Welcome everyone to the latest episode of Signals
from Mars, episode 447, featuring the man, the
myth, the legend, Philip Hsiao. He's been hearing
about Philip for so many years from friends from
around the podcasting world. It is a thrill.
It is a privilege to have him on this episode.
And I think this is a cool conversation that
you guys will enjoy. Quick reminder that in addition
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to learn more. Quick shout out to my patrons,
Sean Richman, Tony Espin, Anthony Mackey, Ed
Ferguson, Johan Edestrom, Metal Dan, Chris Vaglio,
Gabriel Ruiz, Mark Striegel, Brad Dahl, Jeremy
Weltman, Steve Hoker, and Steven Saylor. Thank
you guys for all of your support. I kind of resurfaced
some, or not kind of, I did bring back some,
interviews that are an interview that I did with
Bob now band in years ago and used it for some
short form content. And one of the things that
really hit home with me when, when going through
that old material was how Bob always saw a lot
of us as a brotherhood, especially when it became,
when it came to podcasting. I think it was probably
like a modern form of what he was doing with
fanzines back in the day. And he saw a lot of
the passion that a lot of us had when doing what
we do with podcasts, for better or for worse.
And Chris Sinzak of the Decibel Geek podcast
is the first person that ever brought the name
Phil Schaus to my attention. And I've been so
privileged to be Chris's... friend for so many
years. We've never actually met. Hopefully that
happens one day. But that kind of helped me put
together this interview that I did with Phil.
I've been getting a lot of good feedback recently
from the interviews that I've been doing. And
one of the things that stood out to me from the
various people that have reached out to me is
that they feel that I'm asking a lot of questions
like a fan. uh, that other fans would like to
know. And I've had people over the years say,
well, you're the journalist where you're this,
where you're that. I'm just a fan who decided
to start doing a podcast because someone said
that someone being Mark Striegel said, Hey, you
might do a decent job at this. Um, It's almost
17 years later. It will be 17 years this summer
that I've started podcasting. And by no means
have I been around as Mark has, as the guys at
the Classic Metal Show or any other show that's
been around that long. I'm just privileged to
know all these different people and have the
ability to reach out and talk to them. I appreciate
that you guys are here listening to this episode.
I hope you guys enjoy it. We touch upon all things
throughout his career, throughout Philip Schaus'
career. And it's just a fun chat. I'm biased,
but I had a fun time doing it. Welcome, everyone,
to the latest episode of Signals from Mars. I
welcome on the show Philip Schaus, who is releasing
his first EP, Side 1. He's known for a ton of
things, which we'll get into during the episode.
But my first question for you, Phil, is the songs
that are featured on Side 1, are these songs
that... You've written just for the EP? Are they
songs that you've been working on over the years?
One of them came, one of them was something I'd
had for 20 years. It was just a riff, and that
was all I had. I had no melody or lyrics. And
the other ones were written with the EP, with
like a goal in mind, with the EP in mind. So
once that first one was written, I took that
riff to my friend Alex Rahal in town, a great
writer. had always told me that when I wanted
to do something, you know, to give him a call.
So I did. So when we, when we finished that one
in like two hours, then it was like, you want
to do this again? Let's do some more songs. And
then it became a thing. Like every couple of
weeks I'd go and we'd write a song. So we had
several and I'm like, I've got enough for a,
for a thing now. Right. Yeah. Most of them are
brand new. Oh, cool. So the neat thing too, is
although you're known for playing with other
people, I mean, let's be honest. the kind of
foundation of rock of hard rock and anything
that's progressed out of that really kind of
comes from the influence of the Beatles, the
stones, stuff of that ilk. So it isn't really
that far from the bands that you're playing with.
Right. Especially when you get like, like to
what I really kind of do and play natural, which
is kind of, you know, more classic rock type
stuff. It isn't, you know, it's not metal. That's
for sure. But no, it felt, I mean, it felt natural
because it was me doing it. It wasn't like me
trying to sound like anything or, or it was me.
This record is me figuring out what I actually
sound like. Okay. You know, cause I played covers
for my career and maybe with the people that
wrote them or sang them, but they're covers to
me. And so, yeah, this was me kind of figuring
out my own sound. When you approached the label
to put this EP out, was there any sort of stigma
that, oh, it's Phil, the guy that's worked with
this person and that person or whatever? Did
you look for a label that would just take you
for who you are or how did that work? They found
it. They found the project. I was just going
to do the record and just put it out myself on
streaming. I really didn't do it with any kind
of expectations like I'm going to do this and
this. I'm already way further along than I ever
thought I was going to be with this thing. So
Wild Kingdom Records in Sweden. I had a couple
of friends listen to it that were that were tighter
with people at that label and they played it
for them. And they were interested. And that
was how it that was how it all fell together.
Wow. So that's pretty cool, though. That's that
has to be rewarding as an artist to have somebody
come after you. And, you know, they could have
easily said, well, you know, come back when you've
got John Karabi on the track. Come back when
you've got, you know, person X on the track.
But you for you. Yeah. And that was, it could
have been a record like that. It could have been,
you know, a guest star thing, but I was like,
no, I'm always a guest star on records that I
play on. So this is fucking my, I'm doing everything
I possibly can do, uh, on this record, singing
everything. And I, I, I just can't play drums
or keys well enough to do it. I also would have
done that too. But, um, no, I got, uh, Sarah
Tomic on drums, Seth Timms on keys. Um, and you
know it's it's it's me you know cool and i'm
sure you've had no shortage of friends to help
you out uh with the drums or keys so was it difficult
to pick them to uh come aboard or you knew right
away you wanted them i know no i knew who knew
who was luckily sarah was available sarah is
just so in demand i've known her for she's been
a friend of mine for You know, well over a decade
now she's been in town and she is literally always
doing something. And I got her like two days
in between things. Oh, wow. Really, really great.
Got her in a couple of days and bang it out.
And yeah, it was really great. And my buddy Seth
Timms is, you know, a keyboardist among keyboard
players. He's just incredible. And I'm involved
in so many different things with him. And he
was immediately it's like, you want to play?
It's like, sure. So no, it was easy. And luckily
I've got a huge friend group of amazing people
to call on. And I got to mention Philip Creamer
is a great singer in town. He came in and did
all the high harmonies that I couldn't hit. Oh,
okay. So yeah, he's got this like Steve Marriott
type thing going on and he's phenomenal and he's
a great, he's a friend. And so it was easy to
get him in on it. And yeah, and everything fell
together. Did everyone pick up on the vibe you
were looking for right off the bat, or was there
any type of coaching you needed so that people
saw your vision? There was no really vibe going
into it. The producer and I, Brad Jones, started
with acoustic work tapes, and that's all we had
going into the studio. Nothing else was planned
out. It's like, let's just get in there, and
we'll start with me and Sarah, me on acoustic
guitar. no click track, just playing me and her
playing together. And let's just see where it
goes. There was no direction or no path. It just
kind of like figured itself out and we just went
with it. Did she end up using a click on the
actual EP or is it all just by ear? No, there
was one, there's one song on there that has a
loop. And that's the main, those are the main
drums and percussion in it. And she's accenting
things, but everything else with like a drum
kit, there's no click on it. Oh, okay, cool.
Which was Brad's call, and it was kind of my
call too. I was like, do you want, can we do
this like this? And it's like, yeah, sure we
can. I'm like, all right, great. We're using
real amps and real people and real instruments.
And no click track. It was very, very organically
done from the very beginning. And that's kind
of refreshing, too. I spoke to Alex Skolnick
yesterday and we were talking about how important,
for example, the Last Testament album, you can
tell that there's live drums on the album. And
as a wannabe drummer myself and someone who's
messed around with Superior Drummer and stuff
like that. You know, you start to hear albums
and you're like, yeah, that's this sample symbol
from this and that. And it just gives like a
different kind of breath, a different kind of
air, I should say, to the music, having live
instruments actually in there. You can really
tell because things start sounding, you start
recognizing. Yeah. And it's not like, oh, that's
a Les Paul through a Marshall or whatever, or
tell me through a, through a, through a twin
or whatever. It's like, oh, that's the exact
same snare sound. Yes. You know, you can start
to hear, to hear things and you look and it's
like, oh, it's the same producer. Okay. He's
got his own, you know, bag that he pulls from
for everyone. So I really enjoyed, I haven't
done a recording with a real amplifier. you know
in a really long time um everything's with you
know profilers and plugins and those things those
things sound phenomenal um but it was still really
fun it's like all right we're going no we're
going click track all right we're going real
amps and you know we're going to treat this like
you know like in the olden days in the 1900s
as you were recording the uh the tracks were
there things that just started to pop into your
mind? Like, oh, wow, I want to try, like you're
bringing up amps and guitars and stuff like that.
Oh, wow, I think that this, for lack of a better
example, I think that a Gibson Firebird single
coil will sound great over this track on this
amp. Or, you know, as the writing process came
along, did it kind of fuel your inspiration to
try other things? Yeah, I really did. When we
before we got in the studio, I didn't really
do any kind of thinking about that. I kind of
wanted to really keep it because I didn't know.
Like, this is my first thing like this with my
name on it. So I'm like, all right, I just want
to go in there and just do it and get it done
and keep it really spontaneous. But it did kind
of like with guitar pedals and guitar when it
got to guitar overdubs, then it was like, oh,
that weird pedal over here that I have might
be cool. I just got this. Let's try it. Right.
There's a tune with a Moog solo. That is one
of those old monophonic ones where you had to
really be careful and hit one key at a time.
I didn't do that. Seth did. But that was a real
kind of spontaneous thing. It's like, I don't
want a guitar solo here. And Brad has all these
cool toys in his studio and knows how they all
work. So there's harmonium. on it like uh he
had a harmonium that he got at the krishna temple
in in new york um that's on a couple tunes um
so yeah we really just kind of flew by the seat
of our pants the whole time but he was a good
guide to have you know or i just hadn't yeah
i was gonna say how important is it to have him
steering the ship because a lot of times there
are artists who try to do things on their own
and maybe they're not able to get, you know,
the, the, I don't want to say the right songs
out of them, but sometimes being an artist and
doing your own production, you're not as critical
with your own work as maybe someone else who
comes in and tries to kind of clean things up.
And there's no way to tell, you know, right.
You get to a certain point. I don't know. I think
that's one of my strengths is being well aware
of what I can't do. Okay. And I knew like even
writing songs, like I, I have to have somebody
writing it with me to get it. Cause I will come
up with something and I'll like that part. And
then I just won't know where to go with it. And
then before too long, I'll despise the entire
piece scrap. So I really need somebody there
with me to help push it along and no, let's go
this way with it. It's like, yeah, yeah, yeah.
And I'm work better that way. So there was never
any like. you know, self -production thought
of in my head, like I'm, that's not happening.
And Brad was who I wanted to work with. So luckily
he was available and he liked the tunes enough
to, to want to work on it with me. So yeah, very
lucky to get him involved too. And he was great.
Okay. Since you've recorded side one, have you
already written more things for a possible future
EP or maybe full length? Side two. side two yeah
um there i wrote i've written a couple more songs
um primarily to fill up time for the tour i'm
doing okay uh because the record is 18 minutes
long right and we started to get offers for shows
um doing a swedish tour uh next month and it
was like you know 75 minute slots and i was like
shit, I got to have some more tunes because I
didn't want to go play like an hour of covers.
Right. And then just the record. So the record
we played, some covers, of course, but also some
brand new songs are in there as well. Okay. Would
it be side two or side B? Would you mess with
people and switch it up like that? Because we
used to get side A and B as well. That's good.
Funny you mentioned that. So my EP is called
Side 1. So the sides of that are Side A and B.
Just to stop confusion. So if I did a second
EP, I suppose I will call that one Side 2. And
those will be A and B as well. If I'll keep writing,
if it'll be a full length or not, I'm not sure.
Okay. As you mentioned with covers, would you
pull from cover? Well, actually, this is kind
of a dumb question because you've done all types
of covers in the past. I mean, people have known
you for Accept and Ace and Gene and stuff like
that. But I mean, before we started recording,
we kind of touched upon what you've done in Nashville
with the Rock and Roll Residency. Everything
amount of, of covers. I mean, you could, you
wouldn't have to necessarily pull from, you know,
the kiss catalog or the accept catalog. You could
play anything. Yeah. Yeah. Which we're doing
a couple, you know, I kind of needed to do a
couple just because of who I've played with and
what people know me kind of for, but there are
some really left field covers that the residency
wouldn't have touched. OK. So, yeah, we did really
go kind of I went deep and picked the covers
and they're like, really? Some of them are pretty
oddball choices, but I think it'll be really
cool in this setting and with these with this
instrumentation. So a couple of them are going
to be pretty expected, but there are some definitely
not unexpected ones as well. Oh, wow. OK, cool.
Talking about the residency, you've played with
pretty much. a who's who there um what's the
one person that you still can't kind of wrap
your head around being able to play with them
well there's a few um gene came and played but
we were already that was when we were in his
band um when we had roger glover and don airy
from deep purple come down and play they came
down two weeks in a row and uh That was pretty
intense. We became friends with them because
they were here so much recording in Nashville
and our paths ended up crossing when they were
doing their first record here. And so that remained.
So that was pretty wild. And then also Robin
Zander came. Robin literally showed up. We were
done. I think we were done. And the word got
around like Robin Zander's here. So he finally
makes his way out. And it wasn't a venue. We
did these shows at a, it was a Irish pub called
Dan McGinnis. It was a great place. And the shows
were on the patio with like a six inch stage
and PA on sticks. It wasn't like, it wasn't a
proper venue at all, but that was the charm of
it. So he shows up there and he walks out and
we're like, this Robin Zander's here. And we're
talking to him about what we want to do. And
we're like, we literally know so many cheap trick
songs. He goes, I don't want to do any of that
shit. I'm like, all right, what do you want to
do? ACVC. We know the whole catalog. What do
you want to do? Long way to the top. You got
it. So we go up there and we do long way to the
top. And then we ended up doing, I think, He's
a Whore. Okay. Or Hot Love. We ended up doing
a cheap trick song or two with him before we
let him go. And then he had to come back the
next week with his son, and we did Dead Flowers
and some more. So, yeah, those were nuts. And
plus with, like, Robin, when you hear that voice
come through a monitor wedge, like, wow, he really
sounds like that. That's just what he – that's
him. That's the voice. Right. When he's right
here, you know, and you can hear him, and he's,
you know. And he's cool and he's having fun.
And it's crazy when you're listening and you
hear those voices coming through that, not the
PA speaker, but like through the monitor back
at you. It's pretty special. Yeah, cool. And
who's, you know, if he's requesting something,
who's going to say no to him? Yeah. And we knew
at this point, we knew everything. You couldn't
really stump us on most of that kind of stuff.
We're like, we got you. Right. You got to cover
whatever you want to do, Robin. Cool. Was there
one person that you guys were trying to get to
play with you that just never happened was kind
of the one that got away? We always thought we
were going to get Steven Tyler. Oh, wow. Okay.
Because we had a couple ends with him that were
regulars at our show. And we always thought that,
and he was in town a lot at that point. Right.
So he's going to show up. We know he's going
to show up. He never did. So that's the one that
we kind of never did get. Okay. Cool. Yeah. Cause
there, um, I guess Brad lives down there now.
Brad's yeah. Brad's been here for a while. I
think he's, and I don't know if Steven still
has his place here. Oh, okay. He may not, but
I know he did cause he did a kind of a country
record for a while and he was here a lot. Um,
and, uh, I think, I don't think anybody else
from, I think Joe's in Florida. So yeah, maybe
guys are all spread around. Okay. And with regards
to Accept, recently it was mentioned that Accept
is going back to a two guitarist format. What
are your feelings on that? And is there anything
you can share regarding that? I miss Uwe. Uwe
was great. I love having him. I just miss him.
personally being around too on stage just being
around and going to get ice cream with him and
stuff that was we had had a really good time
I've had to rethink the parts because we did
have everything divided up to the three for the
three of us and there were some definite some
songs were definite like okay you that me that
you that you know it was very thing so now I've
got to kind of combine some of the things that
were split up between the three of us. So kind
of Wolf takes his and I kind of fill in like
Wolf kind of did what he normally always did.
And then Uwe and I kind of worked on dividing
everything up. So I'm kind of like recombining
those parts now. Okay. Yeah. Yeah. As we almost
dropped the ball at the beginning of this interview
with Wolf. was an interview that I, I did a full
40 minute interview with Wolf and it never recorded.
And it was the software I use just didn't work.
Oh no. With the interview. I was super happy.
I go to playback corrupted file. I'm like, Oh,
a bummer. Yeah. But one of those things to remember,
I guess that's a good interview. Lots of stories
with that guy. Yeah, absolutely. Yeah. Having
worked with both Ace and Gene, what's the one
song that you suggested to either one of them
that you never thought that they would have listened
to you and covered? Ace pretty much didn't get,
we didn't get to do any, we didn't get any of
them across. Ace was a very creature of habit
and didn't like to. venture too far outside of
his his uh his kind of set list that he kind
of stuck to with gene however gene was down with
everything um and i had suggested love theme
from kiss we ended up doing oh wow so uh yeah
i didn't think that was gonna that was gonna
go and we worked it out it was kind of we we
did it right before we did it kind of into war
machine like we kind of didn't end it And it
was kind of a funny story. We only rehearsed
twice with Gene, once at the beginning of the
first year and once at the beginning of the second
year with him. And this is our second rehearsal
with him, so second year, when I kind of suggested
that song. And he was like, we can do this. This
is good. So we work it out and play it through,
and it sounds great. And he goes, he would act
like sometimes, and he wasn't presumptuous about
this, he would act like we didn't know. Every
single thing about Kiss, because we all did.
And he goes, you know, we used to play that song
before a song called Acrobat. And we're like,
we know. That song never had a form. And we go,
really? I was like, we all knew the tune. And
he goes, yeah, really? He goes, we always would
kind of, it was all eye contact. And we're like,
we know it. So the next time we did Love Theme,
we went into Acrobat. okay so we played the whole
thing we played acrobat with gene in rehearsal
and it didn't get recorded because i recorded
a lot of the rehearsals um not to like secret
or anything because he knew it but i was like
if we worked up an arrangement or something it'd
be like okay i'm gonna record this so i went
back and i found that day and i recorded a lot
of the rehearsal but i didn't get acrobat oh
wow i was so bummed about that because i really
wanted to get that on tape because he probably
hadn't played that since 74 right maybe So, yeah,
he still kind of knew it. That's that's crazy.
It seems like he really enjoyed playing with
you guys. And even with this last iteration of
band that he was touring with, it seemed like,
I don't know, like he was free to do whatever
he wanted. And even though he's known for being
the demon and all the accoutrements with Kiss
and everything, it seemed like at the end of
the day, he loves just being a musician. He loves
playing and being with his people. Yeah. He liked,
he really liked being a guy in the band. Right.
With him. We were with him all the time. We all
traveled together at the time. There was no crew.
So we just, the five of us, you know, arrived
together, rode to the venue together, to the
hotel, ate catering together. And he was fantastic.
He was just a great hang. Easy to talk to, fun
to talk to. Yeah, he was. And musically. Very
good. And really adventurous because he would
be, he was down with pretty much anything we
suggested, you know, when it was time to do some
deep cuts, he came to us and what should we do?
And we're like, all right, this is what we wanted
to do with this thing the whole time. So we always,
we never stopped suggesting songs to him. We
always kept, kept it fresh. I don't think we
did the same set list twice. Okay. It was at
least one thing was different. um so it always
uh kept it fun and exciting and he would take
people would shout out stuff and you couldn't
really stump us and so we would play a verse
and a chorus of whatever they would shout out
and it was that was always fun too he was very
brave that he's very adventurous and brave that
way yeah that's interesting after playing you
know, the same set list for years without varying
that much that he, he, you know, he gets it.
He gets it that the diehards want to hear all
this, you know, and that's who was there. Like
when we, you know, in the States and in Europe,
we played bigger shows, but it was still diehards.
And we still threw in, you know, she's so European
charisma. you know, got love for sale, things
like that. We're always ladies and waiting. We
did a couple of times, like we'd throw in these
tunes and, and they'd be there for a couple of
shows, then go away, then come back in. And so,
yeah, it was always revolving. That's cool. Yeah.
Yeah. You were out in Vegas when they did the,
um, landlocked cruise. Uh, what was that like
to be part of? I was not out there. Jeremy and
Ryan were, uh, yeah, I was, uh, That was during
the Accept Tour. Okay. We were on tour with Queensryche
this past fall when that was going on. Okay.
So I missed that one. So I actually researched
that, and I did Phil Schau's Kiss, Landlocked,
Las Vegas. I did the dates, everything. And sure
enough, Google comes up with a picture of you
and this and that, and I'm like, all right, so
I can ask this. Sorry. Sorry. It was awesome.
But I did a lot of the cruises. I did a lot of
the actual cruise cruises, and those were fun.
Yeah, okay. There's material that was supposedly
recorded before Ace passed away. He was working
on Origins, and I know that you had recorded
on one of the Origins albums. Number two, yeah.
Yeah, I know with what he was recording. Well,
I know I'm saying I know I don't really know.
I'm guessing that due to the process, the vocals
is probably the last thing that was going to
be worked on with what had been recorded already.
Do you know if any of that will ever come out?
Man, I haven't thought about that because but
I did hear. that he, you know, he had said that
he's working on stuff and there was an origins
and it was always working on something. Right.
You know what? I haven't thought about that since
he passed. I have no clue. I've not, I've not
heard of it and didn't even, I didn't pop it
by head, but there is, there's something there.
Yeah. Yeah. Cause he was always, he had something
always, he had some project always. He was always
going on in the studio. Yeah. I'm hoping that
there's something that. you know, still comes
out. I mean, within the music business, although
there's a finality to life, there's so many careers
that continue on after people pass away. So how
much did Jimi Hendrix record? Good God. Stuff
coming out. Still stuff coming out. It's like
the guy recorded for three years. Yeah. It's
unreal. You know, Prince has said, well, Prince
had a longer career the same way. And, you know,
you know. there's archives of Van Halen stuff
that you never, you know, so all those guys did
was record, but the Hendrix blows me away. How
in like three or four years, that guy still has
new albums coming out. Yeah, absolutely. That's
crazy. Yeah. Yeah. With the, with the Van Halen
stuff though, I remember seeing Eddie in interviews
saying, well, there's a reason why this stuff
hasn't come out. So there's part of me that wants
to hear it. And there's part of me that says,
you know, well, if he didn't want it to come
out, then it, you know, I don't know. It's kind
of selfish to, to want to hear it afterwards.
Right. Some stuff is shelved for a reason, even
if it is Van Halen, you know, some stuff that,
that even, you know, like the Beatles did, didn't
make, you know, left it was up on the cutting
room floor, so to speak, you know, a lot of that
stuff we've heard. uh now maybe not through official
releases but you know it's been bootleg and everything
but yeah i mean even even the the greats put
out some stuff that's not as great i won't say
shit because it's probably still pretty great
but uh it's still not as great and i can understand
them going well that's not quite up to up to
snuff yeah you know i get that Yeah. And we know
that Ace had so much stuff, especially in the
80s before the first Fraley's Comet album came
out. You know, there's and I mean, on the last
album that he did with Steve Brown, he did one
of those songs. But there's still there's a ton
of songs that he had demoed that just never seen
a formal release. So it'll be interesting to
see how that's all handled. Yeah, I guess once
that happens, it's the family. I think Wolfgang
is the kind of keeper of the archive now for
Van Halen. Yeah, I guess it's just the family's
duty now. Okay. So you've got some dates in Scandinavia
coming up? Yeah, all of March. I'm doing Sweden
and Norway. And I leave Thursday. I go over there
a few weeks early, we're rehearsing up and, uh,
it's 10 shows in Sweden and one in Norway. Okay.
Yeah. Who's going to be playing with you. It's,
um, from the helicopters and, uh, in tuned, uh,
Nikkei and the shown. Okay. Uh, and, uh, you,
from the head of your helicopters fan or know
about them. Nikkei is the lead guitar player,
lead singer, uh, driving force of that band.
And, um, and he's playing drums for me okay uh
so yeah he's a dream was that he was the drummer
in entombed so yeah he's the drummer first um
so uh and then on base is matt's reidstrom that
i'm still pronouncing his name the rolled r is
so hard for us to do probably not for you you're
probably pretty good at it But for, yeah, it's
tough. Matt's is great. Matt's is in a ton of
stuff. And Jesper Lindgren is on guitar with
me. He's in a band called Velvet Insane. And
I've known all these guys for years and they're
friends and they were all available amazingly
enough for March. So I'm extremely fortunate
to have these guys with me. So it's just me flying
over and I'm meeting them and yeah, just kind
of being based in Stockholm for the next two
months. Oh, wow. Cool. How much of you going
over and playing with them is also hoping that
there's some type of connection or sparks that
maybe you guys can write something together?
That's totally possible. I've actually got a
couple of really rough ideas that aren't even
on acoustic work tape yet. I've got a couple
acoustic work tape finish tunes that we're going
to work up as a band. Um, but I've got one or
two that are still in the working phase and,
um, and yeah, that's totally doable and that
would be great. So there is, uh, there's a Swedish
tour seven inch that is those guys and me on
it. Cause the, uh, the record obviously isn't,
um, but it was an older tune of mine, uh, that
we recorded that we did a Beatles cover. So,
um, but yeah, I wouldn't, I'd totally be cool
with writing a tune. We definitely have the time
to fill on the show. With all the songs on the
record, everything is pretty short to the point.
But live, there's room for some of these to be
stretched out and really have fun and expand
on them. We're going to do all that stuff as
well. Cool. Where should people go to purchase
Side 1? And ensure that the most amount of money
gets back into your pockets. I believe that would
be going to Sound Pollution. That's the distribution
company. And if you go to my Instagram page,
there's a link in my bio. And there's a Swedish
store. And there is a rest of the world store.
for sound pollution so the record is not out
yet it comes out february 27th right so they
can go pre -order it now as well as uh as well
as the the seven inch single with the swedish
band so that's that's gonna be for sale as well
on the store and the single uh run away from
you is out now on streaming and on youtube there's
a video as well excellent okay And where should
people go to keep up with you? The socials, Instagram
and Facebook. I'm kind of more active on Instagram
and everything I do on there kind of seeps over
to my Facebook page. So those are the best places.
There's no website at the moment. I don't really
know if there's a good reason for a website.
It's like everything's already there for you.
But yeah, as soon as I'm over there. In rehearsals,
I'll be posting more and pushing the shows more.
So I'm pretty active on there. I'm pretty visible
on there. Okay. If it's not music related, it's
just complete absurd stupidity. So please forgive
me. But that's what my page is. Well, you're
up front about it. Yes. I'm coming clean. I have
no shame about it either. Excellent. I appreciate
your time today. I enjoy the EP and hope that
this helps turn some people on to it as well.
And hopefully some of the shows. Thanks for having
me, Victor. Really appreciate it. Yeah, absolutely.
Have a good rest of your day, sir. Likewise,
man. Have a good one. Thanks, Victor. Go to signalsfrommars
.com for more information. This concludes our
show.