0:28

This is Drew Knight and

0:28

you're listening to the

0:30

Inside The Mix podcast. Hello and welcome to the

0:32

Inside the Mix podcast.

0:35

I'm Mark Matthews, your

0:35

host, musician, producer, and

0:38

mix and mastering engineer. You've come to the right place

0:40

if you want to know more about

0:42

your favorite synth music

0:42

artist, music, engineering,

0:45

and production, songwriting,

0:45

and the music industry.

0:48

I've been writing, producing,

0:48

mixing, and mastering music

0:50

for over 15 years, and I wanna

0:50

share what I've learnt with you.

0:56

Hey folks, and welcome back

0:56

to the Inside the Mix podcast,

1:01

and this is the Synth Pals Pub

1:01

the second one of the year.

1:05

If you are a new Inside

1:05

the Mix podcast listener,

1:08

welcome and don't forget to

1:08

hit that subscribe button.

1:11

And if you're a returning

1:11

listener, welcome back in this

1:14

episode of the Synth Thas Pub. I'm very excited to

1:16

welcome my guests today. We've got some returning

1:17

guests and one new one today.

1:20

So we've got Neon Highway,

1:20

we've got Aisle nine,

1:23

we've got Sub Neon. Fex and we've got

1:25

Helsinki Project.

1:28

Fantastic stuff. So before we get started,

1:29

if you want to join me and

1:33

my fellow producers at the

1:33

Synth Powers Pub and feature

1:35

on the podcast, you can go to

1:35

www.insidethemixpodcast.podium.com.

1:41

It's an excellent opportunity

1:41

to expand your network,

1:44

learn from your peers, have

1:44

a chat, and share essential

1:46

tips and tricks and bonus. As you can tell, every

1:48

episode gets added as an

1:50

episode of the inside of its podcast, so you get more exposure for your music.

1:53

And you'll find at the episode

1:53

end of this episode, we actually

1:55

do have the opportunity to play

1:55

some of your music as well.

1:59

So in this episode, we're

1:59

gonna discuss what should be

2:02

established between artists when

2:02

collaborating, and also touch

2:07

on some content tips for 2023. So Jenz, thanks for joining me.

2:12

Thank you very much. On this Sunday evening, for most

2:13

of you, some of you possibly

2:15

not depending where you're

2:15

joining me from, how are we all?

2:18

Good? All good? Doing good.

2:21

Very well. Thank you. Lovely stuff. Great to be here.

2:25

Fantastic. Yeah. Welcome Chris. First time.

2:27

First time. It's, um, love.

2:30

Lovely, lovely to see a new face. It's, it's good stuff.

2:32

And we got some old,

2:32

old furniture as well,

2:35

so it's all good. , um, you furniture, you

2:36

shouldn't, you shouldn't

2:39

talk about Carl like that. Yeah.

2:45

Yes. Uh, we are actually

2:45

live on YouTube, on

2:48

Facebook at this point. Maybe we'll have more

2:48

than the zero people. No, actually we had one

2:50

person, um, who viewed last

2:52

time a tell a lie on YouTube. So I've actually advertised

2:54

on Facebook this time,

2:56

so we might have more. Who knows. So if we get two of, you've

2:58

doubled your, your viewers.

3:00

That's good. Well, oh, this is it. Uh, we did have

3:02

some interaction. Let's do it.

3:05

Let's. Right Jed.

3:08

So we're gonna kick off

3:08

with, uh, the question.

3:11

Now this was from hearts

3:11

in beta or beta, however

3:14

you wanna pronounce it. And this was in the Facebook

3:15

community group from last time,

3:18

and we didn't get round to it. So, uh, his question was,

3:19

I'm hoping to start my first

3:22

collab this year, 2023. I'm curious, is there anything

3:24

that should be established

3:27

upfront between artists

3:27

before starting a CoLab now?

3:33

Uh, it just so happens that

3:33

we've got two artists here

3:36

today who have collaborated. Uh, it's not like I planned

3:38

this and, um, so what I

3:41

thought might be quite good

3:41

is to get a bit of insight.

3:43

We'll have an insight from

3:43

those artists and maybe, um,

3:46

I'm not sure if everybody has

3:46

collaborated with anyone else.

3:48

So maybe some experience

3:48

from those who are also

3:51

looking to collaborate. Yeah, that'd be great.

3:53

So if we start with, um, R

3:53

nine and Thre, I know you

3:57

guys have collaborated. Let tell us your song you

3:58

collaborated on first, um, thre.

4:01

How did you find the process and what is the song you and R nine collaborated on?

4:05

Yeah. So, uh, we call collaborated

4:05

on, uh, we come in peace,

4:09

uh, last March I think.

4:13

And, uh, , uh, what really

4:13

happened was, uh, uh, I reached

4:18

out, uh, through some random

4:18

Facebook community, I think,

4:23

and we got, got in touch and,

4:23

um, and so, uh, I basically, I,

4:29

I made some kind of, uh, some

4:29

kind of contract that we signed,

4:33

uh, ahead of time, uh, where we

4:33

agreed to, uh, the, the rights

4:38

of the track, uh, uh, where

4:38

we could, um, distribute it.

4:42

Uh, like, uh, he, he, he could

4:42

have, have his version on his

4:46

band, band, camp, et cetera. And, um, and, and what kind

4:48

of royalty split we would, uh,

4:52

we would have for the track. So, um, I didn't really know,

4:54

know, and I, I don't, I don't.

4:59

No, not really today,

4:59

what's the right process?

5:03

But that, I think that worked

5:03

out, uh, worked out pretty well.

5:07

Pretty good I think. Yeah. . Yeah.

5:10

Cool. Thank you though. Right. Um, on nine, do you wanna,

5:11

um, your experience?

5:13

Yeah, well, I, I thought it

5:13

was great cuz Thwa had sort

5:16

of, obviously I think you'd

5:16

done it before, hadn't you

5:19

collaborated I think previous

5:19

to, um, our collaboration.

5:22

So you're, you're kind of,

5:22

I hadn't actually done a

5:26

collaboration, so I found

5:26

it good that he was really

5:29

honest and had a little

5:29

contract and everything.

5:31

I dunno, I think it kind of

5:31

makes you feel, it should

5:34

make you feel at ease. I think like that everything

5:35

is sorted out like that you're

5:38

not, you know, gonna quibble

5:38

about it afterwards or find

5:41

out that something is happening

5:41

that you weren't happy with.

5:43

And I think it's nice that

5:43

that thing of being able

5:45

to like, share it on your

5:45

own bang camp, your own

5:47

SoundCloud, that kind of thing. Um, YouTube or whatever.

5:51

Um, but I think it's that

5:51

sort of thing of if you.

5:56

can see that collaborating

5:56

obviously can really

5:58

enhance your profile.

6:01

Like your, you know,

6:01

your reach, you reach.

6:04

I mean, some of Thyre listeners

6:04

will have heard of me through

6:07

that remix and some of my,

6:07

um, you know, listeners will

6:12

have heard of thyre now. So it's, it's obviously it's

6:13

kind of win-win situation

6:16

really, as long as the music

6:16

works, I suppose that's the

6:20

real question, isn't it? Um, and uh, so once you've

6:21

got all that bit out of the.

6:25

and the next bit was like, you

6:25

know, actually sort of touring

6:28

and frame with the music and

6:28

you know, um, THX sort of sent

6:32

me some stems over, um, and

6:32

then we kind of worked from

6:35

there really, but like, you

6:35

know, getting that bit right

6:38

cuz I mean, lots of people work

6:38

in different das and stuff,

6:41

so there's quite a lot to sort

6:41

out, but like as long as you

6:45

get that bit right and, you

6:45

know, um, the other person sort

6:49

of, you know, you communication

6:49

like all these things.

6:53

But I, I, I thought it worked

6:53

really well with our project.

6:56

I really enjoyed it. It kind of came together

6:57

really naturally actually.

7:00

Yeah, I think it was cuz

7:00

it was such a good tune

7:03

if I'm brutally honest. You know, I, I felt like I

7:04

got something that was really

7:06

good to start off with, you

7:06

know, that really does help.

7:09

You know, you can imagine

7:09

it and it kind of, you know,

7:12

you are excited by doing it. I think if that would be my

7:14

word of warning is if you

7:17

get something or you, and

7:17

you go like, I don't honestly

7:20

light this word, don't really

7:20

feel excited by this tune.

7:24

It's probably better to pass or

7:24

ask have you got another tune

7:27

or choose another collaboration. But rather than push yourself

7:29

into something you don't feel,

7:32

you know, as a collaborator, I

7:32

wouldn't do that, I don't think.

7:36

But it's easy to sort of find

7:36

yourself for both you guys.

7:39

Did you not find at

7:39

any point from say the

7:42

inception of the fact,

7:42

maybe even halfway through?

7:45

Sorry, apologies again, I don't have a microphone. I don't sound, I dunno if I

7:47

sound like I'm talking from

7:49

across a field or anything here. Can you hear me ok?

7:52

Yeah, I'm

7:58

from the beginning or maybe halfway through that you had different idea of

8:00

the musical direction for

8:04

the track to collab on. Did did that happen at all

8:08

for, for either of you guys?

8:10

Um, fortunately with our

8:10

one, I don't, I don't

8:13

think we did, did we? Thorax it come, didn't it?

8:17

It just worked. I think I point it

8:17

interesting to me. Yeah, it did it,

8:19

but it could have.

8:22

It might not have is the answer. I've, I mean, I, I've did

8:24

a, it hasn't come out.

8:28

I tried doing something

8:28

for another artist,

8:31

um, a while back. Um, and um, slightly he was

8:33

coming from a slightly different

8:38

genre, more like melodic house,

8:38

deep house kind of thing.

8:41

And maybe that was the problem.

8:44

Um, and I was trying to

8:44

do a synth wave style

8:47

remix of his track and

8:47

he's a brilliant artist.

8:50

I love his work. But I think, you know, it

8:51

wasn't him being difficult.

8:55

It was more like the, I think

8:55

where I wanted to take it and

8:59

the sound I was generating

8:59

wasn't really what, he couldn't

9:04

really get along with that. It wasn't really what he wanted.

9:07

And so, um, you know,

9:07

it just wasn't working.

9:09

And I mean, we've left it at

9:09

the moment having tried a few

9:12

revisions and stuff and that

9:12

is always a danger cuz you

9:15

know, at the end of the day,

9:15

I mean, I spent quite a lot of

9:18

time on the project and it's

9:18

not gone anywhere, but then

9:21

I wouldn't want him to put it

9:21

out, you know, unhappy with

9:25

it, so, you know, didn't work.

9:27

Yeah, actually that, that,

9:27

that's a good, that's a

9:29

good point because, uh, I

9:29

remember, uh, when we did the

9:33

collaboration, one of the points

9:33

that I had in my contract was

9:36

that, uh, we would only re

9:36

only re release it if, uh,

9:41

if I was satisfied with the,

9:41

with, with the finished track.

9:47

So I, I had kind of

9:47

the, a quality control

9:50

over the project. You could say that could be,

9:51

but I also, but I also had a

9:56

clause that, uh, if I decided

9:56

not to release the track, we

10:00

could agree that maybe Eye

10:00

line could release it on, on,

10:05

uh, like for his, uh, on his

10:05

own band camp or something.

10:09

. Yeah. Yeah. I've never really done anything

10:11

with the other one in, in,

10:13

in, in, in, in, in that sense. But like, um, yeah,

10:15

yeah, good point Chris.

10:19

I'm very, I mean, we're

10:19

talking about music at the

10:23

end of the day and you could

10:23

go in so many different

10:25

directions, even off, you

10:25

know, there's four producers,

10:28

one sample kind of thing. Mm-hmm. I find that, that kinda thing

10:29

very interesting cause everyone

10:33

can have their own perception

10:33

of what a thing is within music.

10:36

So I just find it very

10:36

interesting that even from,

10:39

from the beginning or anywhere

10:39

within the track, you could not

10:43

necessarily a clash of views,

10:43

just a difference of opinion

10:46

on what the perception of what

10:46

you're trying to do with a track

10:49

that you're collaborating on. So, I mean, I haven't done it

10:50

yet, but I'd be interested to

10:53

know, I mean, I'm sure coming

10:53

come down to communication,

10:56

you might have a difference

10:56

of opinion, but you can

10:58

talk about it and come up

10:58

with some common ground.

11:01

So, uh, I just find it an

11:01

interesting process to talk with

11:05

another musical mind for us. Yeah, so all very good points.

11:13

Jens, I think what Fre said

11:13

there about having that

11:16

quality control is key cuz

11:16

you obviously you're putting

11:18

your name to something and

11:18

then having that understanding

11:20

and agreement in place that,

11:20

you know, what if I don't use

11:23

it, you can use it X, Y, z. And it's, I know, I know with,

11:24

um, like CD if you really,

11:28

if you wanted like a formal,

11:28

um, contract per se, do you,

11:34

I'm not entirely sure what your contract consisted of. I know CD baby had one.

11:37

Cause I remember somebody approached me a few years back about a remix and I

11:39

said, yeah, that's fine.

11:42

Um, but I've got this contract

11:42

in place that I, I want to go

11:44

through and I sent it across, I didn't hear anything back. So that immediately I was

11:46

kind of like, Hmm mm okay.

11:49

Um, yeah, but if someone

11:49

doesn't wanna sign one, it's

11:52

a bit worrying isn't it? Yeah, yeah, yeah.

11:55

I did have somebody, uh, reach

11:55

out on YouTube, um, and, uh,

11:58

I, I'm supposed to passage

11:58

them back and I didn't.

12:01

Um, they, they've left a comment

12:01

on one of my videos saying

12:03

they like to remix it and I'm

12:03

thinking, Like if I, I dunno,

12:07

maybe if you were that inclined

12:07

to want to remix it, like just

12:09

get in touch with me on one of the social media channels. But it just actually I'm, I'm,

12:11

I'm going off on a tangent

12:14

here, just reminding me I

12:14

really need to know this person.

12:16

But do that . It's

12:16

funny cause I'm

12:25

sorry, what was that? Yeah, I said I'm still

12:26

waiting on that reply

12:33

Oh dear. Because I got, I got

12:34

interestingly, I got one from

12:38

Heartbeat Hero, actually. Like when I didn't know any of

12:40

the kind of current people I

12:44

know, I had no idea who he was.

12:46

I was just on SoundCloud

12:46

and he just like listened

12:49

to my track Groovy dinner,

12:49

which I haven't actually

12:51

released on Spotify yet, but

12:51

like, um, and he just went,

12:54

oh, I'd love to remix that. And I just thought,

12:55

who's this dude? Oh, I dunno mate.

12:58

And I just thought it was a

12:58

bit ropey and I'd like just was

13:01

like, no, no, no hop be here.

13:04

No way. No. And I just, I was a

13:05

bit funny about it. I was a bit cagey.

13:07

I was a bit like, what's he gonna do with it? What's gonna happen?

13:09

All the rest of it. I mean now I know I wouldn't

13:10

feel like that at all.

13:13

I'd be delighted. So I might have to bother

13:13

him again and like sort

13:16

of get him to remix it. But like, you know, cuz he does

13:17

great stuff, but, you know.

13:19

Yeah, it was, I think it's

13:19

funny if you don't know the

13:22

other artist or you don't

13:22

have a bit of a relationship

13:24

with him, maybe it's fit,

13:24

you know, I mean, Neon

13:28

Highway said he wanted to

13:28

remix something of mine.

13:30

I would, I would, you know,

13:30

I'd know to be worried,

13:32

you know, it'd be alright. Yeah.

13:38

What's, um, I, I've never, I,

13:38

I've never done a collaboration

13:43

such as, I mean, I suppose

13:43

I've, I've employed somebody's,

13:46

you know, the services to

13:46

sing a vocal, but I wouldn't

13:50

say that's a collaboration. But in terms of setting up

13:51

that process, having not done

13:55

it, what, what do you need

13:55

to give Thor X to IO nine?

14:00

What, what do you need to provide to him in order to do that remix?

14:03

And is that process the same

14:03

for anybody that's doing

14:06

a remix or does it differ? Ooh, good question.

14:12

Um, I mean, I'll, I'll hang this

14:12

over to thorax and R nine in a

14:15

minute, but I, I, I did a, um,

14:15

a rather, uh, heartbeat Hero

14:19

did a remix of one of my tunes

14:19

ages ago and Ro Ode actually.

14:22

And interestingly, that's

14:22

was once, um, fantastic.

14:26

One Silver. Yeah, it's good. Yeah, I appreciate it.

14:30

Thank you very much. Um, but he, uh, the way I

14:31

did it, I just, I, I rendered

14:34

all the stems and um, I just

14:34

sent them off so they're all

14:37

exactly the same length so he

14:37

could just then import them.

14:40

Um, so when I say render the

14:40

stem, obviously he didn't

14:42

have my, um, my sends.

14:45

You can't do that in logic, which is weird. You, I dunno if you can

14:47

another dws, if you can render

14:49

the send output, um, but in

14:49

logic files where you cannot.

14:53

Um, so it's just the stems

14:53

and I sent those across and

14:56

then he did X, Y, Z with them. And that's the way I've

14:58

done it when I've, cuz

15:01

I've only had, I've never

15:01

remixed anybody else's work.

15:03

They remixed mine. Um, Which maybe I'm just

15:04

lazy in that respect.

15:08

Probably should do. Uh, but yeah, so that's the

15:08

way I've done it online.

15:11

And thx, how did you go about it? Well, um, , go on.

15:18

Yeah. You far away, far away.

15:21

Thorax. Okay.

15:24

I will, I will. Well, well, yeah, yeah. Yes, you start . Um, yeah,

15:26

basically what I wanted

15:31

was, you know, in order to

15:31

do it was, is, you know, as

15:35

you say, the stems, um, all

15:35

from the zero point so that

15:38

they , that's the worst thing. If they don't all come

15:39

from exactly the beginning

15:42

of the track, , then

15:42

you can't line them up.

15:44

So if they come from the

15:44

beginning of the track and the,

15:47

the, the difficulty sometimes is

15:47

how much processing is on them.

15:52

And I tend to ask. Not a lot of EQ and that kind of

15:54

stuff on there, if, if possible.

15:58

Um, it's tricky. We sent stuff because a lot

16:00

of the time the projects,

16:02

you know, the actual presets

16:02

are gonna have loads of delay

16:05

and reverb and stuff on them. But certainly if I got

16:07

vocals or something, I, I

16:10

don't want to have reverb or

16:10

time-based effects on them.

16:13

So I can do that later. I can cut and again, with drums,

16:15

like, you know, if you've got

16:17

a massive reverb printed on

16:17

the snare drum, I'm probably

16:22

just gonna find that it's

16:22

gonna be a bit hard to use.

16:24

Cuz if I do anything different with the track, it may not be right.

16:27

So I often will want them

16:27

sort of dry or a dry and wet

16:32

version or something like that. So, you know, um, But equally,

16:33

I think what Thre did, and I

16:39

didn't realize he was gonna do

16:39

this, was he, he gave me kind

16:43

of midi as well and loops of

16:43

things in in MIDI and and in

16:48

audio, which actually I was a

16:48

bit like, oh is this gonna work?

16:51

And it was really good in

16:51

because I was sort of, once I

16:54

understood the sort of layout

16:54

of the track, it was really

16:57

useful actually having that. Um, cuz then of course you've

16:58

just got the mid snared drum

17:01

pattern and you can just go,

17:01

alright, well I'll choose

17:04

my own snare for this and

17:04

put that in and you know, so

17:07

that was quite a handy thing. And not everyone does that

17:08

cause they just give you the

17:10

audio and actually having the

17:10

MIDI is quite useful I think,

17:14

so that you can make your

17:14

own sounds up without having

17:16

to sit there and work out a

17:16

part, you know, necessarily.

17:19

So it's quite good, you know. Um, I was gonna say that, uh,

17:21

or ask that question then Tim,

17:25

with regard to MIDI because I

17:25

didn't, I didn't render bounce,

17:28

however, print the mid, however

17:28

you wanna put it when I did it.

17:31

Um, but I think. If I were to do it again, or if

17:33

I were to ask or remix someone's

17:36

project, I think the mini

17:36

would be, it make a lot easier.

17:40

Yeah. When it comes to replacing sounds. Yeah, totally.

17:43

Yeah, a hundred percent. Otherwise, you always, uh, I

17:45

always prefer, prefer to, to

17:49

work in, in mid because, uh,

17:49

if I, if I'm doing a remix of

17:52

a track, I wanted, I want to

17:52

imprint my sounds on the track.

17:56

Yeah, yeah, absolutely. So keep the same, uh, like

17:57

you want to keep the, keep the

18:00

spirit of the track, but in your

18:00

own sound and, uh, in that way

18:04

maybe stems aren't that useful.

18:06

Maybe. I think we had something that

18:08

was really good actually, the

18:10

rights, which was, I think

18:10

there was like your main

18:14

kind of big, big synth sound,

18:14

lead sound or something.

18:17

Great. And I heard it as

18:18

soon as I heard it. I thought, damn, I'm not

18:19

trying to find a sound

18:22

that's better than that. You know, I really knew I

18:23

wanted to use that sound.

18:26

You know what I mean? It was, it was really key to

18:27

the track as well, but like,

18:31

although you've given it to me

18:31

in media and audio, the great

18:34

thing was, We both had silence.

18:37

So uh, you said, oh, I made it

18:37

in this and just gave me the

18:40

patch so I could just like load

18:40

up the patch and then I could

18:44

slightly change it or whatever. So if you've got the same

18:46

sense that, that, I mean a

18:49

lot of people now we probably

18:49

do have like crossovers

18:52

with some of the things. So, you know, a lot of people

18:53

have got diva or whatever,

18:56

like, you know, so if you've

18:56

got those things then, then

18:59

quite good to actually send

18:59

the patch, uh, as well as the

19:01

mid and then, you know, you've

19:01

got a lot more flexibility.

19:04

So, but yeah, I think the

19:04

thing is to just be patient

19:07

with the fact that may be

19:07

toing and throwing and asking

19:10

for this and that, and you

19:10

don't expect, oh, I sent it

19:13

all off and it'll all be fine. You know, it may not be,

19:15

and people may need to

19:17

and fro a little bit. So, you know, that's

19:18

just the way it goes. Yeah.

19:22

Interesting. Um, so neon yourself, I

19:23

know you are, you are quite

19:26

new to the, to the game per

19:26

se, but I've gotta say that

19:28

your, your productions are

19:28

fantastic considering your,

19:32

you've only just, um, I know

19:32

you're a musician beforehand,

19:35

but you've, you've caught sort of come onto the, the electronics in sort of scene,

19:37

um, and you've hit the ground

19:40

running mate, I've gotta say. Um, what are your thoughts

19:41

on collaborations? Is that something that you

19:43

are sort of envisioning doing

19:45

this year or maybe next year? Yeah, I think so.

19:49

I mean, I've, um, I, I've

19:49

started a conversation withone

19:53

about digital collaboration. We've actually exchanged

19:54

a couple of, uh, stems.

19:57

And I think, I mean that's,

19:57

there's a reason why I, I'm,

20:00

I'm, I'm, I'm quite keen on

20:00

working with Clint Tennis cuz

20:02

we, we've become quite good

20:02

friends and I think that feels

20:06

like an important element to it. I mean, I, I I get a bit

20:08

scared about the whole

20:10

thing about contracts. Um, , you know, uh, I, I,

20:12

I'm still suffering from

20:16

a bit of imposter syndrome

20:16

at this point in time, you

20:18

know, and I listen to Clint

20:18

Turner stuff and I think.

20:21

How am I gonna screw his track up when he, when he sends his stems over?

20:24

Um, but, um, I, I feel I'm, I'm

20:24

in a, in a position of a, with,

20:29

with the kind of friendship that

20:29

we've got now, which is great.

20:32

Um, you know, to be able to

20:32

say, actually, can we try this?

20:35

Or, um, you know, maybe

20:35

we try different snare for

20:38

that particular sequence. Do you know what I mean? And it's, and it's, um, I I, I

20:40

would like to take it forward.

20:45

I've had a go, but, um, the

20:45

stuff he's sent over, I, I've

20:49

not quite got to work with

20:49

the, the way that I'm, I'm,

20:52

I'm producing at the minute,

20:52

you know, he's got quite,

20:55

quite, quite thick, very revey

20:55

sounds that comes through

20:59

and my stuff is really quite

20:59

punchy and, and, and clean.

21:04

So, um, it's gonna take a bit

21:04

of work and we've, we've kind

21:07

of put it on the back burner

21:07

for now, but I think there's

21:10

definitely an opportunity

21:10

to work there together.

21:12

It was weird actually, I, I

21:12

got, um, uh, um, Uh, a message

21:17

on Instagram the other day,

21:17

um, because I posted about

21:22

six months ago this thing

21:22

that I'd, I'd done on Ableton

21:24

note, which is like a, an app

21:24

version of, um, of Ableton.

21:29

And it was just like a, a

21:29

five instrument loop thing.

21:32

And, um, uh, what I, I got

21:32

this, uh, request to say,

21:36

can I, can I do something

21:36

with, Uh, with, with the, the

21:40

sequence that you put together. And I was like, yeah, go for it.

21:42

Why don't we actually produce

21:42

something in isolation?

21:46

You produce something, I produce something that will compare and contrast.

21:49

And I think that could be quite an interesting thing to explore, you know?

21:53

So that was a really long-winded

21:53

answer of saying yes, wasn't it?

21:55

Uh, you know, no long-winded

21:55

answers are good.

21:59

Uh, cuz it gives me a lot time to think about what to come up with afterwards.

22:02

So, yeah. That, that's, yeah. No, that's great.

22:04

And this boils down to the

22:04

monthly clin shouts out now

22:08

that we we have on the podcast.

22:12

I'm just trying to get him on. I I, I've been pushing, I, I,

22:13

I tried to get my last year,

22:16

but he's, he's a busy lad. Yes. Admittedly, Clinton sent

22:19

me some stuff that I need to, I've got a fire.

22:22

She's too busy. He saw and piece of wood, isn't he? uh uh.

22:27

Actually, you just now

22:27

response to anybody.

22:33

Everyone just comes to you. I've got some ideas,

22:34

I wanna do something. And you just ignore them.

22:37

That's your thing. Is it? It, it is.

22:39

I I, I need to, uh, these, my,

22:39

my response time is getting

22:44

longer, but it's, I need to, I

22:44

need you are, I need to curb it.

22:48

It's, um, yeah, I mean, better

22:48

the cattle on the both end,

22:51

I think they call it, my

22:51

response time is just getting

22:55

longer, full stop in life. So , yeah.

23:00

Just a conversation Sub

23:00

neon, the thing you said

23:04

about, uh, doing like two

23:04

separate parts of the track.

23:07

Uh, that's really interesting

23:07

because, so when I, uh, when

23:12

me and, uh, venture made,

23:12

um, the track ness revenge,

23:16

it was basically just two

23:16

separate tracks that we kind

23:20

of merged together as one. I think you, you could

23:22

maybe hear it because

23:24

the style changes up in

23:24

the middle of the track.

23:28

So, uh, did you hear my,

23:28

it's a killer track too.

23:33

I was actually listening to it yesterday. Love that track.

23:35

Did you hear the unofficial

23:35

thing that happened?

23:38

, which was, um, um, I've, I've,

23:38

I've forgotten his name now.

23:43

It's terrible. Like, um, artist who remixed

23:44

me into, um, he mashed my

23:50

Christmas 84 up with Kiss

23:50

was the FM legacy vapes.

23:56

uh, fairground. What's his, um, or fair?

23:59

I haven't heard this with

23:59

fake ground, wasn't it?

24:03

Fake ground. Fake ground, yeah.

24:05

Something. Yeah. Sorry, sorry. Forgetting his name.

24:08

I've heard that. That's amazing. Yeah, it's great.

24:10

You've gotta go and listen to it. He just, he contacted me.

24:13

He did, he did a mashup and

24:13

said, can I put this out?

24:15

And I was like, yeah, man, put it out. I mean, not on streaming stuff,

24:17

but I said like, put it out on

24:20

socials and all the rest of it

24:20

and then YouTube or whatever.

24:23

And it's great though. It was just, I, I was kind

24:24

of chuffed that he wanted

24:26

to sort of mash me up. Like I've, I I've made it.

24:30

Someone's done a mashup of me. It's great.

24:32

With Kiss Nona. What, um, what, what

24:33

Kiss tune was it?

24:36

Uh, I, I, I'm a KISS fan. What Kiss Tune was.

24:39

Damn, I can't remember now.

24:42

. That's how much I took now. Oh no, I did.

24:45

I really like it changed. Yeah.

24:47

I'll have to find it. Yeah. Can't remember. It's a great one.

24:50

Really good one. Mm-hmm. Yeah. Yeah.

24:53

Those, those are always good as you, as you said at the beginning though as well,

24:55

it is extra like, um, what'd

24:58

you call it for yourself? Um, promotion. And also, interestingly, this

25:00

is, this kind of goes on nicely

25:03

to a potential conversation

25:03

that we might have time for

25:06

about content creation is,

25:06

uh, you know, sequenza, and

25:10

I've put this in the chat a few times, so obviously Sequenza remixed my track.

25:13

You and I did an tall

25:13

disco remix of it and,

25:16

uh, it's now here about

25:16

120,000 plays on YouTube.

25:20

Um, wow. Yeah. Yeah. Uh, I, I dunno how, I haven't,

25:22

I don't push YouTube music

25:25

in the slightest, uh, but

25:25

it's, every week it goes

25:30

through a peaks and trough. So it dips to about, I

25:31

dunno, two or 3000 listens.

25:35

Because it's not views. Actually, I tell

25:36

her it's not views. So unfortunately, YouTube

25:37

streams of your music

25:41

don't count towards your

25:41

views, which is a real pain

25:44

because that means I cannot

25:44

get to the 4,000 views.

25:47

You need to then monetize

25:47

your YouTube channel.

25:49

Mm-hmm. But it's only if

25:50

they watch the video. So if they listen,

25:52

it doesn't count. But anyway, so yeah, I, I

25:53

ever since Christmas, it's

25:56

just going like that and it's

25:56

steadily, it's like, it's crazy.

25:59

And off the back of that,

25:59

what I then find is the other

26:01

tunes that I have aren't as,

26:01

hav aren't having as many

26:05

plays, but they're still in the

26:05

thousands, the few thousands.

26:08

But yeah, out nowhere, 130,000

26:08

views, um, listens in sort

26:12

of Ukraine, Belarus, Russia.

26:16

Um, you're big in Russia. Russia, aren't you? I am, I am.

26:19

Um, it, it falls at

26:19

a poor time, really.

26:21

I, it was one of the countries

26:21

I did wanna visit, but I don't

26:24

know if now's the right time. Um, just watch out when you

26:26

walk across a bridge, you know,

26:29

and somebody with an umbrella

26:29

comes towards you, but other

26:31

than that, you'll be alright. I just suddenly did.

26:35

You don't hear anything from the podcast? . Just find you under a bridge in

26:44

just cuz he wouldn't pay

26:44

us un certain person.

26:46

These Jews. Yeah.

26:49

What I do know what I

26:49

do now that I got off

26:52

to, to tangent here. Every now and again, I'll go

26:52

on the video and then I'll

26:56

see loads of comments in

26:56

Russian and then I'll go on

26:58

Google translate and I'll just

26:58

start having conversations

27:00

in Russian on these videos.

27:03

Uh, most of them are good. Somebody did say it was

27:04

missing a baritone voice,

27:07

which I thought was quite a weird comment. Um, but, uh, each to

27:09

their own, you know.

27:12

Um, what time to

27:12

be big in Russia?

27:16

. I know, I know. It's, it is the most plays

27:18

I've had on one song.

27:20

130,000. Um, it eclipses anything

27:22

on spot on Spotify.

27:24

Yeah. Um, But yeah,

27:25

that, that was out.

27:27

I didn't push that at all. The only stuff I really put

27:28

out on YouTube are the, are

27:30

the podcast, are the podcast

27:30

stuffs, is the podcast stuff,

27:33

rather, and some YouTube

27:33

shorts every now and again.

27:36

Um, but I, I mean, what'll be

27:36

quite good now is, I think we've

27:40

got probably about 15 minutes

27:40

before we can forward play the

27:43

tracks is maybe go into a bit

27:43

of content creation cuz uh, that

27:46

was the sort of the vote as it

27:46

were in the Instagram, uh, chat

27:51

that we have leading up to this. I thought we were gonna

27:53

write a song with, with D a B, C and E in it.

27:58

No. . It's not bad. I'm vote.

28:01

I'm writing a song with

28:01

that chord progression.

28:05

. Yeah. Each of us should write a song

28:06

with that chord progression and

28:08

see, see what we come up with

28:08

quite neon something today from

28:14

our last chat about putting

28:14

that progression into Yeah.

28:17

Yeah, I was

28:17

thinking . No, no, no.

28:20

That's our collaboration. we're in.

28:26

Um, but that I, it, I think

28:26

it'd be quite good to see

28:29

or get your experiences

28:29

with, with contact creator.

28:32

Now I know Matt, you shared

28:32

in the chat interestingly

28:34

that I think it was yourself,

28:34

that you are in the marketing

28:38

business, uh, outside

28:38

of, outside of Sub Neon.

28:42

Would I, would I be correct

28:42

in, in assuming or thinking

28:44

that Yeah, yeah, absolutely.

28:47

I mean, I can't profess

28:47

to be an expert in the

28:49

whole, uh, music marketing.

28:52

Uh, side of things. I, I, I market very, very

28:53

boring industrial things

28:57

that I would make you so

28:57

bored if I talked about it.

29:01

But a actually, I mean it, I, I

29:01

am a, a card carrying chartered

29:06

institute to marketing guy. Oh, wow. You know, I'm, I'm, I'm,

29:08

I'm qualifi qualified.

29:11

And, um, it's interesting

29:11

actually because, um, I, I was

29:15

speaking to, I'm gonna name

29:15

drop Russell Nash again, sorry.

29:19

But, uh, um, we were chatting

29:19

the other day about, um, , um,

29:24

we, we were talking about what,

29:24

what works and what doesn't

29:26

because, you know, I, I recent,

29:26

recently released a new single

29:30

and, um, it's probably not

29:30

performed as well on Spotify

29:32

as, as I would've liked. Um, and, uh, uh, I think.

29:38

in that particular example. Less is probably more, you

29:40

know, I mean, I, I, I look

29:43

at someone like Dream Kid

29:43

as a, a kind of a, a best

29:46

in class at the minute, you

29:46

know, and I love Dream kid.

29:48

He's, he's absolutely smashing it. He's like a flag bearer for, for

29:50

the whole synth wave movement.

29:53

And he's come outta nowhere

29:53

and, um, uh, you know, he,

29:58

he's, he's connecting on,

29:58

on a whole different level.

30:02

You know, I, I think if I, if

30:02

I put my marketing theory hat

30:06

on, if you like, uh, and try and

30:06

break it down as to what, what,

30:09

what, um, buttons he's pressing. And, and it's kind of, I mean,

30:12

he's, he's thoroughbred synth

30:15

wave through and through,

30:15

you know, it's, it's, it's,

30:17

it's really, really strong. But he's, he's also really got

30:19

that message around nostalgia.

30:22

So he is, you know, targeting

30:22

a very particular audience,

30:25

um, who, who are connecting

30:25

with the message that he's

30:29

pointing out there, whether

30:29

it's, you know, a, a piece

30:32

of music about a cyborg. Uh, you know, coming back from,

30:34

from the, the future to kill

30:38

whoever, or, you know, he, he's

30:38

got this little narrative to

30:40

each of the pieces of music

30:40

that he, he he produces.

30:43

And, um, you know, he's doing

30:43

really, really good stuff.

30:47

And, and I think, but the

30:47

problem we've got coming

30:49

back to the point about the,

30:49

the conversation with us on

30:51

Ash is that the synth wave

30:51

market, if you like, is so

30:55

saturated the minute it's

30:55

so difficult to cut through.

30:59

Um, and, and that therein lies

30:59

the challenge for everyone is

31:03

what, what, where can you find

31:03

your unique bit of your, your

31:07

value proposition if you like,

31:07

you know, the, the thing that,

31:10

that you've got that, that

31:10

other people don't, you know?

31:14

And I'd be interested to hear what other people might think is what kind of angles

31:16

that you guys are taking.

31:19

I think to, for immediately

31:19

for me, that one just set

31:23

touch on that last point. is that I think a lot of

31:24

people go for the same stuff,

31:28

and you're right, since

31:28

we've is, is completely

31:30

saturated, but everybody

31:30

goes for Top Gun Breakfast

31:35

Club and, and all that. And there's nothing

31:36

wrong with these things. They're absolutely fantastic.

31:39

I mean, heartbeat Heroes

31:39

getting incredible track called

31:42

Breakfast Club and it's got a bunch of breakfast club samples on it, but everybody

31:43

goes after the same stuff.

31:46

So I think for me, I that I,

31:46

if I'm wanting to deliberately

31:51

be nostalgic and tap into that

31:51

nostalgia, which ultimately

31:55

those are the ones that get

31:55

more views and more listens,

31:59

I, I kinda sway away from the

31:59

more, the more popular ones.

32:03

Um, and that's, and that's

32:03

just sort of touching on

32:07

that last point that you

32:07

made there around, around the

32:10

culture and around, you know,

32:10

how do we sort of stand out?

32:13

I think. You're right. It's not doing the

32:14

same as everybody else.

32:17

Uh, I've seen a great comment

32:17

from Drew Knight recently

32:19

saying, don't just jump on

32:19

with your poly six and start

32:23

doing the baselines cuz

32:23

everybody's been doing it.

32:25

You know, musically, that

32:25

musical representation,

32:28

it sounds great. It's amazing. There's a million songs like

32:29

it and your song could be

32:32

fantastic, but just don't

32:32

do it because everybody else

32:36

is doing it and you're not

32:36

gonna stand out if you jump.

32:40

. Yeah, I, uh, I, I

32:40

would agree with that.

32:43

And I think going back to

32:43

what Sub Neon said there,

32:45

going right back to what you said about, about the dream kit side of things.

32:48

I think if you look at the way

32:48

he's done it, it's not just

32:51

the sound, but it's the visual

32:51

that goes with it as well.

32:53

Like he's fully invested

32:53

in that nostalgic

32:57

appearances of nostalgia. Um, and I've seen others do it

32:59

and I've seen others sort of

33:02

take it and put their spin on it

33:02

and do it slightly differently

33:05

to varying degrees of success.

33:07

Um, admittedly I know, but I,

33:07

I think that there's another

33:11

one, sunglasses kid does it

33:11

as well with regards to that,

33:14

and he, he the stuff, he

33:14

comes out with this so good.

33:17

Um, and, and like with, with,

33:17

with that success, . It's,

33:22

it's tricky because that works

33:22

for them and I know they're,

33:24

they're smashing it out of the park with numbers and stuff and I mean, it's not all

33:26

about vanity metrics and like

33:29

trying to get all the x amount

33:29

of followers and whatnot.

33:31

Obviously it does help, but I

33:31

think I, I, I saw, I agree with

33:35

what you were saying there, card

33:35

as well with like you, there,

33:39

there is a, it can get a bit

33:39

formulaic I think sometimes with

33:41

regards to what people, people

33:41

are using to push their music.

33:44

Now, listening to like all

33:44

your guys' music as well, I

33:47

wouldn't say it's necessarily

33:47

strictly synth wave either,

33:51

correct me if I'm wrong, you

33:51

know, um, which I, I would

33:55

definitely say I'm a fan of. Yeah.

33:58

I, mm-hmm. . I'd definitely say that, that,

33:59

that for me, I know I don't

34:03

naturally just fall into a

34:03

genre or any genre very easily.

34:08

My musical influences are too

34:08

diverse, so I will tend to go in

34:12

different, different directions. I try to stop myself going too

34:14

off, off path and to keep it

34:19

with a call that makes sense

34:19

with whether it's synth way, sy

34:22

pop, kind of, you know, thing.

34:25

But like, um, at the same

34:25

time, I don't want to

34:29

restrict my creativity, so

34:29

then I sort of need to work

34:35

around that with marketing. To try and find people

34:37

who, that is their jam.

34:40

That kind of is what they like.

34:42

They actually enjoy

34:42

the diversity.

34:45

The fact that I might be a

34:45

little bit left field sometimes

34:48

and they don't want me to just

34:48

be, you know, um, writing sort

34:52

of like outrun tracks, you

34:52

know, that's not what they want.

34:55

You know, they've kind of moved

34:55

on from that and they kind of,

34:59

you know, I mean, don't get

34:59

me wrong, I, I completely, I

35:02

mean like, you know, I mean,

35:02

someone who I absolutely adore

35:06

is ING's stuff, or Essinger.

35:09

I think his stuff is

35:09

amazing and like one of

35:12

the, someone was talking

35:12

about albums the other day.

35:14

It was one of the only few

35:14

albums of Synth Way that I

35:17

could actually say I really

35:17

liked was one of his like,

35:20

you know, I don't really

35:20

listen to synth wave albums,

35:22

but I like, it's just the

35:22

whole journey and it's great.

35:25

It's funny because he

35:25

strikes me as somebody.

35:27

in his way. He doesn't do an awful lot of

35:28

advertising of what he does.

35:31

I mean, he's, he's

35:31

not very public.

35:33

Uh, I was like trying to find

35:33

interviews, I was trying to

35:36

find stuff and it is more like,

35:36

just like almost that persona

35:39

of kind of like keeping back

35:39

and just writing this incredible

35:43

music, which everyone was

35:43

like, where's this coming from?

35:46

Um, I'm not saying that's

35:46

gonna work for everyone, but,

35:48

you know, um, I think the

35:48

product's gotta be really good.

35:52

That's the, I mean, you probably, that's a marketing 1 0 1.

35:54

If the product is really

35:54

good and you really believe

35:57

in it, Then you're, you're

35:57

gonna be able to get

36:00

people interested in it. But there's something that I

36:02

would be interested to know

36:04

what other people think is how

36:04

seriously to take yourself.

36:09

Because like, you know,

36:09

do you think of yourself

36:12

really, seriously? I'm an artist. I am, you know, I mean, like,

36:13

you know, Essinger doesn't

36:17

crack many jokes, you know? I mean, like, you know, it's

36:18

like an all his pilot, you know,

36:21

and he wears a fucking helmet. Um, no, but like, you know,

36:23

it's, it's, it's weird isn't it?

36:26

Like some people are really

36:26

quite serious about their music

36:29

and like, you know, you get this

36:29

kind of serious sort of persona.

36:33

And some people, um, maybe like

36:33

myself, um, don't, don't take

36:37

it themselves so seriously. Although their music is serious

36:39

and what they do is serious.

36:42

So I don't know like quite

36:42

whether how to fall on that,

36:46

whether your own persona,

36:46

cuz I think your own persona

36:49

does sell or not sell work.

36:51

So, you know, um, or,

36:51

you know, um, engage

36:55

fans or not engage them. And I, I can't quite work out

36:56

where, where to sit with them.

37:01

Yeah, I do see some people

37:01

really trying to push

37:05

themselves, um, and trying

37:05

to build following and then

37:09

see other people who don't

37:09

seem to say or do anything

37:13

online other than they

37:13

respond when somebody retweet.

37:18

A song or repost a song

37:18

or something like that.

37:20

Like there's so many artists

37:20

that don't seem to put

37:23

themselves out there at all

37:23

and they have their music

37:26

everywhere and they've got massive amount of monthly listens and stuff like that.

37:30

And I be sitting back wondering,

37:30

cause I'm actually, this week in

37:33

particular, I'm, I'm just hired

37:33

from trying to think of ways to

37:36

mark up myself or who I should

37:36

talk to and stuff like that.

37:39

And I, I've been looking

37:39

over the last, say, two weeks

37:42

and people who don't seem to

37:42

promote themselves at all,

37:45

but have a great following. Like, say Essinger for example.

37:48

I never see him post anything

37:48

but his, his music has a massive

37:52

following as to a lot of people. And I, I wanna know what

37:54

they're doing where they don't

37:57

have to do anything on social

37:57

media, but they're out there

38:00

and they're getting heard. So it's very. . Hmm.

38:04

Yeah, I think that's exactly it. It, it, it, I think

38:06

it comes down to that. It must be the, like, the

38:07

quality of their music. And also it's gotta be

38:09

word of mouth as well.

38:12

I mean, going back to what you

38:12

said there, Tim, about like

38:14

how serious to take yourself. I mean, I'm a, uh, , I don't

38:16

take myself seriously at all.

38:20

I'm post and stuff online with your head in it. Once I Yeah, yeah.

38:25

I, I see something and I'm like,

38:25

yeah, I'll love a go at that.

38:27

And then I, I do it and, and

38:27

then I put it out and, and what,

38:32

what, what's happened for me is

38:32

that like I do most of that for

38:35

the podcast now, and then when

38:35

I release a tune, I'll put more

38:38

effort into like promoting that.

38:40

But what I find is in doing

38:40

that and put my fa my face

38:43

out there and like, not

38:43

really, not, I do care about

38:46

the way I become across,

38:46

but like at the same time, I

38:48

don't take myself seriously. I do get a lot of engagement,

38:50

which is probably.

38:52

Um, in terms of dms, which

38:52

is probably why it takes

38:55

me quite a bit longer to

38:55

respond is cuz I've got so

38:59

many things to respond to. Um, and it's usually just

39:00

like someone laughing or

39:03

something along those lines. But I'm, I'm very much in

39:04

the camp of like, not taking

39:07

yourself too seriously. But I think it all comes

39:08

down to you as an individual

39:10

and whether or not you wanna put your face out there. Because I think when I started

39:12

the podcast, and I think when

39:15

I started producing as well,

39:15

when I was in the band, my

39:18

face was, was out there and

39:18

we, we looked stupid and stuff,

39:21

but when I first started the

39:21

podcast, I didn't wanna like,

39:26

have put my face out there. I just had like a silhouette.

39:29

I know what I was producing. And then at one point I was

39:30

just like, you know what, I'm just gonna, I'm gonna let

39:32

people see my face and then it

39:36

kind of snowballs from there. But You like that Lumi beer?

39:42

? Yeah. It's the floating head. The floating head is,

39:44

uh, Russell calls it.

39:46

Yeah. Um, , it's, I I'd love to know

39:47

what this their secret is.

39:51

Is it, is it done to longevity as well? Maybe it's because

39:53

they, they were there.

39:55

Cuz this, this is similar to a

39:55

conversation I had with, with

39:58

sunglasses kid, whereby he

39:58

said there was sort of like,

40:02

there are, uh, not, it's not

40:02

hierarchy, it's a generation,

40:06

a generation of producers. And he was there sort of

40:08

like the beginning or maybe

40:11

the, the second generation

40:11

of producers around the time

40:13

of Michael Oakley as well,

40:13

in that they were there

40:15

then and haven't been there. Then they've then amassed

40:17

this following that really

40:20

just sort of keeps itself

40:20

going and it just, every

40:24

time they release music, they've got that established. Audience.

40:28

Uh, whereas now when you

40:28

try and do it, it's harder

40:30

because there's a lot of

40:30

us doing it, you know?

40:32

Yeah. It's more soaked, isn't it? I, I talked to Chris Kia who's,

40:35

um, you know, I mean he's got

40:39

a great following and like,

40:39

you know, um, he's, I dunno,

40:42

about a hundred thousand monthly

40:42

listeners or something now.

40:44

And is he been on quite a

40:44

lot of the Spotify sort of,

40:48

um, you know, actual official

40:48

playlist, sort of outrun

40:52

playlist and you know, and I

40:52

did this track dying son, which

40:56

is collaboration when we were

40:56

talking collaborations earlier

40:58

and did that sort track with

40:58

him, really enjoyed doing that.

41:01

Um, and um, Uh, you know, I

41:01

was really tough to get to

41:06

work with him cuz I, I, I

41:06

think he's, you know, uh, a

41:08

phenomenally sort of, um, you

41:08

know, uh, sort of respected,

41:13

sort of, you know, um, producer. And so it was great to do that.

41:17

Um, I, I was just asking

41:17

him what he, you know,

41:20

is there a secret? What is it, Chris? You know?

41:23

And he, he just

41:23

said consistency.

41:26

He said consistency of making

41:26

your product, putting it out

41:29

there, doing, you know, he

41:29

said, I don't do anything

41:32

different than anybody else. I put it on all the playlists.

41:36

I go through all the

41:36

sort of stuff, but I'm

41:38

just very consistent. And I, I think that was all

41:39

he could really give me.

41:42

And he said, I, I, I wish I

41:42

could give you some sort of

41:45

magic formula or something different, you know? But that is honestly it.

41:49

Now either he is hiding. or he is telling the truth.

41:52

So, you know, um, I, I think

41:52

I, I think there is a point

41:55

there, you know, I, I, I can see

41:55

that consistency making sense.

41:59

Um, and it is hard to

41:59

be consistent and maybe

42:01

that style as well. I, cuz his style is

42:03

quite consistent.

42:05

That sort of his slightly

42:05

crosses the sort of cyberpunk

42:08

kind of, you know, sense wave

42:08

thing and he kind of keeps

42:11

hitting that, you know, whereas

42:11

, I find it harder to stick

42:16

to a more consistent style. So, you know, maybe consistency

42:18

is key, you know, um, perhaps,

42:22

but he did start in that earlier

42:22

wave though of synth wave, like

42:26

you said, mark, you know, and

42:26

I do think he came out an into

42:30

the whole scene as a lot of

42:30

other people did at a time when

42:34

they, it was branching out. There were very few names

42:35

in it initially, and now

42:39

there are a lot more of us. So, you know, harder.

42:43

Yes. Yeah. Yeah.

42:45

I, I, I think you're right

42:45

And I think it's there,

42:47

there is a lot and I think

42:47

I haven't interviewed.

42:52

Well, I can't remember the last time I actually, no, it was, the safety world was the

42:54

last artist I interviewed,

42:57

and that was back in November. And I don't think we discussed

42:59

it then, but I remember previous

43:02

discussions I've had and it,

43:02

it has centered around that.

43:04

There is, there are a lot

43:04

of, um, sort of synth based

43:08

producers and, um, I think

43:08

consistency is, I think Z

43:14

Vortex is a, is a, is an

43:14

example of consistency as well.

43:17

I mean, that dude releases

43:17

stuff all the time.

43:21

Um, he's always releasing, he's

43:21

always doing something musical.

43:24

There's always something musical

43:24

going on, whether it's release

43:27

or it's, uh, it's a live mix

43:27

or something along those lines.

43:29

I couldn't keep up, um,

43:29

with, with everything that

43:32

I do, and I'm just making

43:32

excuses now, but I don't.

43:36

But in terms of consistency,

43:36

I know someone like yourself,

43:38

um, Carl Neon iWay, you're,

43:38

you're pretty consistent

43:40

with your releases. I mean, you're re release

43:41

'em pretty consistently. Pretty consistent.

43:43

I mean, last year was really

43:43

good to, you know, there

43:46

was a one every month,

43:46

sometimes two in a month.

43:48

And I agree with that

43:48

whole consistency point.

43:50

I've, I've had a bit of a

43:50

break since then, but it is

43:53

sort of, Is, it's, it's been

43:53

organized and, and planned.

43:57

Now, I, I don't, I can't

43:57

rush something out.

44:00

I can't go, I need to write this

44:00

today, finish it tonight and

44:03

get it on band camp tomorrow. I need to know that

44:04

the music's right. And then I, going back to the

44:06

content point and going back,

44:11

going back to the content

44:11

creation I really enjoy.

44:13

Then, ah, the music's done great. Now I can have some fun.

44:16

I can put some visuals together. What's really gonna engage

44:17

people, you know, what, what's gonna draw 'em into this track?

44:21

Or tell them a little bit

44:21

of a kinda story visually

44:23

about this track, you know? And, uh, I think that's

44:24

really important.

44:26

Getting that right, getting

44:26

the, the text right, that

44:28

you're gonna fire up and whatever social media, get your hashtags in there

44:30

and it's, it's enjoyable.

44:33

It's, but then once you've

44:33

done that, you're right

44:35

back to, right the next

44:35

track's coming out and

44:38

yeah, that consistency that

44:38

definitely worked last year.

44:41

I just need to get my finger

44:41

out and do it again this year.

44:45

Well, this segues quite

44:45

nicely into our next

44:48

section then car in terms

44:48

of consistency in new music.

44:51

Um, you see what I did there? I set you up for that. So I've gotta test to

44:53

see that the music works.

44:58

I'm assuming you all heard

44:58

that, uh, was it quite loud?

45:02

Yeah. All right. I'll turn it down a bit. Let's try that again.

45:07

Is that better? Still loud. I mean, it's pretty

45:10

attention, Greg. Yeah, it's not too loud.

45:12

. Uh, we'll roll with that. Um, one thing I was gonna

45:14

say is, uh, folks listening,

45:17

audience listening,

45:17

um, the, this is live.

45:19

Um, I'm just gonna quickly jump over. We've had one like on Facebook,

45:21

what's better than last time?

45:24

Um, we've had, we've got

45:24

one concurrent viewer.

45:27

Hello viewer on YouTube. Uh, whoever you are

45:28

are whoever you may be,

45:30

rather get my words mixed. Feel free to put

45:32

something in the chat. Hello. We've had two views on YouTube.

45:35

It's better than last time. It's, it's prob it's probably

45:36

my mom, Auckland tone.

45:41

Totally worth doing

45:41

that video as well.

45:44

Two hours well spent as well. That video is great, man.

45:47

Um, I've expecting that every

45:47

time we're on the podcast.

45:49

Now you video. Oh yeah, just one.

45:52

Be your Russian friends. Oh man.

45:57

I didn't know how to say I was learning Russian. Uh, like basic Russian.

46:01

Uh, I didn't know how to say hello. I know how to say. No, it's yet, that's it.

46:05

But that doesn't help

46:05

me, um, in this instance.

46:08

But anyway, I digress. Soak, um, Paul Leon Highway.

46:11

Do you wanna tell us a bit about Lethal Weapon Two before I play this tease.

46:14

Yep. Sure. Um, I was like, what tracks

46:15

have you got lined up? Yeah, . I'm glad

46:17

you reminded me. So at least I went into, um,

46:18

a released Lethal Weapon last

46:21

year because it come back

46:21

to that point, everybody was

46:23

doing Breakfast Club and you

46:23

know, all the other ones I

46:26

thought, no, I, I actually

46:26

don't know anybody that's

46:28

done Lasal Weapon yet, and

46:28

it's one of my favorite films.

46:31

Me and my wife watched

46:31

every 23rd of December.

46:33

Um, so that, that was

46:33

the, I felt, let's

46:36

least a weapon track. And I had a lot of

46:37

Easter eggs in it. I tried to incorporate

46:39

parts from the

46:41

soundtracks of the movies. Um, the length of the track

46:43

was three minutes 56, which

46:47

is a, a, a real geeky Easter

46:47

egg reference to three

46:51

William 56, which is Martos

46:51

police car cold saying.

46:55

Um, so people, people really

46:55

responded to that first track.

46:59

And, uh, Russell Nash jumped

46:59

on it straight away and

47:01

he was like, when second one coming out, I was like, mate, I don't know.

47:03

I, I'm, I'm not doing a second one. And he kept badger

47:05

on me about it. I said, do you know what?

47:09

I said, I've written this little thing. I said, what do

47:10

you think he mean? That's perfect. He's like, go over that.

47:12

Go over that. So legal Weapon two

47:13

has been kinda boiling

47:15

away for a wee while. Um, so I think I've finished

47:17

it about four months ago and

47:20

just, I've been sitting waiting

47:20

on it, getting released.

47:22

And it is also exactly three

47:22

minutes and 56 seconds song

47:27

long, just like the first one

47:27

and that reference to the movie.

47:29

Nice. That is one hell of

47:31

a reference, man.

47:33

. That's brilliant. I love that. That's fantastic.

47:36

All right, so here we go. Uh, it's not gonna be the

47:37

whole track, but it's a teaser. Let's give this a play.

47:39

If you don't hear anything, please do holler. Otherwise, I'm just gonna be sat

47:41

here thinking you can hear it.

48:16

Hey, we got there eventually. Lovely stuff.

48:18

Cheers. Sorry about that girl.

48:20

Oh God. So good. All right. Does my editing this

48:22

platform sometimes? I'm sorry. I like that one.

48:25

Yeah, that's, yeah. Yeah. But what are you using for

48:27

the base, the base app? What are you using?

48:30

Uh, you're using probably six. This is when I finished it

48:33

four months ago, but I probably

48:36

was mastered on it then. So probably finished it

48:37

eight in five months ago. So, oh God.

48:41

What was it? I am pretty sure it

48:42

would've been diva.

48:44

Um, diva's, my, my kind of go-to

48:44

sy and, uh, threw an ARP on it.

48:49

And then I, I do, you

48:49

know, the baseline was

48:52

completely different. And then I actually stumbled

48:53

and fell on my keyboard one day

48:56

and I must have been running

48:56

it at the same time with the

48:58

a going at a lower Octa and

48:58

my fingers hit the higher Octa

49:02

and it just created the sound. And I was like, whoa. I was like, that, that works.

49:05

That's bro. How did I do that again? And then kinda

49:07

recreated it from there.

49:09

So the baseline kinda

49:09

almost fell in by mistake.

49:13

Literally. Nice. Yeah.

49:15

I like that man. . I like that. I, I, I just wanna say that

49:17

I think my, my, uh, slight

49:21

fuck up on the, uh, on the

49:21

sounds then as meant we

49:24

lost our view on YouTube. So , you're so fired.

49:28

You're so Oh, my thanks.

49:34

Uh, I, I'll gonna be writing

49:34

a sterly worded letter.

49:37

I, I'm gonna send a letter, actually, I'm not even gonna email. I'm gonna send a letter

49:38

to this platform. I'm gonna send you

49:40

an email to ignore. Now, mark. You the one on the back door.

49:47

Oh, brilliant. So leave, leave the weapon

49:48

out is is out Friday,

49:50

the 17th of February.

49:53

Yep. Yeah. Fantastic stuff.

49:55

Uh, folks listening, I'll

49:55

put a link cuz this will

49:58

come out after that date. Yes, it will.

50:01

Um, so I'll put a link to that

50:01

in the, in the episode notes.

50:04

So what we'll do now is, thanks God. We'll move over to Matt

50:06

sub Neon and just tell us

50:08

a bit about your track, pretend that we haven't actually heard it already,

50:11

Um, go for it. Okay.

50:16

Um, so this, this will be

50:16

my, uh, fourth release.

50:20

Fourth release, no fifth release. Wow.

50:23

I'm, I'm, I'm actually making some progress, which is fantastic.

50:26

Um, I, I'm really ex

50:26

excited about this and, and

50:29

actually I'm not bored of

50:29

this one by the time it's

50:32

being played to anyone, so

50:32

that's, that's a result.

50:35

Um, it, it's one that

50:35

I'm actually, feels like

50:39

I'm finding my sound. A little bit.

50:41

Cause I'm not really a a,

50:41

a died in the wool synth

50:45

wave artist by any stretch. You know, I've, I've, I've got

50:47

so many different influences

50:50

from different corners and this

50:50

one, I dunno, I was messing

50:52

around with massive, which is

50:52

an amazing synth by the way.

50:55

Um, and, um, I've got my

50:55

little mixing desk here that

50:59

I've turned into, uh, a, a

50:59

tool purely for modulation and

51:03

mucking around with oscillators. And, and I came up with this

51:05

wow noise and I just threw it

51:09

into it, into a track and, uh,

51:09

this is kind of the results.

51:13

So, so yeah, I'm really excited about it. Fantastic.

51:15

Thanks Matt. Yeah. Massive's brilliant, isn't it? I've recently started

51:17

using Massive again. Um, um, sometimes are

51:19

probably diving into it

51:22

and see what's in there. And then there's massive x

51:23

I've never worked out what the

51:25

difference is, isn't there? There's massive, massive,

51:27

I've got massive x Yeah.

51:30

Hmm. But I never, always get

51:31

worried a difference. I look at it and go, oh, no.

51:34

Is it something weird gonna

51:34

happen if I choose the X one?

51:37

No, I won't. And go back to massive . I,

51:38

I don't honestly know

51:41

what the, the fundamental

51:41

difference is between the two.

51:43

I don't really use massive. I've just, uh, been a main

51:44

user of massive good sense.

51:47

But, um, yeah, yeah, that,

51:47

ah, pigments as well.

51:50

Anyway, uh, my digress. Let's play this song,

51:51

uh, like, pretend like we haven't heard it.

51:54

Let's, uh, so this is, uh,

52:28

Nice. Uh, I really like,

52:29

I was paying proper attention to it this time.

52:32

Um, but I really like that one. That's great, man.

52:34

You know what it reminds me

52:34

of in the naughty when you had

52:37

the, uh, particular like, um,

52:37

detective TV shows from America

52:41

or something like that and they

52:41

like the intro theme to it.

52:44

Okay. It kind of, it gave me the, it's

52:44

the, um, it's the wild, wild

52:48

that sort of sound, and then

52:48

the uh, the sort of melody you

52:52

got going over the top of it. You can tell I don't sing,

52:53

um, over the top of it.

52:56

it kinda remind, it reminds

52:56

me of that sort of sound.

52:59

I'm trying to think of a TV show. I can't think of one off the

53:00

top of my head, but I love that. I really like that sound.

53:03

You got there that um, wow, wow.

53:05

Sort of sound. There's some really

53:06

interesting sounds. Yeah. Nice.

53:10

There's some stuff that reminds

53:10

me of like 48 hours Steakout

53:13

movies in the eighties as well. It does have that little

53:14

bit of nostalgia, but only

53:17

if you're familiar with it. Otherwise, it just sounds

53:19

production's incredible, mate.

53:22

Honestly, your production's, I love the snare. Yeah, I love you.

53:25

You got the snare right, which

53:25

is a major achievement in life.

53:29

You know, I've been working on that for, oh know, snare for, for nine months,

53:31

, and I've not, I've not

53:34

touched the settings here. and Andy, you've got that

53:36

really nice thing between,

53:38

it's my, it's my first step. , go for it.

53:42

No, go on. I was just like, between

53:42

the, the, the first snare and

53:45

the second I was gonna one. Yeah. Oh, . There must be delay.

53:48

Sorry. The first snare and

53:49

the second snare. Yeah.

53:56

I was just gonna say, um,

53:56

I'm a bit half cut now.

53:59

Sorry. Um, , um, it was, it was

53:59

my first step into, into

54:03

proper sound, sort of sound

54:03

manipulation, because that

54:05

Wow was, is quite a boring

54:05

sound in, in massive, but

54:09

chucking a wire pedal in there. And, um, uh, automating the,

54:10

the, the heel toe and the

54:15

envelope and stuff like that. It's, I'm really pleased

54:16

with myself anyway,

54:19

so, uh, but thank you. It, it's called Yo.

54:22

Which is Japanese for Spirit. Um, and it hopefully is

54:24

gonna come out sometime

54:27

during the course of March. Fantastic. Lovely stuff. Keep an eye on that.

54:29

Once again. Um, I can do, I'll do

54:30

it retrospectively.

54:32

I can put it in the show notes when it's released. Um, no.

54:35

Brilliant stuff with massive. Um, I've got some,

54:36

some patch packs.

54:40

I'll, uh, I'll dig them out. Uh, I dunno if the, I'm

54:42

assuming you can use them in

54:44

massive if you haven't got

54:44

massive X and I'll fire 'em

54:46

over mate, cuz they have some

54:46

fantastic sounds in there.

54:49

Um, yeah, yeah. Lovely stuff.

54:51

All right. Uh, last part, by no means

54:52

least, uh, Tim, oh nine, let's

54:56

tell us about the, uh, the song that we're gonna play. Wow.

54:58

Wonderland, um, is what the

54:58

title of the song and, um, you

55:03

know, oh, I'm gonna be giving

55:03

my carefully planned marketing

55:07

all away by doing this. Um, yeah, but like, uh,

55:08

basically, um, it's.

55:13

It, it kind of came off of

55:13

the, um, Wonderland murders,

55:19

or fought to the floor murders. Um, that happened in 1981,

55:21

Laurel Canyon, um, in, uh,

55:26

like, uh, and there was the

55:26

film, boogie Knights kind

55:29

of came off that as well. Um, but like, um, sort of,

55:30

you know, a tale of these, you

55:35

know, four, um, people who were

55:35

sort of killed like in a, a

55:39

drug sort of, you know, thing. And it was like also the

55:40

porn star, John Holmes was

55:43

all involved in that and all

55:43

that kind of sort of stuff.

55:45

But it's, it's really, I

55:45

I wasn't kind of all, all

55:49

interested in all that,

55:49

that, that so much as like

55:52

the end of the seventies. And the peace and love

55:54

movement and the beginning of the eighties and it sort

55:56

of was that pivotal moment.

55:59

And this kind of a, was a bit

55:59

of a sort of pivotal thing.

56:02

The kind of death of like

56:02

one thing and the birth of

56:05

the kind of different drugs

56:05

and different music with the

56:07

disco sort of thing hitting

56:07

and all that kind of stuff.

56:10

So it was just like one of those kind of things that influenced this track

56:12

and made me write a track.

56:14

I think, you know, whether

56:14

the track entirely, you know,

56:18

has that, but it's definitely

56:18

got, it's pretty frenetic.

56:21

It's kind of quite

56:21

sort of dark and.

56:24

Dancey, but you know, so it's

56:24

got that, um, that devil on

56:28

the dance floor thing going on. So, you know, that's

56:29

where it came from. I think so.

56:32

Um, but, you know, um,

56:32

yeah, you've, uh, hopefully

56:36

it's, it's a good track,

56:36

but it's, it's taken age.

56:39

He's trying to write it and

56:39

like, I hate it now suddenly on,

56:42

says he still likes his track. But no, I've just

56:43

like, you know, yeah. I've listened to it a lot,

56:45

so I'm trying to, trying to

56:47

re regather the track and go

56:47

I like it again cause I've

56:51

just listened to it too much. But I, I, I, no, I, I'm pleased

56:52

with it, but you know, you know

56:55

what it's like you, you get

56:55

to that point where you just

56:58

like mastered it and mixed it

56:58

way too many times, but Yeah.

57:01

Yeah. So, so it was, it is. It was, it was good.

57:05

Just don't ask me to sing

57:05

it live at the moment cuz

57:07

like, there's not enough

57:07

gap for air in any of it.

57:09

But like that , I keep, I

57:09

kept writing lyrics that

57:12

I couldn't really sing all at the same time. But yeah, it was good, good fun.

57:18

Fantastic. Thanks. D before we play the song, I

57:19

just wanna say, um, heartbeat

57:22

Hero is watching on YouTube. Um, hello, uh, Dan?

57:26

Yeah. Um, just, uh, I did message him

57:26

and say that we, he referenced

57:30

you previously in this episode, Um, he, uh, yeah.

57:35

And when it comes to playing

57:35

music, he is the , the

57:38

pinnacle compared to me,

57:38

um, on these platforms.

57:41

But, uh, yeah. Thanks for dropping in buddy. Uh, so let's play this straight.

57:44

This is Wonderland, uh, by, oh.

57:47

00 AM in the Canyon,

57:47

1st of July, 1981

57:57

Wonderland Avenue, unidentified

58:32

the shopping. Cool.

58:39

I'm not gonna play old boat. Don't, don't wanna

58:40

sport too much. Yeah. Yeah. Together to the

58:42

chorus there mate. Very thanks.

58:44

Great. Yeah. Yeah. Got got lit.

58:47

Anticipation. Built the anticipation mate. Uh, that was great.

58:50

Um, as always said, the,

58:50

the kick drum you got in

58:53

there and the low end. Very, very nice. Very round.

58:56

Um, very nice. Thank you. What do you, do you use

58:57

one kick drum sample?

59:00

Do you augment? No, I don't. I I use kick two actually

59:02

most of the time.

59:05

So that's, if you've ever used

59:05

kick two, it's a weird sort

59:08

of thing cuz you, it's more

59:08

like a kick drum synthesizer,

59:12

you know, you can, you sort

59:12

of take a sample is often the

59:15

kind of basis of it, but like

59:15

you can kind of change the

59:19

envelope, you know, really do

59:19

everything with the uh, with

59:22

the drum itself, so it kind

59:22

of tune it and everything.

59:26

Yeah, it's quite, it's quite good. So I often use that, but I

59:27

will sometimes line samples

59:30

with it, but sometimes not in

59:30

this one I spent ages lining

59:34

a 7 0 7 kick as well to it.

59:37

And then, Went, no,

59:37

I don't like that.

59:39

And caught in a bit, you

59:39

know, you know, so, yeah.

59:42

Yeah. So sometimes I'll layer

59:42

them up, but kicks often

59:45

don't work that well. Laed, I think snares

59:45

definitely do snares.

59:49

God, yeah. Yeah. I spent forever trying to

59:50

get the snare right on that.

59:52

And it's still not as good as sub nails. No.

59:55

Yeah. So there we go. Yeah. What, what was your vo, what

59:56

was your vocal process in Tim?

59:59

The, the kinda the kind

59:59

of vocal stuff going on?

1:00:02

Yeah, it's, it's funny,

1:00:02

there's actually not a

1:00:04

huge amount of volcano. There's quite a

1:00:06

bit of some filter. On the vocals, like

1:00:08

all the time, running

1:00:10

on, on bits of vocals. Um, like, um, and there is

1:00:12

a t vocoder line, which is

1:00:17

sort of like, you know, um,

1:00:17

going like just a little

1:00:20

bit going underneath it. And then, you know, there's

1:00:22

just the fact that I can't sing

1:00:24

and there's lots of water tune. Yeah, yeah. Other than that,

1:00:26

nothing else . Yeah, no.

1:00:30

So it's not as, it's not as,

1:00:30

um, it's not as sort of vo

1:00:34

code as it might sound like. I think the filtering

1:00:36

sort of doing a bit of

1:00:38

that kind of slightly

1:00:38

resonance and the vocal.

1:00:40

Yeah. Yeah. It's cool. Yeah.

1:00:42

Sounds good. Oh, thank you. So, very good. Very good.

1:00:45

Thanks Jen. Uh, I think this is really cool. You could probably, hopefully

1:00:47

it may turn into with the

1:00:49

synth pals, uh, pub, um,

1:00:49

that it might, if, if, if

1:00:53

everyone were to bring a song along, it would probably be an episode in itself and just

1:00:55

like, play their tune and

1:00:58

then just pick bits out of it. How'd you do this?

1:01:01

How did you do X, Y, Z? Maybe try dedicating it.

1:01:03

Maybe we'll try dedicate

1:01:03

an episode just to.

1:01:06

sort of listening back to people's music and offer a bit of feedback and, and, uh,

1:01:08

just pick it apart a bit in

1:01:11

a, in a, in a positive way. I think that's quite a cool

1:01:13

thing to really interesting. Yeah. Yeah.

1:01:15

Yeah. I think, I think Tota

1:01:16

mentioned that to me a while

1:01:18

back, so I'm not gonna take the credit for that idea. Um, , she mentioned that to me

1:01:20

ages ago, and, uh, once again,

1:01:24

I've got a long list of things. Um, but let go back

1:01:26

to the YouTube stream.

1:01:28

Uh, heartbeat Hero says

1:01:28

Wonderland exclamation Mark.

1:01:32

So I'm, I'm assuming he's a fan. Oh, good.

1:01:34

Um, which is, which is good. Yeah. So hopefully, uh, we'll do

1:01:36

this again in a month's time.

1:01:40

I'm hoping that I'll

1:01:40

actually have a song myself.

1:01:42

I'll be able to play in here, which I'll be quite excited about. That'd be cool.

1:01:44

Uh, yeah. Yeah. Quite very nice.

1:01:47

I'm hoping to, it's

1:01:47

now, it's gone past the,

1:01:50

actually I tell a lie. I've just got to finish

1:01:51

some Tom's and then it's

1:01:53

gonna be a mixing stage. I've done all the

1:01:54

editing and whatnot. Um, when it comes to vocals,

1:01:56

it takes me ages cuz I'm

1:01:59

really finicky with both. You want to talk to Thre because

1:02:00

I've still not got a better

1:02:03

Tom sound than Thorax is. Like, it's, it's like

1:02:05

every time I go, I write

1:02:08

something, I'll go like, Damn. I should have used those ones

1:02:09

that he wrote in, like, you

1:02:11

know, ah, not, they're great.

1:02:15

Great. Tom sounds, yeah.

1:02:17

Thank you. Thank you. Uh, uh, actually, I I didn't

1:02:19

know that, uh, that you would

1:02:25

be playing tracks because

1:02:25

I, I actually have, uh,

1:02:27

have a new track, uh, that

1:02:27

I've been working on myself.

1:02:32

. Oh no. Communi people. Uh, you must have missed

1:02:35

the, uh, I put the link

1:02:37

in the, uh, next time. . Next time.

1:02:40

Yeah, sure. Next time we'll do it. Yeah. Hundred percent man.

1:02:43

Foreign to me. I like to hear it. Yes.

1:02:47

Um, so I'll do what I usually do. I'll go around and give you the

1:02:49

opportunity just to, so where

1:02:51

individuals can find you online

1:02:51

if they are listening to the

1:02:53

podcast for the first time. Um, so let's start with

1:02:54

a Helsinki project.

1:02:57

Where can our listeners

1:02:57

find your music online?

1:03:00

Oh, I'm a little bit of everywhere now. Um, on the usual spots,

1:03:02

uh, I'm on YouTube now.

1:03:05

Spotify are, um, iTunes, apple

1:03:05

Music, all unusual spots.

1:03:11

Uh, I have a track out only as

1:03:11

of last week, which is a follow

1:03:14

on from the ep, the point of, so

1:03:14

something similar but a slightly

1:03:19

different, uh, angle on it. Uh, have a listener,

1:03:21

people's thoughts on it. So fantastic stuff.

1:03:25

As always, folks, audience

1:03:25

listening, I will put all these

1:03:27

links in the episode notes. Um, so you can go and wear and

1:03:28

listen at your heart's content.

1:03:33

Uh, neon Highway. Um, we've got at Neon

1:03:35

Highway since on Instagram,

1:03:38

and from there you've got

1:03:38

Link Tree, uh, linking

1:03:40

out everything, basically. Uh, Lisa of weapons coming

1:03:42

out 17th of February.

1:03:44

We've got another Blade

1:03:44

Runner track coming out the

1:03:46

27th of March, and now I

1:03:46

just need to keep writing and

1:03:49

keep that consistency going. But yeah, at Neon Highway

1:03:51

since Yes, played runner, man.

1:03:54

Looking forward to that, uh, sub. Uh, all the streamers and,

1:04:00

uh, it's sub underscore neon

1:04:04

neon at most social platforms.

1:04:07

So yeah, uh, at sub sub

1:04:07

underscore neon and, uh,

1:04:10

you'll see the ramblings that

1:04:10

I put out on a daily basis.

1:04:13

fantastic. Uh, thre. Yeah.

1:04:16

So, uh, you can find, find

1:04:16

all my music on, uh, Spotify,

1:04:19

apple Music, SoundCloud,

1:04:19

Bandcamp, and, uh, uh,

1:04:23

all my social media links. Uh, you can find that, uh,

1:04:24

uh, link three slash tare.

1:04:29

Uh, I'm mostly on

1:04:29

Instagram these days,

1:04:31

uh, at tare, uh, music.

1:04:34

Uh, yeah. And I, I also watch, uh, I, I'm

1:04:35

working on, um, uh, producing

1:04:39

my, uh, my very first album. So I'm hoping to be

1:04:41

announcing something soon.

1:04:45

Yeah. Brilliant. Nice. Looking forward to that. Looking forward to that.

1:04:48

Hmm. Yes, yes, yes. Lots of collabo.

1:04:52

. I hope so. can say something yet.

1:04:55

Yeah. , I think we were talking a while

1:04:57

back about you collaborating

1:04:59

with, I'm not gonna mention, uh,

1:04:59

a vocalist, um, which I'm quite

1:05:02

looking forward to here hearing. Uh, Tim, where can we find you?

1:05:06

You can find me most

1:05:06

places at online music.

1:05:10

Um, you can find me at, uh,

1:05:10

oh, 19th Wave on Twitter

1:05:14

if you happen to be on

1:05:14

that stupid platform.

1:05:16

Um, and, um, you know,

1:05:16

you can find me on the

1:05:19

even TikTok I believe, but

1:05:19

yeah, I'm more of an Insta

1:05:22

person than anywhere else. But like, no, just hit me

1:05:23

up on any social you want.

1:05:26

Um, and, um, can I just

1:05:26

have a big shout out for the

1:05:31

25th of February in Bristol

1:05:31

at the Fleece Dusk Waves?

1:05:37

It's going to be amazing. And then there's, um, um,

1:05:39

Boulevard, whatever it is.

1:05:44

I dunno, something after it. Like I always forget

1:05:46

the name of it. The, the thing that is

1:05:47

going on afterwards.

1:05:49

Sunset. Sunset Boulevard. Sunset. Sunset Boulevard.

1:05:52

Yeah. Yeah, yeah. That's the one. Um, and um, that's

1:05:53

going on afterwards.

1:05:56

Uh, rough trade, but like,

1:05:56

yeah, no, come to Dust Waves.

1:05:58

If you can make it to Bristol

1:05:58

that day, it's free and loads

1:06:02

of synth wave artists and I will

1:06:02

be performing live and you can

1:06:05

come watch me and buy a t-shirt. Um, yeah, no, so it

1:06:07

should be a great event.

1:06:11

I think loads of people. Zach Vortex, you mentioned

1:06:12

earlier, the endearing,

1:06:15

um, since we 83 and a u w

1:06:15

who are actually the host.

1:06:19

So fantastic. Should be good.

1:06:21

And I have Wonderland coming

1:06:21

out the day before on the

1:06:24

24th of February, and uh,

1:06:24

you've just heard how.

1:06:30

Interesting that is

1:06:30

so, um, go and, uh, uh,

1:06:33

you know, pick that up. That'll be on all the um,

1:06:34

uh, streamers and, uh, it

1:06:38

will be on, um, you know,

1:06:38

my band camp as well.

1:06:41

And, you know, use

1:06:41

band camp if you want.

1:06:43

It. Be fantastic cuz it's, um,

1:06:44

supports us all, doesn't it?

1:06:47

So it's great. Yeah. Thank you. Great.

1:06:49

Brilliant. Thanks Tim. Yeah. Get along to that. Uh, on the 25th, I, I'm

1:06:51

gonna be there myself as

1:06:54

well, and I'm not performing. Yeah. But I will be half cut

1:06:56

if not more in the crowd.

1:06:58

You will. Uh, heck and Tim . So, um,

1:06:59

you, you, you'll see me.

1:07:03

Yeah, you'll see I'll be the person who's Mac can stop working.

1:07:06

Yeah. . I'll be the one at

1:07:07

the back laughing. So, who's 2012?

1:07:11

Mid 2012 Mac Bookers . Oh,

1:07:11

mate, you are, you are bold

1:07:18

doing that with a 2012. Um, but gentlemen, I, I'll

1:07:23

we'll, we'll call it that.

1:07:26

Yeah. Get along to that on the 25th. This now puts me under

1:07:28

pressure to get this episode out before then, so you

1:07:29

can actually hear that. Um, but yeah, I'll, I'll

1:07:31

be there and, uh, just,

1:07:35

uh, yeah, come and say hi. If you see me. Hopefully you'll recognize me.

1:07:38

You might, you may, may not. Um, you'll recognize Tim.

1:07:41

Otherwise you'll be talking to Ben Affleck, the West Country, Ben Aflac.

1:07:48

Yeah, yeah, yeah,

1:07:48

yeah, yeah, yeah.

1:07:52

Excellent. All right. Jens, uh, we'll call it there. Big thank you for this today.

1:07:54

Thank you very much and I will

1:07:54

catch up with you all soon.