Welcome one and all to episode 433 of Signals
from Mars. I'm your host, Victor, and for this
episode, we welcome back Wolf Tooth. This time
around, we have Chris Sullivan, Terry McDaniel,
and Jeff Cole of the band to talk to us about
their latest album, Wizard's Light. It's out
right now on Ripple Music. Check it out. It is
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to learn more. Folks, it is almost the end of
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Send it to Signals From Mars at Signals From
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year. So we're going to be doing October, November
tonight. That will be episode three, excuse me,
434. And for anyone that hasn't checked out enough
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buy the digital version or a vinyl or what have
you. I purchased Wizard's Light off of Bandcamp.
It was Bandcamp Friday. I really like the album.
I like a lot of what the band has put out over
the years. And that's why I wanted to bring the
band back to discuss the album. And it was a
fun chat. I was only expecting Chris and also
got Terry and Jeff as well. So that's awesome.
Also, I had to switch up some of my questions
on the fly, but no problem. I think we had a
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forth. Anyway, let's get on with the interview.
Welcome one and all to the latest episode of
Signals from Mars. I am joined today by the members
of Wolf Tooth. How are you guys doing today?
Pretty good. Good. How are you doing? Doing good.
Can you introduce yourselves? I'm Chris Sullivan,
guitar and vocals. I'm Jeff Cole, guitar. I'm
Terry Bates. Awesome. I'm glad you guys are here
today, tonight, for me. This is, as we just talked
about, offline for a second. This is the second
time that Chris is on the show, at least. And
it's cool because I've been listening to the
album Wizards Light, which just came out on Ripple.
And the previous album had come out on Napalm.
And it was kind of surprising to me because...
At the time, Napalm had kind of assembled a really
cool roster of diverse different bands, and I
was surprised that not only you guys, but other
bands that were on the roster are no longer there.
It seemed like they were building up something
cool, and it just kind of stopped. What ended
up happening was Napalm for you guys, and why
is Ripple the perfect fit? I don't think anything
really happened with Napalm. It was just, I think,
for a band like us, you know, we were kind of
like a really small fish in a gigantic pond,
you know? And I think we were kind of like kind
of a passion project for our A &R guy. Like,
he really dug us a lot, you know? And they did
a lot for us. There's a lot of gears in the machinery
when you're dealing with a label like Napalm.
But at the end of it, we just felt more comfortable
on a label like Ripple. So that's why we went
back. It was kind of this... You know, Napalm's
kind of this juggernaut that, you know, like
we're not, I don't know. I thought the album
did well. We were super happy with how they promoted
it and everything. Everything went good. It was
just, you know, Ripple just seemed like a better
fit for us. Okay. There's something you guys
were more comfortable with as opposed to just
working with a big label. So they're more personable
with you guys, more hands -on maybe than what
a Napalm is? Yeah, pretty much. Napalm's just,
you know, they've got a lot of bigger bands.
And a band like us, I think, was just... I'm
not sure they really... Not really. Maybe they
didn't know how to market us. Because a lot of
bands they have are quite a bit different than
us. And so it would be hard to put a band like
us on, say, a tour with one of their bigger bands
or one of their more well -known bands than us
just because we are so different from them. So
I'm assuming that maybe marketing was a little
bit of... new to them as far as trying to market
this kind of music over this genre of music.
But yeah, Ripple's definitely more on our speed,
I think. Okay. Cool. A lot of what inspires do
metal bands, stoner rock bands was Sabbath. Obviously
we lost Ozzy over the summer. What, in your opinion,
is the most important thing that you can extract
from Ozzy, from Sabbath, when it comes to Wolf
Tooth? Well, I mean, their songwriting, definitely.
Their structures have a big play in the way we
write. The riffs, you know, Tony Ong's riffs
are... classic, timeless, and that plays a big
part in the way that we write and just, I mean,
just their overall sound. And, you know, we grew
up with Sabbath and Ozzy and, you know, Deep
Purple and a lot of other things like that. And,
I mean, Sabbath definitely was and is a big part
of who we are. But we don't, you know, we don't
try to, I mean, they're a big part of every doom
metal band. They're part of every, in my opinion,
every stoner rock band. They're a part of a lot
of rock bands. It's, you know, they're not just
one. I never, I never saw Sabbath as just doom.
I mean, I saw rock and roll and heavy metal and
especially when Dio got into the mix. That's
just my opinion on it. Once you listen to bands
for as long as we have, say, well, we've been
listening to Black Sabbath for, what, 30 years
or so? It kind of just gets in you. You don't
realize it until you're playing this type of
music. So it kind of just comes to you. Okay.
Between Blood and Iron and Wizard's Light, you
guys released a cover of Kisses 100 ,000 Years.
For years, I've fought with quote -unquote traditional
doom metal musicians and other hosts and whatnot,
saying the importance of those first two Kiss
albums when it comes to stoner rock, when it
comes to doom metal and stuff like that. So to
see that you guys actually covered 100 ,000 years,
it was almost like, wow, somebody's listening
to what I've been trying to sell all these years.
How important are those two albums, Hotter Than
Hell and that self -titled album, when it comes
to the whole genre? For me, they're pivotal just
because, you know, I remember being a kid listening
to... God of Thunder and some stuff that was
coming out. My brother's six years older than
me, so he, of course, had all the stuff on vinyl.
And I remember hearing, I hear, I mean, Doom
to me, their first two albums were more Doom
to me. But, you know, the funny thing is, is
like, we, from the very beginning, when we put
out our first EP, immediately people said we
were new. Honestly, I've never considered us
to be a doom metal band. I just considered us
to be a metal band. I mean, yeah, we have doom
elements in our music for sure. We also have
a lot of new wave British heavy metal. We have
traditional metal. We have lots of different
things in our music that kind of stand out more
to me than the doom parts do. As far as the first
two Kiss albums, I think they're very good in
the Doom scene. Yeah, I think we had, you know,
the Kiss influence has been there the whole time,
but I think, like, the first time it kind of
creeped out was for our song Firestarter on our
second album, Valhalla. And so we've always,
I mean, like, Chris, I have an older brother,
too, who got me, on the kiss you know i remember
i was like five years old i had kiss posters
in my room you know so uh it's always been a
big big influence for us for sure i think any
band kiss black sabbath any band that's uh riff
centric everything begins and ends with a riff
for the sand and i think that's what ties us
along with that kind of thing yeah yeah for sure
yeah i can um I understand where you guys are
coming from. Cause my brother's six years older
than me. Uh, I'm lucky to inherit his copy of
destroyer and alive too, which are behind me.
So, uh, I know exactly where you guys are coming
from. So I was four years old, saw, um, the inserts
that came with alive too. And I was hooked. So
yeah. Yeah. Yeah. Yeah, another huge loss in
general. It's been a weird year for hard rock,
heavy metal, metal in general. We've lost a lot
of giant players from Ozzy to Ace. You can look
at John Sykes as well. There's a bunch of people
that I'm missing also, but it sucks. And as we
get older, all those people that are so much
older than us are going to be going. And, um,
you brought up Dio. I mean, that's already been
how many years ago? Yeah. Right. So it, I mean,
Dio to me was, uh, just as pivotal of a part
for, for Sabbath, maybe as Ozzy was, you know,
I, I really, really enjoyed all of the Dio black
Sabbath stuff. And, you know, I know there's
going to be periods to be like, oh, that's not
Sabbath with him, but he's just a pivotal beat.
So imagine when I tell people that Dehumanizer
is my second favorite album of all time and my
favorite Sabbath album. As a drummer, I just
love Vinnie Appasi's drum sound on that album.
It's just so heavy, so crushing. It goes along
with the riffs. with Dio's singing, and to me,
it's just as important. I know that for some
people that's sacrilegious, but that's my opinion.
Not for us, it's not. I mean, we give all the
singers that sang for Sabbath a chance. I mean,
there's lots of good songs with other singers,
too. Tony Martin, he had some great songs with
them. Agreed. I love all their air. I want to
ask you a question before we, before we end this.
So leave time, leave time for me to ask you a
question. Okay. Is it, does it have to do with,
um, should Chuck Sheldiner have sung on control
denied? Chuck Sheldiner have sung on the control
denied albums. Is that your question? Well, I
mean, the song, the, yeah. No, that's not the
question. I saw you post that on social media,
so I wrote it down. I'm like, I'm going to bring
it up, see what we can get out of this. I mean,
I love Chuck's voice. I know he hated it at the
last there. He hated having to sing on those
albums, but I love his voice. That's one of the
things that made me fall in love with that. And
I would really love to have heard that album
with his voice on it. The singer did a great
job, you know, but to me, it wasn't supposed
to be dead. So, you know, I get it, but I still
would have liked to have heard it with Chuz's
voice. Yeah, it's funny when you brought that
up because it took me back to late 90s, early
2000s. My last job before moving to Europe, we
were all a bunch of metalheads in this, the one
job that I had. And somebody brought in the demos
for Control Denied. And at the time it was like,
oh, this is never going to come out. So on and
so forth. And he had a burned copy that he'd
gotten. I don't know where it sounded like shit,
but we were all like in all listening to it.
So when it came out years later, officially,
at least the first album, I had to pick it up.
Yeah. I mean, it's great. It's a really good
album. Don't get me wrong. To me, I just would
have much rather heard Chubb's voice on it. And,
you know, but that was something to me. Yeah.
Okay. So previous to Wizards Light, it had taken
you guys a year, two years, more or less, between
albums. But between Blood and Iron and Wizards
Light, it took four years. Was that something
that happened purposefully? Was it something
that... Again, you guys planned, or it just played
out that way? No, it wasn't something we planned
purposely. I mean, we've gone through a couple
drummers, you know, and that kind of set us back.
Casey Wainwright, the drummer that played on
this album, he was with us for about two years,
and he just... He had to step away for health
reasons. So, you know, we played with him for
a while and felt a really good groove with him,
and he had to step away. So then we tried out
another drummer, and it just didn't work out.
And now we have Shane Shook that we've all known
for years and played in different bands with
him, and he's in the band now, and he's working
out really well. But it definitely was not a
plan for us to take. And it turned into putting
another album out. Okay. And during that time,
do you feel that you had more time to maybe work
on some of these songs than what you maybe previously
had? Or was everything already done? It was just
sorting out the drummers. No, I mean, our original
drummer, Johnny, helped us pretty much write
five of those nine songs. We got Casey in the
band. We wasn't no longer on Napalm. So we said,
you know, well, let's write an album. So Casey
had time to come in. And he pretty much stayed
true to everything Johnny did for those first
five songs. And we were under no pressure, no
time limit. So, you know, that's the way that
went. Yeah, Blood and Iron, we had deadlines.
We don't work very well on deadlines, it doesn't
seem. So having the extra time to write Wizards
Light was nice. I just kind of wish it wouldn't
have taken as long as it did. But saying that,
a lot of people have told us that they think
that this is our best album. So maybe the extra
time was worth it. Okay. It definitely sounds
like... Sonically, I think the album probably
sounds the best out of all of the albums in the
sense that and not to say that the other album
sounded bad. It just seems like every instrument,
the vocals are each in their own kind of lane
and you can really hear everything where with
like Blood and Iron, maybe it was a little bit
more bottom end heavy than this album is. It
seems like. the bottom end is there, but it seems
like everything is on the same level this time
around. Do you feel that's a fair assessment?
Yes, of course. Yeah. Yeah, for sure. Yeah. The
production on this one turned out great. And
I think it's cool too, like each album kind of
sounds a little different, you know, from each
other. So yeah, for sure. Yeah. The other cool
thing is, With you guys being told that it's
your best album, I think it's a real easy album
to listen to in the sense that you start listening
to the first track and before you know it, the
album's done. I mean, there are so many albums
now that you put on and you're like, shit, didn't
I hear this song already? Wasn't that like the
third song? No, I'm on song seven. The album
isn't over yet. You know, whereas with this album,
everything really like flows. Um, I really like
a lot of the melodies that you guys incorporated
in, in the album. And that's, it's interesting,
Chris, that you brought up that you're not, you
have elements of doom because I mean, everyone
wants to say, no, they're from everything that
I've seen online. They're a doom band, but there's
so many other elements in there. And especially
with your vocals. I think if you listen to a
classic doom band, they don't. They don't incorporate
the same types of melodies that you guys do in
the songs or the same kind of intricate writing
with the music behind it to go along with those
melodies. Yeah. When we were playing with Casey,
Casey would always tell me that he thought that
I was a drummer in a guitar player's body. He
was like, what you write on guitar totally transfers
to drums. And I didn't understand it at the time.
But what Casey didn't know was when I was younger,
I started out playing drums. So I switched and
then I went to bass and then I gradually went
over to guitar. So I get where he's coming from.
But I think maybe that helps me come up with
different... styles of melodies that maybe other
doom singers don't come up with i i really don't
know i just kind of whatever i think sounds good
with this what i put with it yeah and that makes
sense because if you're coming from a drumming
standpoint you're going to be more rhythmic with
what you're doing there are a lot of players
that i've come across um where they don't have
that same connection because I don't know, maybe
arrogance, maybe no time to learn, you know,
the bottom end of things, you know. I think that's
super important. It's kind of like learning different
positions in sports, knowing what the other guy's
doing so that if you need to, you know, you're
there. The funny thing is that interviews in
the past that we've done, I've always told everybody
I didn't write any lyrics. or sing any vocals
until we record. And most people say that's odd.
That's just the way I've always done it. We always
write the music first, and then I always add
the lyrics later. These guys don't even have
a clue what the lyrics or music or vocals are
going to sound like until we record the album.
A lot of classic bands do that. I mean, if you
look back, you watch documentaries of bands from
the 70s or 80s, they all talk about... doing
that we're almost unless the vocalist is a musician
himself they really don't work on the lyrics
until that last stage so that's you know you
know that that's kind of going back to what bands
used to do it it seems like a lot more bands
have turned to all right well i have this lyric
and let's build something around it and maybe
that lends itself to The era that we're in where
people are just cutting and pasting stuff as
opposed to just jamming stuff out and fleshing
out a song like that. Well, I used to write,
when we were in other bands, I used to write
and worry about what I was going to sing. Am
I going to be able to sing and play this at the
same time? And now with this band, I've never
done that. I've always written the lyrics first.
We've put them together, and then I put the words
to it, and I don't worry about playing and singing
them until it comes time to do it. So I think
that's what's helped me the most on all these
albums, come up with the melodies that I've been
able to come up with, is just not really worrying
about it if I can play and sing them. Okay. Going
into recording the album, was there anything
that you guys had set as a goal? Um, did you
want the, on the sound a certain way? Did you
want to try certain things you hadn't done in
the past or you guys just went in and it kind
of, you know, flowed with whatever came out?
Uh, I think as far as, uh, the sound goes, uh,
of the recording, I think we were kind of shooting
towards more production like, uh, on our second
album Valhalla that was like super crisp right
and clean but we wanted to get that but uh bigger
you know so I think like we kind of you know
we brought the a little bit more uh boominess
in the kick drum on top of uh the pop and then
uh Terry's bass tone had a lot to do with that
too filling that out so we had this kind of wide
bass to insert the guitars into. And every instrument
had its set in place. So when Chris sang on top
of it, everything's nice and separated and worked
out really well. Our main goal was not to screw
the drums up. Because that was the biggest complaint
that we have on Blood and Iron. And, you know,
we... It was our own fault. We did it. And we
kind of screwed Johnny on that. And we wanted
to make sure that that didn't happen again. Because
that was the main complaint on most people's
critiques of the album was that the drums were
too low or, you know, whatever. So we wanted
to make sure that the drums were very well heard
on this album. And I think they are. And I think
Jeremy did a really good job of mixing all of
it to make sure that it all was legendary, I
guess. Yeah, we all don't come into the studio
mixing time. Jeremy usually does it on his own,
and then he'll send it to us, and we'll send
our critiques back to him, and he'll adjust accordingly.
But at the beginning, I thought the bass and
the drums was a little bit too hot. That's just
my opinion of it. But when I heard everything
together, yeah, it was right on. So you thought
your own playing was too loud. So that's interesting.
Yeah, because I just wasn't used to hearing it
that way. If you go back and listen to the prior
three albums, the bass does not stand out as
much as it does. Yeah, yeah, yeah. Absolutely.
It's more... Who am I going to complain about?
I like it like that. I would turn Terry's bass
up even more if he would allow it. Because, I
mean, some of his bass lines are amazing. To
get muscle underneath the drums and guitars,
to me, I'd rather be on top. Okay. Gear -wise,
was there any different type of gear you guys
used when recording this album? And how does
your gear in the studio vary from when you go
out and you play live? Drum -wise, there was...
Real drums. 95 % of them was real drums. Yeah,
he didn't use any triggers or anything like that
on the drums on this album, which I think helped
a lot. And what you're hearing is what was played,
pretty much. The natural sound of his drums in
that room is what you got. Okay. Yeah. And for
you, pretty much. Played direct in and right.
Yeah. I didn't use pre -amps and direct in, but
Jeremy got, Jeremy actually made my pedal for
my sound live. So it's pretty much, you know,
it's close as it can be from live sound here
to on the album. Our amps that we recorded with
are pretty much the exact same thing that we
use live. Okay. Yeah. It's orange, you know,
it's like orange heads at 412s. So like Rocket
Burbs and he used like an 80, 80, 30, 80, 30.
And, uh, you know, like for some lead stuff,
uh, like a little Marshall combo and, uh, just
on some, not all of them, but some, most of it
was orange, orange and Marshall. And, uh, maybe
did one with, uh, uh, was it a Morgan? Yeah,
something like that. We kept it pretty simple
as far as guitars and amps go. But yeah, I mean,
pretty much what you hear on the album, it's
going to sound real close to that live. Okay.
As far as guitars and bass, what are your go
-tos? Oh, I play ESP Limited Vibers. That's pretty
much all I play. Okay. Yeah, the two that are
on the record and I play live, I've got a PRS
Standard 22 and also a PRS Single Cut. And they
got like top -rated pickups. But that's pretty
much, those are my two main guitars. Yeah, bass,
I play a Fender Jazz. It's just loaded up with
nasty AMG pickups where I get that distortion
from. Cool. If you guys had a chance to go out
on a bill, it would be the Wolf Tooth bill where
you guys would headline, you guys would have
a band that's currently around. and one that
no longer exists play beneath you guys, who would
those two bands be? Well, can the bands that
we have played beneath us be bigger than us?
Absolutely. This is your dream. It'd be weird
to have a big band open up for us. I mean. Yeah,
I don't know. I mean, we played with Crowbar
before me, and we really enjoyed that. We played
with Crowbar, and we really enjoyed that. Spirit
of Drift. Spirit of Drift. I love Spirit of Drift.
I think they're great. They would probably be
on the bill for the newer band. And for me, I
mean... It doesn't exist anymore. Yeah, it doesn't
exist anymore. Thin Lizzy or... Led Zeppelin
or Black Sabbath probably be in the top three
or well Iron Maiden is still around so I would
say one of those three for me anyway yeah that's
cool all right that that works to pick up Wizard's
Light what's the best way for somebody to purchase
a physical copy of it and get the most amount
of money Back in the band's pocket. Bandcamp.
Wolftoothbandcamp .com. Yeah, and tomorrow is
Bandcamp Friday. So tomorrow is a good day to
get it. But yeah, Bandcamp, our Bandcamp, wolftooth
.bandcamp .com. And also, you can pick up a copy
of Ripple Music. They're big carts out. And they're
banking as well. The funny thing, too, is oddly
enough, I was talking to our guy from Napalm
the other day. And oddly enough, they're going
to be carrying on an album, too. But we get more
money from us. Yeah, there you go. Yeah, they
have they have a pretty big store. I've gotten
into a few arguments with them over the years
about shipping and taxes and shit like that,
but that's a conversation for another day. Yeah.
Chris, what was your question for me? Okay. So
in your opinion, how is this going to happen
then? So Metallica is coming up on their, the
end of their days, I would say here in the next
few years, guessing, just guessing, but you know,
Megadeth is, on their last tour next year and
you know their Iron Age is going to be coming
to an end soon Judas Priest is going to be coming
into an end soon so how do you see bands like
us or on our level getting to that level when
none of those bands are bringing out bands like
us to showcase for other people There's a lot
of things that I think that have fallen by the
wayside. There's definitely a culture that's
been lost that existed in the 70s, 80s, 90s,
where big bands took a risk, brought out bands
like yours, brought out another kind of intermediate
band so that. You know, they kind of spread the
wealth. Metallica still does it to an extent.
Obviously, you know, they have, you know, they've
had Pantera out and Nice Nine Kills. And then
they've had like bands playing in the parking
lot, like Overkill and Prong, I know, played
back home for me in New Jersey, which is cool.
But those are still all. more or less established
and veteran bands. Very established bands. Yeah.
And I answered something today for something
that Rich Beato brought up about, you know, metal
kind of losing its thunder and kids not being
involved and stuff like that. I think part of
the problem that exists, and this touches upon
what you mentioned, is that a lot of these bigger
shows are just way too expensive. Whereas when
we grew up, you, you had $20 shows, you had $9
shows where there were bands like yours that
were going out with an Alice in Chains or a Soundgarden
or a Pantera. And you got like a $20 bill where
four bands were playing. Plus you had like, 10
local bands on that same bill. You know, that
doesn't exist anymore. They're, they're pricing
a lot of the audience out. I'm lucky that my
kids who are as of Monday are both going to be
teenagers are into this style of music, but that's
an anomaly. Most kids their age are into this
shit that's on Tik TOK and, and, and the problem
is that the music isn't accessible anymore. They're,
they can't afford to go to a show. If I want
to take them to a show, every time we visit the
States, you know, every summer I'm paying four
to $500 for four people to go to a show. And
that's, Without even talking about instruments.
You know, the last guitar that I bought 14, 15
years ago over here in Europe cost about $800.
And I've been as destroyer. There's nothing that's
remotely decent that costs less than $1 ,000,
$1 ,500. And that's without getting to... your
Gibsons and your Fenders that are selling guitars
for $3 ,000 to $6 ,000. How are you going to
get a kid to play, to learn to play a guitar
or any instrument if you're pricing them out?
They're just going to end up buying another smartphone,
another video game console because that's cheaper
and it's going to grab their attention. It's
going to grab more people's attention just because
of the economic factor. If we go back a few decades,
an audience like yours should be how many years
younger? Theoretically, you know, the people
that are supposed to support you, if you look
at the bands, all the bands that you mentioned,
most of those guys are 15 to 20 years older than
me, you know, and I'm in my early 50s. If you
look at any of the waves of music that have come
along, all the fans are at least 10 years younger
than the people that are playing on stage. So
if those people are no longer being connected,
that's to me, that's the biggest disconnect out
of, out of everything. And that's not allowing
when you're pricing the youth out of it, that's
affecting bands like yours to go out to make
a living off of this because You don't have the
same amount of people to draw from. The argument
that, well, you know, with the internet and streaming
and that, yeah, I think streaming and all these
platforms should pay you guys more, without a
doubt. At the same time, your audience is right
there, you know, which is a tool that people
didn't have. All those years ago for better,
for worse. I don't know. Maybe that's a long
-winded response. But what metal bands are going
to be filling arenas like Metallica does or Judas
Priest or Iron Maiden? What metal bands are going
to be coming up filling that void? I hate to
say this, but it's sad for me to think that maybe
the only band that can do that someday might
be Ghost or something like that. If that's what
we have to look forward to, I'm not saying Ghost
is bad or anything, but I mean, Slipknot, yeah,
but Slipknot's even getting older. Slipknot's
been around for 30 years. Yeah, it just seems
like there's not ever going to be another Metallica.
There's never going to be another Judas Priest.
There's never going to be another Iron Maiden
to fill those shoes. To me, maybe not, but it
seems like maybe Metal's being pushed back underground
somewhat. Yeah, I think, and I've said this for
a while, Unfortunately, you look at blues, you
look at jazz, you look at any other wave that
came before FM radio or MTV or stuff like that.
It's not dissimilar to what's going on now. A
lot of people are complaining about, oh, well,
there's only one original member left or there's
no original members left. What happened to the
Temptations? What happened to the Spinners and
all these bands from the 60s? It's the same exact
thing. And a lot of them ended up, you know,
I, as a kid, I ended up seeing one of the Supremes
at, you know, local football field singing a
few Supreme songs for July 4th, you know, and
it's unfortunate, but I think a good amount of
metal is going to be trending that way. I think
we'll always have the underground that'll be
in our favor, but that. Commercial success that
a Metallica had or a Priest or a Maiden, it's
difficult to envision there being anyone else,
even beyond Ghost, because you guys are saying
Slipknot, Lamb of God, for example, Killswitch,
Engage, these bands, they've all been around
since the 90s. Yeah, right. So they're not new.
Ghost, at this point in time, They've been around
for like 15 years also. I saw them on their first
tour playing at 3 p .m. in the afternoon at a
festival, sweating their asses off with all the
makeup on and all the masks and all that shit.
And that was 2010, I think it was. So it's hard.
It sucks. And, you know, I'm hoping that. There
is something that we haven't seen that's coming,
that's going to continue what we love going.
You know, I do a monthly show where we talk nothing
but new music all the time. New music, new bands
from bands that we all know that are coming out
with new material. Because I think that's super
important to keep everything going. There's always
good new music coming out. You just have to search
it out. You know, unfortunately it's not in our
face like it was before, but it's there. If you
look for it, your album is a perfect example
of that. So if, if nothing else, I hope that
this interview, you know, helps, helps push people
in your direction and helps. people pick it up
or, you know, check you guys out. At least they
have the streaming platforms there to check the
album out. If they like it, I encourage them
to buy it, which is what I do. If I hear something
and I like it, I buy it because, you know, we
just noticed that or Terry was saying the other
day that our Spotify numbers have doubled. Oh,
wow. Yeah, which I grew up with almost 10 ,000.
Yeah, we've never been over 4 ,000 monthly listeners.
Now we're almost 10 ,000. Oh, wow. Just since
that came out, what, three weeks, two weeks?
So that's pretty awesome to think that that many
different people have listened, you know, picked
us up or started listening to us just through
this album. And that's awesome. You know, that's...
one of those things where you, it doesn't matter
when somebody hops on the train, as long as they
do, you know? Uh, and, and, and I think, again,
I think that the album is well worth people's
listen. And I, and I hope that that's, that's
the reason why actually the reason doesn't matter
as long as they're listening to you guys. Yeah.
Well, appreciate it. Yeah. Um, where should people
go to keep up with you guys? Uh, just on our
Facebook, Instagram, uh, we post everything on
there. Yeah. We'll teach Facebook. It's, it's
pretty easy to find. We try to keep constant
on, on those, at least, you know, just trying
to keep people involved in it still and trying
to lose people. Cause it is very easy for people
to lose attention. Absolutely. Guys, I want to
thank you for your time. And as you guys said,
when this interview comes out, which will be
the first Friday of December 2025, go to Bandcamp,
pick the album up. And even if you check the
interview out later, go to Bandcamp and pick
the album up. Guys, I appreciate your time and
wish you guys nothing but luck. Yeah. Thanks
for your time. All right, guys. And thanks for
being, thanks for accommodating me with the time
as well. I really appreciate it. No problem.
No problem. Thank you. All right, guys. Have
a good one. Thank you for listening to the signals
from Mars podcast. You can subscribe to the show
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Podcasts, Spotify, Google Podcasts, Amazon, and
more. Go to signalsfrommars .com for more information.
This concludes our show.