Doomtrigger

Participant #1:
What's up, guys? We Doomtrigger. Please tune into content that made us have a listen to what we're all about. They're rocking. Is everybody in? Is everybody in? Our show is about to begin.

Participant #1:
Welcome to the podcast consciousness that made us interviews and stories hail's from the bus we love taking you back when it all went down the greatest laugh shows and the cheery crowd sound is composite compass that made us compositematus.com

Participant #1:
on this episode, I'm joined by Robbie and Kenny from Doom. Trigger, have you ever wondered what South African metal sounds like? Well, you're about to find out. We chat about everything that is the own Trigger. So sit back, relax and let's get on with the show.

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Everybody turns to be the hero the white beats itself blue bullet Joe dear God has a try I am born

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oh to raise your lord

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we're charging a charge treachery get the real attack on the black one time dino firewall I shot you're the best

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let's actually this is a truck.

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You're a vessel reboot a row

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robbie and Kenny, you're very welcome to concerts that made us thank you so much. So we kicked off the episode with your song Fierce Rivals. Would you like to tell us a bit about it, maybe? I think Kenya is probably a better one to chat about. Fierce Rivals. It's funny because that's actually the one track that wasn't quite ready. When we went into studio to record the first EP, I had written a set of material during the height of lockdown period and fast forward to us being an established band. A year and a half later, we went into studio with three fully completed songs and one, like, half complete song and I wasn't convinced that it was ready or even should have been considered for the EP. And it was actually our drummer that really just pushed and said, no, we have to do it, we have to have this track on and we have to have four tracks on the EPM. He actually came up with I think it was two extra drum parts that he just threw into the mix. I don't know where he conceived that from, but he literally just started playing parts and out came this drum track and I just wrote like two extra riffs for the two empty drum parts and then up came the song and we wrote the chorus vocal vestedo as well. The lyrics for the song had been written by Jason previously. The concept of the song is this constant battle, like personal battle between good and evil, like the angel on the one shoulder and the demon on the other shoulder, and you're kind of this vessel that's being pulled between the two. So Good and Evil is kind of fierce Rivals at each other. That track was actually half of it was completed in the studio and I think it's probably one of our strongest, if not strongest song in terms of, I suppose, general appeal and commercial appeal. I think it's I think for Kenny's, right, from the commercial standpoint, there's definitely a nice beats to it, so I think everyone enjoys the beats. The guitar is all very heavy also, and it's got some clean vocals in there in the mix. So I think from the commercial standpoint, it's always interesting to me when you go into studio and you have maybe six songs or four songs or five songs ready to go, and the one that's not quite ready to go,

Participant #1:
it's brainstorming in studio, something great comes up, so that seems to happen quite often. It's funny how things like that happened, though. I even noticed with the podcast there's been episodes where there's been technical difficulties or maybe in the moment, I didn't feel like it was a great conversation, even. But then that episode goes on to do better than other episodes. It's kind of funny where those things work out. Yeah. Something about having to immediately find something natural in either the conversation to your point or in music. Like, all of a sudden, when something really comes up organically or naturally, it tends to be really good, as opposed to something that's forced. And like, I didn't want to back to the point of that song, I didn't want to go sit down and write or complete the song because it felt forced. And so when the drama actually said, well, here's the beat, lays it down, and then everything just came naturally from that. So I think there's something that just goes to show, like, the more gannic, the better. Yeah, definitely. And the song really does rock. It's one of the ones that when it comes on, it's like you've heard it before, almost. It just clicks with you and you're like, yeah, this is oh, that's awesome, it's off. Your EP entered cosmic. What was the process like with that from conception all the way up to release? Yeah, look, I think again, I think it was more of a personal journey for me personally when writing that material. So initially this wasn't intended to be a full band. I think just maybe to keep some sanity and to use all of the forced, confined time we had during the lockdown period, use it as a channel of outlet. And I enjoyed writing so much that I just decided I'm going to make a solo project of it and eventually take the material to studio and release it under whatever pseudonym or alias I would decide on that time. But it wasn't until I actually reconnected with our vocalist Jason and said, let's do a single together, because your voice is perfect for this type of music. And, yeah, we did the single together, got a session, drummer on board, I doubled down on basic guitars and out came this product, which just sounded incredible. And I think in that moment I realized, and Jason also knew that it could be something more permanent and could be a full fledged ban. And we obviously set about finding the right people robbed Robbie. And funny enough, I was soundboarding a lot of these reps and ideas to him on WhatsApp because he knew about this thing I was working on just as a personal project. But this guy is probably the biggest metal that I know and listens to literally every metal band known to man. So I knew you were the right guy to sound board like riff ideas and stuff. I'm like, what do you think of this? What do you think of this? And so when I eventually approached him and wrote him in onto the base, it wasn't unfamiliar to him and he kind of knew what he was getting into, which was awesome. But I think the concept of enter the cosmic when we speak of cosmos, it's not necessarily like space and time only it's also like a metaphysical metaphor. The cosmic can also be something that's beyond understanding or beyond like human conception. And so the themes of the song speak to things that are beyond our understanding. So there's PS rivals like I spoke about this kind of push and pull between good and evil, which is something completely metaphysical. And some of the repo is about the uncomfortable reality and facing of death. Shark Attack is a little bit more political, speaks to current state of affairs from a political point of view. And our leaders that are metaphorical sharks that just kind of attack us. And Night Era, I think is something that literally speaks about kind of horror in dreams. And I don't know if you've ever had a night terror, but there's quite a few scary concepts that kind of sit within that experience. And I think the song kind of speaks to that and tries to make sense of it because again, it's like a phenomenon. So I guess that's where it came from. Like a lot of the songs and the themes are really rooted in just being human and experiences and concepts are completely beyond our understanding, but yet we are still expected to face it and have to deal with it. Yeah. And I have to ask, since you mentioned you were bouncing the ideas off of Robbie, were you kind of sitting back waiting for your moment to be asked to join the band or how did that work out? Listen, can you actually play in a band together before Kenny started doing Trigger? So we know each other very well and obviously having performed lives together, we understand each other's minds just from the base of it. I think he could get an honest opinion if he's going to send me some stuff, which I obviously was looking for. And then from the band perspective, I think I'm definitely not the most talented music, let me put it that way. I have some performance skill, if I could put it that way. So the additional vocals I think, that I could add along with the bass may have been the trigger for the ask at the end of the day, because I can do the cleans and the gutterals and the lows and the high screams. So I think from that standpoint, it could have turned into an edge. So I think that's maybe where the Austin came from. Yeah. And I always enjoy hearing how musicians got to where they are now. What was the point in your lives, individually, where you kind of thought yourself, yeah, I want to give music a serious shot. I want to go first, probably forever. Every person that makes music, I think that's a dream. For you to actually do it is a completely different story. A lot of people, obviously it takes a long time. It's not like winning the lottery, it's not going to happen overnight. You have to put a lot of time into it. Myan Kenya is a bit older than Jason, who's the lead singer. He's like 26, 27. So he's ten years younger than us.

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So he obviously brings a lot of energy. And then myself and Kenny, with a little bit more experience, you know, we both have families. The drummer, Frank, also has a family. The vastly experience, like, he come from a rock background. Josh funny. Him and I used to live together years ago and he had his kids in the house and I had my rig in the house and we would come back from work and play slip on covers, like Four Towers. And I could see with a phenomenal metal drummer, at least from a potential point of view, and he's also really grown into his metal drumming and you can see it's like a whole new world for him that's unlocked and he's really enjoying it a lot. But back to your question also, I think it depends on where you situated in the world. So if you in a first world country, or anywhere in Europe for that matter, or in Northern America, and you want to give doing music for living a shot, and you've got a semi decent product, like, you've got a good shot at paying your bills and putting bread and butts on the table. Where we are in South Africa, the market is super small, especially for the metal genre. So for a person to go make that decision and go, like, I really want to give music a shot that takes not only a big set of bulls, but also some sort of a day job that you have a security to pay your bills, otherwise you're just not going to get it, unfortunately. And if you do, it saves yours. You have to really slog it out. So I think all of us have always dreamt of doing music in some way, shape or form. Like, I personally made a promise to myself, I've never stopped doing it. It doesn't matter what I do or how I do it, but I'll always make music in some way, shape or form. And obviously when this kind of project came to life, I was just like, wow, we really have to give this a proper shot because it could be something special. And we also, like, established in our lives in terms of jobs and stuff like that. So that's kind of taken care of. All we need to do now is keep the high work ethic going, keep writing new music and try to play shows that are really energetic and appealing to the audience. You touched on something there about being an abandoned South Africa. I've said it on the podcast before. I feel like bands and musicians in South Africa deserve a lot more respect than, say, guys in England or America. As you were saying, it's easier now. It's still incredibly hard to make us in those countries, but I feel like in those countries, you're starting off up here when you just start but in South Africa you're starting down here and it's more of a fight and more of a battle to get recognized. No, for sure, there's many bands that don't test them into that. They are absolutely unreal awesome bands. And obviously it's just too tough to do it from South Africa. You need to be or you need to commit to not do it from South Africa, really, if you want to make it. Bands like, if I can just give an example, chromium, Bass, Droid. These are two legendary South African metal bands. Incredible music is absolutely amazing, but they don't teach you much on the world scene. So it is tough. I think it's becoming a bit easier to get the music out there, obviously. Yes. Back in those days, I'm talking ten years ago, it was literally impossible. Yeah, I could imagine it is easier to get the music out there. I mean, anyone can get music out into publishing platforms nowadays, but that also in turn makes it more difficult to cut through all of the potential noise. There's so much fucking music out there. So much that your product is going to be of a certain standard in class to at least get noticed. That's why I really appreciate your comments earlier about saying, like, fierce Rivals as an example, is a song that when you hear it, you feel you've heard it before. That's amazing because that's resonating with you and hopefully any other listener. And once you can start resonating with someone's mind or emotionally, then you're going to get some traction, which is good. I think if you can try tapping to that, then you should be okay. Definitely. And what do you guys think goes into making a successful band? Just commitment from everyone. Obviously you need to get along. That's the first party. If you're not going to get along, it's going to be stuff. But I think chemistry is definitely one part of it. Everyone's going to do their best. That's definitely another piece. I think the originality as well is another big piece. Obviously, a sprinkle of talent doesn't hurt either, but I don't want to take away from the creative process of writing music, but it's relatively easy to string together a few chords, a few beats, a few bass lines and, you know, a hookie chorus as an example. But it's another thing to really explore a little bit more technical song structures, a little bit more diverse sound across your songs, a little bit more unorthodox beats or unorthodox bass lines blended in with guitar. You've got to have that kind of element of originality when it comes to songwriting, because otherwise you get stuck in a trap of sounding like anything and anyone else, which is again, I think we are kind of getting right. Even all of the new stuff that we writing is a good blend of experimental, enough pieces of music and enough pieces of instrumentation, but coupled with an expected brack or an expected chorus or an expected bridge, and I think it's important to get that balance right as well. Yeah, I was just going to ask there. It's something that always fascinates me, because as a band, you do want to be evolving and growing with each new record, but you don't want to be changing so much that you alienate fans. How do you approach that? How do you keep the sound just enough that the fans will love us, but you're showing them something new? No, I think we're obviously still relatively new, so we haven't had to add those battles yet in terms of the change in sound. At the moment, we feel like I think we're going to find our niche, so we're going to focus on getting as much of that niche out as we possibly can. And when the time comes, then we'll obviously have to go into that of what's the next step or what's the next. But I think the variation that we do have, we just suffer some bands, obviously, but sometimes, obviously you don't have all the elements. Sometimes I don't want to say blank, because it's not blank, but with us, we have a lot of different elements going into it, especially from a vocal standpoint, jason can do pretty much anything. From a screaming standpoint, that's done. Demand. I can do the scream, skinny does the clean vocals, I can do the clean vocals. So just from the vocal standpoint, there's already a lot of variations that's available to us. And then obviously from the guitar standpoint, myself and Kenny, but mostly Kenny obviously does most of the guitar riffs. I just tried to basically come up what he's come up with? This guy can throw some nasty stuff in there, so I'm just trying to keep up. But I think Joe, we haven't had the problem, they shouldn't really say problem, but we haven't had to adjust, really in terms of the sound. And I don't think it's going to be very soon that we're going to have to do that just because of, like I said, the variation that we have available to us already. What is I say is that with the new stuff and as we progress, it's a lot more collective in terms of input. So with the first record, it was like, okay, here are the songs, or here are the three and a half songs. Like, learn them and we record them and outcomes the product. So with this, it's like, here's a riff and here's another riff. Okay, what should we do? And then Robbie will, for instance, say we need a bridge and we need to repeat that section and we need to do XYZ and Etsy, and our drummer will come up with a suggestion, or Jason will come to us and say, I really want to do this in a song. Can we write around that concept or that part or whatever? So, in terms of that, it's been a really nice collaborative approach and we're actually going into studio at the end of September to track the second episode. So we've done and completed that and we're pretty excited about that. Brilliant. We'll get to that just before we finish so the listeners can get the up to date info on us. But at this point I usually ask, as concert goers and concerts you've attended yourselves, what concerts do you think have made you that's a tough one. Listen, I did travel to Europe once, just for three days, literally in and out, to go to Download Festival, which I thought is absolutely epic. And I spent seven years in the US where I studied, also where I pretty much went to every single concert that was local and available. So I always went to, I think, about 150 concerts in seven years. So a lot of live listening to music from a festival standpoint and from venue standpoint. But for us, obviously, I don't know, I haven't really spoken to the guys as much. From a personal standpoint, I think we'd obviously love to do festival tours. So if we can go to Europe and do a UK tour at festivals, I think that will probably be one of the main goals for the band playing from a live standpoint. No, absolutely. And also just have the opportunity to watch all the other bands out there. So that'll be amazing. I think for me, personally, concerts that have made me come from a very, very young age, I think I was like ten or eleven years old, I went with my dad, so the Peshmode concert, which was super interesting, and then shortly after, I think I was about twelve years old, skunk and Nancy was in South Africa, and I watched them play and it was absolutely incredible. And I think just live loud music really hooked me in. And over the years we've been fortunate enough to have a couple of really amazing bands on our shores. The one that just stands out for me, head above, shoulders above. Anything else I've went to was the Death Tones concert we had here about seven or eight years ago. I'm a massive Death Tone fan and I've been for a very long time and that for me was so special. It was the most amazing energy I had experienced at a concert ever. I was in the marsh, but start to finish, the tree drenched and sweat down to my socks. That was just amazing. Trivium and kill. Switch engaged. Switch engage. There was a lot, I don't know if you went there, ginger also came.

Participant #1:
We enjoyed that and to be honest, at the time, I wasn't a big Bring me the Rising fan. No, I didn't know them that well. They were still kind of new and also much more like Death Call, you know. I think literally, they came to South Africa just before.

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Fresh in the mind. That was a nice highlight for us. But like I said, it's stuff here the southern point of Africa. We don't see international. We'll open for you. That's a great suggestion. And to give listeners a sense of what to expect when they see your gigs, what can you tell us about what are they like? Images. We obviously try to get the crowd involved in our shows. A lot of, what shall I say, beats and interaction. So I think from a Doom Trigger standpoint, there's no way that someone is going to be standing still. You're not just admiring. I think we want you to feel the flow of it, which naturally, obviously means some headbanging. The first few shows that we played, the crowd intensity was crazy. We really didn't expect it to be as crazy as it was. So, yeah, obviously we're just going to try and build up on that and try and let the car feel our energy so it just gets more intimate. I think that's probably where we'll go. Out of the gigs that you have played, is there a highlight, is there a best moment you've had? Well, the moments have been the gigs have been few. So we actually just laid our third show ever, two weeks ago at Medal For Africa Festival, which was a one day festival. That in itself was already a big highlight for us. That is one of the key events on the mental calendar in this country. And we actually got onto that bull before ever playing any shows. So that to us was quite an achievement and a signal of trust from the organizers in the quality of our output to add us to that bull without even playing, without having played anything. And on the day it did not disappoint. It was amazing. We actually opened up the festival, which is a tough slot. It started out with a semi empty floor and two songs in it. Was full front to back and you could really tell that people were enjoying it into it. And the energy was super high and it was amazing because the feedback afterwards was also great, which we obviously appreciate a lot. So we only played our debut show in June of this year, which was very well received as well from not only the crowd but also our peers from other bands. I think we made quite an impact because we well rehearsed and because the work ethic is high. I think the live product is really good and matches and in some cases is even better than what you hear on the record, which is something that's important when you deliver the music in a live setting. Like, people will always judge you on like, does it sound like what's on the EP or does it sound like what's on the album? And there are certain parts and there are a few of our peers that have said this. And I think there was also one interview where the one guy was like he was listening to one of the parts and he said, I wonder how this is going to translate live. Admittedly he said, it was great. When I hear stuff like that makes me really happy because it means that we're delivering on what's been recorded. It's not something that we can't deliver live. And then the other show we played was at another band's debut concert and it was nice to actually two debuts on that night. It was nice to just be three brand new bands on a bull at this incredible venue just outside the Stalin Boss Show and so on. Again, the turnout was incredible. It was just a great night and good energy. I think all of the shows have been highlighted to us at the moment, but I would say medical Africa was probably the biggest one yet. Yeah, I'm sure listeners are asking themselves this now, but Metal for Africa, as you said, you were booked before you'd even played a gig that's like really been thrown in at the deep end. You must have been crapping yourself. How did you prepare for it? I think they don't really do Davies at a festival like Medal for Africa, relatively, we're very privileged to have been for them to choose a branded as in place. So I think just obviously from myself and Kenny and Frank or drummer who obviously has a lot of live experience

Participant #1:
before deciding on whether or not we would be able to play. But I think if anything, Jason probably had the most nerves. I think we were probably a little bit more relaxed because we knew what we were going to get into and we kind of knew what to expect. This is Jason's first band ever, maybe we played in June, was his first live performance ever. That's fucking unbelievable. Because I was watching him on stage and it was just incredible. Like he was in his elements. And again, there was resounding feedback from that show that people were like, they were blown away.

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Been in that sort of setup before performing whatsoever. He's like this guy dominance.

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I doubt there are many other stories like that. Now I have to try to catch you guys at a gig somewhere. I'd say it's an unbelievable experience by the sounds of us. That will be cool. Yes, we would love to come to Europe to come form for the band. Yeah, I was just going to ask that's a nice lead into the next question I was going to ask. Looking forward, what needs to happen in your eyes where you'd be like, yeah, we've made it. I'm happy with how it's turned out. So I can sit back and I've built something. I think the first step would be to be recognized as one of the top, if not the top metal act in our own country. I think that's the first step, and I guess what that would look like is be considered for the major metal festivals, get those prime slots or headlining slots. And also when international bands come to tour, it would be a no brainer to get us on that ball to open for these acts. So to that end, it would be amazing to be established and renowned as one of the top metal acts in the country. And I guess off the back of that, should there be doors opening from an international point of view to be able to turn play festivals or shows beyond our borders, I think that would just take a major box spice. I know Robbie's got a bit of a hit list in terms of what international festivals he'd like to play. But I think if we can get there, I would be like, shit, this is amazing. To get there would probably be the main, I would think, box band that we can be a part of would be absolutely incredible. And then obviously just keeping in writing and releasing new music. Like, for me, it's always been about the first objective and protocol is to write and produce and release music that people enjoy and listen to. Like, everything else will spin off from that. So that's still going to remain important for us. But I think playing on any international state would be cherry on top. Yes, without a doubt. But as we were saying earlier on in South Africa, there's not that great scene. What is the ceiling in South Africa for you guys before you need to look international? How far can you actually make it in South Africa before you have to travel abroad? It's a good question. It's a very good question. Things have also changed here in terms of platforms to be able to do this. Venues have closed down, festivals have closed down. The two major ones that we have here for alternative music is Ramfaced and Obikopi. Ramface obikopi cranked. Up Festival and Middle Band Africa, I would think with a platform for middle bands to be able to join bowls exactly. It's trying to get that they're trying to get it back and then obviously Cracked Up Festival was also hasn't started up again yet. Medical Africa was the first to start back up. But I think from that standpoint, we obviously want to play all the potential festivals in South Africa and from an album standpoint, bring out a full album. Obviously we're going in to record a second EP now, but also that I think the focus will be on a full album and then obviously from there, I think there's not much more to be reached. From a South African standpoint, the community is a very niche community, everyone will know already. So from that standpoint, then it's time, even from now onwards, and that's exactly what we're currently doing, is trying to get international PR and exposure as much as possible. Because even if you do reach the senior year in essay like, we've got to keep building our kind of our name and footprint across the rest of the globe where possible, otherwise you're also not going to be able to unlock those international experiences. So I think there's a job to be done here with yes, we want to do the festivals, the major festivals. We do want to be kind of known and seen as one of the top metal acts in this country, but there's a continuous job to be done on the international side of things. Like, we continue to also push PR abroad, even from now on. It's not something like, are we first going to do within our borders and then we'll go beyond. It all needs to be one big allencompassing effort, which is kind of what we're trying to do from the get go. Yeah. And as such, a new band, you know, it's social media and everything, it's an absolute nightmare. I've had conversations about it in the past, but as a new band, how do you approach growing the band and getting your name out there to new listeners? I'm not going to lie, there's so much stuff out there, it's just almost impossible to really feature. But I think obviously, usually when there's something to read as well as listen to, that makes a big difference because a lot of stuff is just thrown out there and people obviously want to get the music out there, but nothing has been written about that specific music. Then usually people click next unless there's something has been said about it, or you've been seen on either a live concert or on a bull or on a Tshirt, or on something, some form of, shall I say, in marketing. From that standpoint, I think that's probably the better way to get the music out there for a new band than just to get it out there. To just release the music means nothing. It's kind of a whole ecosystem that has to play together. There's a social media channel. There's posting content on those channels and keeping them active, and there's doing merch and making that available to people that want it. That, in turn is getting ripped out on the street and someone wears shit. What is that? What's the trigger? What does that mean with Earth's? A band? Okay, listen to them. Word of mouth, PR reviews. You have to keep trying to push from all the channels possible and at your disposal. It's something that's really difficult to do independently. There's a lot of moving parts. And so specifically from the PR side, we were approached by Warren Gibson from Flag Music Agency to assist us from PR point of view to get some opportunities for reviews and interviews and just to kind of heighten the awareness around the band and our music, which is the channel that we've had a little bit of help, which has been awesome. The rest of the stuff we do all independently. So, again, it's a lot of hard work and slog, but you just got to do it. Just got to do it. That's the thing as well. You always do need a good team behind you. Or if you don't have the team, the individual members, you need to kind of just the same as writing music. You need to kind of push together and work at it just as hard as the lyrics. Absolutely. And it would be amazing if we could get to a point where we've got more people on board as a team to help us with these kind of things. I would love to get someone to handle all the social media. I would love to get a dedicated photographer to come shoot the shows, to do concept shoots for us to generate some good quality content as well. For PR packs, for social channels, it's so important. Like, you can't take one photo for three years as an example. You can't take a video of one breakdown at a show and use that for 15 posts. It's so tricky. You've got to just stay fresh and keep producing content to try to cut through all of the noise. Yeah, definitely. And I can't believe I didn't ask at the start because I'm sure people are wondering, where did you trigger the name come from?

Participant #1:
That's something that I kind of just conceived from thinking about a moment or an occurrence that sets off the sequence of unfortunate or impactful events. We all know what the butterfly effect is, so it's almost like setting off a butterfly effect, but that moment, the thing or the trigger that sets that off. It is kind of what Doom trigger means and is because the concept behind most of the songs and first EP and also going into the second EP is very much based on human experiences and how to deal with them, negative sociopolitical impacts, kind of topics like that. I think the name is very apt for the actual lyrical and conceptual material that sits within the music. So Doom Trigger essentially is a moment of impact that sets off an occurrence of events. People need to be very aware of their actions because it's got a lasting impact on whatever, you know, personal experiences. I think it's quite a broad thing. Yeah. It all makes sense now, though. It's a great name, but as you said, as you mentioned, the lyrics, the music, it's the perfect package. You guys really do have the perfect package and all fits together so well. Cool, thanks, that's very appreciated. And before we get to the last set of questions, then, what can you tell the listeners about the upcoming EP? Yes, it's a tough one. I think, like you said, a little bit more input, so there's going to be a bit more variety, I think faster, definitely faster than what the first EP was. And then obviously we do have a guy that writes the synth background for us from what we've learned from the first EP in terms of where we can use it, how we can use it has grown a lot, so we'll obviously put that into effect also on the second EP. But I think it's going to be heavy. I think people are going to like it. A lot of the stuff also goes very well live, so all the tracks that will be on the CP works in a live environment, so obviously you're going to get some good breakdowns and, you know, some quick drifts. And we're excited, we're very excited to just hear the stuff, even for ourselves. Yeah, because we've only been playing it live and in rehearsals, so we haven't heard it tracked and mixed and market, so we also very excited for the products. And it also be definitely four tracks, potentially five tracks, it depends. I can put together this last little track that I pocket, but we've completed writing with four tracks which will definitely go extreme with and yeah, hopefully it comes out as good as we expecting it to. And the title of the EP will be dark. Continuing. I won't reveal too much about the origin of the name, but when we do the release, we'll support it with the release back and give a little bit more insight into the origin of the name and the conceptual ideas behind the song and everything like that sounds great. I have to admit that the name of the albums, they would work perfectly for like, I don't know, Marvel superhero films as well. It's so funny. When we first started, before we had Frank on the drums, frank Items nickname is Frank, so we call him Affection. We call him Frank. We had another friend of ours kind of sessioning on the drums and he actually said the music sounds like music that gamers would listen to when they locked into playing games. It was also interesting. It was quite interesting. Thomas yeah, I can definitely see that, actually. I hadn't thought about that, but would be next time I'm playing Grand Theft Auto now. I'm going to give direct artists in and see how well it seems. Yes, exactly. Right, we'll move on to the last set of questions. So everybody gets these, I'm afraid, so you can't get off the podcast for the answer. If there was an artist or performer from history you could see for one night only in concert, who would it be? Metallica. Very easy answer for me. Gary Moore. Right. Metallica. I've heard a few times. I've never heard Gary Moore as an answer. They got my hero, literally. I think if somebody would ask me, who's your idol in terms of guitar? And I would say Gary Murph. Yeah, and he's one of them guys, I don't even need to ask why. Yeah, exactly. And I mean, you said Metallica, so Metallica covered a thin Lizzy song. Thin Lizzy. So that just shows the influence that God had. Look, I mean, it's about he went from playing in a rock metal band and Lizzie and went on to his solo career and the type of music that guy writes. And his guitar ability for me is just incredible. Second to man. Like, really just super talented, I think, for myself. Metal garage. Definitely. Growing up, the only thing that existed, you had a small, little grange here where I didn't listen to metal yet. I only found it in my late years. But Metallica stands out for me, I think, from, let's say, early teens till early 20s. It's a good 15 year period was the only thing that existed for me. I threw some other stuff in there, but they were the only thing. Not so much anymore, to be honest. I love the coverage that they get, but I don't listen to their music as actively as I used to. I listen to a lot. So they're the ones that started Legends. Yeah. I always feel like with Metallica, I've seen them in concert two years ago and they were unreal. But I kind of feel like when you're grown up and you discover Metallica, you think they're a lot heavier than they are computer bands. They're almost the pop music of metal, pretty much. And the craziest part is, if you see that 89 Seattle show on DVD, which everyone raves about, that's just epic beyond proportion. That's where these guys were, in my personal opinion, were absolutely in their element at the right age and also the energy. So it's just absolutely incredible. Obviously, it's not the same anymore, but I think, like you say, in today's terms, it's light. It is very, very light. I think especially myself, I don't know from kenny always had a little odd edge on him. For myself, the loud stuff came, I would say, in the last ten years, and it's just gotten heavier every time. New edition is just heavier. Yeah, I definitely Metallica creeping Death album headbang in my friend's bedroom. But yeah, very quickly went onto the likes of Panthera signature Salt Fly. And then came the new metal era with Death own Scorn. It did just go heavy and heavier. You're right, the guys like Metallica and all abandoned those hero megadeth Amtraks. They paved the way for what all of us do today. It's just incredible, really. A strange thing really has adapted quite far from that. Yeah, leaps and bounds. Jesus. Like a totally different genre now. It is. And the next one, if you had to spend 24 hours locked inside a room with any artist or performer from history, who would it be? Well, yes, that's incredibly tough. I'll probably have two. I think I have two. Mine would definitely be James and Phil, obviously. That's what I was saying. But I think someone that is not from my era, I would say Elvis Presby. Oh, yes. I wasn't expecting that. Great one. I would probably say Dave Grohl. Right. Just because of the vastness of his career and obviously the kind of Nirvana days transitioning into the Food Fighters days. And also what that poor guy has gone through in terms of loss, especially with the recent Taylor Hawkins loss as well. Like, shit man plays in the honor. Like loses Kurt Cobain, band member and best friend, goes on to form the Food Fighters. Massively successful, loses best friend and bandwidth stay low. Like shit. Class that shit. You couldn't actually make it up, so you couldn't make it up. And he is such a positive entity. Like he just seems to take it in a straight. I just think it takes a very special kind of personality and strong person to be able to overcome things like that. That could make for a good few hours of conversation. Yeah, definitely. Definitely. And I have to ask, what do you think Fool Fighters will do next? You wonder. They still have something, but I don't think it's going to stop. Probably. I'm wondering if they will get decision guys to come in from other big bands to maybe play on the drums for any specific show. I think also known Dave Growl and the kind of things he gets up to. I wouldn't be surprised if they did like a tribute record for Taylor, which might include like half finished songs or song ideas that Taylor had because he obviously was a big input in songwriting as well. For them, it's not all that. Well, I was surprised there's like some sort of a tribute record for him, which would be amazing. But I think they probably will, like Robbie said, get some session drummers and keep playing shows. I think that's also what the majority of the fans would want. You do get the peers that would say, no, it's disrespectful. You can't do that, but you've got to serve the fans. At the end of the day. And it's not out of disrespect for walking, it's actually out of respect. If they were intending to play for another ten years and unfortunately one of them has passed away, they would still want to fulfill that dream because that's what the band collectively wanted to do and they need to uphold that, so I wouldn't be surprised if they still play for it. And also I think the country is it would be a shitty decision to not play the music. Yeah, absolutely. It's obviously what people want. Yeah. Yeah, exactly. I kind of feel like Dave Crawl is the type of person where he physically wouldn't be able to stop making movies. You have to just keep going. And I also have a theory. I think, as you said, decession musicians, and I think in a couple of years'time they'll at least offer the position to Taylor son. Yeah, that's what I wonder if they'll consider that very young, the age difference might be coming to play, obviously. But the only thing that I don't think they're going to find a full time guy. I honestly think they'll do this, which means that his son will definitely have opportunities to play with him. Maybe they'll use his own show, maybe he'll be but I think for the live shows, I don't think they're going to stick with one guy, to be honest. They'll probably mix it up. Yeah, probably. And just to jump back to your answer, totally guess james Hetfield why all of us? I wasn't that tall. Why not?

Participant #1:
To be honest, I never growing up at Interest whatsoever. I listened to a lot of Beatles when I was very young, I'm saying under twelve years old, so Beetles. But recently Elvis has come up on random occasions, so much so that when my first born was young Elvis, I played Elvis for all the time.

Participant #1:
And from that I did a little more research on the guy and listened to most of his stuff. And that folks see old school rock and roll vibe still gets a lot of people going. Obviously a lot of people, most people still know it. It's getting so old now that people probably don't know who sing it, but they know the song. Elvis really Needs to know on the head there for me. And obviously that personality, I think that personality was larger than life and probably one of the largest in the state, which is probably one of the reasons why I put his name out there. Yeah, I'm a massive Elvis fan since I was, I'd say seven or eight years of age. I was clicking his records and everything, but so much so that I feel like listeners when a guest mentions Elvis, I feel like listeners at this stage like, oh, don't get me started on Elvis now, I heard enough. But no, I loved that you mentioned Elvis. I really wasn't expecting this. And we'll move on to the next question, the final question. If there was a song to appear on the soundtrack to your life, what would it be? Masterclass. You're really quick off the mark with these answers. No, that would be all that's very easy for me. So before it was it started to get this commercial bill again, I think the Stranger Things. Stranger Things. Yeah. Commercialize. The bill for masterpublish or master of puberty. You can ask anyone in my family, if they all sing a song, describe Robbie, they will say immediately it will be massive publish. But I just think that's probably the best middle song ever written. It's not going to change anytime soon. Can't argue with that. Very difficult question. I'd probably say madness from Muse. Wow, that's interesting. I've been listening to that quite a bit. That's a great song. Yes, I also like it, actually. I think it's based on lyrical content and also just the song build up and that fucking ending. It's such an emotional and incredible piece of music. We don't really listen to music too often, I got to be honest. But I go through news phases also

Participant #1:
vibe quite well. So it's also one of the bands that I'll sing to most frequently in the car and stuff like that. But that song is just absolutely beautiful. I absolutely love that song. Two very good pics. Right, guys, it's been an absolute blast. I've really enjoyed chatting to you now for the last hour and thanks a million for coming on. Thanks a lot. Thank you for having us. Thank you so much, man. I really enjoyed thank you.

Participant #1:
Fight death, richard Shirt will I fuck you yet?

Participant #1:
Mechanics attention assault crooked Flash is winding on title flame wrap up

Participant #1:
what up the Rainbow wind bucky Horse we're about to break his clothes ready mexico

Participant #1:
white Ruster and Christ ponder white ring ring my sins let it evil it's all the sharks cross all the jet walls'back up

Participant #1:
hello. Hello, everyone. I am Matthew Thomas, the spirit of supercool radio. And if you're looking for a great podcast that features the best independent and up and coming bands and artists, then check out my podcast, Supercool Radio. Each week I deliver fun interviews and every Friday I spin some killer music. You might not know some of these bands that I feature, but I guarantee you will love them. Check out Supercool Radio on YouTube, rumble, Anger, Spotify, itunes or the streaming platform of your choice. Tune in and rock out.

Participant #1:
Hey, guys, I really hope you enjoyed this episode. If you did, please rate and review us on itunes and Spotify. And if you're interested in signing up the Band Builder Academy, use the link in the show notes below and enter the code. Concerts and you'll receive 10% off. So until next time, keep rocking.

Participant #1:
Hey, what are you guys still doing here? The show is over. It's over. You can go home. Go on. We'll see you next time. We'll be here.

Participant #1:
Bye.