our roles assigned

to two different people. Well, it's just it's just kind of muscle memory.

Yeah, it's I I've done it so long, I don't you know,

I like some people say it's amazing, you know, it's at the

end of the day, it's just kind of muscle memory. Yeah, it's

I think it's attainable. It's also something he had to grow into. Yeah,

as you'd say, because he's improved a lot on both fronts. And

as we joke, early on, he started singing because at the time he

was the only one who knew how to coordinate doing both, gotcha. Yeah,

I think. Yeah, it's like it's it's you could you could argue,

you could. You could argue that we were just like we had we

had too much ego, or we wanted to stay as a three piece.

So we're just being like, okay, we'll play We'll play all I'll play

all the guitar parts, ants sing you know. Yeah, Well, as

you guys were alluding to earlier, though, it's you know, as a

three piece, obviously everybody has to do more in terms of creating this music,

especially replicating it live. But but you don't have as many scheduling issues.

And you know, I mean I've been in bands where you know,

it's three other guys or four other guys, and you know, it can

become really difficult with everyone's schedule to know, schedule rehearsals and and trying to

schedule live shows and so so I think keeping it to a tight three piece

it does make sense. And obviously it makes things a little more challenging technologically,

but you know, you've figured it out obviously and it's it's working for

you. So kudos to you, guys. I think it's great time breakers.

You know, if people are the third person swoops in and gets the

final stay almost that's true. Yeah, there you go, There you go.

And can you, guys tell me a little bit about the album Awaken

the Endless Deep what the theme is here? Because just in listening to it,

and I listened to it first before I read the bio, and the

bio kind of clued me in, But but I noticed, you know,

like I said, it seems to be story songs kind of takes you on

a journey, and that journey is clearly on the sea. Uh, but

can you kind of tell us a little bit about what the concept is here?

And I'm also curious to know is this the concept of the band or

is it supposed to be the concept of Justice album specifically, and are there

other concepts other music that you might be working on or in the future.

It's a kind of a it's kind of a long winded answer, but it's

basically the story of Awaken the Endless Steep. This album is drawn from Chinese

creation mythology, and we kind of built a story around that concept album basically.

Okay, you can notice probably that there are little to no breaks on

the album, so that might kind of clue you in. Every song just

kind of flows in, like one after one after the next. Yes,

So that's based on it's reflective of our kind of desire to write a write

a story a concept album just kind of around Chinese creation mythology. We're not

now, we don't. We don't do much in our way of like publishing

a story doing what like Coheat and Cambria do with like publishing like like they

write like music based on like claud comic books and things like that. We

don't. We don't really have that. We don't really have that much like

published material and by way of that, but we kind of we definitely follow,

We definitely have like kind of a storyboard and kind of a lore written

you know, if you listen closely, there are references to the Chinese,

the Chinese creator god Pungu. He was he's kind of the he's kind of

the creator of like kind of the whole universe. And then you have a

Nuwa who is the kind of mother goddess who creates and looks over mankind.

And your primary antagonist in this story is Gong, which is the h is

the god of water, who is has a taste for engines because he had

a shall i say, a thwarted bid for supremacy over the world. He

wanted to control over the world. He was denied it and he was badly

injured, and now he has kind of returned to try to reassert this kind

of supremacy or said dominance or whatever. And then kind of this human protagonist,

his story is kind of set in like with kind of like ancient China

as a backdrop, but just kind of like that that see with the all

these these gods and things like that. And then the hero you kind of

have like a hero main protagonist who falls under the ocean, uh, and

then he's like he learns of this world and learns that the earth is in

great danger and he has to go forth and save it pretty much. And

to answer to the second half of your question, you know, we have

ourselves titled EP, which is certainly inspired by the ocean, but it's not

related to the album concept. And we do have early stage plans for our

next album to be a continuation of the first album story. So it's pretty

early on to say our albums are all based around one idea, but you

know, we're forging ahead as we go. They we're pretty locked in.

I am certainly drawing the name Heishin is a Chinese raised meaning see god or

sea deity, and that's intentional on my part because I am of Chinese descent,

and I thought this would be also like a great vehicle to explore that

whole world of deities and monsters, but also kind of understanding that whole understanding

the whole culture, understanding the whole world view, because there's a great tradition

there, but it's not many people know about it, and it's just it

was something that I was really interested in discovering for myself. And if you

listen close, and if you know, if you kind of pay attention to

Chinese folk music, you'll hear you'll hear bits and pieces. You'll hear some

kind of famous songs where we've been inspired by some melodies. Especially Goddess in

the Machine has a pretty strong second half where if you're familiar with Chinese folk

music, you're gonna hear melodies, you're gonna hear inspiration. And that was

very, very much purposeful. It's been really really cool to kind of like

learn a lot of this cultural stuff from Chris as we go as well,

and Randy and I have really enjoyed kind of exploring some ways of combining our

musical backgrounds with that inspiration from Chinese traditional music mythology. Yeah. Now,

and and in terms of writing these songs, is is the story kind of

all laid out before or or or do the do the songs kind of come?

I mean, do you already know? In other words, when you

go to write these do you already know? Okay, we're going to focus

on with this song, We're going to focus on this part of the story.

Is it is it really sort of regimented that way? Or is it

is it looser? Or how does how does that process work? Yeah?

We generally we generally write, we generally storyboard first, Okay, And then

it's kind of but in the tradition of many ancient legends, you know,

some of the finer details are a little kind of murky, and you kind

of you kind of add you kind of like fill the holes with your imagination

as you go. Yeah, but we generally storyboards first and then we'll write

song and so we'll have a general idea of like where we want to go,

like what mood we want to capture. In a way, it makes

things easy for us, but at the same time, it's a it's a

very difficult thing to kind of be like, oh, where do we go

next? Right, so we kind of do. We didn't write this album

in order, mind you, We just kind of ticked like we laid it

out into eight major events and we just kind of kind of wrote eight songs

to capture each each point on the way, and we had to find out

how to fit, how to you know, connect it all together. I

will say, to Chris's point, as well as far as not writing them

in order, it didn't really necessarily start out storyboarded, but we very quickly

realized that we needed to. And then if you hear there's a lot of

different influences and a lot of different sounds on this album, and that is

absolutely one percent to the point of this is a section of the story that

we need the song to feel like that section of the story. And that's

why you get there's a huge shift between Crimson Sun and Leviathan, and there's

a big shift between Leviathan and Goddess in the Machine and so on, because

these different sonic landscapes on different songs are directly attached to the way that we

wanted that part of the story to feel. Musically. Yeah, we'll say

the next album might be the process might be a little different. Now that

we're kind of locked in on what we want to we've learned a lot.

Yeah, so it's definitely the next album, you know, who knows the

process could change? Sure? Sure? And where do you record, by

the way, because the songs sound amazing and for what you're doing, obviously

it's important that you know and that like if you're you know, if you're

in a punk band or something, you can kind of get away with,

you know, things sounding a little a little rough, but for what you're

doing, everything has to sound pristine and clear, so you can he everything

and it sounds amazing. Where do you guys record. We recorded at Capture

Studio in Syracuse. It's owned and run by Jason Randall or nicknamed Jocko by

his friends. And yeah, he's got an incredible space that he's pretty much

custom built himself, and he knows the inside and out of it. He

got us a really high degree of isolation between I mean within instruments, I

mean isolation within just my drum set, for example, and that sort allows

all that detail to be brought out. I mean, I think my drum

set has like probably fourteen symbols on it and here at each and everyone you

know. Yeah, and we took extra time to I mean, every guitar

take you here is stereo, so it's double tracked. Every vocal take is

in stereo, so double track. Some of the guitars are quad track,

which means there are four layered takes left and right across the stereo field.

And that's not including like harmony parts and like layers. That's just like an

individual rhythm guitar track is going to be up to four different takes of the

same exact part before the solo gets laid on top of it kind of thing.

And just to brag for Chris a little bit. The guitar solo,

the big guitar solo in the middle of the Flesh of the Earth, Child

of the Sea. He double tracked that solo, like not not two mics,

not a doubler effect, double tracked, played the solo twice and it's

laid on top of each other, and like if you listen, you hear

it, and it's kind of it was. We were all going kind of

crazy watching him do it. Yeah, yeah, I mean, Jocko just

he has the years of experience to know, you know, he's getting into

this kind of project, this is what this kind of project requires. Yeah,

and that's partly why we went with him, because we knew he had

that experience and the space to do so. Yeah, he's recorded all four

Wilder Run albums if you're familiar, yep, and I believe he I believe

he mixed and mastered the first two. So that was kind of where we

heard of him and we're just blown away working them. There was a time

where we tracked all of our demos in the basement, but hey, these

came out pretty good for a basement. Maybe we'll just do this. And

then the more we thought about it the more we figured that was a bad

idea, and then we heard just the rough mixes from like the first day

of drum tracking, and we're like, oh, yeah, this is going

to be way right right, Yeah, no doubt. Does he is he

engineering when he's recording or does he also become like a de facto producer?

And I know sometimes that happens organically, you know, somebody starts out as

an engineer and sort of he comes heart a facto producer. But does he

have a kind of a producer role in what you're doing? Yeah, it

all depends how you want to hire him. Essentially, he's all about making

his studio accessible, so he has like you can just rent the studio and

run the tracking yourself. But we hired him to be both engineer and producer.

He also mixed and mastered the record. Luckily for us, we got

along really well. And we also happen to use the same or like software,

so just familiar with the program. So sometimes he could take a backseat

while we would just press play, and that allowed him to focus on just

hearing the music and getting into that producer role. Yeah. Yeah, for

the most part, our stuff was our material was pretty much cut and dry

and just ready to go when we went into the studio. He did comparatively

little, but in terms of creative direction sometimes he would be Sometimes is our

kind of first time as a band in like a professional studio. We did

the EP. We did the EP in a professional studio as well. We

could squid in Rochester, but that was largely without a click and live and

we kind of just booked that studio time. It just did in three hours.

But this one, this album took something like to the order of nine

to ten days, I think twelve days because we had to add more time

to finish vocal tree, right, we had to add that time what they

said, But I think it was nine days for the bulk of the instrumentals.

And we were like like justin and Randy said, you know he was

he was really he was hands on when he needed to be. Sometimes we

had some we had some sort of agonizing over a certain a certain part.

He would offer his offer in his years of wisdom, and we would you

know, get that done and it would sound great. But you know,

oftentimes we would be up till as time went on, I think we started

staying up later and later to just get this stuff done, so we would

leave at about midnight. And because Justin and Randy are more familiar with his

his daw he uses Reaper and they use Reaper, it was easy for them

to also helm the session so we could just get in an extra three four

hours of work done. Yeah, yeah, that makes sense. When you

play live, do you play the full album. That's what we've been doing.

We did that last night at our release show, or two nights ago

rather, and we're gonna I think the plan is to do that on tour.

Excellent, excellent, for the best of our ability. Yeah, Normally

we don't get a chance with some of these local shows just because it's like

usually they do thirty five to forty five minutes, so our album runs just

over fifty five, so we have to cut maybe just a little bit,

but well, whenever we can. It's always great to try to play the

whole thing because it you know, as I said, it's all it's all

connected, it's one big story. So when when did this come out?

Because obviously you just mentioned the release show was last night, so this is

pretty new, right, Well, the really show was May ninth, and

the album came out maya so Thursday, came out, came out. Oh

wait two Saturday time. I mentioned last night earlier, and I'm realizing that

there was an entire day in between. But it's been such a blur of

prepping for tour and everything that I forgot that Friday happened. That can happen.

Yeah, yeah, and then we should make sure we plug too.

Tonight. You guys are playing at Terminus in Nashua, New Hampshire. Yes,

very good for that, Ye, excellent. Yeah, we've had both

Conduit Conduit we had on the show recently, and we had Novakoy on the

show a little while ago and a couple of great bands, so that is

awesome. Yeah, definitely people should check that out. And of course we've

had Eleanor on the show when Terminus was first opening there in Nashua and a

great, great place, and I don't know if you've seen it yet,

but when you walk into it, it's it's my reaction was walking into that

room for the first time. It's like another world. It's it's it's it's

amazing. It's a truly remarkable place. Guys. The time goes so quickly.

This has been a fascinating conversation I really love what you're doing. I

love your music. We are going to play another track. I was thinking

about playing Leviathan to to close out this segment, and then we'll probably play

something else too later in the show. You've definitely got a fan in me.

So I love the music and I love the whole concept. It's really

really cool. What oh absolutely thank you guys for joining us today before we

let you go, And like I said, I think we're gonna play Leviathan

next. But I want to make sure people know how to find you online.

People listening who have not actually looked or Google you probably don't know how

to spell the name of your band. So how should people know how to

reach you online so they can follow you, keep up with everything that you're

doing, get your music, go to a show, whatever it is out

How should people find you? Yeah, So it's H A I S H

E N. And we are at Hishen band on. You can find us

on Facebook, Instagram, YouTube, or Twitter. Don't really use the Twitter

that often. Instagram is really the best place to keep up with us.

We also have We're on Spotify. Just Hi Shen. We're the only ones

we come right up. Good. We're on band camp hishen dot band camp

dot com. We have CDs of the new album, CDs and tapes of

the EP. We just posted a couple of shirt designs last night. And

other than that, we will be in Revere, Massachusetts to Sammy's Patio on

the twelfth. If you can't make the New Hampshire show but you're in the

New England area, We're gonna be at Gold Sounds in Brooklyn on the thirteenth

Monday. If you're in the New York City area, and other than that,

keep an eye on our Instagram. We're going to be trying to play

out of town a lot this year. Please feel free to hit us up

for booking. High Shendband at gmail dot com or message us on any one

of our social media pages and we'll get back to you as soon as we

see it. I'll also add we are on Apple Music as well for all

iPhone users were We're on most scream screening services. Whatever CD baby puts us

on, we're on that. And also I was gonna say a quick shout

out to is Our. You can also find our merch for sale at our

record labels website Needlejuicerecords dot com. Okay, so that's all the places you

can find us other than in person somewhere on later today. Very good,

very good, all right, justin Randy Chris from Highshend. Thank you guys

so much. We'll let you go. I'm gonna hit this track Leviathan.

I can't wait to share this with everybody, and but thank you so much

for having us on. Absolutely we'll do it again in the future. Guys,

have a great show tonight, and thank you so much. Take care

and I'm sure we have a good one, all right YouTube, bye bye,

all right, the guys from Highen. We're gonna play this track Leviathan.

Then when we come back, Jenny's gonna tell us about the event today,

and then we're gonna bring in on the second hour Bees Deluxe. Are

they in the building? Is that? Oh? I'm sorry your mic was

I shot your mic off when you got up to leave the room to let

them in. They are in the buildings, they are, They're in the

building. Very good, very good, all right, So plenty more to

come. But check this out from Highend. This is called Leviathan. Really

good stuff. Oh b rise, Oh my god, sat not my no,

I won't I said that my could ever be cat I thought I was

going the reality, I said, my say, oh kay, and so

by die now oh or Ney ells right to the truth. But be the

shadow makes me wide moments about their shoes a file side said that goes from

one plays the brot the little the time, but not to themselves up in

the side you mean Detroit and sit the wall soon Detroit right by by oh

by the by willisode back. I did OUs all back and rest thou do

thousand about size, style and stuff, and sous now spe cries of my

be so well make the best of the bays. When war exploiting us,

falling fins one one, they think the ball the sus accepting like baby doll,

like b like b a ball over by ur But sa for me go

round. That is Leviathan from Highshen And thanks again to those guys for joining

us out of course it's from the album Awaken the Endless Steep, really good

stuff. Fascinated by their music and what those guys are doing. And as

promised, Jenny tell us about the event today this evening, or actually this

afternoon. In of this evening, there's a special opening reception going on at

the Mosaic Art Collective right here in the Queen City of Manchester, located at

sixty six Hanover Streets. Tweet two to one. I can speak. This

is a really interesting and really cool art show. And I'm excited because one

of my pieces is in the show, so I will be there this afternoon

for the opening. But this is an interesting What they did was this is

called the Resurgence Art of the Botanical and it's a collaboration with local florists people

like do Collective Blue Botanicals, Heather Noonan and they've created arrangements inspired by pieces

of the original artwork that are in the show. Isn't that crazy cool?

I'm excited to see this. So there's all different kinds of art pieces,

all different kinds of artists, and it's a fusion between you know, the

visual beauties of artwork on the walls with the three D come to life bouquets

and just floral arrangements and they are there's going to be an auction also,

so these floral arrangements are going to get auctioned off. Really good timing too,

considering tomorrow's Mother's Day, so you could get an amazing, amazing bouquet

of flowers. So I'm really excited to be there the shows. The opening

is from four to eight pm this evening. And each one of these artists,

these florists, they chose the artwork that inspired them to create these exquisite

floral arrangements. So I'm just I'm so excited about this. I can't wait

to see it. So I hope you guys will join us. That's uh

tonight from four to eight pm at sixty six Hanover Street here in the Queens

City, Suite to one the Mosaic Art Collective. Do look them up Mosaicarcollective

dot com. There will be a new show starting they're gonna be They have

an open call going for their June show called lux Reflecting Queer Beauty and Resilience.

That's going to go from June third to June thirtieth, with an opening

reception on June eighth. So, if you are an artist from all corners

of the LGBTU plus community, allies explore and celebrate the multifollient aspects, so

you can submit your artwork. That is an open call that is going on

for next month if you'd like to get your work into the Mosaic Art Collective.

It's a great place to show. It's a smaller gallery, it's very

unique. It's a wonderful environment. There are live live there are live artists.

There are studios there that you can actually get a glimpse into some of

the local artists work as they're in these studios. Let me tell you,

are incredible to look at. It is just the way that the artists have

them set up and everything. It's a piece of its own if you will,

so definitely check that out. I'm excited to be there. I just

love the Mosaic Are Collective. I really yeah, very good. While we

look forward to that absolutely all right, excellent, excellent and congratulations, thank

you, And we are approaching the top of the hour. We're going to

get to a quick break, show some love to our amazing sponsors, and

then when we come back, we have Conrad and Carol from the band Bees

Deluxe. They are here with us live and spooloop. I'm sorry, I

don't know where that's coming from. They are here with us live and studio.

I figured out where it's coming from. That was a sneak peak of

one of the songs we're going to be playing. I didn't mean to play

it yet anyway. All right, let's h

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