WEBVTT 00:00:00.460 --> 00:00:05.379 Welcome everyone to episode 429 of Signals from 00:00:05.379 --> 00:00:08.859 Mars. I'm your host, Victor. And for this episode, 00:00:09.039 --> 00:00:14.140 we welcome in the Nashville band, Howling Giant. 00:00:14.759 --> 00:00:19.920 Tom, Sebastian, they're here to talk about all 00:00:19.920 --> 00:00:23.280 things about the band, new album, so on and so 00:00:23.280 --> 00:00:25.000 forth. You know, I'm going to throw some left 00:00:25.000 --> 00:00:27.399 field questions at them as well. So that's next. 00:00:30.269 --> 00:00:59.979 I'm ready. Quick reminder that in addition to 00:00:59.979 --> 00:01:02.859 hosting Signals from Mars, I've also worked behind 00:01:02.859 --> 00:01:05.859 the scenes helping other podcasters. 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July 00:03:54.159 --> 00:03:57.580 is when I went on vacation, where I started checking 00:03:57.580 --> 00:04:04.259 a lot of that stuff out. And currently over 125 00:04:04.259 --> 00:04:09.650 ,000 views. Now, listen. There are a lot of people 00:04:09.650 --> 00:04:14.449 out there with gold videos and silver videos 00:04:14.449 --> 00:04:17.290 and platinum videos and this and that, which 00:04:17.290 --> 00:04:21.149 is displayed behind them, you know, when you 00:04:21.149 --> 00:04:25.689 see their live shows or whatnot. So 125 ,000 00:04:25.689 --> 00:04:29.110 views in the grand scheme of things is still 00:04:29.110 --> 00:04:32.550 pretty small. But man, for me, it's a big deal. 00:04:32.970 --> 00:04:35.430 I've been doing this since 2009 and seeing that 00:04:35.430 --> 00:04:38.370 people are still checking the show out, still 00:04:38.370 --> 00:04:42.250 giving their feedback on these various different 00:04:42.250 --> 00:04:45.129 platforms like TikTok and YouTube and Instagram 00:04:45.129 --> 00:04:48.769 and so on and so forth. The journey's been fun. 00:04:49.449 --> 00:04:52.209 Also, you guys are going to see an uptick in 00:04:52.209 --> 00:04:54.750 interviews like you do with this one. So hopefully 00:04:54.750 --> 00:04:58.170 you guys enjoy the ride so far. And if you're 00:04:58.170 --> 00:05:01.189 new, buckle in. Hope you guys enjoy this one. 00:05:23.620 --> 00:05:27.120 Welcome on and on to the latest episode of Signals 00:05:27.120 --> 00:05:30.060 from Mars. I'm your host, Victor. And joining 00:05:30.060 --> 00:05:35.180 me today are Tom and Sebastian from Howling Giant. 00:05:35.540 --> 00:05:38.639 On the day that this is released, their new album, 00:05:38.779 --> 00:05:42.759 Crucible in Ruin, will be released. How are you 00:05:42.759 --> 00:05:46.399 guys doing? Doing good, man. Thanks for having 00:05:46.399 --> 00:05:52.360 us. Excellent. Thanks for coming on. You guys 00:05:52.360 --> 00:05:56.160 are from Nashville and have been around for quite 00:05:56.160 --> 00:06:02.180 a bit. How has the city changed, the music scene 00:06:02.180 --> 00:06:04.519 changed within the city from when you guys started 00:06:04.519 --> 00:06:08.980 to what it's like today? You know, the guys moved 00:06:08.980 --> 00:06:14.319 down here, I think, in, I believe, in 2008, 2010, 00:06:14.319 --> 00:06:18.000 something like that. Or no, I was here before 00:06:18.000 --> 00:06:22.660 them. But yeah, the music scene has changed a 00:06:22.660 --> 00:06:26.519 little bit. You know, country scene is always 00:06:26.519 --> 00:06:32.100 super big here. It's like the main tourist attraction. 00:06:32.319 --> 00:06:34.259 So that's kind of what everybody thinks when 00:06:34.259 --> 00:06:36.920 they're coming to Nashville. There is a huge 00:06:36.920 --> 00:06:39.779 underground scene here, especially in the hard 00:06:39.779 --> 00:06:43.079 rock and heavy metal scene. And I'd say over 00:06:43.079 --> 00:06:46.339 the past, you know, 10 or so years that we've 00:06:46.339 --> 00:06:50.360 been down here. that it's been really growing 00:06:50.360 --> 00:06:55.660 and getting really popular. We have our friends 00:06:55.660 --> 00:07:00.500 in Friendship Commanders who just put out a record, 00:07:00.579 --> 00:07:06.560 and it is awesome. And so they're pretty big 00:07:06.560 --> 00:07:11.019 and picking up steam around here for sure. Okay. 00:07:11.779 --> 00:07:14.319 Yeah, well, one of the reasons for my question 00:07:14.319 --> 00:07:18.110 was... I'm actually watching an old HBO show 00:07:18.110 --> 00:07:22.649 called Treme. And part of what's going on in 00:07:22.649 --> 00:07:28.689 that show is they're based in New Orleans. And 00:07:28.689 --> 00:07:32.870 with the city kind of changing over, more money 00:07:32.870 --> 00:07:36.990 coming into the city and whatnot, some of the 00:07:36.990 --> 00:07:41.930 music areas are being gentrified. So you have 00:07:41.930 --> 00:07:44.470 people that are coming in that don't want music. 00:07:46.910 --> 00:07:50.470 I think we're seeing that to a certain degree 00:07:50.470 --> 00:07:52.310 in Nashville as well. I know there are a lot 00:07:52.310 --> 00:07:55.850 of things that maybe are positive, and Seabass 00:07:55.850 --> 00:07:57.829 mentioned a few with our friends. But in reality, 00:07:58.009 --> 00:08:00.269 there's a lot of change in Nashville. There's 00:08:00.269 --> 00:08:02.069 a lot of money coming in, and a lot of these 00:08:02.069 --> 00:08:04.449 neighborhoods have been changing. When we first 00:08:04.449 --> 00:08:07.550 moved down here in 2013, Zach and I, there was 00:08:07.550 --> 00:08:11.529 a big house show scene, specifically in Murfreesboro, 00:08:11.629 --> 00:08:13.730 just outside of Nashville. It's this really cool 00:08:13.730 --> 00:08:17.129 underground. like punk and hardcore thing. And 00:08:17.129 --> 00:08:19.769 we kind of came in right near the tail end of 00:08:19.769 --> 00:08:22.990 that. So we kind of came into this, like, I don't 00:08:22.990 --> 00:08:25.110 want to say like the very end, but there was 00:08:25.110 --> 00:08:27.769 like, there was a bit of this punk rock kind 00:08:27.769 --> 00:08:30.449 of Southern rock, just like everyone bringing 00:08:30.449 --> 00:08:34.570 this like basement show. garage band energy to 00:08:34.570 --> 00:08:37.990 it there were more dive bars it felt like that 00:08:37.990 --> 00:08:40.789 were hosting these like heavy kind of shows um 00:08:40.789 --> 00:08:44.090 so so over the years you've had people come in 00:08:44.090 --> 00:08:46.509 and like change a lot of these bars when we started 00:08:46.509 --> 00:08:49.629 there was a bar called foobar and it was amazing 00:08:49.629 --> 00:08:52.090 it was in east nashville it eventually changed 00:08:52.090 --> 00:08:54.470 to cobra which is still there today and cobra 00:08:54.470 --> 00:08:57.750 is still cool but i think those first few years 00:08:58.440 --> 00:09:01.360 there was almost this like wild west kind of 00:09:01.360 --> 00:09:04.639 attitude of like just things, you know, anything 00:09:04.639 --> 00:09:07.039 could happen at some of these shows. So still 00:09:07.039 --> 00:09:09.720 positive. There's still some DIY venues, but 00:09:09.720 --> 00:09:12.720 you know, it's, it's kind of changed its face 00:09:12.720 --> 00:09:16.460 quite a bit over a decade. Okay. How do you guys 00:09:16.460 --> 00:09:19.500 feel the city has influenced you guys as musicians? 00:09:21.120 --> 00:09:25.379 Well, I mean, When you're constantly, you know, 00:09:25.379 --> 00:09:27.860 when you're in a city that's completely surrounded 00:09:27.860 --> 00:09:32.879 by music all the time, you know, that's definitely 00:09:32.879 --> 00:09:34.779 going to have an impact on you, no matter what 00:09:34.779 --> 00:09:38.659 kind of music it is. For instance, I feel inspired 00:09:38.659 --> 00:09:42.879 at the, I work at a venue and I feel inspired 00:09:42.879 --> 00:09:45.419 almost every single night that I work there. 00:09:45.500 --> 00:09:49.379 And it's mainly. bluegrass or country or rock 00:09:49.379 --> 00:09:52.580 and roll or r &b musicians not necessarily anything 00:09:52.580 --> 00:09:57.120 heavy or you know metal um but yeah just always 00:09:57.120 --> 00:10:01.860 being around uh just music in general is just 00:10:01.860 --> 00:10:03.519 going to have that it's going to give you that 00:10:03.519 --> 00:10:05.919 inspiration to want to continue to write and 00:10:05.919 --> 00:10:11.360 perform yeah i think at least speaking for myself 00:10:11.360 --> 00:10:14.559 uh i have a lot of friends who are involved in 00:10:14.559 --> 00:10:17.679 like kind of pop music and like writing country 00:10:17.679 --> 00:10:21.399 music and hanging out in those circles you learn 00:10:21.399 --> 00:10:24.500 about this like art of songwriting for them and 00:10:24.500 --> 00:10:28.139 I think that before I moved here I approached 00:10:28.139 --> 00:10:30.600 writing music especially for Howling Giant as 00:10:30.600 --> 00:10:33.500 this kind of sprawling like through written idea 00:10:33.500 --> 00:10:38.580 there wasn't necessarily like a consciousness 00:10:38.580 --> 00:10:42.000 about song form in the early days and after hanging 00:10:42.000 --> 00:10:44.259 out and kind of learning this craft of like pop 00:10:44.259 --> 00:10:47.519 songwriting like where would a verse chorus go 00:10:47.519 --> 00:10:49.720 what's the purpose of a bridge when would you 00:10:49.720 --> 00:10:52.320 include like a pre -chorus these kind of fundamental 00:10:52.320 --> 00:10:55.220 like pop song forms that's something Nashville's 00:10:55.220 --> 00:10:57.159 known for and I think that's something we've 00:10:57.159 --> 00:11:00.080 been able to use in Howling Giant in like the 00:11:00.080 --> 00:11:03.539 heavy scene to kind of infuse some of that I 00:11:03.539 --> 00:11:07.220 don't want to say catchiness but I think I've 00:11:07.220 --> 00:11:08.980 learned a lot from that. And that's really what 00:11:08.980 --> 00:11:11.039 Nashville kind of brought to the table for me. 00:11:12.179 --> 00:11:14.700 Oh, I would say that there's definitely catchiness 00:11:14.700 --> 00:11:17.639 in what you guys do. I mean, it's funny because 00:11:17.639 --> 00:11:22.559 there's the way that it's always set up, you 00:11:22.559 --> 00:11:26.299 know, stoner band, doom band, this, that. But 00:11:26.299 --> 00:11:28.980 I think what separates you guys is that catchiness 00:11:28.980 --> 00:11:31.960 is the melodies to go along with the riffs to 00:11:31.960 --> 00:11:35.690 kind of. you know separates you guys from the 00:11:35.690 --> 00:11:39.269 rest of the pack man i appreciate that i i think 00:11:39.269 --> 00:11:41.090 that there's value in like all these different 00:11:41.090 --> 00:11:44.110 ways to write a song you know what i mean and 00:11:44.110 --> 00:11:47.809 the right move isn't always to make uh you know 00:11:47.809 --> 00:11:50.649 like a pop song form but i do think that it's 00:11:50.649 --> 00:11:54.169 powerful and being conscious of like how many 00:11:54.169 --> 00:11:56.929 times can you repeat a section and evolve it 00:11:56.929 --> 00:12:01.119 how many times can you you know try and really 00:12:01.119 --> 00:12:03.919 establish a motif before it's time to move on 00:12:03.919 --> 00:12:06.779 and like change that expression. I think it's 00:12:06.779 --> 00:12:08.639 just like, you know, it's something you don't 00:12:08.639 --> 00:12:10.500 need to do every time, but it's good to be conscious 00:12:10.500 --> 00:12:12.399 of that. And it's something we're trying to keep 00:12:12.399 --> 00:12:14.200 learning more about, you know what I mean? So, 00:12:14.200 --> 00:12:17.799 right. And it also using those tools can help 00:12:17.799 --> 00:12:20.679 us, you know, expand our reach a little bit more 00:12:20.679 --> 00:12:23.659 within the fan base because, you know, not everybody 00:12:23.659 --> 00:12:26.899 is, is going to like, you know, stoner rock or 00:12:26.899 --> 00:12:30.220 stoner metal is as much as we do. Or, you know, 00:12:30.240 --> 00:12:33.320 not everybody's going to like prog rock or prog 00:12:33.320 --> 00:12:36.759 metal, you know, whatever. And so to have those 00:12:36.759 --> 00:12:39.320 little instances where we kind of put a touch 00:12:39.320 --> 00:12:44.620 of that sort of pop arrangement in can help bring 00:12:44.620 --> 00:12:47.460 new listeners in and, you know, help expand their, 00:12:47.539 --> 00:12:51.179 you know, what they listen to, really. Yeah, 00:12:51.200 --> 00:12:56.139 absolutely. With Crucible and Ruin now being 00:12:56.139 --> 00:12:58.940 your third full length. and obviously with all 00:12:58.940 --> 00:13:01.679 the other EPs that you guys have released, did 00:13:01.679 --> 00:13:04.519 you guys have any set goals before going in to 00:13:04.519 --> 00:13:07.059 record the album? Things you wanted to try, maybe 00:13:07.059 --> 00:13:08.799 a little different than what you'd done before, 00:13:08.899 --> 00:13:14.019 whether that's sonically with how the album sounded, 00:13:14.179 --> 00:13:17.580 whether that's with the songwriting, or maybe 00:13:17.580 --> 00:13:19.720 as you just said, Sebastian, maybe adding certain 00:13:19.720 --> 00:13:22.559 elements that maybe you hadn't in the past to 00:13:22.559 --> 00:13:28.919 parts of the album. Yeah, I think that, you know, 00:13:28.940 --> 00:13:31.860 with every release that we have, we're always 00:13:31.860 --> 00:13:35.720 looking to try something new and try, you know, 00:13:35.720 --> 00:13:38.620 to add new parts and add a new element to our 00:13:38.620 --> 00:13:42.360 sound. Specifically, the thing that stands out 00:13:42.360 --> 00:13:45.559 for me for this record was the fact that we got 00:13:45.559 --> 00:13:49.139 to work with Neil Turi at Amish Electric Chair 00:13:49.139 --> 00:13:53.730 Studios up in Athens, Ohio. And he just has an 00:13:53.730 --> 00:13:56.490 amazing place up there. And really, this was 00:13:56.490 --> 00:13:59.970 our first time actually stepping into a full 00:13:59.970 --> 00:14:02.509 recording studio because in our past releases, 00:14:02.710 --> 00:14:05.970 we've done a lot of DIY stuff. A lot of stuff 00:14:05.970 --> 00:14:08.710 has just been done at home. And we've been happy 00:14:08.710 --> 00:14:10.309 with the sound that we've been getting, but it's 00:14:10.309 --> 00:14:12.070 a total different experience when you're actually 00:14:12.070 --> 00:14:16.049 walking into a studio and you have set two weeks 00:14:16.049 --> 00:14:19.649 of, hey, I have to get this done. We have to 00:14:19.649 --> 00:14:22.490 get this done in two weeks. That's it. So it 00:14:22.490 --> 00:14:24.230 kind of puts a pressure on you a little bit. 00:14:24.649 --> 00:14:29.450 But the the the quality of gear and just Neil 00:14:29.450 --> 00:14:32.269 and his experience that he has is just made the 00:14:32.269 --> 00:14:36.830 whole thing really enjoyable. So. Yeah, I think 00:14:36.830 --> 00:14:39.990 just to expand on that, you know, we we knew 00:14:39.990 --> 00:14:43.029 going into this record, we wanted it to feel 00:14:43.029 --> 00:14:45.169 like a step up from a production standpoint. 00:14:45.769 --> 00:14:48.610 That was kind of like the main goal. Spinning 00:14:48.610 --> 00:14:51.129 off from that, I think we started adding other 00:14:51.129 --> 00:14:53.870 elements that we wanted to try differently. Notably, 00:14:54.070 --> 00:14:56.929 you know, we leaned more on creating like guitar 00:14:56.929 --> 00:14:59.769 layers and a little less on the like organ element 00:14:59.769 --> 00:15:02.730 that was on previous records. We still wanted 00:15:02.730 --> 00:15:05.070 to have some synth moments, but we wanted to 00:15:05.070 --> 00:15:08.720 bring in this fourth member, Adrian. who's been 00:15:08.720 --> 00:15:11.799 amazing and being able to lean on him with like 00:15:11.799 --> 00:15:14.620 dual guitar parts and lean on him for these kind 00:15:14.620 --> 00:15:19.000 of post -rock, you know, tendencies that he has 00:15:19.000 --> 00:15:21.419 with some of the synth layers. We thought that 00:15:21.419 --> 00:15:24.419 could give kind of a different character to this 00:15:24.419 --> 00:15:27.659 record. So it wasn't just another, not, not a 00:15:27.659 --> 00:15:29.700 cookie cutter howling giant record, but we wanted 00:15:29.700 --> 00:15:32.659 it to just feel. very much like a different flavor. 00:15:33.000 --> 00:15:36.059 And I think being able to go to the studio with 00:15:36.059 --> 00:15:39.000 both Adrian on board and working with Neil Turi, 00:15:39.059 --> 00:15:41.860 like Seabass said, it was just kind of a completely 00:15:41.860 --> 00:15:45.100 different environment than we have used in the 00:15:45.100 --> 00:15:47.860 past. So from that, it really kind of brought 00:15:47.860 --> 00:15:50.620 out some really cool characteristics of our songwriting 00:15:50.620 --> 00:15:53.080 that maybe have been there before, but didn't 00:15:53.080 --> 00:15:56.200 get the same like attention and spotlight that 00:15:56.200 --> 00:15:58.059 they were able to get at Amish Electric Chair 00:15:58.059 --> 00:16:01.909 Studios. Yeah, and that makes sense because I 00:16:01.909 --> 00:16:05.149 listened to the new album a few times today and 00:16:05.149 --> 00:16:07.909 I went back and listened to Glass Future as well. 00:16:08.490 --> 00:16:13.330 And it definitely sonically sounds like an upgrade. 00:16:14.330 --> 00:16:17.509 Being a wannabe musician and having dabbled in 00:16:17.509 --> 00:16:21.610 things like Superior Drummer and stuff like that, 00:16:21.730 --> 00:16:24.190 right away when somebody releases an album, I 00:16:24.190 --> 00:16:25.970 can tell, all right, well, they're using samples 00:16:25.970 --> 00:16:29.139 from this package or that package. And honestly, 00:16:29.340 --> 00:16:33.139 with Crucible and Ruin, it sounds like you guys 00:16:33.139 --> 00:16:35.840 recorded everything in a studio. Yeah, big time. 00:16:36.500 --> 00:16:39.019 It sounds like this could have been released 00:16:39.019 --> 00:16:44.679 in any decade without those technological markings. 00:16:44.879 --> 00:16:49.799 Man, yeah. So I'll say with Glass Future, I'm 00:16:49.799 --> 00:16:52.820 really proud of that record, especially the songwriting. 00:16:52.860 --> 00:16:55.840 I really love from that record. And I think what 00:16:55.840 --> 00:16:59.190 I really dig about Glass Future, was that we 00:16:59.190 --> 00:17:02.269 were able to do all of that DIY and get an album 00:17:02.269 --> 00:17:05.329 that sounds great. It does sound like it was 00:17:05.329 --> 00:17:07.690 done at home with kind of the limited means, 00:17:07.890 --> 00:17:10.609 but it almost has a character from that. And 00:17:10.609 --> 00:17:14.049 for me, it really feels like a timestamp. We've 00:17:14.049 --> 00:17:16.450 always wanted to use real drums since you brought 00:17:16.450 --> 00:17:18.809 that up. We aren't a band that wants to use samples 00:17:18.809 --> 00:17:22.990 ever. So you're kind of held, not handcuffed, 00:17:23.009 --> 00:17:25.289 but what you have to record with the mics in 00:17:25.289 --> 00:17:29.410 the room have a huge impact. And going into the 00:17:29.410 --> 00:17:32.190 studio with Neil, we were like, man, I want it 00:17:32.190 --> 00:17:35.789 to have that bigness without being crazy compressed 00:17:35.789 --> 00:17:38.710 or just like punched in with these like drum 00:17:38.710 --> 00:17:41.710 samples. So the way that was achieved really 00:17:41.710 --> 00:17:44.829 was like taking extra time up front to like, 00:17:44.890 --> 00:17:48.130 you know, tune those drums very specifically 00:17:48.130 --> 00:17:50.829 so they could cut against the guitars and the 00:17:50.829 --> 00:17:52.950 tunings we were in. So we would be playing together 00:17:52.950 --> 00:17:56.160 and Neil would be in the room. you know, like 00:17:56.160 --> 00:17:58.339 just listening and like tuning so that they were 00:17:58.339 --> 00:18:00.740 sitting in kind of different areas where they 00:18:00.740 --> 00:18:02.440 weren't going to compete with like some of these 00:18:02.440 --> 00:18:05.680 like guitar and bass frequencies. So kind of 00:18:05.680 --> 00:18:07.779 taking that care and using the quality of mics 00:18:07.779 --> 00:18:10.359 and just his expertise in general, I think achieved 00:18:10.359 --> 00:18:14.220 that like bigness you can get from samples without 00:18:14.220 --> 00:18:18.039 having that like stamped on the top kind of. 00:18:18.589 --> 00:18:21.130 you know, I say fake, but like, you know what 00:18:21.130 --> 00:18:23.109 I mean? It was, they really just found their 00:18:23.109 --> 00:18:25.130 home. And I think that takes an expert like Neil 00:18:25.130 --> 00:18:27.230 to be able to do that with a band like us, you 00:18:27.230 --> 00:18:31.309 know? Right. Yeah. I think a lot of times though, 00:18:31.490 --> 00:18:34.109 I mean, let's be honest, you're left to your 00:18:34.109 --> 00:18:38.890 devices and what you guys really can afford to 00:18:38.890 --> 00:18:42.329 work with. I mean, if, if the previous album 00:18:42.329 --> 00:18:45.930 needed to be worked on that way. Yeah. Well, 00:18:46.069 --> 00:18:48.700 it's, it's like you kind of have to, check the 00:18:48.700 --> 00:18:51.720 scale and see how it's, how it's balanced in 00:18:51.720 --> 00:18:54.940 the past. You know, we recorded a black hole 00:18:54.940 --> 00:18:58.880 space wizard part two. We saved up enough money 00:18:58.880 --> 00:19:02.339 to buy like one 12 hour session in a studio in 00:19:02.339 --> 00:19:05.160 Nashville. I think it was called Q division or 00:19:05.160 --> 00:19:08.200 maybe County Q. One of those two, something Q. 00:19:09.160 --> 00:19:12.579 But that took like, we had to save up so much 00:19:12.579 --> 00:19:15.250 money for that. one session and really the only 00:19:15.250 --> 00:19:18.569 goal was like we just want to capture drums in 00:19:18.569 --> 00:19:22.430 this room and i'm really happy with what we got 00:19:22.430 --> 00:19:25.269 there too but that was a scramble like one day 00:19:25.269 --> 00:19:28.109 trying to get what you needed so i think with 00:19:28.109 --> 00:19:30.650 the later records you know space between worlds 00:19:30.650 --> 00:19:33.950 and glass future we said okay i think the songs 00:19:33.950 --> 00:19:38.150 will be served better if we can be more comfortable 00:19:38.150 --> 00:19:40.690 and have the time it takes to get the right part 00:19:40.690 --> 00:19:44.519 even if The sound quality is maybe not as good 00:19:44.519 --> 00:19:47.259 as like if it was in a studio. So for this time 00:19:47.259 --> 00:19:49.799 and crucible and ruin being able to say, Hey, 00:19:49.799 --> 00:19:52.119 we have, you know, we have the parts, we have 00:19:52.119 --> 00:19:54.799 the time and we have the space. I mean, it was 00:19:54.799 --> 00:19:57.460 like, that's the way we want to be doing things 00:19:57.460 --> 00:20:00.000 moving forward, I think. And you could really 00:20:00.000 --> 00:20:02.480 feel that while tracking. It was like, man, this 00:20:02.480 --> 00:20:05.420 is a whole different ballpark, you know? Yeah. 00:20:05.819 --> 00:20:08.920 Yeah. And that's not taking anything away from. 00:20:09.930 --> 00:20:12.049 from anything that you guys have done in the 00:20:12.049 --> 00:20:16.150 past i think you mentioned it already uh you 00:20:16.150 --> 00:20:21.210 guys are recording an album so an album is like 00:20:21.210 --> 00:20:23.250 a photo album where you're taking a snapshot 00:20:23.250 --> 00:20:26.809 in time it's just done sonically and whenever 00:20:26.809 --> 00:20:28.609 you guys are hearing this you guys are going 00:20:28.609 --> 00:20:31.349 to remember we were here we recorded on this 00:20:31.349 --> 00:20:33.650 gear we did that you know so it's always going 00:20:33.650 --> 00:20:36.559 to bring you guys back and And I think it's cool 00:20:36.559 --> 00:20:38.440 as a listener, too, to be able to experience 00:20:38.440 --> 00:20:41.059 that to like if you've been following us from 00:20:41.059 --> 00:20:45.279 the beginning, each release has a different flavor. 00:20:45.440 --> 00:20:47.759 You know, it's not like a band where it's this 00:20:47.759 --> 00:20:50.799 kind of cookie cutter sound every time. And I 00:20:50.799 --> 00:20:52.460 mean, that's great if you have super high quality 00:20:52.460 --> 00:20:55.140 stuff, but it is kind of cool to be able to hear 00:20:55.140 --> 00:20:59.420 the evolution of a band with each record, both 00:20:59.420 --> 00:21:02.880 in songwriting style and, you know, the access 00:21:02.880 --> 00:21:06.500 that you have from a recording standpoint. So, 00:21:06.680 --> 00:21:07.960 yeah, I don't know what that means for the next 00:21:07.960 --> 00:21:09.420 release. I'm trying to think, what do we do to 00:21:09.420 --> 00:21:11.539 level up? I just got to shred more, maybe. That's 00:21:11.539 --> 00:21:13.460 it. Get some more sweet picking on the record, 00:21:13.599 --> 00:21:18.599 you know? Is there any gear you guys got to use 00:21:18.599 --> 00:21:21.559 on this album that you hadn't used in the past 00:21:21.559 --> 00:21:24.460 that really kind of stood out to you guys personally? 00:21:27.259 --> 00:21:32.369 Specifically for me, I mean, I didn't. I'm not 00:21:32.369 --> 00:21:36.509 too much of a pedal guy. I usually keep things 00:21:36.509 --> 00:21:41.910 pretty simple. But I use the Aguilar Tonehammer 00:21:41.910 --> 00:21:47.690 DI on this record. Well, you also use that sick 00:21:47.690 --> 00:21:52.910 Ampeg that our buddies... Yes, I use the Ampeg 00:21:52.910 --> 00:21:58.170 SVT right into an 810 cab. And then I was switching 00:21:58.170 --> 00:22:02.420 between... uh, a P bass and a J bass, uh, both 00:22:02.420 --> 00:22:04.880 of which, uh, Neil had up there and they just 00:22:04.880 --> 00:22:08.160 sounded awesome. Um, but yeah, as far as like 00:22:08.160 --> 00:22:10.440 effects, we threw in a couple, I think we tried 00:22:10.440 --> 00:22:14.200 some fuzzes here and there for bass. Um, but 00:22:14.200 --> 00:22:16.779 really the Aguilar tone hammer just brought that, 00:22:16.819 --> 00:22:19.900 that extra crunch that we, uh, we really needed. 00:22:20.279 --> 00:22:22.099 Well, it's interesting with like bass tones. 00:22:22.259 --> 00:22:24.559 You know, I'm such a guitar head where like when 00:22:24.559 --> 00:22:27.700 I'm going into a studio and we as a band are 00:22:27.700 --> 00:22:29.900 trying to listen for like, what should the bass 00:22:29.900 --> 00:22:32.779 sound like? It's one of those things where it's 00:22:32.779 --> 00:22:35.500 like, man, this isn't my usual element. But also 00:22:35.500 --> 00:22:38.140 we don't have the usual biases. So we were able 00:22:38.140 --> 00:22:42.500 to kind of like listen with kind of like a very 00:22:42.500 --> 00:22:45.900 fresh set of ears. And even though it's a simple 00:22:45.900 --> 00:22:49.960 combination with like the SVT and the 810. It's 00:22:49.960 --> 00:22:53.920 like having access to a live room sound and be 00:22:53.920 --> 00:22:57.180 able to pair that with, you know, I usually hate 00:22:57.180 --> 00:22:59.799 DI bass, but the tone hammer really did like 00:22:59.799 --> 00:23:02.079 sound sick. I was like, man, honestly, this blended 00:23:02.079 --> 00:23:05.140 with that room sound created that perfect balance 00:23:05.140 --> 00:23:07.920 of like the clarity we needed out of sea bass 00:23:07.920 --> 00:23:11.880 while still having some of that like actual feel 00:23:11.880 --> 00:23:14.680 and thump. So it's not just like this kind of 00:23:14.680 --> 00:23:18.079 thin. you know, limp noodle kind of sound. You 00:23:18.079 --> 00:23:21.900 know what I mean? It was the right balance. And 00:23:21.900 --> 00:23:24.880 yeah, it sounded sick. From a guitar standpoint, 00:23:25.180 --> 00:23:29.140 I just used all the stuff that I brought. I tracked 00:23:29.140 --> 00:23:32.180 most of it with my Rocker Verb 100 paired with 00:23:32.180 --> 00:23:35.759 my PV 5150, which was a cool kind of blend of 00:23:35.759 --> 00:23:38.519 those two. I guess this was kind of the record 00:23:38.519 --> 00:23:42.559 where I discovered Splawn amplification. Adrian 00:23:42.559 --> 00:23:45.779 brought his Splawn. uh competition which is like 00:23:45.779 --> 00:23:48.779 a 50 watt like hot routed marshall kind of sound 00:23:48.779 --> 00:23:52.559 okay and man it was it was sick it was so sick 00:23:52.559 --> 00:23:54.160 that i was like i bought my own about a hundred 00:23:54.160 --> 00:23:56.319 watt version of that amp which is now kind of 00:23:56.319 --> 00:24:01.500 the amp i'm using uh mostly um but really it 00:24:01.500 --> 00:24:03.559 was like those three amps which are just three 00:24:03.559 --> 00:24:05.700 different flavors of kind of a high gain thing 00:24:05.700 --> 00:24:09.390 and you know Not a huge difference maybe on the 00:24:09.390 --> 00:24:11.910 record, but a huge difference in feel and response 00:24:11.910 --> 00:24:15.390 while tracking these things. Okay. As far as 00:24:15.390 --> 00:24:18.089 other recording gear, I don't really know exactly 00:24:18.089 --> 00:24:20.289 what Neil was using, to be honest with you. The 00:24:20.289 --> 00:24:22.750 mics were nice. I don't really know what they 00:24:22.750 --> 00:24:27.990 were, to be honest with you. Yeah. As far as 00:24:27.990 --> 00:24:31.589 your personal gear to go out and play shows, 00:24:31.750 --> 00:24:36.539 what's your go -to gear? man for me it was always 00:24:36.539 --> 00:24:40.200 in the past my orange rocker verb uh that was 00:24:40.200 --> 00:24:43.019 an easy one because it was so available for backlining 00:24:43.019 --> 00:24:45.319 and i do love that amp it's kind of a standard 00:24:45.319 --> 00:24:48.440 but lately there's been a big shift especially 00:24:48.440 --> 00:24:51.359 between me and adrian using like hot rotted marshall 00:24:51.359 --> 00:24:55.619 tones he's using a friedman be 100 which is so 00:24:55.619 --> 00:24:59.420 sick and i'm using the splawn qr 100 which is 00:24:59.420 --> 00:25:01.740 you know just a very slightly different kind 00:25:01.740 --> 00:25:05.299 of flavor of that same like you know hot rotted 00:25:05.299 --> 00:25:07.500 way over the top gain if you want it a lot of 00:25:07.500 --> 00:25:10.240 punch and clarity i think with two guitars it 00:25:10.240 --> 00:25:13.380 gives you that like bite and that chunk that 00:25:13.380 --> 00:25:17.200 just feels awesome so that's for me that's that's 00:25:17.200 --> 00:25:20.420 mainly what i'm using right now okay yeah and 00:25:20.420 --> 00:25:24.880 then um i've been rocking with uh i just got 00:25:24.880 --> 00:25:29.220 a new uh bass from vintage they are a company 00:25:29.220 --> 00:25:33.019 based in the uk It's pretty much a P bass style 00:25:33.019 --> 00:25:38.880 with a PJ pickups in it. And thing just sounds 00:25:38.880 --> 00:25:42.599 awesome. And I've been playing it through a Orange 00:25:42.599 --> 00:25:48.880 OB -1 500 rack mount amp. That thing is killer. 00:25:49.519 --> 00:25:53.519 And then just using that through a Ampeg 610. 00:25:57.389 --> 00:25:59.970 And yeah, man, that thing just sounds killer. 00:26:00.069 --> 00:26:03.710 I used to have the, you know, the full SVT and 00:26:03.710 --> 00:26:06.730 the 810 rig. And, you know, we'd lug that around 00:26:06.730 --> 00:26:08.670 and do the live shows, but it just gets to be 00:26:08.670 --> 00:26:11.730 too much. It's just way too heavy and too much, 00:26:11.730 --> 00:26:13.809 you know, takes up too much space in the end. 00:26:13.970 --> 00:26:16.769 But it's amazing how switching down to a 610, 00:26:16.890 --> 00:26:20.700 just like in the van. Awesome. Still sounds big, 00:26:20.740 --> 00:26:23.059 and it makes a lot of room, especially with Adrian 00:26:23.059 --> 00:26:27.059 on board now. We're both playing 412 half stacks, 00:26:27.319 --> 00:26:30.480 right? So I'm bringing my Mesa oversized 412. 00:26:31.099 --> 00:26:34.220 I think he just got a Friedman 412 he's about 00:26:34.220 --> 00:26:38.720 to use. So it's a lot of amps. I would double 00:26:38.720 --> 00:26:40.660 it if I could, though. Get the full stacks out 00:26:40.660 --> 00:26:43.579 there, you know? Someday. Got to get the trailer 00:26:43.579 --> 00:26:48.309 first. Yeah. it's funny you say it's heavy i 00:26:48.309 --> 00:26:51.490 wasn't sure if you meant heavy in that it weighed 00:26:51.490 --> 00:26:53.869 a lot or if it was giving you the exact well 00:26:53.869 --> 00:26:57.109 both really it's both for sure it's tone per 00:26:57.109 --> 00:27:02.670 pound you know yeah look the thing that those 00:27:02.670 --> 00:27:06.950 810s sound so great but when you're at the tail 00:27:06.950 --> 00:27:09.950 end of a tour and then the next venue you have 00:27:09.950 --> 00:27:13.480 to climb up you know two flights of steps It's 00:27:13.480 --> 00:27:17.500 just not, you know, it's just not worth it. Yeah, 00:27:17.599 --> 00:27:20.680 I've had my fair share of carrying drums in the 00:27:20.680 --> 00:27:26.200 rain, so I hear you. Dude, it's a thing. Sebastian, 00:27:26.519 --> 00:27:28.720 you weren't the original bass player in the band. 00:27:28.980 --> 00:27:35.200 What drew you to the band? So I actually wasn't, 00:27:35.200 --> 00:27:38.619 and I hope this doesn't come across as bad, but 00:27:38.619 --> 00:27:40.799 I wasn't super familiar with the band before 00:27:40.799 --> 00:27:46.099 I joined. I had heard the name before and I know 00:27:46.099 --> 00:27:48.400 that they did a few shows around Nashville and 00:27:48.400 --> 00:27:51.359 just, you know, just I just heard it through 00:27:51.359 --> 00:27:54.940 the heard them through the grapevine, really. 00:27:55.799 --> 00:27:59.279 But then it just happened by chance that I was 00:27:59.279 --> 00:28:03.000 at a specific time I had left a previous band 00:28:03.000 --> 00:28:05.759 and I was just kind of looking for, you know, 00:28:05.759 --> 00:28:09.880 for something, for anything. Tom showed up to 00:28:09.880 --> 00:28:12.480 the bar that I worked at and, you know, just 00:28:12.480 --> 00:28:14.759 kind of randomly by chance, he said, Hey man, 00:28:14.839 --> 00:28:16.759 we're looking for a bass player. Why don't you 00:28:16.759 --> 00:28:19.200 just come and, you know, try it out and just 00:28:19.200 --> 00:28:22.299 check it out. And I was at that kind of point 00:28:22.299 --> 00:28:24.859 where, you know, after not being a band for about 00:28:24.859 --> 00:28:26.940 a month, I was kind of itching to get back into 00:28:26.940 --> 00:28:31.119 it. And so I just immediately said, yeah, without 00:28:31.119 --> 00:28:33.559 even really checking out the music, you know? 00:28:34.240 --> 00:28:36.539 And then I, of course, from there, I checked 00:28:36.539 --> 00:28:38.180 out the music and I was like, okay, this is the 00:28:38.180 --> 00:28:40.809 right. decision this is the you know the right 00:28:40.809 --> 00:28:42.970 way to go this is where i was impressed with 00:28:42.970 --> 00:28:45.410 sea bass i don't know it was one of two things 00:28:45.410 --> 00:28:49.410 either a our music is like super easy to just 00:28:49.410 --> 00:28:52.869 like wing it or sea bass did his homework and 00:28:52.869 --> 00:28:54.509 knew all the parts because you showed up to the 00:28:54.509 --> 00:28:56.869 first practice and sounded sick and i'm like 00:28:56.869 --> 00:28:58.789 man i don't know which one it is maybe our music's 00:28:58.789 --> 00:29:01.190 too easy we got to make this tough but yeah i'll 00:29:01.190 --> 00:29:04.329 be completely i'll be completely honest I was 00:29:04.329 --> 00:29:06.349 listening to the songs as I was driving over 00:29:06.349 --> 00:29:08.809 there. And that was enough. That was all you 00:29:08.809 --> 00:29:10.750 needed. That was enough. That was enough, man. 00:29:10.910 --> 00:29:14.289 You stepped in, and I think at the time you were 00:29:14.289 --> 00:29:18.730 playing that five -string blue Warwick bass or 00:29:18.730 --> 00:29:20.829 whatever that was. Yeah, I had a Warwick. Which 00:29:20.829 --> 00:29:23.250 was kind of a hilarious vibe, but it also was 00:29:23.250 --> 00:29:26.029 like, sick, dude. That's a flex. Guy shows up 00:29:26.029 --> 00:29:28.250 to the first practice with the big old five -string 00:29:28.250 --> 00:29:34.029 blue bass. Yeah. It was dope as hell. And then 00:29:34.029 --> 00:29:39.670 I started using a Sandberg. They are a German 00:29:39.670 --> 00:29:41.769 company. It was pretty much, again, a P -Bass 00:29:41.769 --> 00:29:47.250 style. But yeah, man, really, it just happened 00:29:47.250 --> 00:29:52.690 by chance. Luck of the stars that I was looking 00:29:52.690 --> 00:29:54.589 for a band to join, and they needed a bass player. 00:29:55.849 --> 00:30:00.369 Gotcha. Obviously, you have a legacy behind you. 00:30:00.809 --> 00:30:04.430 some people like talking about these things. 00:30:04.490 --> 00:30:06.410 Other people get pissed off when I bring it up. 00:30:07.609 --> 00:30:12.910 But my only question regarding this is how young 00:30:12.910 --> 00:30:15.890 were you when you realized you wanted to continue 00:30:15.890 --> 00:30:23.730 that legacy? I believe I was probably 10 years 00:30:23.730 --> 00:30:30.359 old. Okay. And you know, for, for, Most of my 00:30:30.359 --> 00:30:33.220 life growing up, my dad was at home. He wasn't 00:30:33.220 --> 00:30:35.380 on the road or anything. So I wasn't used to 00:30:35.380 --> 00:30:39.180 seeing road life. But when I was 10 years old, 00:30:39.240 --> 00:30:44.319 I remember my dad sat me down and taught me some 00:30:44.319 --> 00:30:47.980 ACDC. And that was the very first moment where 00:30:47.980 --> 00:30:50.660 I knew like, hey, I want to do something like 00:30:50.660 --> 00:30:53.359 this. I want to be like those guys. And then 00:30:53.359 --> 00:30:59.119 a few years after that. We went on a, my dad 00:30:59.119 --> 00:31:02.619 did a reunion tour with Accept. I think this 00:31:02.619 --> 00:31:06.880 was in 05. And that was a tour that I got to 00:31:06.880 --> 00:31:09.500 jump on with him. And, you know, me and the rest 00:31:09.500 --> 00:31:12.339 of the family went with him over the summer. 00:31:12.640 --> 00:31:18.180 And seeing that kind of change within my dad, 00:31:18.400 --> 00:31:21.990 you know, seeing him go from just a... Hey, he's 00:31:21.990 --> 00:31:24.049 the guy who mows the lawn. Now he's the guy up 00:31:24.049 --> 00:31:26.170 there on center, you know, center of the stage 00:31:26.170 --> 00:31:29.250 in front of a packed out crowd. Right. Seeing 00:31:29.250 --> 00:31:32.509 that I was like, okay, this is really now what 00:31:32.509 --> 00:31:36.390 I want to do. Gotcha. Wow. That's, that's awesome. 00:31:36.490 --> 00:31:41.109 And it's funny because a lot of people won't 00:31:41.109 --> 00:31:44.650 get into that detail. Like they won't tell you, 00:31:44.690 --> 00:31:49.769 you know, dad rockstar, right. You know, it's. 00:31:50.400 --> 00:31:52.940 You bring some of these topics up and for some 00:31:52.940 --> 00:31:56.019 people, they want to be too cool to kind of explain 00:31:56.019 --> 00:31:57.900 that other side of it. So I appreciate that. 00:31:58.420 --> 00:32:01.740 Yeah, of course. Yeah. But I've never, you know, 00:32:01.779 --> 00:32:04.339 while other people sometimes do, I've never seen 00:32:04.339 --> 00:32:06.700 him really as a rock star. He's always just going 00:32:06.700 --> 00:32:13.180 to be my dad. Right. So, you know. Gotcha. You 00:32:13.180 --> 00:32:17.680 guys have done covers over the years. And you 00:32:17.680 --> 00:32:23.400 guys have always managed to make covers howling 00:32:23.400 --> 00:32:30.920 giant songs. I'm assuming that's always purposefully 00:32:30.920 --> 00:32:35.940 done. Are there ever times where a cover is, 00:32:36.079 --> 00:32:38.640 I mean, first of all, I don't know if the covers 00:32:38.640 --> 00:32:40.539 are suggested to you guys or you guys just come 00:32:40.539 --> 00:32:44.079 up with them or decide to do them or, and my 00:32:44.079 --> 00:32:46.910 other question is. Has there ever been a case 00:32:46.910 --> 00:32:49.890 where someone has wanted you guys to cover something 00:32:49.890 --> 00:32:55.009 but wanted you guys to be 100 % faithful to the 00:32:55.009 --> 00:32:57.329 original as opposed to what you normally do with 00:32:57.329 --> 00:33:01.049 covers? I mean, when we've approached covers, 00:33:01.250 --> 00:33:03.349 I guess to answer that second question first, 00:33:03.450 --> 00:33:09.630 usually we're asked to do a cover of a band off 00:33:09.630 --> 00:33:11.789 a certain record. Really, it's been through Magnetic 00:33:11.789 --> 00:33:14.049 Eye Records doing their Redux program stuff. 00:33:14.269 --> 00:33:17.240 Right. So they might say, like, what are three 00:33:17.240 --> 00:33:20.160 potential songs you'd like to do off this? Like, 00:33:20.160 --> 00:33:22.259 what are your top three you'd be open to doing? 00:33:22.480 --> 00:33:25.380 And sometimes, you know, one of the guys from 00:33:25.380 --> 00:33:28.039 the label, Jad, might suggest one that he thinks 00:33:28.039 --> 00:33:31.640 we would be good for. So typically that's how 00:33:31.640 --> 00:33:34.460 it comes about. I mean, each one, I guess, kind 00:33:34.460 --> 00:33:38.160 of has its own story. The first cover we ever 00:33:38.160 --> 00:33:42.789 did for Redux was Matilda Mother. Pink Floyd 00:33:42.789 --> 00:33:46.289 kind of a deep cut they were doing like I forget 00:33:46.289 --> 00:33:50.029 was it the wall that they were originally doing 00:33:50.029 --> 00:33:53.069 but then they wanted to like include a companion 00:33:53.069 --> 00:33:56.190 like greatest hits of Pink Floyd right and they 00:33:56.190 --> 00:33:59.910 just wanted bands to suggest anything so for 00:33:59.910 --> 00:34:03.109 that one I don't think CBass you weren't in the 00:34:03.109 --> 00:34:06.490 band yet for that cover I was not no me and Zach 00:34:06.490 --> 00:34:09.289 I think sat down and said well we want to pick 00:34:09.719 --> 00:34:13.000 a more obscure track. One that we can kind of 00:34:13.000 --> 00:34:16.559 drastically alter, I would say. When you're trying 00:34:16.559 --> 00:34:19.460 to decide what to do with a cover, in my opinion, 00:34:19.659 --> 00:34:22.800 it's always good to look at the song and try 00:34:22.800 --> 00:34:25.599 to find out the identity of the song. What's 00:34:25.599 --> 00:34:28.559 the most important part? Sometimes that's going 00:34:28.559 --> 00:34:31.940 to be a vocal melody. Sometimes it's an iconic 00:34:31.940 --> 00:34:36.579 riff. Sometimes it's the... I mean, the lyrics 00:34:36.579 --> 00:34:38.679 are going to stay the same, but I think it's 00:34:38.679 --> 00:34:41.880 like, if we're going to keep the vocal melody 00:34:41.880 --> 00:34:45.820 the same, what can we do to the chords and the 00:34:45.820 --> 00:34:48.599 like actual arrangement underneath it to change 00:34:48.599 --> 00:34:51.539 it? Like I want to change an element and I want 00:34:51.539 --> 00:34:54.480 to retain an element. And then I want to put 00:34:54.480 --> 00:34:58.500 our own tone and like amps and kind of flavor. 00:34:58.699 --> 00:35:02.039 So to me, that's the way you contribute something. 00:35:02.590 --> 00:35:04.570 without being so drastically different that it 00:35:04.570 --> 00:35:07.489 doesn't sound anything like it. I guess the best 00:35:07.489 --> 00:35:11.750 example of that would probably be Rooster. The 00:35:11.750 --> 00:35:14.989 vocal melodies are going to stay the same, but 00:35:14.989 --> 00:35:17.429 I came up with that guitar riff over the chorus, 00:35:17.570 --> 00:35:21.190 which was just completely my creation at the 00:35:21.190 --> 00:35:24.269 time, and us as a band saying, okay, well, this 00:35:24.269 --> 00:35:26.710 is something we would write for Howling Giant. 00:35:26.730 --> 00:35:30.090 If you took the melody away, we could use this 00:35:30.090 --> 00:35:32.199 as a chorus for something. You know what I mean? 00:35:32.219 --> 00:35:34.699 Kind of loosely follows the chords, but distinctly 00:35:34.699 --> 00:35:39.219 has a Howling Giant kind of flavor. So I guess 00:35:39.219 --> 00:35:41.980 that's kind of the quote unquote formula. If 00:35:41.980 --> 00:35:44.800 you try to just stay true to a song, there's 00:35:44.800 --> 00:35:47.059 almost like, why did you cover it? Especially 00:35:47.059 --> 00:35:49.179 when it's, you know, a lot of these iconic tracks. 00:35:49.480 --> 00:35:52.699 It's like, what can you contribute? You know 00:35:52.699 --> 00:35:55.219 what I mean? It's, you know, you got to do something 00:35:55.219 --> 00:35:58.320 weird with it. I also don't feel like we've ever 00:35:58.320 --> 00:36:04.389 been, you know, pressured by anybody in any way 00:36:04.389 --> 00:36:09.210 to cover something and keep it super, super faithful. 00:36:09.289 --> 00:36:11.929 I feel like when people are asking us for covers, 00:36:12.070 --> 00:36:14.610 they kind of know that we're going to put our 00:36:14.610 --> 00:36:19.030 own spin on it and they respect that. And so, 00:36:19.090 --> 00:36:21.030 yeah, we've never really got that question of 00:36:21.030 --> 00:36:23.150 like, hey, I want you guys to do this song, but 00:36:23.150 --> 00:36:26.409 like do it exactly like the original. I think 00:36:26.409 --> 00:36:29.869 there was one moment. that like when we did that 00:36:29.869 --> 00:36:32.929 cover of balls or not balls to the wall uh what 00:36:32.929 --> 00:36:34.630 did we do what did we do with your dad thrill 00:36:34.630 --> 00:36:38.949 thrill when we did shoot to thrill i remember 00:36:38.949 --> 00:36:41.690 what was what was that was a blabbermouth where 00:36:41.690 --> 00:36:43.210 they were like kind of like there were these 00:36:43.210 --> 00:36:45.489 old heads that were like upset that we had like 00:36:45.489 --> 00:36:48.130 changed the song and to me it was like to be 00:36:48.130 --> 00:36:51.170 that i was like dude you guys already have shoot 00:36:51.170 --> 00:36:53.969 to thrill like you already have the acdc version 00:36:53.969 --> 00:36:57.860 this this is like the This is the spin on it 00:36:57.860 --> 00:36:59.900 and you don't have to like it, but like, there's 00:36:59.900 --> 00:37:02.159 no point if we just tried to copy it exactly, 00:37:02.440 --> 00:37:06.699 you know? Right. Yeah. Yeah. I, I agree with 00:37:06.699 --> 00:37:09.280 you guys. I mean, you've got on the, on the one 00:37:09.280 --> 00:37:13.719 side, or as you said, Tom, where a band covers 00:37:13.719 --> 00:37:16.239 a track and you're like, really, no one's ever 00:37:16.239 --> 00:37:18.199 going to listen to that because the original 00:37:18.199 --> 00:37:23.519 is so iconic, man. And then. If they do it exactly 00:37:23.519 --> 00:37:27.039 like the original, it's like you've just shot 00:37:27.039 --> 00:37:30.059 yourself twice in the foot. Man, I think another 00:37:30.059 --> 00:37:35.019 great example is like Johnny Cash covering Hurt. 00:37:35.139 --> 00:37:39.519 It's like being able to take that song and retain 00:37:39.519 --> 00:37:43.639 the melody and the lyrics, obviously, but to 00:37:43.639 --> 00:37:47.420 put it in such a completely different setting 00:37:47.420 --> 00:37:51.840 and tone. Where all of a sudden, like it's the 00:37:51.840 --> 00:37:55.380 message changes because the speaker has changed. 00:37:55.699 --> 00:37:58.340 The delivery is completely changed. That's a 00:37:58.340 --> 00:38:01.460 perfect example of, you know, you have to retain 00:38:01.460 --> 00:38:04.960 something and you have to alter something or 00:38:04.960 --> 00:38:07.219 else there's no point to having done the cover, 00:38:07.340 --> 00:38:10.599 you know. To the point where you have concert 00:38:10.599 --> 00:38:14.429 reviewers saying. For some reason, Trent Reznor 00:38:14.429 --> 00:38:17.969 decided to cover Johnny Cash's Hurt. No, it's 00:38:17.969 --> 00:38:24.010 his song. Yeah, man. That's going to happen. 00:38:24.190 --> 00:38:28.769 It's an iconic cover. It's going to happen. Have 00:38:28.769 --> 00:38:32.550 there been any covers that have been or bands 00:38:32.550 --> 00:38:34.530 that have been suggested that you guys cover 00:38:34.530 --> 00:38:38.570 that you guys just weren't into and decided not 00:38:38.570 --> 00:38:41.699 to? Go after it? I mean, you don't have to name 00:38:41.699 --> 00:38:46.880 the band. Yeah. Sorry, Bass, go on. No, I was 00:38:46.880 --> 00:38:49.039 just going to say we passed up the NSYNC and 00:38:49.039 --> 00:38:53.840 Backstreet Boys covers. That's not true. I would 00:38:53.840 --> 00:38:55.420 have said yes. I would have said we're doing 00:38:55.420 --> 00:39:00.760 it. No, we were offered a Nine Inch Nails cover, 00:39:00.920 --> 00:39:05.079 I think, at some point. And we were considering 00:39:05.079 --> 00:39:07.900 doing it because we had a different member at 00:39:07.900 --> 00:39:11.179 the time who was a big fan. But I think ultimately 00:39:11.179 --> 00:39:13.559 we decided not to do it just because we had done 00:39:13.559 --> 00:39:17.860 so many covers and at least for me, you know, 00:39:17.860 --> 00:39:20.659 there wasn't as much of like the personal connection. 00:39:20.900 --> 00:39:24.239 Right. I mean, all the respect in the world for 00:39:24.239 --> 00:39:26.920 the band, but there is a certain amount of like 00:39:26.920 --> 00:39:29.619 connection I think you want to have to something 00:39:29.619 --> 00:39:34.380 to be able to put your spin on it. And so I think 00:39:34.380 --> 00:39:37.340 that one was, was passed, but not for any real 00:39:37.340 --> 00:39:39.280 strong reason. It was just kind of that really, 00:39:39.360 --> 00:39:40.880 I'm trying to think if there's anything else 00:39:40.880 --> 00:39:42.940 we were like, there was never a moment where 00:39:42.940 --> 00:39:45.219 we put our foot down and said, no, like we're 00:39:45.219 --> 00:39:47.219 not doing this. We're drawing the line here. 00:39:47.239 --> 00:39:49.300 It was always kind of like a soft, no, we've 00:39:49.300 --> 00:39:51.599 done too many covers, but if you really push 00:39:51.599 --> 00:39:55.880 us, we will do one, you know? Yeah. Yeah. But 00:39:55.880 --> 00:39:57.400 that makes sense. I mean, if you're going to 00:39:57.400 --> 00:40:00.829 record something, It should speak to you. You 00:40:00.829 --> 00:40:02.869 should have some sort of a connection. You know, 00:40:02.929 --> 00:40:07.869 if down the road, you guys decide, Hey, let's 00:40:07.869 --> 00:40:11.050 pull this one out of the show or let's do this 00:40:11.050 --> 00:40:13.829 for this tour, you know? All right. Well, we've 00:40:13.829 --> 00:40:17.469 already covered this band on this album or, you 00:40:17.469 --> 00:40:20.730 know, whatever. So it wouldn't be that difficult 00:40:20.730 --> 00:40:24.170 to just rehearse it and do it for this tour, 00:40:24.250 --> 00:40:27.690 you know, as opposed to, ah, okay. Yeah, we'll 00:40:27.690 --> 00:40:31.900 do it. You want to enjoy it. You want to feel 00:40:31.900 --> 00:40:35.719 pulled to do something. It's still a contribution 00:40:35.719 --> 00:40:40.900 to art. You don't want to just phone it in. You 00:40:40.900 --> 00:40:43.400 want to be stoked about it. One that we were 00:40:43.400 --> 00:40:46.039 working on just for us for fun that we used to 00:40:46.039 --> 00:40:49.539 do Working Man by Rush just in our practice room 00:40:49.539 --> 00:40:51.500 for these live streams. We never tracked it for 00:40:51.500 --> 00:40:54.800 anything. I don't think we really changed that 00:40:54.800 --> 00:40:56.940 much. It was a distinctly different flavor because 00:40:56.940 --> 00:40:59.380 we were using... quite a bit more gain at the 00:40:59.380 --> 00:41:01.260 time you know than like rush would have been 00:41:01.260 --> 00:41:05.420 using but um that's a song it's just fun to play 00:41:05.420 --> 00:41:09.280 you know and almost i think we wouldn't necessarily 00:41:09.280 --> 00:41:11.559 record a version unless we were able to come 00:41:11.559 --> 00:41:13.960 up with something different enough where it felt 00:41:13.960 --> 00:41:16.159 like we were contributing something but it was 00:41:16.159 --> 00:41:18.579 still worth covering because it was fun and the 00:41:18.579 --> 00:41:21.099 riff was sick and sometimes in a live setting 00:41:21.099 --> 00:41:23.599 that's all you need so there's kind of a distinction 00:41:23.599 --> 00:41:27.750 between like recording something and just playing 00:41:27.750 --> 00:41:30.829 something live because familiarity is good at 00:41:30.829 --> 00:41:34.869 a show. You know, we, we play Godzilla and we 00:41:34.869 --> 00:41:36.969 cut out the bridge. We changed the bridge section 00:41:36.969 --> 00:41:39.949 quite a bit, but realistically it's like, man, 00:41:40.050 --> 00:41:42.230 that riff is just fun to play and being able 00:41:42.230 --> 00:41:45.090 to like give the audience kind of a lifeline 00:41:45.090 --> 00:41:47.210 to say, like, if you're new to us and you don't 00:41:47.210 --> 00:41:49.429 know anything about us, having at least one moment 00:41:49.429 --> 00:41:51.949 where it's like, this is a good reference point. 00:41:52.030 --> 00:41:54.369 If you like this and if you like this spin on 00:41:54.369 --> 00:41:57.219 it. That's a good lens through which to look 00:41:57.219 --> 00:42:02.699 at Howling Giant's catalog. Gotcha. Cool. One 00:42:02.699 --> 00:42:04.719 of the other tracks that you guys have covered 00:42:04.719 --> 00:42:07.840 is Lord of This World from Black Sabbath. Obviously, 00:42:07.840 --> 00:42:13.219 we lost Ozzy earlier this year. Can you guys 00:42:13.219 --> 00:42:18.420 give me a favorite Ozzy or Sabbath moment? Man, 00:42:18.420 --> 00:42:24.239 that's so tough for me. because there are so 00:42:24.239 --> 00:42:27.880 many different moments where really Ozzy, I guess 00:42:27.880 --> 00:42:30.860 Black Sabbath, but like Ozzy has popped in kind 00:42:30.860 --> 00:42:35.360 of as like a vocal influence in a way. My voice 00:42:35.360 --> 00:42:38.480 isn't necessarily Ozzy -ish, but it is like this 00:42:38.480 --> 00:42:42.239 guy who's singing about kind of just whatever 00:42:42.239 --> 00:42:43.699 he wants. I don't know. It's like some songs 00:42:43.699 --> 00:42:45.860 are goofy, but some songs are like heavy. Some 00:42:45.860 --> 00:42:48.659 songs are dark. He manages to turn on this like. 00:42:48.960 --> 00:42:52.079 these heart pull moments of like, mama, I'm coming 00:42:52.079 --> 00:42:54.639 home and stuff like that. And there's just this, 00:42:54.719 --> 00:42:58.320 like, I don't, I don't know. He really felt like 00:42:58.320 --> 00:43:02.340 he pursued the things he wanted to do. You can 00:43:02.340 --> 00:43:05.460 write Iron Man, you can write, you know, Lord 00:43:05.460 --> 00:43:09.719 of this world and just explore whatever whim 00:43:09.719 --> 00:43:11.679 you want to. And people are going to respect 00:43:11.679 --> 00:43:14.760 you as like this honest kind of that's Ozzy. 00:43:14.760 --> 00:43:17.719 That's what Ozzy is going to do. Right. maybe 00:43:17.719 --> 00:43:20.300 that was a rambling response, but there's just 00:43:20.300 --> 00:43:24.880 like so much respect for, I guess his image and 00:43:24.880 --> 00:43:27.019 his approach to his work throughout his career. 00:43:27.139 --> 00:43:30.059 That's just like, man, I hope someday to have 00:43:30.059 --> 00:43:32.400 an impact, even like a fraction of what Ozzy 00:43:32.400 --> 00:43:35.599 had, you know, it was amazing. I think that, 00:43:35.599 --> 00:43:40.199 uh, you know, Ozzy is, uh, while still being 00:43:40.199 --> 00:43:42.800 a celebrity and, and, and whatnot, you know, 00:43:42.800 --> 00:43:45.960 in the end, he always stayed true to his guns 00:43:45.960 --> 00:43:50.139 and, you know, loved you know it lived and loved 00:43:50.139 --> 00:43:53.820 rock and roll and uh and yeah he was just so 00:43:53.820 --> 00:43:56.119 influential and his energy that he had was so 00:43:56.119 --> 00:43:59.599 uh amazing but i mean even up to his very last 00:43:59.599 --> 00:44:03.280 day with him basically saying that he was holding 00:44:03.280 --> 00:44:05.739 on for that last concert that just goes to show 00:44:05.739 --> 00:44:09.539 you what that music and the fans really meant 00:44:09.539 --> 00:44:12.699 to him uh and for me that that's really inspirational 00:44:13.679 --> 00:44:15.880 I remember in like middle school, I had a friend 00:44:15.880 --> 00:44:20.539 who learned the crazy train riff. And that was 00:44:20.539 --> 00:44:24.219 like a moment of like this hybrid kind of somewhere 00:44:24.219 --> 00:44:27.099 in between rock and metal kind of flavor that 00:44:27.099 --> 00:44:29.960 I was like, man, that's like what a riff is supposed 00:44:29.960 --> 00:44:34.960 to be. So like almost from less Ozzy, I guess, 00:44:34.980 --> 00:44:37.119 but more the guitar side of that. I was like. 00:44:37.679 --> 00:44:40.260 it can have major moments. You know what I mean? 00:44:40.320 --> 00:44:43.260 It can have this riff that is just so impactful. 00:44:43.480 --> 00:44:45.539 And then to have his vocals come in over the 00:44:45.539 --> 00:44:48.400 top, it's like that mix of major and minor kind 00:44:48.400 --> 00:44:51.139 of approach is something that I love. I just 00:44:51.139 --> 00:44:53.639 distinctly remember that, that my buddy coming 00:44:53.639 --> 00:44:55.780 in and being like, check this riff out. And that's 00:44:55.780 --> 00:44:58.800 just like changed me, man. It was awesome. Cool. 00:45:00.019 --> 00:45:04.340 All right. So Crucible and Ruin will be coming 00:45:04.340 --> 00:45:08.280 out. on the day this interview is released, where 00:45:08.280 --> 00:45:12.340 can people go to pick up the album? Not stream 00:45:12.340 --> 00:45:16.360 it, but pick it up to ensure that the most amount 00:45:16.360 --> 00:45:18.920 of money gets back into you guys' pockets. Yeah, 00:45:18.920 --> 00:45:22.179 man, Bandcamp is the best way. If you look up 00:45:22.179 --> 00:45:26.059 Howling Giant on Bandcamp, we will package that 00:45:26.059 --> 00:45:29.480 and ship it out to you. And if you ask us, we're 00:45:29.480 --> 00:45:32.920 happy to... Sign the top if you want. We'll include 00:45:32.920 --> 00:45:35.420 these. We have some lyric books we've been printing 00:45:35.420 --> 00:45:37.219 at home, which are really cool. We might make 00:45:37.219 --> 00:45:40.019 a few more of those. We'll see. Those were for 00:45:40.019 --> 00:45:44.400 the deluxe, I think, the pre -orders. But yeah, 00:45:44.460 --> 00:45:47.380 Bandcamp is the best way. Otherwise, come out 00:45:47.380 --> 00:45:49.519 to a show. If we're coming through near you, 00:45:49.699 --> 00:45:51.840 we're going to be out on the road all November. 00:45:52.039 --> 00:45:55.159 So check the dates and come on out. We'll hook 00:45:55.159 --> 00:45:59.099 it up. Okay. As far as checking out the dates, 00:45:59.179 --> 00:46:01.139 where should people go to keep up with you guys? 00:46:02.300 --> 00:46:05.300 You can hit all of our social media. We're on 00:46:05.300 --> 00:46:11.659 Facebook, Instagram, TikTok, X, you know, pretty 00:46:11.659 --> 00:46:14.019 much, you know, YouTube, anything you think of, 00:46:14.019 --> 00:46:18.739 we're on it. So yeah, we keep that updated pretty 00:46:18.739 --> 00:46:21.639 much every single day. And so yeah, we're always 00:46:21.639 --> 00:46:23.880 posting dates on there. So go ahead and check 00:46:23.880 --> 00:46:27.900 them out. Awesome. I want to thank the two of 00:46:27.900 --> 00:46:30.480 you guys for spending some time with me today 00:46:30.480 --> 00:46:33.739 to discuss the album and discuss the band and 00:46:33.739 --> 00:46:37.440 really look forward to having people check the 00:46:37.440 --> 00:46:39.579 album out. Like I said, I've gotten a chance 00:46:39.579 --> 00:46:41.420 to listen to it and really enjoyed it. So I hope 00:46:41.420 --> 00:46:44.139 everyone else does as well. Awesome. Thank you, 00:46:44.159 --> 00:46:45.639 Victor. Thanks for having us, man. I appreciate 00:46:45.639 --> 00:46:47.519 you. Thank you so much. All right. Thank you 00:46:47.519 --> 00:47:11.889 guys. See you. Cheers. Go to signalsfrommars 00:47:11.889 --> 00:47:14.570 .com for more information. This concludes our 00:47:14.570 --> 00:47:14.769 show.